A presente pesquisa teve por objetivo investigar perspectivas de deliberação na prática pianística em função dos níveis de expertise, uma vez que a literatura consultada sustenta a temática num viés de polarização em níveis extremos e deixa em aberto à discussão acerca da prática de níveis intermediários dentre aqueles propostos na literatura de psicologia cognitiva, a saber: novato, iniciante avançado, competente, proficiente e o expert. Fundamentando-se nos princípios fenomenológicos de E. Husserl (1900-1970), o delineamento metodológico envolveu etapas de mapeamento preliminar da amostra, na qual 18 participantes (em níveis de extensão, graduação, pós-graduação universitária e profissional) gravaram em áudio e vídeo uma sessão de prática de duas peças de seus repertórios e participaram de duas entrevistas semiestruturadas. Quatro casos representativos em níveis distintos de expertise foram selecionados e analisados em profundidade por procedimentos qualitativos (perspectiva fenomenológica) e quantitativos (por estatística descritiva e inferencial). Para a descrição do fenômeno da prática, unidades de prática foram delimitadas, e nessas, as essências do fenômeno investigado denominadas categorias psicossensoriais (testar, repetir, isolar, ajustar, alternar, parar, explorar, dispersão e lapso). Essas categorias formaram o arcabouço no qual as incidências (em termos de ações, desvios e procedimentos) foram compiladas e organizadas, resultando maneiras de praticar tanto comuns a todos, como outras peculiares a cada participante investigado. As perspectivas de deliberação foram identificadas e refinadas numa dimensão mais pontual para o fenômeno da prática pianística como um indício de empenho na e para a situação de prática com relação à intencionalidade frente ao fenômeno estudado. Tais perspectivas resultaram na proposição de um modelo, que considera os limites do foco de atenção, as ações da prática sobre a natureza e a mobilidade dinâmica das categorias psicossensoriais, e possíveis fatores resultantes em função de uma dada intensificação de ações empreendidas. O argumento da presente tese é que a deliberação na prática pianística não é uma constante, e sim uma perspectiva dinâmica que ocorre a cada unidade de prática a partir da intencionalidade dos sujeitos para com as obras praticadas. / The present research aimed at investigating perspectives of deliberation in piano practice according to the levels of expertise, since the consulted literature supports this subject in polarized at extreme levels and leaves a gap in the discussion about the practice of intermediate levels among those proposed in the literature of cognitive psychology, namely: novice, advanced beginner, competent, proficient and the expert. Based on the phenomenological principles of E. Husserl (1900-1970), the methodological designed involved preliminary sample mapping, in which 18 participants (at university extension, undergraduate, graduate and professional levels) recorded in audio and video one practice session of two musical works from their repertoire and participated in two semi-structured interviews. Four representative cases at different levels of expertise were selected and analyzed in depth by qualitative procedures (phenomenological perspective) and quantitative ones (by descriptive and inferential statistics). For the description of the phenomenon of practice, units of practice were delimited, and in these, the essences of the phenomenon investigated denominated psychosensorial categories (testing, repeating, isolating, adjusting, alternating, stopping, exploring, dispersing and lapsing). These categories made up the framework in which the incidences (in terms of actions, deviations and procedures) were compiled and organized, resulting in ways of practicing both common to all participants and others peculiar to each investigated one. The perspectives of deliberation were identified and refined in a more specific dimension to the phenomenon of piano practice as an indication of commitment in and for the practice situation regarding intentionality at the studied phenomenon. Such perspectives resulted in the proposition of a model, which considers the limits of the focus of attention, the actions of the practice on the nature and the dynamic mobility of psychosensorial categories, and possible resulting factors from a given intensification of undertaken actions. The argument of the present thesis is that deliberation in piano practice is not a constant, but it is a dynamic perspective that occurs to each unit of practice from the intentionality of subjects towards the musical works practiced.

The thesis aims at establishing what teachers of programme specific subjects state is the foundation for their assessment at the Hotel and Restaurant Programme (HR-programme). The theoretical framework of the thesis is based on social constructionism. The respondents were practising teachers of programme specific subjects at HR-programme. The empirical data based on interviews and video interviews was analyzed with: types of knowledge, key qualifications, specific vocational knowledge and skill and levels of expertise. Seven key qualifications have been discerned: independence, planning skills, problem solving skills, co-operation, customer contact, communication and power of initiative. These can be divided in three dimensions: personal, cognitive, and social/interactive. For the student, the most important to focus on for getting a higher grade is independence. Five categories of programme specific subjects have been identified: understanding the vocational area, skills in working techniques and methods, hygiene and handling work tools, as well the ability to see the whole and to act simultaneously. Differences in qualifications between levels of expertise can be identified in skills, speed and comprehensive thinking which appear to be valued more by the respondents. Key qualifications include all types of knowledge, theoretical knowledge, practical mastery and appropriate action but also a keen mind for reflection over ones actions. Appropriate action in general is assessed on the level of overall focus, the highest level of expertise, and theoretical knowledge the lowest level of expertise. There’s concordance between respondents on assessment of knowledge and skills. Students have to have a great part of specific vocational knowledge and skills to achieve the degree of Pass. The respondents’ descriptions and appraisements of what is assessed reflect their vocational culture where experience has a master role which could be the main reason why an inexperienced student cannot achieve higher grade levels.

