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- Antoine Hennion, The Passion for Music: A Sociology of Mediation. Recensão de LivroPublication . Boia, Pedro SantosRecensão de livro
- 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.
- Clubbing e construções identitárias de género: proposta de um quadro analíticoPublication . BOIA, Pedro Dos Santos; Ferro, Lígia; Lopes, João T.A partir de uma investigação das construções identitárias de género das mulheres nas m(sub)culturas club associadas à música electrónica de dança em Portugal, este artigo pretende contribuir para os clubbing studies, propondo um modelo de análise aplicável ao estudo de diversas realidades, espaços e fracções do clubbing. Discutindo a literatura das teorias das subculturas, pós-subculturas e club cultures, as respectivas transformações sociais e implicações de género, delineamos um quadro analítico híbrido e plástico, capaz de apreender a complexidade destas realidades. É enfatizada a necessidade de: i) segmentar com precisão as fracções das (sub)culturas club; ii) efectivar uma interseccionalidade múltipla entre diferentes variáveis (género, classe social, etnicidade, segmentação interna do clubbing, gosto); e, por último, iii) analisar as trajectórias biográficas e de socialização das clubbers no âmbito de uma sociologia das disposições. Estes aspectos são essenciais para uma especificação empírica e localizada das múltiplas construções de género e feminilidades, evitando-se assim a universalização tácita de uma noção e experiência unívocas de “mulher clubber”.
- Composing music, developing dialogues: An enactive perspective on children's collaborative creativityPublication . Veloso, Ana LuísaThis study aims to provide new insights on the nature of the embodied and collaborative processes related to the emergence of new musical ideas that occur when children are composing in groups. Data was obtained by participant observation of the teacher/researcher and by ten videotaped one-hour musical sessions dedicated to the development of a music composition by two groups of children, all of whom were eight years old. It was found that when composing in groups a) children use embodied processes to transform what they experience on diverse realms of their existence into musical ideas, and that b) while creating music, children engage in several improvisatory moments where new ideas emerge through the diverse ways they enact the surroundings where the activity is occurring. Findings suggest a conception of music composing as a multidimensional phenomenon that entails cognitive processes that are distributed across and beyond the physical body. Findings also suggest that composing music in collaboration with others nurtures a set of creative possibilities that would otherwise, not occur. Considerations for music education theory and practice are addressed in the last section of the article.
- Construção social, materialidade e identidade na relação instrumento-instrumentista: explorando novos caminhos na sociologia da músicaPublication . BOIA, Pedro Dos SantosA partir de uma investigação que tem como objecto de estudo a viola d’arco e o violista, o presente artigo trata de questões relativas à abordagem sociológica da música aos níveis teórico, epistemológico e metodológico, que o autor considera particularmente pertinentes na actualidade. É de destacar a necessidade de apreender a própria música – incluindo a sua materialidade – na análise sociológica, não deixando, pois, escapar o objecto “em si” (o que acontece nas abordagens fundadas na noção de “art worlds” e também, numa parte importante, nas perspectivas fundadas no estruturalismo de tradição francesa), bem como a urgência em superar a dicotomia entre o “estético” e “social”. São apresentadas propostas a partir da inter-relação entre os trabalhos desenvolvidos pelo autor e desenvolvimentos recentes no âmbito da sociologia música (DeNora e Hennion), bem como da psicologia da música (E. Clarke). É ainda de salientar o recurso a Latour (e à denominada actor-network theory), à teoria disposicional de Bourdieu, bem como a determinados quadros analíticos e pesquisas desenvolvidas no âmbito da psicologia social. Metodologicamente, foi levada a cabo uma historiografia crítica do instrumento a partir da análise documental, combinada com o método etnográfico (participação-observação) em virtude do duplo estatuto do autor como sociólogo e violista. Foram também realizadas entrevistas semi-directivas a violistas e a outros músicos.
- Uma conversa com Teresa MacedoPublication . Boal-Palheiros, G.
- Das tensões entre desmistificar e reconhecer os discursos ao repensar o ‘social’: manifesto por uma sociologia eclécticaPublication . BOIA, Pedro Dos SantosEsta reflexão deriva de uma prática sociológica e etnográfica em que o investigador tem um duplo estatuto como sujeito e objecto de conhecimento. Discutem-se tensões e dilemas entre a ethos que desmistifica e a que reconhece os discursos dos actores sociais, entre outros aspectos da prática de investigação. A importância dos usos do corpo, das técnicas instrumentais e da materialidade dos instrumentos musicais incita-nos a considerar dimensões da realidade tradicionalmente excluídas da sociologia, a repensar o “social” e o âmbito da própria sociologia. Desafiando fronteiras entre “escolas” no campo académico, proponho um manifesto por uma sociologia tão ecléctica e híbrida quão exigido pelas especificidades de cada realidade.