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    Maestro Solucoes musicais
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    13 views16 pages

    Turino 001

    Uploaded by

    Maestro Solucoes musicais

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
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    of 16
    ‘eho tea iin Ua iSmandnateeaay hedaman castrate gs Meee iid nt semseeBoaseanisys ea) ae Iieessorboss tots ope) Adal be happiness inven oy ‘That qulety cept in with her Tin Ta scale plo etn Tem (Chcg san in ecensice) In bop eel oe ssc: spbeae ens (clahakps) te: osa8 stg hah pe Is: gboaae esha pe) ‘ste on 8h383 pha pe) aspera at Theor wed ith pion mes the ai have attempted to integrate and present them ia way that wil be useful ated accessible for ayone—hopefly with beginners ind. Armed now ‘ith ideas fom Bateson, Cake and Pere lt the arguments {hat make symbolaly nthe following chapters be ested through cach reales ow indeicalexesences. wil bests if something here trgges new way to think about those experiences, Participatory and Presentational Performance ecasewehave the one word—musio—itiatrickoth Eglshlanguage thr we end to thik of muse making a ingle ar form. Certainly we to tht there ae fret Kinde ofc. We have lat of words, rang ing om rather broad anes fl, popu, clase, world masie—which ate meant to encompast everything to ever more specific abels— (ek) rots pode aerate grange lam, punk, (metal) hes metal speed tcl death metal Musil stores are crested by musicians, es, fs, the mse nde. and academics alike These labels are used to isting sles and prac, but they ell ite about how and wey People make the particular nsicthey do andthe vals that uderpi the a thyme Regus of the category in qusstion, when North Americans dows lau! sang or go out to buy a CD they Bellew that they are purchasing ‘mi his belie points to culturally specifi conception of what music ‘hes people buy a photogzaph af person, they understand that iis ‘aly presentation of that person, not the real thing, Oe indigenous Amrassicans with when {worked in Pru daring the 1980s ete ‘te receding that they made of thei fetal musi a we might se Photographs Ale a festa was over, they often listened together othe "cogs that they had made on thelr boom boxes, largey to remember Sepa what had Been happening in the fete tat pone. That ‘hey und the recording mach a North Americans might we sapshot| ‘free vacation to tho tends ad remember he pel ines ha ‘ete exeiened: The recordings were a representation ofa ceebraton| dof cil interactions elle nepal way through playing mas and dancing together, For ther a recording i to ‘mse’ what fo us a Hhotogaps tothe person in the spo: representation of something ese the rea thing My Pervan ends tended to think of rns a ‘atng a uct abot the eve and the poople at abou the sound sell ‘Avofon ar nos when the pext fetal came they wou record ver the Teale snapshot its se valereminscng with fends during {he week following te fest.— filled. Ti Engl the word music noun, and cosmopolans more ge rally ee o think of musi at thing--ab Mentifale art object hal cer amc by it restrs trough copyrights ad purchased by consi Se eegth and perasivenes ofthe music industry apd is ma vregated pcs daring th ast cer have helped create his abil Huhought we biel eonsier the products ofthe music industy ove ‘Ginn me can glimpse eonmopolitans gral sift in thinking of musi raking vassal activity to maseasan objet Inthe niseteenth nd ear ae tkth cnt, the map forms of popelasmusicindasty product ‘Wrcshcet man the software’) spd musical instruments such spans [ss banjo accordions, and mandolins (tbe hardware), often sod ‘frog catalog to be played in the home afer dianeror daring mes of Jone These pct reuired and were the bass of active partciption| th mie making among average people Recordings an the ado began to change people's conerions, bt nt entre Rao broadcasts been by at ve pefortance, gly o be replaced by recording ter. By ‘lo midswentith century the pase high ity was seb he nd terete recordings. A tat ie the understanding of musi a an att tty wating lve peopl perfonsing with ofr ather ive people was il ‘edonnnant, sed recordings were maketed as fat! (high ely) pent of such performances, Even in the late tweet cent {Hese nan commer to sell caste tapes tat used the slogan rick Memorex” suggesting tha the sound recording wasnt the whole allot wax bu ater was capturing, representing. something ele (6 see Mowitt 987) “Non Ameria silat lve performances in the ety twenty fst aun, bt nthe poplar usc realm atleast, such perormanecs ae ‘hem lel ake to recordings and other merchandise. Either we a fend concertbeause we have heard an ais recordings, or once We (Seite the bund wants to sll hey CDs. Many cabs in Norh Amer se ange even bute wth He acts ha ing or ply musi ist ‘Montes raead lite Ds who se recordings and playback devies as] ‘hel intruments for pefrtnance- One of the most popula nights un ten woul somtines