Orientador: Ricardo Goldemberg / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-27T13:54:34Z (GMT). No. of bitstreams: 1 Solti_Endre_M.pdf: 1385908 bytes, checksum: 8837f9ad693b4254e16313c234d43d49 (MD5) Previous issue date: 2015 / Resumo: O objetivo deste trabalho é avaliar o ensino dos instrumentos guitarra elétrica e violão popular nas disciplinas de instrumento da licenciatura em música com habilitação em instrumento - modalidade à distância, oferecida pela Universidade Vale do Rio Verde (UninCor). Para isso, foi utilizado um estudo de caso, cuja finalidade foi fazer um levantamento de dados referentes ao ensino dos conteúdos improvisação e linguagem jazzística nas referidas disciplinas. Após a coleta dos dados, foi feita uma avaliação comparativa entre as gravações dos improvisos dos alunos enquanto cursavam o primeiro semestre com gravações dos improvisos desses mesmos alunos enquanto cursavam o último semestre. Apesar de os resultados terem sido satisfatórios quanto à evolução, uma análise mais profunda apontou para dificuldades maiores de aprendizagem de elementos musicais rítmicos ou de linguagem. Para explicar esses resultados, recorremos ao pressuposto teórico de John Anderson (1981), que divide a forma de assimilação de conteúdos em dois tipos de conhecimentos, os conhecimentos declarativo e processual, e ao pressuposto teórico de John Kratus (1996), que divide os níveis de improvisação que um músico improvisador pode alcançar em sete níveis. Através da teoria de Kratus, conseguimos entender que os resultados de dificuldade podem ser considerados como uma das etapas iniciais da apreensão de conteúdos, enquanto que resultados positivos são considerados como uma etapa final ou maturação desses mesmos conteúdos. Através da teoria de Anderson (1981), conseguimos entender que os conteúdos calcados no conhecimento processual apresentam maior dificuldade de assimilação, exatamente pelo fato de ser de difícil verbalização. Após o confronto da análise dos dados coletados com as teorias de apoio, concluímos que as dificuldades de aprendizagem estão presentes em ambas as modalidades, presencial e a distância, mas que se apresentam mais evidentes quando conteúdos práticos são ministrados via EaD. Mesmo assim, consideramos válido o ensino musical instrumental a distância, principalmente para a formação de professores, onde as exigências de ordem prático-instrumental podem ser menores se for previsto pelo curso alguma proficiência instrumental, ou se aproveitados os momentos presenciais obrigatórios da modalidade para atividades que privilegiem a prática de um instrumento musical / Abstract: The objective of this study is to evaluate the teaching of instruments and electric guitar popular guitar in the degree of instrument disciplines in music with instrument qualification - distance mode, offered by the University Vale do Rio Verde (UNINCOR). For this, a case study was used, whose purpose was to make a data collection for the teaching of improvisation and jazz language content in these disciplines. After collecting the data, it made a comparative evaluation between the recordings of the improvisations of the students were enrolled as the first half with recordings of the improvisations of these same students as were enrolled in last semester. Although the results were satisfactory with regard to evolution, a deeper analysis pointed to greater difficulty in learning rhythmic musical elements or language. To explain these results, we turn to the theoretical assumption of John Anderson (1981), which divides the form of assimilation of content in two types of knowledge, declarative and procedural knowledge and the theoretical assumption Kratus John (1996), which divides improvisation levels that an improvising musician can reach into seven levels. By Kratus theory, we understand that the results of difficulty can be considered as one of the initial stages of apprehension contents, while positive results are considered as a final step or maturation of these same contents. By Anderson's theory (1981), we understand that the footwear content on procedural knowledge are more difficult to assimilate, just because it is difficult to verbalize. After analysis of the data collected confrontation with the theories of support, we conclude that learning difficulties are present in both modes, face and the distance, but that present more evident when practical contents are taught via distance education. Still, we consider valid the instrumental music distance learning, particularly for teacher training, where the demands of practical-instrumental order may be lower if provided by the course some instrumental proficiency, or if harnessed the mandatory personal moments of the sport for activities that favor the practice of a musical instrument / Mestrado / Música, Teoria, Criação e Prática / Mestre em Música

The problem was to survey and collect ideas on the use of improvisation as a teaching and learning tool in elementary piano instruction and to prescribe activities and exercises for second through fourth grade piano classes. These areas were examined: philosophies and theories influencing traditional instruction, effects of creative keyboard activities on children's musical development, specific teaching strategies using improvisation, evaluative procedures, and suitability of materials for young children. Data collected from published and unpublished materials were classified, and presented concerning the feasibility of using keyboard improvisation with early elementary children. It was found that suitable improvisational exercises allow the child to organize his perceptions into the basic concepts of music. Recommendations for teachers and researchers were made.

