Aprendizagem maker musical: futucando intersecções entre o fazer/aprender/compartilhar musical e as tecnologias digitais interativas
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Data
2022-09-26
Autores
Schnitman, Daniel [UNESP]
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
Este estudo objetivou conhecer as possibilidades que permeiam as intersecções da música, tecnologia e educação. O desvelar desses cruzamentos ocorreu através de relatos de vivências: trajetórias pessoais marcadas pelo entrelaçamento da música com distintos campos de conhecimento que nos permitem vislumbrar fazeres musicais e formas de aprender relacionados a práticas de compartilhamento inerentes ao fenômeno da cultura digital. Por conta de uma presença discursiva, tanto na tecnologia, quanto na educação, esta pesquisa buscou entender o surgimento do contexto Maker e como um fazer musical poderia se dar neste ambiente. Para precisar a análise, focar em tecnologias interativas digitais sob uma perspectiva educacional construcionista, enquanto referencial teórico, apontavam na direção de um potencial promissor para um tipo de aprender musical. Desta forma, uma investigação qualitativa baseada em pesquisa biográfica via entrevistas semiestruturadas foi o caminho escolhido para realizar uma espécie de visualização interseccional de um fazer/aprender/compartilhar musical com as tecnologias digitais interativas. Essa escolha se mostrou rica por permitir o mapeamento de inter-relações pessoais e profissionais dentro deste contexto Maker, trazendo um campo sensível para a forma imersiva de apresentação desse percurso. A partir da transcrição dessas entrevistas, houve uma categorização para tematização do material. Classificar e qualificar os registros serviu para dialogar com as questões de pesquisa ao interagir com o referencial teórico do estudo. O texto é entremeado por perguntas do tipo: como experimentos de uma “futucagem” (tinkering) expressiva via ferramentas lúdico digitais pode fomentar um florescer musical em nós. Alguns dos resultados indicam uma necessidade de angariar um conjunto específico de recursos humanos para iniciativas de Aprendizagem Maker Musical e que já há sugestões iniciais de vivências musicais que podem ocorrer nessa perspectiva. No âmbito das implicações dessa pesquisa, educadores musicais são convocados a se expandir, ocupar e pautar novos ambientes de disputas tecnológicas para evitar que algum desperdício de potencial ocorra. Assim, uma síntese é apresentada enquanto proposta de uma Aprendizagem Maker Musical: fomentar a agência do aprendiz nos seus “fazeres” musicais digitais interativos. Isso, além de poder vir a ser um espaço/fortaleza para um diálogo com alguns fazedores de música contemporâneos, pode também servir como uma ponte para o contato com os preceitos construcionistas, úteis em seu modo de se relacionar com tecnologias. Por fim, a criticidade quanto a “soluções” tecnológicas que transparecem ao longo da dissertação é retomada nas considerações finais. Fica explícita a sugestão de escolher um caminho democratizante pela arte (mais significativo do que qualquer tecnologia), pelo afeto de afetar e venerar o mistério que é a música.
This study was aimed to explore the possibilities that permeate the intersections of music, technology, and education. The unveiling of these intersections occurred through accounts of life experiences: personal trajectories marked by the intertwining of music with different fields of knowledge that allow us to glimpse musical practices and ways of learning energized by sharing practices that are inherent to the phenomenon of digital culture. Due to a discursive presence both in technology and in education, this research sought to understand the emergence of the context in which the Maker Movement emerged and how music making can come about in this type of environment. To define the analysis more precisely, focusing on digital interactive technologies, coming from a constructionist educational perspective as a theoretical framework, pointed towards a promising potential for a specific type of musical learning. Thus, a qualitative investigation based on biographical research via semi structured interviews was the path chosen to carry out a kind of intersectional panorama of music making/learning/sharing intertwined with interactive digital technologies. This choice proved to be rich in allowing the mapping of personal and professional interrelationships within Maker contexts, providing a sensitive outlook within an immersive approach through this path. The transcription of these interviews informed the categorization and thematization of the material. Classifying and qualifying the data promoted a dialogue with the research questions by interacting with the theoretical framework of the study. The text is interspersed with questions such as: how tinkering via playful-digital tools can foster musical flourishment. Some of the results indicate a need to raise a specific set of human resources for Musical Maker Learning initiatives and that there are already initial suggestions of musical experiences that can occur in this perspective. Music educators are called upon to expand, occupy and lead new environments despite technological disputes to harness the potential of this opportunity. Thus, a synthesis is presented to define what could be a Musical Maker Learning proposition: to foster the learner's agency in their digital interactive musical “makings”. In addition to creating dialogues with some contemporary music makers, this proposition can also bridge music education with constructionist precepts that might be useful because of the way technologies are viewed within their educational theories. Finally, albeit appearing constantly throughout the thesis, a critical gaze regarding “technological fixes” was highlighted in the final considerations. I end with an explicit suggestion: to choose art (which is more significant than any technology) as a democratizing path to enhance our ability of fostering affection and revere the mystery that is music.
This study was aimed to explore the possibilities that permeate the intersections of music, technology, and education. The unveiling of these intersections occurred through accounts of life experiences: personal trajectories marked by the intertwining of music with different fields of knowledge that allow us to glimpse musical practices and ways of learning energized by sharing practices that are inherent to the phenomenon of digital culture. Due to a discursive presence both in technology and in education, this research sought to understand the emergence of the context in which the Maker Movement emerged and how music making can come about in this type of environment. To define the analysis more precisely, focusing on digital interactive technologies, coming from a constructionist educational perspective as a theoretical framework, pointed towards a promising potential for a specific type of musical learning. Thus, a qualitative investigation based on biographical research via semi structured interviews was the path chosen to carry out a kind of intersectional panorama of music making/learning/sharing intertwined with interactive digital technologies. This choice proved to be rich in allowing the mapping of personal and professional interrelationships within Maker contexts, providing a sensitive outlook within an immersive approach through this path. The transcription of these interviews informed the categorization and thematization of the material. Classifying and qualifying the data promoted a dialogue with the research questions by interacting with the theoretical framework of the study. The text is interspersed with questions such as: how tinkering via playful-digital tools can foster musical flourishment. Some of the results indicate a need to raise a specific set of human resources for Musical Maker Learning initiatives and that there are already initial suggestions of musical experiences that can occur in this perspective. Music educators are called upon to expand, occupy and lead new environments despite technological disputes to harness the potential of this opportunity. Thus, a synthesis is presented to define what could be a Musical Maker Learning proposition: to foster the learner's agency in their digital interactive musical “makings”. In addition to creating dialogues with some contemporary music makers, this proposition can also bridge music education with constructionist precepts that might be useful because of the way technologies are viewed within their educational theories. Finally, albeit appearing constantly throughout the thesis, a critical gaze regarding “technological fixes” was highlighted in the final considerations. I end with an explicit suggestion: to choose art (which is more significant than any technology) as a democratizing path to enhance our ability of fostering affection and revere the mystery that is music.
Descrição
Palavras-chave
Aprendizagem maker, Tecnologia, Cultura digital, Educação musical, Tecnologia digital interativa, Construcionismo, Music learning, Maker learning, Digital culture, Interactive digital technology, Constructionism