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A música de conjunto como impulsionadora do desenvolvimento da personalidade musical e da pro-atividade cultural
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Advisor(s)
Abstract(s)
A
Madeira
possui
uma
grande
concentração
de
agrupamentos
de
palheta
mas
todos
eles
limitados
artisticamente
por
falta
de
acesso
a
informação
pedagógica,
literatura
musical
e
por
questões
de
organização
interna
e
de
produção
musical.
Este
reflete
a
necessidade
de
formar
músicos
tecnicamente
competentes
e
simultaneamente
preparados
para
desenvolver
ações
de
sensibilização,
orientação
de
jovens
e
agrupamentos
de
cordofones,
no
contexto
de
classe
de
conjunto
com
implicância
numa
formação
musical
ampla
que
se
constitui
como
um
desafio
na
atual
orgânica
do
Conservatório.
Nesta
perspectiva,
surge
o
problema
de
que
a
formação
ao
nível
das
classes
de
conjunto
no
conservatório
incide
essencialmente
nas
competências
de
performance,
visando
a
formação
de
instrumentistas
de
excelência,
através
do
desenvolvimento
técnico
instrumental,
da
adaptação
aos
repertórios
incluídos
nos
programas
e
da
integração
em
grupos
de
música
de
câmara
e
orquestras
sob
o
comando
de
maestros.
Uma
formação
mais
abrangente
que
desenvolva
competências
necessárias
à
sensibilização
e
condução
de
executantes
e
grupos
instrumentais
terá
forçosamente
de
incluir
outras
dimensões
de
ensino-‐aprendizagem,
tais
como
dinâmicas
de
interação,
condução
e
produção
musical.
Como
intervenção
nesta
problemática,
foi
elaborada
uma
parceria
com
os
alunos
de
classe
de
conjunto
de
bandolim
do
Conservatório
Escola
das
Artes
da
Madeira
juntamente
com
agrupamentos
de
bandolins
existentes
na
ilha
como,
a
Orquestra
de
Bandolins
de
Câmara
de
Lobos,
a
Tuna
de
Bandolins
da
Casa
do
Povo
da
Camacha
e
a
Tuna
de
Bandolins
da
Ponta
do
Sol.
Isto
no
sentido
de
implementar
práticas
de
execução
do
bandolim,
em
contexto
de
classe
de
conjunto
e
envolver
os
estudantes
desta
classe
nas
tomadas
de
decisão
sobre
arranjos,
produção
musical
e
orientação
de
naipe
em
contexto
de
concerto
de
orquestra
de
bandolins.
Assim,
o
meu
objectivo
de
investigação
vem
ao
encontro
de
uma
análise
dos
efeitos
da
formação
diferenciada
de
músico/promotor
nas
aprendizagens
desenvolvidas
e
percepcionadas
pelos
próprios
estudantes
nas
práticas
de
música
de
conjunto,
elaborando
desta
forma
a
seguinte
questão:
“Que
aprendizagens
e
competências
são
desenvolvidas
pelos
estudantes
nos
diferentes
contextos
de
arranjo,
interpretação,
direção
musical
e
como
são
percepcionadas
pelos
próprios
estudantes?”
Para
isto,
e
na
tentativa
de
resolução
desta
problemática,
a
metodologia
de
investigação
que
optei
foi
Investigação-‐Ação.
Para
a
fundamentação
teórica
do
projeto
revi-‐me
em
autores
como
Swanwick,
Lucy
Green
e
Vigotsky,
entre
outros.
O
tratamento
dos
resultados
foi
feito
através
de
observação
direta
e
entrevistas
aos
alunos.
Abstract: Madeira holds a big concentration of mandolin orchestras, all of them artistically limited by a lack of informational pedagogic access, musical literature and internal organization issues and musical production. This reflects the need to form technically competent musicians and have them be simultaneously prepared to develop creativity in music activities, youth orientation and groups of chordophones, with the implication of an ample music education, which constitutes a challenge on today's teaching structure at the Conservatoire. With this perspective, appears the problem within the formation, at the level of chamber music classes in the Conservatoire, that focuses essentially on the develop of competences for performance, that aims at the formation of instrumentalists of excellence through the technical instrumental development, adaptation to the repertoires included in the conservatoire program, and the integration in groups of chamber music and orchestras under the command of conductors. A more embracing formation, that develops necessary competences to develop musical sensibility, a bigger awareness in the process of music and conduction of performers and instrumentalists, will have to include other dimensions of teaching and learning, like dynamics of interaction, conduction and musical production. As an intervention on the problem, a partnership with the students from the chamber music classes of mandolin of the Conservatoire School of Arts in Madeira and the other mandolin groups on the island was prepared, like the Mandolin Orchestras of: Camara de Lobos, Camacha and Ponta de Sol. This in the sense of implementing practices of execution of the mandolin, in a context of mandolin orchestra and involving the students from that class on the decision making about, arrangements, musical production and section musicians orientation, to convert in a concert of this orchestra. My goal of investigation meets an analysis of the effects of a differentiated formation of a music/promoter in the learning developed and perceived by the students themselves, developing the question: "Which skills are developed by the students in the different contexts of arrangement, interpretation, musical direction and how are they perceived by these students?" Trying to resolute this problem, the methodology of investigation that I chose was Investigation-‐Action. For the theoretical grounding of the project, I reflected on authors like Swanwick, Lucy Green and Vigotsky, amongst others. The data treatment was through direct observations and interviews with students.
Abstract: Madeira holds a big concentration of mandolin orchestras, all of them artistically limited by a lack of informational pedagogic access, musical literature and internal organization issues and musical production. This reflects the need to form technically competent musicians and have them be simultaneously prepared to develop creativity in music activities, youth orientation and groups of chordophones, with the implication of an ample music education, which constitutes a challenge on today's teaching structure at the Conservatoire. With this perspective, appears the problem within the formation, at the level of chamber music classes in the Conservatoire, that focuses essentially on the develop of competences for performance, that aims at the formation of instrumentalists of excellence through the technical instrumental development, adaptation to the repertoires included in the conservatoire program, and the integration in groups of chamber music and orchestras under the command of conductors. A more embracing formation, that develops necessary competences to develop musical sensibility, a bigger awareness in the process of music and conduction of performers and instrumentalists, will have to include other dimensions of teaching and learning, like dynamics of interaction, conduction and musical production. As an intervention on the problem, a partnership with the students from the chamber music classes of mandolin of the Conservatoire School of Arts in Madeira and the other mandolin groups on the island was prepared, like the Mandolin Orchestras of: Camara de Lobos, Camacha and Ponta de Sol. This in the sense of implementing practices of execution of the mandolin, in a context of mandolin orchestra and involving the students from that class on the decision making about, arrangements, musical production and section musicians orientation, to convert in a concert of this orchestra. My goal of investigation meets an analysis of the effects of a differentiated formation of a music/promoter in the learning developed and perceived by the students themselves, developing the question: "Which skills are developed by the students in the different contexts of arrangement, interpretation, musical direction and how are they perceived by these students?" Trying to resolute this problem, the methodology of investigation that I chose was Investigation-‐Action. For the theoretical grounding of the project, I reflected on authors like Swanwick, Lucy Green and Vigotsky, amongst others. The data treatment was through direct observations and interviews with students.
Description
Relatório de estágio e de investigação apresentado à Escola Superior de Artes Aplicadas do Instituto Politécnico de Castelo Branco para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Ensino de Música, Variante de Formação Musical e Classe de Conjunto.
Keywords
Música de conjunto Bandolim Orquestra Relação escola-meio Chamber Music Mandolin Orchestra Relationship school-society