A presente pesquisa teve por objetivo investigar perspectivas de deliberação na prática pianística em função dos níveis de expertise, uma vez que a literatura consultada sustenta a temática num viés de polarização em níveis extremos e deixa em aberto à discussão acerca da prática de níveis intermediários dentre aqueles propostos na literatura de psicologia cognitiva, a saber: novato, iniciante avançado, competente, proficiente e o expert. Fundamentando-se nos princípios fenomenológicos de E. Husserl (1900-1970), o delineamento metodológico envolveu etapas de mapeamento preliminar da amostra, na qual 18 participantes (em níveis de extensão, graduação, pós-graduação universitária e profissional) gravaram em áudio e vídeo uma sessão de prática de duas peças de seus repertórios e participaram de duas entrevistas semiestruturadas. Quatro casos representativos em níveis distintos de expertise foram selecionados e analisados em profundidade por procedimentos qualitativos (perspectiva fenomenológica) e quantitativos (por estatística descritiva e inferencial). Para a descrição do fenômeno da prática, unidades de prática foram delimitadas, e nessas, as essências do fenômeno investigado denominadas categorias psicossensoriais (testar, repetir, isolar, ajustar, alternar, parar, explorar, dispersão e lapso). Essas categorias formaram o arcabouço no qual as incidências (em termos de ações, desvios e procedimentos) foram compiladas e organizadas, resultando maneiras de praticar tanto comuns a todos, como outras peculiares a cada participante investigado. As perspectivas de deliberação foram identificadas e refinadas numa dimensão mais pontual para o fenômeno da prática pianística como um indício de empenho na e para a situação de prática com relação à intencionalidade frente ao fenômeno estudado. Tais perspectivas resultaram na proposição de um modelo, que considera os limites do foco de atenção, as ações da prática sobre a natureza e a mobilidade dinâmica das categorias psicossensoriais, e possíveis fatores resultantes em função de uma dada intensificação de ações empreendidas. O argumento da presente tese é que a deliberação na prática pianística não é uma constante, e sim uma perspectiva dinâmica que ocorre a cada unidade de prática a partir da intencionalidade dos sujeitos para com as obras praticadas. / The present research aimed at investigating perspectives of deliberation in piano practice according to the levels of expertise, since the consulted literature supports this subject in polarized at extreme levels and leaves a gap in the discussion about the practice of intermediate levels among those proposed in the literature of cognitive psychology, namely: novice, advanced beginner, competent, proficient and the expert. Based on the phenomenological principles of E. Husserl (1900-1970), the methodological designed involved preliminary sample mapping, in which 18 participants (at university extension, undergraduate, graduate and professional levels) recorded in audio and video one practice session of two musical works from their repertoire and participated in two semi-structured interviews. Four representative cases at different levels of expertise were selected and analyzed in depth by qualitative procedures (phenomenological perspective) and quantitative ones (by descriptive and inferential statistics). For the description of the phenomenon of practice, units of practice were delimited, and in these, the essences of the phenomenon investigated denominated psychosensorial categories (testing, repeating, isolating, adjusting, alternating, stopping, exploring, dispersing and lapsing). These categories made up the framework in which the incidences (in terms of actions, deviations and procedures) were compiled and organized, resulting in ways of practicing both common to all participants and others peculiar to each investigated one. The perspectives of deliberation were identified and refined in a more specific dimension to the phenomenon of piano practice as an indication of commitment in and for the practice situation regarding intentionality at the studied phenomenon. Such perspectives resulted in the proposition of a model, which considers the limits of the focus of attention, the actions of the practice on the nature and the dynamic mobility of psychosensorial categories, and possible resulting factors from a given intensification of undertaken actions. The argument of the present thesis is that deliberation in piano practice is not a constant, but it is a dynamic perspective that occurs to each unit of practice from the intentionality of subjects towards the musical works practiced.

