A comprovisação Hiatos: perspectivas contemporâneas sobre a interação entre improvisação e composição

Abstract

This article intends to investigate the relationship between musical composition and improvisation within the aesthetic context of contemporary music based on the notion of non-idiomatic improvisation (free improvisation). The approach to understanding this relationship begins with a historical panorama of the ontology behind the concept of a musical work according to Treitler (1993). This panorama outlines the predominance of a sense of hierarchy between the musical score written by a composer and its interpretation by a performer. In order to present the concept of musical improvisation and the idea that, historically, it has been understood as the opposite of composition, this article brings together some ideas from Bailey (1993), Falleiros (2006), and Canonne (2016). The concept of comprovisation is also used, according to authors such as Bhagwati (2014) and Aliel (2017). Richard Barrett (2014) emerges as an example whose work overcomes the hierarchy between composition and improvisation by using the concept of seeded improvisation. This is a creative tool that includes the performers’ free improvisation on written music with notational elements. The comprovisation Hiatos (BACELLAR, 2019) has been developed with the use of this music composition tool. In this work, the hierarchical distance between composer and performer is shortened through the use of improvisation and notational elements, resulting in interactions between different musical idioms. Intercultural aspects inherent to any comprovisation are also highlighted, as is the need for appropriate analytical tools.

Keywords

• improvisação livre. obra musical. música contemporânea. comprovisação. interculturalidade.