Muzikinės klausos ugdymas – tiek absoliučios, tiek reliatyvios solmizacijos sistemų objektai. Jis abiem solmizacijos sistemoms yra vienodas: pastovūs ir nepastovūs laipsniai, gama (kaip mažoro, minoro dermės išraiška), intervalai, akordai ir t.t. Esminis skirtumas tarp absoliučios ir realiatyvios sistemos yra mokomosios medžiagos, mokymo turinio apimtyje. Šiuo darbu nesiūloma taikyti vieną iš sistemų. Tai kiekvieno muzikos pedagogo apsisprendimas. Tačiau jis turi būti apgalvotas, motyvuotas ir sąmoningas. Svarbus vaidmuo, lemiantis sėkmingą vaikų muzikinę veiklą, tenka šiam darbui tinkamai pasirengusiems muzikos mokytojams. Kiekvienas pedagogas turi gerai susipažinti tiek su reliatyvia, tiek su absoliučia solmizacijos sistema, nes nėra vieningos nuomonės dėl abiejų sistemų privalumų ir trūkumų. / Development of musical hearing is the object of both absolute and relative systems of solmisation. It is the same for both systems of solmisation: constant and unconstant degrees, scale (as the expression of major and minor codes), intervals, chords and so on. The main difference between absolute and relative systems is in the extent of teaching material and teaching content. This paper does not aim at the proposal of one of these systems. It is the decision of each teacher of music. However, it must be thought over, motivated and made deliberately. Teachers well-prepared for this work play a very important, role in the successful musical activity of children. Each teacher must be well acquainted both with relative and absolute systems of solmisation as there is no unanimuos opinion concerning advantages and drawbacks of each of them.

Submitted by Luiz Rafael Moretto Giorgetti (rafa_giorgetti@yahoo.com.br) on 2018-09-05T23:39:37Z No. of bitstreams: 1 Dissertação_Luiz Rafael Moretto Giorgetti.pdf: 1304974 bytes, checksum: 643556b366695b4f6c3ccff2b1e30920 (MD5) / Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2018-09-07T00:17:00Z (GMT) No. of bitstreams: 1 giorgetti_lrm_me_ia.pdf: 1304974 bytes, checksum: 643556b366695b4f6c3ccff2b1e30920 (MD5) / Made available in DSpace on 2018-09-07T00:17:00Z (GMT). No. of bitstreams: 1 giorgetti_lrm_me_ia.pdf: 1304974 bytes, checksum: 643556b366695b4f6c3ccff2b1e30920 (MD5) Previous issue date: 2018-07-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / A dissertação realizada investiga e reflete em que medida as variadas práticas pedagógicas podem auxiliar no refinamento da escuta musical no âmbito do ensino de percepção musical. A escuta musical apurada é uma das virtudes necessárias para que o músico se prepare para as demais disciplinas relacionadas à música e também atue de forma consistente no mercado profissional. Para tanto, foram traçados quatro objetivos: 1. Verificar nas publicações e nas práticas musicais, quais as diferentes metodologias de ensino da percepção musical, com o intuito de compreender qual a melhor forma de repassar esses ensinamentos para os alunos; 2. Averiguar quais as principais dificuldades dos alunos nessa disciplina; 3. Verificar, a partir do levantamento bibliográfico realizado, quais as capacidades e habilidades necessárias para que os alunos desenvolvam uma escuta musical mais refinada e satisfatória; 4. Reavaliar a metodologia do autor da presente pesquisa, a partir dos resultados coletados no levantamento bibliográfico e nas respostas obtidas nos questionários. A pesquisa de cunho qualitativo tomou como base de análise o levantamento bibliográfico realizado com o termo “ensino de percepção musical”, além da avaliação dos dois questionários dirigidos para os alunos que cursaram a disciplina “Teoria e Percepção Musical” no Conservatório Dramático e Musical “Dr. Carlos de Campos” de Tatuí, onde atuo como docente. Os questionários realizados apontaram para as dificuldades e sugestões dadas pelos alunos na condução da disciplina. A análise do levantamento bibliográfico e da fundamentação teórica permitiu elencar as competências necessárias para o aprimoramento da escuta musical. Também foi objeto de reflexão a minha própria metodologia, considerando-se as diversas metas apontadas pelos pesquisadores avaliados. A discussão dos resultados tornou possível listar as seguintes propostas metodológicas que auxiliam um aluno de música a ter um bom desenvolvimento da escuta musical: contextualização e vivência dos exemplos e repertório musical empregado; adoção de um repertório misto em sala de aula; uso de softwares e recursos tecnológicos para os alunos utilizarem na prática diária; apreciação musical de obras em sala de aula, de acordo com o nível da classe; desenvolvimento, por parte do professor, da criatividade musical do aluno a partir da improvisação, transcrição e produção de arranjos. / The present dissertation aims at checking and reflecting on pedagogical practices that contributes to a refined musical hearing related to musical perception teaching. A sharp musical hearing is required to musicians who intend to study, teach or work in the musical area. Hence, four purposes were