Processo criativo musical: o modalismo como ferramenta de ensino-aprendizagem na linguagem musical
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2015-03-27
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Universidade Federal de Goiás
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This dissertation, an Action Research, aimed to conduct a study on the teaching and learning of modalism in Musical Language classes through the musical creative process, defined methodologically about their procedures in the classroom, as a Experiencing-Action (Santos and Leão, 2013). It is characterized because it was a quantitative and qualitative research (LIMA, BRAZ CLEMENTINO, 2012), as obtained quantitative and qualitative data. It was considered a great sound variety found in this teaching model, on the assumption that the experience and practice of modalism, used as thematic resource in the music curriculum, enriches the process of musical creation. Had as theoretical basis authors Ermelinda Paz (1990), Helio Sena (1990), José Geraldo Souza (1959) and Ian Guest (2010). The experiment was performed through sessions, classes in Musical Language discipline, curriculum component of Professional Education Center of music courses in Arts Basileu France in Goiania; with 10 subjects adolescents and adults; among them, three violinists, one trumpeter, one drummer, two keyboardists, two pianists and one guitarist. The experience resulted in 8 modal compositions of students and a teaching recital of these compositions, played by the composers themselves. Data collection for the final analysis was performed using Protocols (researcher's notes on the classes), Pre-tests and Post-tests; Questionnaires completed by participants subject; and filming which recorded sessions-classes. They were evaluated by a jury composed. The collected data found the established criteria, as the evidence of learning, written reviews, to auditory perception; as well as the factors identified in the records of modal compositions resulting from the creation of the subjects; included the results of the Final Recital. The Evaluation Criteria established a priori observed: 1 - learning of the contents; 2 - The written evaluations; 3 - auditory perception; 4 - modal compositions; 5 - the final recital; 6 - the pre-test; all resulting from the sessionsclasses and described in the Protocols, which served as an object of reflection. Such proposals analyzes aimed detect all from the works returns in Experiencing-Action, considering the process of creative teaching, important and / or unusual elements that led students to create in the classroom. Therefore, from the theoretical assumptions and hypothesis that teach modalism leads to improvement of the teaching of Musical Language course, this analysis was consolidated. The implementation of modal compositions of students, constituted important evidence in the composition of the collected data; and the consolidation of the results of the comparison of pre- and post-tests, the answers to the questionnaires, the jury's assessment of returns (which guaranteed the exemption in observation of teaching / learning process as a whole) and the recital of compositions (time positive reinforcement for the subjects participants). The results of pre-tests it was found that the subjects initially had no knowledge of Modes, but all of the correct answers in the questions above 50%, indicated that brought musical knowledge baggage; post-tests indicated that absorption of the theoretical content and the development of auditory perception. In the final questionnaires, it was found that the subjects were satisfied with the musical experience with proposed modal content and specific assessment of the Mixolydian Mode, given the influence and the identity of popular and folk songs highlighted. The jury indicated the satisfaction of subjects with musical creation from the domain of the modes and student satisfaction with the creations presented in the final recital.
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SILVA, R. M. C. Processo criativo musical: o modalismo como ferramenta de ensino-aprendizagem na linguagem musical. 2015. 103 f. Dissertação (Mestrado em Musica) - Universidade Federal de Goiás, Goiânia, 2015.