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Thesis (D.M.A.)--Boston University.

A presente pesquisa tem como objetivo analisar os procedimentos empregados pelo sujeito na atividade tocar de ouvido, procurando compreender de que modo organiza suas ações para encontrar as notas da melodia no piano. Os três sujeitos que participaram deste estudo tinham idade entre 7 e 14 anos. A atividade de reprodução de uma melodia conhecida por audição representou recortes das aulas particulares de piano ministradas no município de Taquara/RS. Os dados foram coletados no segundo semestre de 2010 através dos seguintes instrumentos de registro: gravação em vídeo, diário de campo e anotações musicais feitas pelo próprio sujeito. Após as degravações dos vídeos, foram acrescentadas as anotações do diário de campo e as digitalizações dos materiais correspondentes às anotações dos alunos, constituindo os protocolos dos sujeitos. A partir dos protocolos, foi feita a decupagem das sequências de ações pertinentes para cada sujeito, tendo em vista o estudo pretendido. A coleta de dados teve como princípio a análise microgenética proposta por Inhelder e Cellérier (1996) associada à estratégia do estudo de caso (Yin, 2002). A interpretação dos dados foi realizada a partir da Epistemologia Genética de Jean Piaget, que possibilitou a compreensão da trajetória percorrida pelos sujeitos ao realizarem a atividade. Os resultados desta pesquisa poderão contribuir para a compreensão das significações feitas pelos alunos durante o processo de aprendizagem, bem como possibilitar novos olhares sobre a prática dos professores de instrumento. / The present research has the objective of analyzing the procedures used by the subject in the activity of playing a musical instrument by ear, trying to comprehend the way he/she organizes his/her actions in order to find melody notes on the piano. The three subjects that took part of this study were at the age between 7 and 14 years old. The activity of reproducing a familiar melody by ear represented excerpts in the schedule in private piano classes that are carried on in the city of Taquara/RS. The data was collected in the second semester of 2010, through out the following registration instruments: video records, field diary and musical notations made by the subject him/herself. After the transcription of the videos, the notations from the field diary and the digitalization of the material corresponding to the notations made by the students were added, constituting the protocol of the subjects. From the protocols the decoupage of the sequence of actions pertinent to each subject was made considering the intended study. The collection of the data had as its principle the microgenetic analysis proposed by Inhelder and Cellérier (1996) associated with the strategy of case study (Yin, 2002). The interpretation of the data was based on the Genetic Epistemology of Jean Piaget, which made it possible to comprehend the path the subjects explored while performing the suggested activity. The results of the present work may be a contribution for understanding the significations made by the students during the learning process as well as an opportunity for new sights upon the practice of musical instruments teachers.

The intent of this dissertation is to investigate Michael Tippett's eclectic approach to the sonata form in the twentieth century as demonstrated in his Sonata No. 1. Topics of discussion include historical background of English music, particularly the English piano sonata, at the turn of the century (chapter 1), biographical information and a general overview of Tippett's music (chapter 2), a brief examination of Tippett's Sonata Nos. 2, 3, and 4 (chapter 3) and a formal analysis of Sonata No. 1 as well as Tippett's approach to contrapuntal techniques, rhythm, harmony and tonality (chapter 4).

abstract: "Play less and listen more" is the prevailing wisdom whenever two musical partners are having ensemble issues that interfere with their music-making. Accompanists, coaches, and collaborative pianists across the nineteenth and twentieth centuries devote many pages to these situations and explain what to listen and look for. An overview of this literature establishes a standard canon of ensemble issues for collaborative pianists working with a single partner, whether vocal or instrumental. The overview also discusses the various solutions these authors recommend for these problems. However, in exceptional moments of rehearsal or performance, the foregoing advice fails. After comparing several passing observations in these standard works with the author's own experience, a paradoxical situation becomes evident: at times, what works instead of listening more is listening less. As the author describes through multiple musical examples and commentaries, ignoring one's partner for a brief moment can benefit the duo's ensemble and artistry. The application of this principle is both narrow and wide-ranging and is meant to serve as a secondary course of action. It is decidedly not a replacement for the standard advice on coaching and collaborating, for such advice is successful far more often than not. However, it can be utilized when the collaborative pianist deems it the most successful and prudent solution to an ensemble situation that has remained problematic. / Dissertation/Thesis / Doctoral Dissertation Music 2015

Made available in DSpace on 2014-06-11T19:27:26Z (GMT). No. of bitstreams: 0 Previous issue date: 2005-04-04Bitstream added on 2014-06-13T19:56:12Z : No. of bitstreams: 1 moreira_alig_me_ia.pdf: 2819340 bytes, checksum: 515b4f2828acf166b07421ffc1ba0f35 (MD5) / Universidade Estadual Paulista (UNESP) / Esta pesquisa desenvolveu-se a partir da experiência pessoal da autora, que detectava alto índice de desistência entre alunos dos cursos de piano, e teve por objetivo investigar as possíveis causas dessa evasão, bem como compreender a atual situação do ensino desse instrumento. Para atender às questões propostas, realizou-se um estudo em conservatórios da cidade de São Paulo, por meio de entrevistas e questionários aplicados a professoras de piano e diretores, entre os anos de 2003 e 2004. Esse estudo englobou o material didático utilizado, a organização das aulas, a formação docente e a estrutura oferecida pelos conservatórios. Além disso, investigou-se a história do ensino do piano no Brasil, desde o século XIX, e os métodos e recursos utilizados pela pedagogia pianística a partir da década de 1930. A partir desse estudo, apresenta-se o resultado das reflexões da pesquisadora a respeito da pedagogia pianística, tal como praticada hoje em conservatórios paulistanos, acentuando-se as questões relacionadas ao peso da tradição presente nesse ensino e à necessidade de se responder aos desafios da época atual. Com isso, espera-se que esta pesquisa possa contribuir para a melhoria da qualidade do ensino do piano no Brasil. / This research has been developed from the personal experiences of the author when noticing the high level of abandonment during the piano course by the students. Since then, it has been the objective of this project to investigate the possible causes of this evasion as well as to comprehend the actual situation of teaching piano in Brazil. It has been realized a study in conservatories at the city of São Paulo to attend to these questions, based on interviews and questionnaires applied to piano teachers and directors in the period of 2003-2004. This study has embraced the didactical materials used, the organization of the classes, the faculty and the structure offered by the conservatories. Besides that, it has been investigated the history of piano teaching in Brazil since century XIX and also the methods and resources used in piano pedagogy since 1930. From this perspective, this study has introduced the result of reflections in piano pedagogy by the author as it has been practiced today in the conservatories in São Paulo. This study has deepened in questions related to the traditional education of piano, in the need to answer challenges of this education nowadays and in the training of the faculty looking forward to contribute to the advance in the quality of the piano courses in Brazil.