Memória musical na aprendizagem informal e suas relações com os métodos ativos em educação musical
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Data
2022-11-30
Autores
Ribeiro, Vanessa dos Santos [UNESP]
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Universidade Estadual Paulista (Unesp)
Resumo
Alguns músicos constroem sua formação na aprendizagem informal, embasada em experiências práticas e, geralmente, apresentam uma habilidade para memorização musical. A presente dissertação propõe a convergência entre as experiências práticas da aprendizagem informal com as metodologias ativas em educação musical e a memorização musical. Tem por objetivo investigar se as abordagens desenvolvidas pelos métodos ativos de educação musical surgidos no início do século XX podem promover as habilidades envolvidas no processo de memorização e flexibilidade cognitiva de forma a orientar, alicerçar e auxiliar a performance musical no contexto da aprendizagem informal. Esses métodos envolvem o aprendizado por meio da prática musical, em que ocorrem experiências com diversos elementos musicais sem que haja um aprofundamento teórico inicial. Para o desenvolvimento deste trabalho, foi empregado como metodologia a pesquisa bibliográfica nas áreas de educação musical, aprendizagem formal, não formal e informal, e neurociência. O referencial teórico dessa dissertação são as metodologias ativas em educação musical de Dalcroze, Willems, Orff, Kodály, Suzuki, Martenot, Schafer, Paynter e Swanwick; os conceitos sobre memória de Izquierdo, Baddeley e Lent; e memória musical de Snyder, Chaffin e Logan. Os termos pesquisados incluíram memória e música, memorização musical, métodos ativos em educação musical, diferença nos tipos de aprendizagem musical, práticas musicais informais, memorização de músicos populares e tipos de memória. Depois do levantamento dos referenciais, procedeu-se a análise, síntese e os fichamentos. Os principais resultados observados foram as possibilidades de se obter uma melhora na memorização musical a partir de uma aprendizagem que desenvolve atividades práticas, como ocorre na formação de músicos de aprendizagem informal. Concluiu-se que há uma associação entre os aspectos cognitivos da memória musical e seu desenvolvimento com as experiências práticas e a interiorização da música, comuns à aprendizagem informal. As representações mentais são formadas pelas experiências e são importantes para a memorização musical e para gerar novos aprendizados. Considera-se o equilíbrio na formação musical entre a experiência prática e as sistematizações teóricas e técnicas, com reflexões que podem ser relevantes na formação do músico e conduzir sua maneira de estudar, principalmente quando esse tem por objetivo desenvolver a memória musical.
Some musicians build their training on informal learning, based on practical experiences and, generally, have an ability to memorize music. The present dissertation proposes a convergence between the practical experiences of informal learning with active methodologies in music education and musical memorization. It aims to investigate whether the approaches developed by active methods of music education that emerged in the early twentieth century can promote the skills involved in the memorization process and cognitive flexibility in order to guide, support and help musical performance in the context of informal learning. These methods involve learning through musical practice, in which experiences with different musical elements occur without an initial theoretical deepening. For the development of this work, bibliographical research was used as a methodology in the areas of music education, formal, non-formal and informal learning, and neuroscience. The theoretical framework of this dissertation is the active methodologies in music education by Dalcroze, Willems, Orff, Kodály, Suzuki, Martenot, Schafer, Paynter and Swanwick; the concepts of memory by Izquierdo, Baddeley and Lent; the musical memory of Snyder, Chaffin and Logan. Search terms included memory and music, music memorization, active methods in music education, difference in types of music learning, informal music practices, memorization of popular musicians, and memory types. After surveying the references, proceed with the analysis, synthesis and filings. The main results observed were the possibilities of obtaining an improvement in musical memorization from learning that develops practical activities, as occurs in the training of informal learning musicians. It was concluded that there is an association between the cognitive aspects of musical memory and its development with practical experiences and the internalization of music, common to informal learning. Animated representations are formed by experiences and are important for musical memorization and to generate new learning. The balance in musical training between practical experience and theoretical and technical systematizations is considered, with thoughts that may be relevant in the musician's training and in conducting his/her way of studying, especially when the objective is to develop musical memory.
Some musicians build their training on informal learning, based on practical experiences and, generally, have an ability to memorize music. The present dissertation proposes a convergence between the practical experiences of informal learning with active methodologies in music education and musical memorization. It aims to investigate whether the approaches developed by active methods of music education that emerged in the early twentieth century can promote the skills involved in the memorization process and cognitive flexibility in order to guide, support and help musical performance in the context of informal learning. These methods involve learning through musical practice, in which experiences with different musical elements occur without an initial theoretical deepening. For the development of this work, bibliographical research was used as a methodology in the areas of music education, formal, non-formal and informal learning, and neuroscience. The theoretical framework of this dissertation is the active methodologies in music education by Dalcroze, Willems, Orff, Kodály, Suzuki, Martenot, Schafer, Paynter and Swanwick; the concepts of memory by Izquierdo, Baddeley and Lent; the musical memory of Snyder, Chaffin and Logan. Search terms included memory and music, music memorization, active methods in music education, difference in types of music learning, informal music practices, memorization of popular musicians, and memory types. After surveying the references, proceed with the analysis, synthesis and filings. The main results observed were the possibilities of obtaining an improvement in musical memorization from learning that develops practical activities, as occurs in the training of informal learning musicians. It was concluded that there is an association between the cognitive aspects of musical memory and its development with practical experiences and the internalization of music, common to informal learning. Animated representations are formed by experiences and are important for musical memorization and to generate new learning. The balance in musical training between practical experience and theoretical and technical systematizations is considered, with thoughts that may be relevant in the musician's training and in conducting his/her way of studying, especially when the objective is to develop musical memory.
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Palavras-chave
Música - Instrução e estudo, Músicos - Educação extra-escolar, Músicos - Aprendizagem