Experimentos sonoros: uma proposta para a educação musical no Ensino Médio
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Data
2020-09-08
Autores
Silva, Cícera Aparecida Rodrigues [UNESP]
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
A presente pesquisa buscou investigar se a criação e construção de instrumentos musicais não convencionais e/ou alternativos, junto aos experimentos sonoros, às improvisações, podem contribuir no processo de ensino e aprendizagem musical na fase final do Ensino Médio, como subsídio ao ensino da música contemporânea. A dissertação tem como fundamentação teórica as pesquisas e produções de Schafer (1991; 2009; 2011); Akoschky (1988; 2002; 2003; 2015) e Sardo (2002; 2015; 2019; 2020), e os estudos sobre formação docente de Mateiro (2015), França e Swanwick (2002), França (2006; 2014), Fernandes (2011; 2012), Penna (2002; 2006). A metodologia qualitativa, estudo de caso envolveu questionário para identificar o perfil das turmas, fotos e observação dos alunos durante os momentos de estudos de música contemporânea, paisagem sonora, cotidiáfonos e experimentações/improvisações com instrumentos musicais alternativos e/ou não convencionais na Escola Estadual Monsenhor José Paulino na cidade de Pouso Alegre – Minas Gerais. A investigação também demandou estudos sobre a arte sonora e sobre a física aplicada à música, assim como testes e experimentações de diferentes materiais. Envolveu intensa busca de modalidades, sonoridades, estéticas, materiais, formas e técnicas para produção de instrumentos musicais não convencionais e/ou alternativos. Resultaram trinta instrumentos, vinte e nove de percussão e um de cordas. A construção da harpa exigiu várias tentativas devido às questões estética, estrutural e sonora. O xilofone e os tubos sonoros também demandaram estudos sobre a física aplicada à música assim como o processo de construção dos demais instrumentos de percussão exigiu experimentações de muitos materiais. Concluiu-se que os experimentos sonoros com instrumentos não convencionais e/ou alternativos contribuem para o ensino da música para os alunos do Ensino Médio, por possibilitarem a vivência da apreciação musical, contextualização, composição e performance, aspectos importantes no processo de ensino e aprendizagem musical. A pesquisa demonstrou ainda que a produção de instrumentos musicais não convencionais e/ou alternativos é uma ação contínua de construção, desconstrução, reelaboração, que exige do educador e dos alunos persistência neste processo.
This research aimed to investigate whether the creation and construction of unconventional and/or alternative musical instruments musical instruments, along with sound experiments, improvisations can contribute to the musical teaching and learning process in the final phase of high school, as a subsidy to the teaching of contemporary music. The master thesis has as theoretical foundation the research and productions of Schafer (1991; 2009; 2011); Akoschky (1988; 2002; 2003; 2015) and Sardo (2002; 2015; 2019; 2020), and studies on teacher training by Mateiro (2015), França e Swanwick (2002), França (2006; 2014), Fernandes (2011; 2012), Penna (2002; 2006). The qualitative methodology, case study involved a questionnaire to identify the profile of students, photos and observing students during the moments of studies of contemporary music, soundscape, chodiofonos and experiments/improvisations with alternative and/or unconventional musical instruments at Monsenhor José Paulino State School in the city of Pouso Alegre - Minas Gerais. The research also required studies on sound art and physics applied to music, as well as tests and experimentation of different materials. It involved intense search for modalities, sounds, aesthetics, materials, forms and techniques for the production of unconventional and/or alternative musical instruments. Resulted in thirty instruments: twenty-nine percussion instruments and one string. The construction of the harp required several attempts due to aesthetic, structural and sound issues. The xylophone and sound tubes also required studies on physics applied to music as well as the construction process of the other percussion instruments required experimentation of many materials. It was concluded that sound experiments with unconventional and/or alternative instruments contribute to the teaching of music for high school students, by enabling the experience of musical appreciation, contextualization, composition and performance, important aspects in the teaching and learning process musical. The research also demonstrated that the production of unconventional and/or alternative musical instruments is a continuous action of construction, deconstruction, re-elaboration, which requires the educator and students to persist in this process.
This research aimed to investigate whether the creation and construction of unconventional and/or alternative musical instruments musical instruments, along with sound experiments, improvisations can contribute to the musical teaching and learning process in the final phase of high school, as a subsidy to the teaching of contemporary music. The master thesis has as theoretical foundation the research and productions of Schafer (1991; 2009; 2011); Akoschky (1988; 2002; 2003; 2015) and Sardo (2002; 2015; 2019; 2020), and studies on teacher training by Mateiro (2015), França e Swanwick (2002), França (2006; 2014), Fernandes (2011; 2012), Penna (2002; 2006). The qualitative methodology, case study involved a questionnaire to identify the profile of students, photos and observing students during the moments of studies of contemporary music, soundscape, chodiofonos and experiments/improvisations with alternative and/or unconventional musical instruments at Monsenhor José Paulino State School in the city of Pouso Alegre - Minas Gerais. The research also required studies on sound art and physics applied to music, as well as tests and experimentation of different materials. It involved intense search for modalities, sounds, aesthetics, materials, forms and techniques for the production of unconventional and/or alternative musical instruments. Resulted in thirty instruments: twenty-nine percussion instruments and one string. The construction of the harp required several attempts due to aesthetic, structural and sound issues. The xylophone and sound tubes also required studies on physics applied to music as well as the construction process of the other percussion instruments required experimentation of many materials. It was concluded that sound experiments with unconventional and/or alternative instruments contribute to the teaching of music for high school students, by enabling the experience of musical appreciation, contextualization, composition and performance, important aspects in the teaching and learning process musical. The research also demonstrated that the production of unconventional and/or alternative musical instruments is a continuous action of construction, deconstruction, re-elaboration, which requires the educator and students to persist in this process.
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Palavras-chave
Experimentos sonoros, Construção de instrumentos musicais, Instrumentos musicais não convencionais, Educação musical, Ensino Médio, Sound experiments, Construction of musical instruments, Unconventional musical instruments, Music education, High school, Música - Instrução e estudo, Música - Ensino médio, Paisagem sonora, Instrumentos musicais, Ensino de segundo grau