fete ve bands before the Ibu the 2 res of sinter tre, hat act te stage mete) 00 the main entrainment paying sd mailing To cul begin on ie! Bor the club manager gusto, no sre to the bands ws intended Hwa simpy an economia sae more young peopl ame forthe sene Dj etd than fo ‘hts ets trates astrnge reer among thee yung people wef very conception of what mu cmp to ane when sewer comida sein fe usc nd would bare ‘Sener poor substi alive band “curl coerpton of msc ha shifted ward eordings— the foo ich to comopaltan experience munca the el hig ‘Sthssrpesertaton someting che Inesptalistsodets Yea rst Tcl masini mutarlag concepaaed in elation ‘tesa presemston eorigs (St de nd a), or (ome ‘psc combination fh twe. Een for lca bed ita come reise me Cs for pom an sl gis they ar 1b ae, Tlarctotate hems, serous Yer the Ute State a honor theres ofthe wo ther are mui of msi dane atv tht do nt ae mal preset tons fc start, recording ad concer ke sal. These other “vies are more abut he dongs aoa teraction tan about rest. igure or comedy Siping ncutch nd playing music ‘me ith ends or fn are common examples of he ater pe inorder, but thee aremany oer pockets of pariciptry muse Sng an ane angi fom conta pp, nd wing dancing ‘Gauci gage ck bans logs Foie jam, and com ‘non that ke lace In bars celebs ney eee, {dpa tomes on «wet bare Reps of how portant hese {cer ae othe pray have equ herd oh people Bi am not eal) a muscan? bce the ade tem alae ‘hats rtesoaln athe standard owt ols want arg ‘hr Use ston oo ee ee Satin hey coming dnt eet om et od ty Stiefel be consul aed rch “athe thinking about mos a singles form aided ‘nto vos std sat Cteporiy Tate ound cl 0 concep ‘tlc mac makig in lato odieent reas fel of aie act Pee Bours en fell (6g 1984 195) fee speci domain of att defined by the purpose and goals of tbe atv Reet a the vals, power relation, ad types of cep (eg, money auc dope, hi song athlete prowess the abit play gut) ancien where presentational mis ste norm. Conver pea rowing up in societies where participatory music ithe mses ra Keres eation to musialdsnce performance. Rather sich pl muse making ad dane, ike corvessaton are imply enjoyed a Thal pr of sock fe aricipstory msi making constrains inv "eae fed ta geater extent than tho oer ids do, while ier more indivi the opporanty 10 develop their mia ts over Metin. Somethings xt and smething iain with each feb ah eee eo Perle ner eee papain ane ee ooo es eee ee ee om wes ees one ee sores te ae eee eee een ee eee ee ee beau alps pe remo fr aoa lasers SS sae re aE a one ee oe eee Seana majong aaa nomena salogdche na ae eee rotate pens cy oes seiceld ramets nema pay sng sac fx pla an for challenge that vanced musa can sare ad inthe activity and experence How rather hana an overt di play of nid itty. Whe tis maybe partly pronoun ra the Bending of intensive variation and improvisation win ‘Sen mes of sounds commen for parity traditions "Theat characteristics of pariiptry musi reste stu ston ana anking of advil contsbutions which in tur, cs aoe for pangs, These sound features have evolred dies ‘eelaon tothe particule gots and value ofcasion.Partcpta and seal fonctions to inspite people oot in, and this pe rate making serves deeper fneion of creating pec sense of soc ‘choy bonding ad eri Final nwctics where part vaemce dhe mon valued frm, almost everyone will row up ak qumustcand dance and develop some competence; msi and dance taal to everyone at normal human seve. Simultaneous and Sequential Participation ‘The typeof patcpstory muse tit Ihave been dsessing thus far seer Sissons in which everyone potently performs togethers Rosie There However a second major subtype that we might. ‘Spurl parpiry mas in which everyone takes turn alone ‘eter groups perfor for the other peopl in the events ina sens, ‘Ehvntalpripatory traditions bat inca ete of pes ‘lar muse kg er won book Engedering Sv, Jne Si tnd the tng at Presa Albian weddings. The parcial {Bae every uch in place, ad se suggest that social pressure 1 tape esong Asan important means of setae fam Teounathen singing i regarded asa moral act What this means ra ‘Sy speaking, tat each gues ta wedding who attends an itlrtng ortho partcpte in ary ital activi expected to lea “Gn at lear one song on each occasion” (19879) "ion and women sing separately. The song lade s accompanied second singer a the same ender who performs a suppostng Pa Ft adja tothe lead singer. Tn ation, Sugarman noes, “a {Soin non the drone (pare (199772). Although any numberof wo Tee ot in droning with someone’ song, ging the appearance of aout participation, there the dea that cach ong eader isa ‘Pike aed pertormng for ones presen. Ata Sima, somewhat ena naiygtbering tat was pat fne welding the men i ot voted gar the women hte mu ing Supman se ech song end, he eer wanen confers among them ct nb shoud sing etal ely encouraged cach woman 2a the one of dager pogessedouhl Gm le Young ca flowed he aig ily se” 4 Ths tral

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