Abordagens de ensino de violino: um panorama histórico
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Data
2018-06-29
Autores
Santos, Déborah Wanderley dos [UNESP]
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Universidade Estadual Paulista (Unesp)
Resumo
Este trabalho apresenta um panorama histórico do desenvolvimento dos meios de ensino de violino, buscando contextualizá-los historicamente e investigá-los por meio de abordagem de caráter interdisciplinar, que procurou suporte, entre outras áreas, na ciência da expertise. Dessa forma, objetivou-se contribuir para a discussão acerca de práticas de ensino atuais. No primeiro capítulo apresentamos metodologias de dois ospedali italianos – instituições precursoras ao conservatório onde ocorria a internação e educação da juventude em situação de vulnerabilidade social. No segundo capítulo, disserta-se sobre a ascensão da música instrumental nos séculos XVI e XVII, o surgimento de uma literatura voltada uma metodização progressiva do estudo do violino e o legado de mestres do Barroco como Arcangelo Corelli e Giuseppe Tartini. Discorre-se, então, sobre aspectos pedagógicos envolvidos no sistema mestre/aprendiz. No terceiro capítulo, investiga-se o advento do Conservatório de Paris e suas consequências para o ensino musical. O quarto e último capítulo tem enfoque na produção dos séculos XX e XXI, quando pedagogos como Leopold Auer, Otakar Sevcik, Carl Flesh, Ivan Galamian e Simon Fischer desenvolveram metodologias caracterizados por viés marcantemente analítico e cognitivista. Verificou-se, ao longo da história das práticas de ensino de violino, uma constante – e crescente – preocupação no que se relaciona à qualidade do estudo do instrumento. Concluiu-se que, independentemente da metodologia utilizada, práticas de ensino eficientes tendem a cultivar, no aluno, uma autonomia fundamentada na capacidade de auto melhoramento. O presente trabalho é voltado para instrumentistas e, de forma mais ampla, para todos aqueles que tenham interesse pela área de pedagogia da performance musical.
This work presents a historic panorama of the development of the methods of violin study, seeking to contextualize them historically and research them through an approach of interdisciplinary character, which sought support, among other areas, in the science of expertise. Thus, the aim is to contribute to the discussion about current teaching practices. In the first chapter we present methodologies from two Italian ospedali – precursory institutions to the conservatory where the lodging and education of youth in situations of social vulnerability occurred. In the second chapter, we discuss the rise of instrumental music in the 16th and 17th centuries, the emergence of literature aimed at a progressive method of studying the violin and the legacy of Baroque masters such as Arcangelo Corelli and Giuseppe Tartini. We then discuss pedagogical aspects involved in the master/apprentice system. In the third chapter, we investigate the advent of the Paris Conservatory and its consequences for musical education. The fourth and final chapter focuses on 20th and 21st century production, when pedagogues such as Leopold Auer, Otakar Sevcik, Carl Flesh, Ivan Galamian, and Simon Fischer developed methodologies characterized by substantial analytical and cognitive perpectives. Throughout the history of violin teaching practices, there has been a constant – and growing – concern regarding the quality of the study of the instrument. It was concluded that, regardless of the methodology used, efficient teaching practices tend to cultivate, in the student, an autonomy based on the capacity for selfimprovement. The present work is aimed at instrumentalists and, more broadly, for all those interested in the area of pedagogy of musical performance.
This work presents a historic panorama of the development of the methods of violin study, seeking to contextualize them historically and research them through an approach of interdisciplinary character, which sought support, among other areas, in the science of expertise. Thus, the aim is to contribute to the discussion about current teaching practices. In the first chapter we present methodologies from two Italian ospedali – precursory institutions to the conservatory where the lodging and education of youth in situations of social vulnerability occurred. In the second chapter, we discuss the rise of instrumental music in the 16th and 17th centuries, the emergence of literature aimed at a progressive method of studying the violin and the legacy of Baroque masters such as Arcangelo Corelli and Giuseppe Tartini. We then discuss pedagogical aspects involved in the master/apprentice system. In the third chapter, we investigate the advent of the Paris Conservatory and its consequences for musical education. The fourth and final chapter focuses on 20th and 21st century production, when pedagogues such as Leopold Auer, Otakar Sevcik, Carl Flesh, Ivan Galamian, and Simon Fischer developed methodologies characterized by substantial analytical and cognitive perpectives. Throughout the history of violin teaching practices, there has been a constant – and growing – concern regarding the quality of the study of the instrument. It was concluded that, regardless of the methodology used, efficient teaching practices tend to cultivate, in the student, an autonomy based on the capacity for selfimprovement. The present work is aimed at instrumentalists and, more broadly, for all those interested in the area of pedagogy of musical performance.
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Palavras-chave
História do ensino de violino., Performance de violino., Pedagogia da performance musical., Técnicas de ensino de violino., Violin teaching., Violin history., Violin performance., Violin practicing techniques.