Cesar Albino’s scientific contributions

This study aims at investigating to what extent improvisation and oral tradition allowed for the consolidation of ragtime and choro into musical genres which became popular in the turning of the nineteenth century. The choice was concentrated on the formal similarities existing between both kinds of music and in the paths taken by both of them in their process of consolidation. As far as the concepts of territorialization and de-territorialization coined by Gilles Deleuze and Félix Guattari, and incorporated in musical improvisation by Rogério Costa, it was possible to verify the type of improvisation used in these two genres. Historically, it re-states D. Bailey's idea that improvisation is always present in the creation of new notational systems, genres and musical styles, even if it leaves the scene during the transmutation processes. This article derives from the first author's Master of Arts dissertation (IA-UNESP, Brazil).

O artigo descreve a trajetoria da improvisacao musica no Ocidente, desde a tradicao oral ate a tradicao escrita. A partir da conceituacao do termo, os autores expoem os momentos mais relevantes dessa pratica no universo da musica erudita. A fundamentacao teorica esta focada em diversos autores: Dereck Bailey, Stephen Nachmanovitch, Fernando Oliveira Rocha, Manoel Carlos Pego Saisse, Allen Brings e outros. Admite-se que embora a improvisacao premeie boa parte dessa historia, incentivando novas estruturas notacionais, novos estilos e novas performances, ela deixa de existir a partir de sua transcricao, levando em conta a sua natureza eminentemente praxiologica. Mesmo assim, os autores consideram importante que ela seja adotada no ensino musical, uma vez que possibilita ao musico erudito maior destreza performatica e melhor criatividade interpretativa. O texto aqui articulado integra parte da dissertacao de mestrado que esta sendo desenvolvida no IA-UNESP.

The article refers to an official school experience which was developed in the Brazilian education in the 60's - the vocational schools. These schools enabled an artistic-musical learning experience which would be less technicist and autocratic, contributing in a satisfactory way to the future performing formation of the students. In addition to the historical report, the text refers to the British educator D. Hargreaves, who researched on the importance of the "third environment" in the musical learning and on the relationship existing between the internal and the external cognitive process. The text is part of the Master or Arts dissertation which is being carried out in the IA-UNESP (Institute of Arts - State of São Paulo University). The musical-theoretical foundations were provided by the ideas of D. Hargreaves, Sigurd Raschèr, Yehudi Menuhi, among others, and by some researchers in the area of education. It is justified on the grounds of the present moment experienced by the musical teaching in face of the approval of Law no 11.769/2008.

Action-research is a model of scientific investigation which is not widely used in musical teaching, even considering its relevant application in the social sciences. David Tripp (2005) classifies it as a type of action-investigation which is used to define any process that follows a cycle where the practice is improved by the systematic oscillation from acting in the field of practice to investigating into it. With the approval by the Brazilian National Congress of Law 17,769, on August 18, 2008, and with the supplementary legislation, we understand that its use in the musical education would be beneficial. This justification has motivated the writing of this article, which approached the characteristics, functions and usefulness of the action-research. The consulted authors were, among others, D. Tripp, M. Thiollent, Maria A. Franco, G. Morceau, and Maria G. de Miranda. Two examples of Master's dissertations which adopted this type of research were mentioned.