Att härma och hitta inspiration från förebilder har varit vardaglig praxis under jazzhistorien. Genom att appropriera (Säljö, 2014), lägger individer beslag på andra individers kunskap och omvandla det till egen kunskap. Senare i externaliseringen (Bruner, 2002) synliggörs kunskapen i handling. I denna studie har metoderna plankning och transkribering undersökts som verktyg för att utveckla eget solospel på trumspel. Genom att följa den egna läroprocessen undersöktes också hur man pedagogiskt kan använda plankning och transkribering som metod för att bidra till konstnärlig utveckling. Den musikgenre som behandlas i studien är jazz, där trumslagaren Max Roach solospel använts genom valda exempel. I resultatet presenteras en jämförelse av två egna trumsolon där ett spelades in i början och ett i slutet av studien. Läroprocessen i övningsrummet och under instrumentallektioner har dokumenteras med hjälp av loggbok. Resultatet visar att en del fraser har härmats exakt och en del har härmats rytmiskt men med en egen konstnärlig prägel. Vid en egen konstnärlig prägel av en exakt rytm har en antydan till ett mer självständigt solospel påträffats och plankning och transkribering har visat sig fungera som metod för att utveckla solospel, men metoden är tidskrävande.

I detta arbete undersöks hur enskild sångundervisning kan utformas så att sångelever kan få med sig musikteoretiska verktyg, likt elever med andra instrument, att använda vid såväl instudering som improvisation och musikskapande. Fokus har varit sångundervisning inom Contemporary Commercial Music (CCM) – ett paraplybegrepp som innefattar genrer som pop, soul, jazz, country, rock, r’n’b och hiphop.  För att få en inblick i hur man kan arbeta med musikteori i sångundervisning har tre erfarna sångpedagoger intervjuats. Samtliga arbetar på ett musikteoretiskt medvetet sätt med sina elever. Med hjälp av deras erfarenheter och metoder samt tidigare forskning presenteras möjliga vägar till en adekvat inkorporering av musikteori i enskild sångundervisning. I tidigare forskning om musikteori för sångare föreslås bland annat solmisation, rörelser och gehörsträning som metoder att utveckla sångelevers musikteorikunskaper. Informanterna ger exempel på övningar för att stärka harmoniskt och teoretiskt medvetande hos sångelever samt ger sin syn på viktiga områden inom musikteori för sångare – harmonik, rytm, intervall och improvisation. Informanterna lyfter även vinsterna med att lära sig ett ackordsinstrument.  I studien framkommer att breda, grundläggande musikteoretiska kunskaper utgör en viktig grund för musicerande och improvisation. Att teoretisera det klingande – namnge det som hörs och det som sjungs – ger sångeleven ett musikteoretiskt språk att använda i kommunikation med sina medmusiker. Detta betonas både i tidigare forskning och av informanterna.

The aim of the thesis is to evaluate the contribution of Božena Viskupová in the development of musical-pedagogical pedagogy. The thesis has a research character based both on a professional as well as a methodical analysis of Božena Viskupova's work. It also shows her yet unpublished manuscript and personal documents to the extent her family allows. The research part of the thesis includes an analysis of the interviews with musical personalities and contemporary educators.

Cette thèse s'interroge sur la nature du fossé qui existe entre la théorie et la pratique du mālūf tunisien suite à sa transcription dans le cadre de la Rašīdiyya, au début du 20ème siècle. Elle décrit le contexte dans lequel s'est transformée cette musique orale, à la base improvisée, en une musique écrite, apprêtée, presque figée. Nous redécouvrons à travers les entretiens réalisés avec des musiciens appartenant à une génération charnière entre oral et écrit et maitrisant l'art de l'improvisation modale, les savoirs liés à cette pratique. Cette thèse propose d'abord une démarche pour la mise en place d'une méthode d'analyse appropriée à l'istiḫbār (une forme modale improvisée), en s'inspirant de la démarche analytique d'un auditeur averti. Dans un deuxième temps, la méthode d'analyse formulaire proposée est appliquée sur un corpus d'istiḫbār -s didactiques de Muḥammad Sʿāda. Elle aboutit à une description formulaire des modes tunisiens et l'étude de leur parenté. Enfin, ce manuscrit aborde à travers une démarche expérimentale, l'étude des processus de modulation et met à jour les techniques d'improvisation indissociables à la pratique modale du mālūf . Le protocole expérimental élaboré et soumis au Maître Nāṣir Zġunda a permis de constituer un corpus d'istiḫbār permettant l'aboutissement de cet objectif. / This thesis examines the nature of the gap between the theory and practice of Tunisian mālūf following its transcription in Rašīdiyya at the beginning of the 20th century. It describes the context in which this improvised oral music was transformed into a written music, primed, almost frozen. We rediscover through interviews with musicians belonging to a generation hinged between oral and written and mastering the art of modal improvisation, knowledge related to this practice. This thesis proposes an approach for the implementation of an appropriate method of analysis for istiḫbār (an improvised modal form), inspired by the analytical approach of an informed listener. In a second step, the proposed formula analysis method is applied to a set of teaching istiḫbār of Muḥammad Sʿāda. It leads to a description formula of Tunisian modes and the study of their relationship. Finally, this manuscript deals with an experimental approach, the study of modulation processes and updates improvisation techniques indissociable to the modal practice of mālūf.The experimental protocol elaborated and submitted to the Master Nāṣir Zġunda made it possible to constitute a corpus of istiḫbār allowing the achievement of this objective.

