Observa-se que a maioria das metodologias utilizadas no ensino da flauta doce, no Brasil, prioriza o desenvolvimento de habilidades de execução e leitura. Por outro lado, constata-se uma carência de publicações que abordem reflexões sobre processos de aprendizagem deste instrumento. Por estas razões, a presente pesquisa procurou sistematizar e analisar, dentre as práticas de ensino da autora, propostas voltadas para um ensino criativo, reflexivo, que buscam uma aproximação com a linguagem musical contemporânea e que poderiam contribuir para o alargamento de horizontes pedagógicos e colaborar com o ensino da flauta doce no país, contribuir para a produção de conhecimentos na área, além de desenvolver capacidades humanas. O trabalho apoia-se teoricamente nos princípios pedagógico musicais de dois grandes educadores musicais: Hans-Joachim Koellreutter (1915-2005) e Violeta Hemsy de Gainza (1930-), além do pensamento de outros educadores como Paynter (1992), Brito (2001, 2003, 2004, 2007, 2012), Schafer (1992), Self (1967), Fonterrada (2008), entre outros, que complementam e ampliam ainda mais estes princípios. De natureza qualitativa, dentre as diversas modalidades existentes, este estudo caracteriza-se como relato de experiência. Os dados foram coletados em duas instituições de ensino superior de música da cidade de São Paulo: Faculdade de Artes Alcântara Machado (FIAM-FAAM) e Faculdades Integradas Cantareira (F.I.C.), entre 2013 e 2014, com crianças da Escola Municipal de Iniciação Artística (EMIA-SP), entre 2008 e 2012, e com uma aluna de 7 anos, em aulas particulares, entre 2013 e 2014. Os resultados demonstraram que os diversos procedimentos pedagógicos apresentados contribuíram para o alargamento de práticas musicais, desenvolvendo a técnica do instrumento, tanto tradicional quanto contemporânea. Os resultados também evidenciaram que a aproximação com o repertório dos séculos XX e XXI, no início do aprendizado, foi uma experiência inusitada, interessante, enriquecedora e dilatadora de fronteiras para a maioria dos alunos. Em aspectos humanos, o conjunto de atividades colaborou para o desenvolvimento da atenção e da prontidão, promovendo a autonomia, a tolerância, a generosidade e o respeito, mostrando-se como uma possibilidade de ampliação de metodologias já existentes. / Most of the recorder teaching methods used throughout Brazil, as we could observe, chiefly contemplate the playing and reading skills development. Furthermore, there is a significant lack of publications specializing on the learning process study. Bearing these facts in mind and based on the author\'s experiments, this research is directed to systemize and analyze the attempts to come up with creative and reflexive plans, and look for approach to the contemporary musical language which would enlarging pedagogic horizons, contribute to the recorder teaching across the country, collaborate with the knowledge production in the area, as well as improving the development of human skills. This research is theoretically based on musical pedagogical principles by two major music educators: Hans-Joachim Koellreutter (1915-2005) and Violeta Hemsy of Gainza (1930-), complemented by other educators thoughts as Paynter (1992), Brito (2001 , 2003, 2004, 2007, 2012), Schafer (1992), Self (1967), Fonterrada (2008), among others who complemented and extended these principles. This research being a work of qualitative nature, among several existing studies, it is characterized as an experience report. The data were collected next to two advanced musical education institutions located in São Paulo: Faculdade de Artes Alcântara Machado (FIAM-FAAM) and Faculdades Integradas Cantareira (F.I.C.), between 2013-2014,as well as with children of the Arts Initiation Municipal School, Escola Municipal de Iniciação Artística (EMIA), between 2008-2012, and with a privately tutored 7- year old student, between 2013-2014.The outcome of those experiments showed that the various educational procedures presented have widened the musical practices, developing the technique of the instrument, both traditional and contemporary. It was also shown that the approach to the XX and XXI centuries\' repertoire when introduced early at the apprenticeship stage was an unusual experience, drawing interest and proving to be enriching and a border dilator to the most of the students. As far as human aspects are concerned, the activities contributed to the development of attentiveness, readiness, promoting autonomy, tolerance, generosity and respect, pointing up to the feasibility for the expansion of the existing methods.