A presente pesquisa teve por objetivo investigar perspectivas de deliberação na prática pianística em função dos níveis de expertise, uma vez que a literatura consultada sustenta a temática num viés de polarização em níveis extremos e deixa em aberto à discussão acerca da prática de níveis intermediários dentre aqueles propostos na literatura de psicologia cognitiva, a saber: novato, iniciante avançado, competente, proficiente e o expert. Fundamentando-se nos princípios fenomenológicos de E. Husserl (1900-1970), o delineamento metodológico envolveu etapas de mapeamento preliminar da amostra, na qual 18 participantes (em níveis de extensão, graduação, pós-graduação universitária e profissional) gravaram em áudio e vídeo uma sessão de prática de duas peças de seus repertórios e participaram de duas entrevistas semiestruturadas. Quatro casos representativos em níveis distintos de expertise foram selecionados e analisados em profundidade por procedimentos qualitativos (perspectiva fenomenológica) e quantitativos (por estatística descritiva e inferencial). Para a descrição do fenômeno da prática, unidades de prática foram delimitadas, e nessas, as essências do fenômeno investigado denominadas categorias psicossensoriais (testar, repetir, isolar, ajustar, alternar, parar, explorar, dispersão e lapso). Essas categorias formaram o arcabouço no qual as incidências (em termos de ações, desvios e procedimentos) foram compiladas e organizadas, resultando maneiras de praticar tanto comuns a todos, como outras peculiares a cada participante investigado. As perspectivas de deliberação foram identificadas e refinadas numa dimensão mais pontual para o fenômeno da prática pianística como um indício de empenho na e para a situação de prática com relação à intencionalidade frente ao fenômeno estudado. Tais perspectivas resultaram na proposição de um modelo, que considera os limites do foco de atenção, as ações da prática sobre a natureza e a mobilidade dinâmica das categorias psicossensoriais, e possíveis fatores resultantes em função de uma dada intensificação de ações empreendidas. O argumento da presente tese é que a deliberação na prática pianística não é uma constante, e sim uma perspectiva dinâmica que ocorre a cada unidade de prática a partir da intencionalidade dos sujeitos para com as obras praticadas. / The present research aimed at investigating perspectives of deliberation in piano practice according to the levels of expertise, since the consulted literature supports this subject in polarized at extreme levels and leaves a gap in the discussion about the practice of intermediate levels among those proposed in the literature of cognitive psychology, namely: novice, advanced beginner, competent, proficient and the expert. Based on the phenomenological principles of E. Husserl (1900-1970), the methodological designed involved preliminary sample mapping, in which 18 participants (at university extension, undergraduate, graduate and professional levels) recorded in audio and video one practice session of two musical works from their repertoire and participated in two semi-structured interviews. Four representative cases at different levels of expertise were selected and analyzed in depth by qualitative procedures (phenomenological perspective) and quantitative ones (by descriptive and inferential statistics). For the description of the phenomenon of practice, units of practice were delimited, and in these, the essences of the phenomenon investigated denominated psychosensorial categories (testing, repeating, isolating, adjusting, alternating, stopping, exploring, dispersing and lapsing). These categories made up the framework in which the incidences (in terms of actions, deviations and procedures) were compiled and organized, resulting in ways of practicing both common to all participants and others peculiar to each investigated one. The perspectives of deliberation were identified and refined in a more specific dimension to the phenomenon of piano practice as an indication of commitment in and for the practice situation regarding intentionality at the studied phenomenon. Such perspectives resulted in the proposition of a model, which considers the limits of the focus of attention, the actions of the practice on the nature and the dynamic mobility of psychosensorial categories, and possible resulting factors from a given intensification of undertaken actions. The argument of the present thesis is that deliberation in piano practice is not a constant, but it is a dynamic perspective that occurs to each unit of practice from the intentionality of subjects towards the musical works practiced.

This thesis describes how I took part in a series of collaborations with dancers Danai Pappa and Katie Hall, musician George Williams and video artist Julie Kuzminska. To realise our collaborations, I built electronic sculptural instruments from junk using bricolage, the act of subversion, skip diving and appropriation. From an auto-ethnographic viewpoint, I explored how collaborations began, how relationships developed and how various levels of expertise across different disciplines were negotiated. I examined how the documentation of the performances related to, and could be realised as, video art in their own right. I investigated the themes of work, labour and effort that are used in the process of producing and documenting these works in order to better understand how to ‘create’. I analysed the gender dynamics that existed between my collaborators and myself, which led to the exploration of issues around interaction and intimacy, democratic roles and live art. The resulting works challenged gender stereotypes, the notion of what a musical instrument can be and how sound is produced through action/interaction. I found that reflective time was imperative; serendipity, constant awareness of one’s environment, community and intimate relationships greatly enhanced the success of the collaborations. Instruments became conduits and instigators with shifting implied genders based on their context or creative use. As well as sound being a product of movement, effort and interaction, I realised it was also an artefact of the instruments.