ESE - CIPEM - Centro de Investigação em Psicologia e Educação Musical
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Browsing ESE - CIPEM - Centro de Investigação em Psicologia e Educação Musical by Author "Boal-Palheiros, G."
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- Aprender música na Orquestra GeraçãoPublication . Costa, J. A.; Cruz, A.; Ferreira, R.; Bessa, R.; Boal-Palheiros, G.; Boia, Pedro Dos Santos
- Aprendizagem e desenvolvimento musical das criançasPublication . Boal-Palheiros, G.
- Audição Musical Activa 2Publication . Wuytack, Jos; Boal-Palheiros, G.
- Audición musical activa con el musicogramaPublication . Wuytack, Jos; Boal-Palheiros, G.La audición musical tiene un papel fundamental en el aprendizaje de la música. Todavía los niños parecen tener dificultades en escuchar la música clásica occidental, generalmente compleja y no familiar. La metodología de audición musical activa con el musicograma fue propuesta por Wuytack en 1971 para enseñar a escuchar la música clásica a niños y jóvenes sin conocimientos musicales. Este sistema solicita la participación física y mental del oyente antes y durante la audición y también utiliza la percepción visual (el musicograma) para mejorar la percepción musical.
- Children and adolescents’ singing in everyday life and at schoolPublication . Boal-Palheiros, G.; Mito, HiromichiExtensive research has shown the numerous benefits of singing and overall engagement in music for the intellectual, social, personal and musical development of children and young people (Hallam, 2010; Welch et al, 2010). Previous studies on singing in everyday life and at school suggest that young people actively engage in singing in and out of school. Although they enjoy it in both contexts, some adolescents dislike singing at school because they feel uncomfortable when being exposed and stressed when they are evaluated in singing tests or competitions (Mito & Boal-Palheiros, 2012; 2013). A number of studies in various countries showed the students’ low interest for school music and for school singing in particular (Boal-Palheiros & Hargreaves, 2001; Kobayashi, 2004). We need to investigate the possible gap between singing in everyday life and at school and how these contexts relate to each other in order to understand the impact of singing in children and adolescents’ lives.
- Children"s Modes of Listening to Music at Home and at SchoolPublication . Boal-Palheiros, G.; Hargreaves, David J.This study investigated how children listen to music, by examining relationships different modes of listening and different contexts, home and school. It also looked tal and cultural perspectives, by comparing children from different age levels and The 120 participants were British and Portuguese children aged 9-10 years, attending schools, and 13-14 years, attending secondary schools. Children responded interview with open-ended questions, concerning their modes of listening to music at school. Findings showed that children's modes of listening imply various levels emotional involvement with music, and depend on the context, which may be related junctions of music. At home, few children listened to music as a main activity. listening and performing (singing, dancing), or accompanying a variety of non-(studying, playing games). At school, children listened to music often while doing ties (analysis, performing), moderately as a main activity, but rarely while doing activities. There were no relevant national differences, and age differences resulted specific teaching strategies at each school level.
- Children’s responses to 20th century ‘art’ music, in Portugal and BrazilPublication . Boal-Palheiros, G.; Ilari, Beatriz; Monteiro, FranciscoSeveral studies have investigated how children of different ages respond to diverse musical styles. Age seems to be a determinant factor in the development of musical preferences. Although many teachers advocate the use of a wide variety of musical styles at different school levels, most of them seem to rarely include 20th century ‘art’ music in their lessons. Very few studies have examined children’s responses to this musical repertoire. In addition, most of the research on children’s musical preferences has been carried out in Europe and North America, with few crosscultural comparisons. This study investigated the responses to and preferences for 20th century ‘art’ music of children from Portugal (n=119) and Brazil (n=135) at two age levels (9-11 and 12- 14). At their local schools, in Porto and Curitiba, they listened to 13 excerpts from 20th century works. They were asked to rate their preferences and describe each excerpt. They also indicated if they knew the composers’ names from a given list. The results suggested that overall both Portuguese and Brazilian children knew very few composers and gave low or moderate ratings to all excerpts. The responses of both groups fell within predictions of most theories of musical preferences, with younger children showing more openness to novel excerpts than older children. Age differences were also evident in both the quantity and the types of verbal descriptions of the excerpts, with younger children producing fewer descriptions than the older ones. Musical characteristics also seemed to play a role in their preferences, as they overall liked or disliked particular excerpts, regardless of age or nationality. Our conclusion is that school aged children are rarely exposed to 20th century ‘art’ music. When listening to it for the first time, many children question whether some excerpts represent ‘real’ music. Thus, they tend to be rather conservative towards this repertoire. Some implications for music education, in both Portugal and Brazil, are drawn at the end of the paper.
- Uma conversa com Teresa MacedoPublication . Boal-Palheiros, G.
- Desafios em Educação MusicalPublication . Boal-Palheiros, G.; BOIA, Pedro Dos SantosPREFÁCIO O presente livro responde a dois desafios que se completam: o primeiro, relembrar o significado da criação do CIPEM em 1998, o segundo e decorrente do primeiro, mostrar como a investigação em Psicologia da Música e Educação Musical está na ordem do dia e é algo absolutamente necessário à compreensão do fenómeno musical nas suas múltiplas expressões e com uma especial ênfase na Educação. Em 1998 as nossas portas estavam abertas para todos os que queriam desenvolver investigação em música de forma sistemática e nos domínios do seu interesse. Passados mais de vinte anos continuamos a revelar a coerência do nosso percurso, não só através dos múltiplos projetos em que nos envolvemos, como também no contacto tão próximo quanto possível com uma comunidade que nos vem seguindo e apoiando e com quem também muito aprendemos. Este livro é, pois, uma direta consequência do empenho dos seus editores e a demonstrá-lo está a qualidade dos artigos propostos. Um conjunto de temas da máxima pertinência para quem hoje se preocupa com o papel das artes e, em particular da música, num mundo cada vez mais perturbado por fenómenos que diariamente nos interpelam e sobre os quais não podemos deixar de nos posicionar. E, em particular, temas que estabelecem a necessária ligação entre a música e a comunidade, a educação formal e a não formal, colocando os jovens no centro do acontecimento musical. António Sampaio da Nóvoa num artigo publicado na revista Manifesto, refere que agora o que é necessário é “trabalhar em conjunto para a constituição de um espaço público que junte a escola com outras instituições, professores com pais e outros atores sociais.” Ou seja, “não se educa apenas no interior do recinto escolar.” E afirma que a educação não pode fazer tudo. “Mas não temos o direito de desperdiçar nenhuma oportunidade para combater a barbárie e a fragmentação do mundo. Se não for através da educação e do conhecimento como será?” Queremos acreditar que o conteúdo dos textos deste livro contribui para esta causa e que esta é uma das formas através da qual o livro procura responder aos desafios.
- Desafios em Educação Musical. Livro de Resumos da Conferência IC CIPEM 2019Publication . Boal-Palheiros, G.