Um estudo piloto na aula de formação auditiva
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Abstract
Este estudo pretende aferir o impacto de uma proposta pluridisciplinar e multidimensional no reconhecimento auditivo da estrutura rítmica/métrica, organização melódica/harmónica, elementos expressivos e diversidade estilística/instrumental. Face às características e objetivos do estudo, foi desenvolvido um design experimental de grupo de controlo com pré-teste e pós-teste. Participaram quarenta e dois alunos de uma instituição de ensino superior (n=21 grupo experimental e n=21 grupo de controlo), com idades compreendidas entre os 18 e 49 anos. Os dados foram recolhidos no princípio e no final do período de implementação (40 sessões de 30 minutos de duração) através da aplicação do Teste de Conhecimento Individual e do Teste de Reconhecimento Auditivo. Os resultados revelam a existência de diferenças significativas entre os resultados de desempenho do grupo experimental e grupo de controlo relativamente ao reconhecimento auditivo da estrutura rítmica/métrica e organização melódica/harmónica. No caso das restantes variáveis, não existem diferenças significativas entre os resultados de desempenho dos grupos experimental e de controlo.
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Cardoso, M. (2018). Um estudo piloto na aula de formação auditiva. EduSer, 10(2), 73–84. https://doi.org/10.34620/eduser.v10i2.116
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References
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Azzara, C. (1993). The effect of audiation based improvisation techniques and elementary instrumental student’s music achievement. Journal of Research in Music Education, 41(4), 328-342.
Azzara, C. (2008). Improvisation and choral musicianship. In M. Holt & Jordan (Eds), The school choral program: Philosophy, planning, organizing, and teaching (pp. 201-239). Chicago: GIA. Publications, Inc.
Bamberger, J. (2006). What develops in musical development? In G. McPherson (Ed.) The child as musician (pp. 69-92). Oxford: Oxford University Press.
Barenboim, D. (2009). Está tudo ligado: o poder da música. Lisboa: Editorial Bizâncio.
Baroni, M. (2006). Hearing musical style: Cognitive and creative problems. In I. Deliège & G Wiggins (Eds.) Musical creativity: Multidisciplinary research in theory and practice (pp. 78-94). Hove: Psychology Press.
Blechner, M. (1978). Musical skill and the categorical perception of harmonic mode. Dissertation Abstracts International, 39, 1931-B.
Caznok, Y. (2008). Música: entre o audível e o visível. São Paulo: Editora da UNESP.
Cook, N. (1990). Music, imagination & culture. New York. Oxford University Press.
Damásio, A. (1995). O erro de Descartes. Portugal: Publicações Europa América.
Elliott, D (1995). Music Matters: A new philosophy of music education. New York: Oxford University Press.
Freixo, M. (2011). Metodologia científica: Fundamentos, métodos e técnicas. Lisboa: Instituto Piaget.
Gordon, E. (2000). Teoria de aprendizagem musical: Competências, conteúdos e padrões. Lisboa: Fundação Calouste Gulbenkian.
Gordon, E. (2002). Rating scales and their uses for measuring and evaluating achievement in music performance. Chicago: GIA Publications.
Gromko, J. (1993). Perceptual differences between expert and novice music listeners: A multidimensional scaling analysis. Psychology of Music, 21(1), 34-47.
Hindemith, P. (1984) Elementary training for musicians. London: Schott & Co. Ltd.
Karpinski, G. (2000). Aural skills acquisition: The development of listening, reading, and performing skills in college-level musicians. Oxford: Oxford University Press.
Kerchner, J. (2014). Music across the senses: Listening, learning and making meaning. Oxford: Oxford University Press.
Levitin, D. (2011). This is your brain on music: Understanding a human obsession. Atlantic Books Ltd.
Malbrán, S. (1996) Los atributos de la audición musical: Notas para su descripción. Euforia: Didáctica de la música, 2, 55-68.
Merleau-Ponty, M. (1996). Phenomenology of perception. Motilal Banarsidass Publishe.
Meyer, L. (1956). Emotion and meaning in music. Chicago: University of Chicago Press.
Reybrouck, M. (2006). Musical creativity between symbolic modelling and perceptual constraints: The role of adaptive behavior and epistemic autonomy. In I. Deliège & G. Wiggins (Eds.) Musical creativity: Multidisciplinary research in theory and practice (pp. 42-58). Hove: Psychology Press.
Rogers, M. (2004) Teaching approaches in music theory: An overview of pedagogical philosophies. USA: Southern Illinois University Press.
Rovai, A., Baker, J., & Ponton, M. (2013) Social science research design and statistics: A practitioner’s guide to research methods and IBM SPSS. Chesapeake: Watertree Press.
Rowell, L. (1984) Thinking about music: An introduction to the philosophy of music. USA: University of Massachusetts Press.
Sacks, O. (2008). Musicofilia: Histórias sobre a música e o cérebro. Lisboa: Relógio D’Água Editores.
Schonberg, A. (1999) Harmonia. São Paulo: Editora UNESP.
Serafine, M. (2013). Music as cognition: The development of thought in sound. Columbia: Columbia University Press.
Shifres, F., & Burcet, M. (2013) Escuchar y pensar la Música. Bases teóricas y metodológicas. La Plata: Editorial de la Universidad de La Plata.
Stern, D. (2010). Forms of vitality: Exploring dynamic experience in psychology, the arts, psychotherapy and development. Oxford: Oxford University Press.
Subotnik, R. (1996). Deconstructive variations: Music and reason in western society. Minnesota: University of Minnesota Press.
Tan, Siu-Lan, Pfordresher, P., & Harré, R. (2010) Psychology of music: From sound to significance. New York: Psychology Press.
Trochim, W. (2000). The research methods knowledge base. Cincinnati: Atomic Dog Publishing.
Tuckman, B. (2005). Manual de investigação em educação. Lisboa: Fundação Calouste Gulbenkian.
Weinberg, S., & Abramowitz, S. (2008). Statistics using SPSS: An integrative approach. Cambridge University Press.