The aim of the diploma thesis is to map the meanings of salsa in the life of recreational dancers. Pair salsa dance was intentionally chosen as a representative of the so-called social dance group, which is characterized by its unique improvisation and self-expression. The theoretical part will be devoted to key topics focused on salsa dance and improvisation, phenomenon of flow, self-transcendence, expression of emotions, dance movement therapy. In the theoretical part, we were interested in other professional research with similar topics. The empirical part of the diploma thesis deals with the research topic of the importance of salsa for recreational dancers. This research served as an exploratory study of salsa, which is not yet very psychologically explored. It is a qualitative research that uses analytical procedures with elements of grounded theory. Research data were obtained through an in-depth interview with 13 informants. We interpreted the resulting information to understand the mental states and processes on multiple levels in the context of salsa and its importance in the lives of recreational dancers. From the data analysis, we created a Bio-psycho-socio-spiritual model of salsa. At the same time, we received answers to research questions, what impulses lead informants and their...

Syftet med mitt utvecklingsarbete var att få svar på om en lektionsserie med improvisationsövningar kan påverka elever att våga improvisera. Studiens teoretiska utgångspunkt är det sociokulturella perspektivet. För att få inblick i det valda ämnet har jag genomfört en enkätundersökning. Studien har genomförts i en högstadieklass med 25 elever. Resultatet visar att elevers kunskap och erfarenheter av improvisation i musikämnet är liten. Det bidrar till att eleverna upplever det svårt att våga improvisera. Men efter lektionsserien påverkas elevernas erfarenhet av improvisationsmomentet på ett positivt sätt.

This exposition provides the insight of indeterminacy during improvisation, as well as the reflection process of how I converted my problems-solving skills to planned improvisation during the adverse filming condition of my graduation feature film production. I define Improvisation as a way to be adaptive and flexible in uncertainty, while problem- solving as a solution to overcome the obstacles faced. I started from an ambitious goal by making a feature length hybrid film for my graduation showcase in my two years of master study. Facing problems like lack of money, insufficient network to find talents and limited time to acquire local knowledge of the working styles in the country, I met a lot of challenges. When I solved the problems one by one within this filmmaking process, I gradually realized I relied quite a lot on improvisation. It does not only apply on the set when I worked with the actors, but also on scriptwriting, crew recruiting, locations scouting, shots creation, etc. The turning point for me to change from coincidental (unplanned) improvisation (because it is needed with problem solving) to deliberate (planned) improvisation started from my second half of principal photography (or simply called production/filming) stage because more uncertainty emerged and I started to get used to such style. At the end, I made two versions of the films with different levels of improvisational practice. I will reflect my whole filmmaking process and its connection with improvisation from my film products.

Studien behandlar kvinnor och mäns syn på sig själva som elgitarrister och musiker inom rockgenren, där deltagarnas reflektioner omkring sitt spel blir satt i fokus och analyseras utifrån ett genusperspektiv. Syftet är att synliggöra kvinnliga och manliga elgitarristers uttryckta tankar om sitt musicerande och sin roll som elgitarrist. Studien är kvalitativ och har socialkonstruktionism och genus som teoretiska utgångspunkter. För att komma fram till resultatet användes semistrukturerade intervjuer med hjälp av stimulated recall. Fyra deltagare, varav två kvinnor och två män, spelade in när de improviserade till en utskickad bakgrund och fick sedan dela sina tankar om sitt gitarrspel i en intervju. Resultatet visar att det både finns likheter och skillnader mellan kvinnliga och manliga elgitarristers självförtroende, självbild och musikaliska trygghet samt att kön spelar roll för elgitarristers allmänna uppfattning om sitt musicerande och sin position som instrumentalist.