Indefinindo fronteiras na música: uma análise sobre o grupo Uakti
The Uakti group worked between 1978 and 2015 with the aim of generating combinations between the musical instruments, as well as creating a space that would welcome the researches and musical productions of the group, providing a variety of exchanges, learning and artistic manifestations among Uakti...
| Autor principal: | Barros, Caroline Karasinski |
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| Formato: | Trabalho de Conclusão de Curso (Especialização) |
| Idioma: | Português |
| Publicado em: |
Universidade Tecnológica Federal do Paraná
2020
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| Assuntos: | |
| Acesso em linha: |
http://repositorio.utfpr.edu.br/jspui/handle/1/17056 |
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| Resumo: |
The Uakti group worked between 1978 and 2015 with the aim of generating combinations between the musical instruments, as well as creating a space that would welcome the researches and musical productions of the group, providing a variety of exchanges, learning and artistic manifestations among Uakti members, and this was reflected not only in the sonority of their songs but also in the bodies of the musicians when interacting with these instruments. The work of the group covered several areas of knowledge, among them Music, Dance, Architecture, Engineering, Handicrafts, Woodworking, Physics, Electronics, among others. This research proposes to analyze the Uakti group as a hybrid proposal based on Schafer's (2001) Soundscape theory in Music and the Laban Movement Analysis (1971) in Dance, with transdisciplinary perspectives that enable the construction of knowledge for the field of Education. It is understood that thinking the Uakti group as a hybrid proposal adds the sharing of knowledge and its defragmentation, because it is perceived that access to Music can occur through other areas of knowledge that are not necessarily the specific field of Music, as well as relations artistic and/or non-artistic that promote the de-translation between knowledge. |
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