Abordagens criativas: possibilidade para o ensino/aprendizagem da música contemporânea
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Data
2008-06
Autores
Borges, Alvaro Henrique [UNESP]
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
Nesta pesquisa pretendeu-se discutir como estão ocorrendo os processos de ensino/aprendizagem no contexto da música contemporânea. Pela hipótese de que haja uma lacuna existente entre a produção musical contemporânea e o conhecimento que o público estudantil recebe dela, principalmente nas instituições de ensino básico, observou-se que a educação musical ocorre em sua maioria privilegiando o repertório tonal. O objetivo deste estudo foi aproximar a prática educacional dos sujeitos da pesquisa a um repertório contemporâneo que contemplasse novas possibilidades de ouvir e fazer música. Para que isso ocorresse buscou-se conhecer com maior profundidade a proposta educacional adotada pelos sujeitos da pesquisa e encontrar formas de ampliá-la, de modo que abrigassem em seu contexto algumas estéticas e técnicas contemporâneas. Ao trabalhar com os educadores do Projeto “Música na Escola” do Conservatório Estadual “Juscelino Kubitscheck de Oliveira”, esperou-se uma mudança na postura educacional, frente ao repertório didático, que minimizasse a distância entre a música contemporânea e o ensino musical. Como fundamentação, partiu-se da idéia de que a adoção de procedimentos educacionais criativos, nas escolas, pode auxiliar professores e alunos a desenvolverem um trabalho interessante e consistente, que valorize o repertório tradicional e inclua o repertório atual. Seguiram os pressupostos educacionais de Murray Schafer, Guy Reibel, John Paynter, Boris Porena e George Self, cuja atuação se deu a partir de meados da década de 1950 e que são razoavelmente conhecidos no Brasil. [....]
In this research we intend to discuss how the teaching/learning processes are occurring in the contemporary music field. Through the hypothesis that there is a gap between contemporary musicproduction and its knowledge among students, specially in elementary schools, we observed that musical teaching occurs with a focus on the tonal repertoire. The aim of this study was to approximate the educational practice of the individuals involved in the research to a contemporary repertoire which could incorporate new ways to listen to and to make music. To make this happen we tried to deeply understand the educational proposal used by the individuals analyzed in this research and find ways to expand it, so that we could cover in this context some contemporary aesthetics and techniques. When we worked with the teachers from the Project “Music in the School” of the Conservatório Estadual “Juscelino Kubitscheck de Oliveira”, we expected a change in the educational approach, considering the didactic repertoire, that would minimize the distance between contemporary music and musical teaching. As a fundament to our research, we started with the idea that the use of creative educational proceedings in the schools could help teachers and students to develop an interesting and consistent work, which could appraise the traditional repertoire and comprehend the contemporary repertoire. We followed the educational propositions formed by Murray Schafer, Guy Reibel, John Paynter, Boris Porena and George Self, whose work started in the 50s and are reasonably known in Brazil. This research was conducted through the qualitative approach, and we opted to use the interventionist methodology with the observation of the people who took part on it. [...] (Complete abstract, access undermentioned eletronic adress)
In this research we intend to discuss how the teaching/learning processes are occurring in the contemporary music field. Through the hypothesis that there is a gap between contemporary musicproduction and its knowledge among students, specially in elementary schools, we observed that musical teaching occurs with a focus on the tonal repertoire. The aim of this study was to approximate the educational practice of the individuals involved in the research to a contemporary repertoire which could incorporate new ways to listen to and to make music. To make this happen we tried to deeply understand the educational proposal used by the individuals analyzed in this research and find ways to expand it, so that we could cover in this context some contemporary aesthetics and techniques. When we worked with the teachers from the Project “Music in the School” of the Conservatório Estadual “Juscelino Kubitscheck de Oliveira”, we expected a change in the educational approach, considering the didactic repertoire, that would minimize the distance between contemporary music and musical teaching. As a fundament to our research, we started with the idea that the use of creative educational proceedings in the schools could help teachers and students to develop an interesting and consistent work, which could appraise the traditional repertoire and comprehend the contemporary repertoire. We followed the educational propositions formed by Murray Schafer, Guy Reibel, John Paynter, Boris Porena and George Self, whose work started in the 50s and are reasonably known in Brazil. This research was conducted through the qualitative approach, and we opted to use the interventionist methodology with the observation of the people who took part on it. [...] (Complete abstract, access undermentioned eletronic adress)
Descrição
Palavras-chave
Musica - Instrução e estudo, Música contemporanea, Criatividade - Arte, Abordagem criativa, Creative approaches
Como citar
BORGES, Alvaro Henrique. Abordagens criativas: possibilidade para o ensino/aprendizagem da música contemporânea. 2008. 141 f. Dissertação (mestrado) - Universidade Estadual Paulista, Instituto de Artes, 2008.