O Ensino coletivo de contrabaixo acústico: a vivência de processos criativos com alunos do Projeto Guri/Ribeirão Preto e a ideia de experiência de Jorge Larrosa
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Data
2017-08-25
Autores
Paziani, Danilo Ribeiro [UNESP]
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Universidade Estadual Paulista (Unesp)
Resumo
Na presente pesquisa procura-se refletir a respeito da renovação de práticas pedagógicas no campo do ensino coletivo de contrabaixo acústico, comtemplando, porém, os outros membros da família das cordas friccionadas. Levantam-se as práticas coletivas de ensino de cordas no Brasil, apresenta-se o lócus em que a pesquisa foi desenvolvida, o Polo do Projeto Guri em Ribeirão Preto e mostra-se de que modo as práticas criativas foram introduzidas aos alunos do instrumento. O objetivo geral da pesquisa é incentivar a participação dos estudantes em posturas criativas e mostrar a relação entre esses procedimentos e o aprendizado do instrumento. Os objetivos específicos estão ligados à abertura, à escuta e prática de músicas populares e a sonoridades contemporâneas, na procura de ampliação de repertório dos estudantes. Em relação aos aspectos metodológicos, adota-se a abordagem qualitativa na modalidade “observação participante”. A pesquisa se fundamenta, em Keith Swanwick e John Paynter, educadores musicais, e na ideia de experiência do filósofo da educação, Jorge Larrosa. Os resultados alcançados materializaram-se na vivência, pelos estudantes, de três processos inventivos que os próprios participantes consideraram de suma importância no seu processo de aprendizagem.
In the present research we try to reflect on the renewal of pedagogical practices in the field of collective teaching of acoustic bass, contemplating, however, the other members of the family of the frictioned strings. The collective practices of string teaching are raised in Brazil, the locus in which the research was developed, the Guri Project Pole in Ribeirão Preto and the way in which the creative practices were introduced to the students of the instrument. The overall objective of the research is to encourage student participation in creative positions and to show the relationship between these procedures and the learning of the instrument. The specific objectives are related to the open listening and practice of popular songs and contemporary sonorities, in the search of amplification of the repertoire of the students. Regarding the methodological aspects, the qualitative approach is adopted in the participant observation modality. The research is based, in Keith Swanwick and John Paynter, musical educators and in the idea of experience of the philosopher of the education, Jorge Larrosa. The results obtained were materialized in the students' experience of three inventive processes that the participants themselves considered of paramount importance in their learning process.
In the present research we try to reflect on the renewal of pedagogical practices in the field of collective teaching of acoustic bass, contemplating, however, the other members of the family of the frictioned strings. The collective practices of string teaching are raised in Brazil, the locus in which the research was developed, the Guri Project Pole in Ribeirão Preto and the way in which the creative practices were introduced to the students of the instrument. The overall objective of the research is to encourage student participation in creative positions and to show the relationship between these procedures and the learning of the instrument. The specific objectives are related to the open listening and practice of popular songs and contemporary sonorities, in the search of amplification of the repertoire of the students. Regarding the methodological aspects, the qualitative approach is adopted in the participant observation modality. The research is based, in Keith Swanwick and John Paynter, musical educators and in the idea of experience of the philosopher of the education, Jorge Larrosa. The results obtained were materialized in the students' experience of three inventive processes that the participants themselves considered of paramount importance in their learning process.
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Palavras-chave
Contrabaixo, Música - Instrução e estudo, Criatividade (Educação), Experiência, Double bass, Music - Instruction and study, Creativity (Education), Experience