set: 1. Checking in articles and musical practices, what are the best methods for teaching musical perception; 2. Finding out the students’ difficulties when learning music perception; 3. Verifying, by means of a bibliographical survey, what are the competences and abilities required to develop a more refined and satisfactory musical hearing; 4. Reevaluating the methodology of this thesis’ author from the results collected in the questionnaires and bibliography. This qualitative study was based on the term “Musical Perception Teaching” as well as two questionnaires answered by the students who studied the subject “Theory and Musical Perception” at the Drama and Music Conservatory “Dr. Carlos de Campos” in Tatuí, São Paulo, where this thesis’ author works as a teacher. The questionnaires pointed the students’ suggestions and difficulties related to Musical Perception. The theoretical reference and bibliographical analyses allowed listing the competences needed for improving musical hearing. Moreover, based on the several targets mentioned by the researchers, this thesis’s author reevaluated his own teaching methods. The results showed the following pedagogical practices for improving musical hearing: contextualization and background experiences from examples and musical repertoire; choosing a mixed repertoire for classes; using softwares and technological resources that students can apply for daily practice; promoting musical appreciation during classes according to students’ knowledge; teachers, as far as possible, should stimulate musical creativity by means of improvisation, transcription and development of musical arrangement.

Ämnet för studien var improvisation och improvisationsundervisning i relation till begreppet Music Performance Anxiety (MPA) samt tänkbara kopplingar däremellan. MPA beskrivs enklast som ångestkänslor i samband med musikutövande. Syftet med studien var att utforska Music Performance Anxiety utifrån en jazzmusikers perspektiv. Är det möjligt att känna prestationsångest i en kontext där det egentligen inte går att ”spela fel”? Jämförelser med konstmusiken blir därför relevant. Ett vidare syfte var att finna verktyg för att kunna uppmärksamma och hjälpa elever med MPA inom ensembleundervisning med fokus på improvisation. Vilka metoder och material använder pedagogerna? I studien valdes en kvalitativ metod, baserat på forskningsintervjuer med tre olika musiker och pedagoger inom improvisation. Det kompletterades genom att utforska befintlig litteratur inom improvisation och MPA. Studiens resultat påvisar att samtliga informanter hade stora erfarenheter och personliga upplevelser av både improvisation och MPA samt kopplingar däremellan och att MPA är ett förekommande fenomen inte bara inom konstmusik utan även bland jazzmusiker. Resultaten påvisar även att MPA framställs som något mindre vanligt bland jazzmusiker än hos klassiska musiker. Det finns inom jazzkulturen en reservation mot att visa tecken på svagheter som nervositet och prestationsångest. Förhoppningvis kan studien bidra till att lyfta ämnet MPA inom jazz och populärmusik, då det tidigare inte varit så beforskat inom dessa genrer. En vidare aspiration är att uppmärksamma musikpedagoger på hur de kan hjälpa elever som upplever svårigheter i improvisationsundervisning. / The subject of the study was improvisation and improvisational teaching in relation to the concept of Music Performance Anxiety (MPA) and possible connections between them. MPA is most easily described as feelings of anxiety in connection with playing music. The purpose of the study was to explore Music Performance Anxiety from a jazz musician's perspective. Is it possible to feel performance anxiety in a context where it is not really possible to "play wrong"? Comparisons with classical music therefore become relevant. A further purpose was to find tools to be able to draw attention to and help students with MPA in ensemble teaching with a focus on improvisation. What methods and materials do the educators use? In the study, a qualitative method was chosen, based on research interviews with three different musicians and educators in improvisation. It was supplemented by exploring existing literature in improvisation and MPA. The results of the study show that all informants had great experiences and personal experiences of both improvisation and MPA as well as connections between them and that MPA is a common phenomenon not only in art music but also among jazz musicians. The results also show that MPA is presented as somewhat less common among jazz musicians than among classical musicians. There is a reservation in jazz culture against showing signs of weaknesses such as nervousness and performance anxiety. Hopefully, the study can help to raise the topic of MPA in jazz and popular music, as it has not previously been so researched in these genres. A further aspiration is to draw the attention of music educators to how they can help students who experience difficulties in improvisational teaching.