Práticas pedagógicas de auxílio ao desenvolvimento da escuta musical na disciplina de percepção musical
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Data
2018-07-31
Autores
Giorgetti, Luiz Rafael Moretto [UNESP]
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
A dissertação realizada investiga e reflete em que medida as variadas práticas pedagógicas podem auxiliar no refinamento da escuta musical no âmbito do ensino de percepção musical. A escuta musical apurada é uma das virtudes necessárias para que o músico se prepare para as demais disciplinas relacionadas à música e também atue de forma consistente no mercado profissional. Para tanto, foram traçados quatro objetivos: 1. Verificar nas publicações e nas práticas musicais, quais as diferentes metodologias de ensino da percepção musical, com o intuito de compreender qual a melhor forma de repassar esses ensinamentos para os alunos; 2. Averiguar quais as principais dificuldades dos alunos nessa disciplina; 3. Verificar, a partir do levantamento bibliográfico realizado, quais as capacidades e habilidades necessárias para que os alunos desenvolvam uma escuta musical mais refinada e satisfatória; 4. Reavaliar a metodologia do autor da presente pesquisa, a partir dos resultados coletados no levantamento bibliográfico e nas respostas obtidas nos questionários. A pesquisa de cunho qualitativo tomou como base de análise o levantamento bibliográfico realizado com o termo “ensino de percepção musical”, além da avaliação dos dois questionários dirigidos para os alunos que cursaram a disciplina “Teoria e Percepção Musical” no Conservatório Dramático e Musical “Dr. Carlos de Campos” de Tatuí, onde atuo como docente. Os questionários realizados apontaram para as dificuldades e sugestões dadas pelos alunos na condução da disciplina. A análise do levantamento bibliográfico e da fundamentação teórica permitiu elencar as competências necessárias para o aprimoramento da escuta musical. Também foi objeto de reflexão a minha própria metodologia, considerando-se as diversas metas apontadas pelos pesquisadores avaliados. A discussão dos resultados tornou possível listar as seguintes propostas metodológicas que auxiliam um aluno de música a ter um bom desenvolvimento da escuta musical: contextualização e vivência dos exemplos e repertório musical empregado; adoção de um repertório misto em sala de aula; uso de softwares e recursos tecnológicos para os alunos utilizarem na prática diária; apreciação musical de obras em sala de aula, de acordo com o nível da classe; desenvolvimento, por parte do professor, da criatividade musical do aluno a partir da improvisação, transcrição e produção de arranjos.
The present dissertation aims at checking and reflecting on pedagogical practices that contributes to a refined musical hearing related to musical perception teaching. A sharp musical hearing is required to musicians who intend to study, teach or work in the musical area. Hence, four purposes were set: 1. Checking in articles and musical practices, what are the best methods for teaching musical perception; 2. Finding out the students’ difficulties when learning music perception; 3. Verifying, by means of a bibliographical survey, what are the competences and abilities required to develop a more refined and satisfactory musical hearing; 4. Reevaluating the methodology of this thesis’ author from the results collected in the questionnaires and bibliography. This qualitative study was based on the term “Musical Perception Teaching” as well as two questionnaires answered by the students who studied the subject “Theory and Musical Perception” at the Drama and Music Conservatory “Dr. Carlos de Campos” in Tatuí, São Paulo, where this thesis’ author works as a teacher. The questionnaires pointed the students’ suggestions and difficulties related to Musical Perception. The theoretical reference and bibliographical analyses allowed listing the competences needed for improving musical hearing. Moreover, based on the several targets mentioned by the researchers, this thesis’s author reevaluated his own teaching methods. The results showed the following pedagogical practices for improving musical hearing: contextualization and background experiences from examples and musical repertoire; choosing a mixed repertoire for classes; using softwares and technological resources that students can apply for daily practice; promoting musical appreciation during classes according to students’ knowledge; teachers, as far as possible, should stimulate musical creativity by means of improvisation, transcription and development of musical arrangement.
The present dissertation aims at checking and reflecting on pedagogical practices that contributes to a refined musical hearing related to musical perception teaching. A sharp musical hearing is required to musicians who intend to study, teach or work in the musical area. Hence, four purposes were set: 1. Checking in articles and musical practices, what are the best methods for teaching musical perception; 2. Finding out the students’ difficulties when learning music perception; 3. Verifying, by means of a bibliographical survey, what are the competences and abilities required to develop a more refined and satisfactory musical hearing; 4. Reevaluating the methodology of this thesis’ author from the results collected in the questionnaires and bibliography. This qualitative study was based on the term “Musical Perception Teaching” as well as two questionnaires answered by the students who studied the subject “Theory and Musical Perception” at the Drama and Music Conservatory “Dr. Carlos de Campos” in Tatuí, São Paulo, where this thesis’ author works as a teacher. The questionnaires pointed the students’ suggestions and difficulties related to Musical Perception. The theoretical reference and bibliographical analyses allowed listing the competences needed for improving musical hearing. Moreover, based on the several targets mentioned by the researchers, this thesis’s author reevaluated his own teaching methods. The results showed the following pedagogical practices for improving musical hearing: contextualization and background experiences from examples and musical repertoire; choosing a mixed repertoire for classes; using softwares and technological resources that students can apply for daily practice; promoting musical appreciation during classes according to students’ knowledge; teachers, as far as possible, should stimulate musical creativity by means of improvisation, transcription and development of musical arrangement.
Descrição
Palavras-chave
Desenvolvimento da escuta musical, Desenvolvimento musical integral, Ensino da percepção musical, Pesquisa quanti-quali, Musical hearing development, Total music development, Musical perception teaching, Quanti-quali research