Observa-se que a maioria das metodologias utilizadas no ensino da flauta doce, no Brasil, prioriza o desenvolvimento de habilidades de execução e leitura. Por outro lado, constata-se uma carência de publicações que abordem reflexões sobre processos de aprendizagem deste instrumento. Por estas razões, a presente pesquisa procurou sistematizar e analisar, dentre as práticas de ensino da autora, propostas voltadas para um ensino criativo, reflexivo, que buscam uma aproximação com a linguagem musical contemporânea e que poderiam contribuir para o alargamento de horizontes pedagógicos e colaborar com o ensino da flauta doce no país, contribuir para a produção de conhecimentos na área, além de desenvolver capacidades humanas. O trabalho apoia-se teoricamente nos princípios pedagógico musicais de dois grandes educadores musicais: Hans-Joachim Koellreutter (1915-2005) e Violeta Hemsy de Gainza (1930-), além do pensamento de outros educadores como Paynter (1992), Brito (2001, 2003, 2004, 2007, 2012), Schafer (1992), Self (1967), Fonterrada (2008), entre outros, que complementam e ampliam ainda mais estes princípios. De natureza qualitativa, dentre as diversas modalidades existentes, este estudo caracteriza-se como relato de experiência. Os dados foram coletados em duas instituições de ensino superior de música da cidade de São Paulo: Faculdade de Artes Alcântara Machado (FIAM-FAAM) e Faculdades Integradas Cantareira (F.I.C.), entre 2013 e 2014, com crianças da Escola Municipal de Iniciação Artística (EMIA-SP), entre 2008 e 2012, e com uma aluna de 7 anos, em aulas particulares, entre 2013 e 2014. Os resultados demonstraram que os diversos procedimentos pedagógicos apresentados contribuíram para o alargamento de práticas musicais, desenvolvendo a técnica do instrumento, tanto tradicional quanto contemporânea. Os resultados também evidenciaram que a aproximação com o repertório dos séculos XX e XXI, no início do aprendizado, foi uma experiência inusitada, interessante, enriquecedora e dilatadora de fronteiras para a maioria dos alunos. Em aspectos humanos, o conjunto de atividades colaborou para o desenvolvimento da atenção e da prontidão, promovendo a autonomia, a tolerância, a generosidade e o respeito, mostrando-se como uma possibilidade de ampliação de metodologias já existentes. / Most of the recorder teaching methods used throughout Brazil, as we could observe, chiefly contemplate the playing and reading skills development. Furthermore, there is a significant lack of publications specializing on the learning process study. Bearing these facts in mind and based on the author\'s experiments, this research is directed to systemize and analyze the attempts to come up with creative and reflexive plans, and look for approach to the contemporary musical language which would enlarging pedagogic horizons, contribute to the recorder teaching across the country, collaborate with the knowledge production in the area, as well as improving the development of human skills. This research is theoretically based on musical pedagogical principles by two major music educators: Hans-Joachim Koellreutter (1915-2005) and Violeta Hemsy of Gainza (1930-), complemented by other educators thoughts as Paynter (1992), Brito (2001 , 2003, 2004, 2007, 2012), Schafer (1992), Self (1967), Fonterrada (2008), among others who complemented and extended these principles. This research being a work of qualitative nature, among several existing studies, it is characterized as an experience report. The data were collected next to two advanced musical education institutions located in São Paulo: Faculdade de Artes Alcântara Machado (FIAM-FAAM) and Faculdades Integradas Cantareira (F.I.C.), between 2013-2014,as well as with children of the Arts Initiation Municipal School, Escola Municipal de Iniciação Artística (EMIA), between 2008-2012, and with a privately tutored 7- year old student, between 2013-2014.The outcome of those experiments showed that the various educational procedures presented have widened the musical practices, developing the technique of the instrument, both traditional and contemporary. It was also shown that the approach to the XX and XXI centuries\' repertoire when introduced early at the apprenticeship stage was an unusual experience, drawing interest and proving to be enriching and a border dilator to the most of the students. As far as human aspects are concerned, the activities contributed to the development of attentiveness, readiness, promoting autonomy, tolerance, generosity and respect, pointing up to the feasibility for the expansion of the existing methods.

Instrument privilégié des compositeurs d’aujourd’hui, l’accordéon est désormais doté d’un vaste répertoire de musique savante : que ce soit en solo, en musique de chambre, dans l’ensemble ou l’orchestre, la profusion des œuvres est le témoignage d’une intégration de plus en plus grande de cet instrument à la création musicale et l’orchestration contemporaine. Cette recherche explore le développement de la création musicale contemporaine pour l’accordéon en Europe depuis 1990 : la constitution d’un corpus de plus de 9100 œuvres – Ricordo al futuro – est le point de départ d’une étude sociologique sur les raisons qui ont motivé ce développement, un regard sur la définition d’une nouvelle identité sonore de l’instrument et une analyse des différentes conceptions esthétiques du répertoire des accordéonistes en Europe. Par la création d’outils à destination des interprètes et des compositeurs, cette recherche se donne pour objectif d’encourager la diffusion d’œuvres récentes auprès de tous les publics. / Cherished by many composers today, the contemporary accordion posseses a vast body of art music. Whether it be solo, chamber, ensemble or orchestral repertoire, the sheer abundance of works with accordion rightfully reflects a growing integration of the instrument within musical creation and contemporary orchestration. This project explores the development of European contemporary music composed for the accordion since 1990, seen through the making of Ricordo al futuro, a vast corpus consisting of more than 9100 works. This database has been used as a starting point for an investigation into the coining of a new sonic identity, a sociological study on the reasons which have triggered this development and a meticulous analysis of the diverging aesthetic conceptions of accordion repertoire in Europe. By creating tools destined for both performers and composers, this research project aims to help circulate this new and extremely rich repertoire to as many audiences as possible.

Contemporary music for horn often requires techniques and musical or notational considerations that are unconventional with respect to the standard pedagogy of the instrument. As such, these considerations often represent a level of challenge to which the average-intermediate to advanced-hornist is unprepared to approach or altogether unfamiliar. The most prominent of these demands arising in the last few decades of the twentieth century through today include microtonality (such as extended just intonation and quarter tones), extended techniques in combination or juxtaposition (such as multiphonics and right hand technique), rhythmic complexity (including metric modulation, non-dyadic meters, additive rhythms, and nested tuplets), and unconventional notations (graphic, spatial, and other temporal notations). This document first surveys the challenges of the repertoire in question, which includes works by György Ligeti, Thea Musgrave, Milton Babbitt, Brian Ferneyhough, Iannis Xenakis, Heinz Holliger, and Douglas Hill, among others. After considering the merits and limitations of existing pedagogical materials that work towards these ends, the document then underlines a strategic pedagogical goal for understanding and approaching unconventional contemporary repertoire through newly-composed etudes. This document is written in conjunction with and justification for the author's 24 Unconventional Etudes for Horn, and includes examples therefrom.