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- Audição Musical Activa 2Publication . Wuytack, Jos; Boal-Palheiros, G.
- Educação Musical no Ensino PreparatórioPublication . Boal-Palheiros, G.
- Musicar Wuytack: avaliação de um projeto de educação musical para criançasPublication . Oliveira, Cândida; Boal-Palheiros, G.Contexto Musicar Wuytack - Fazer música com alegria! é um projeto promovido pela Associação Wuytack de Pedagogia Musical que visa desenvolver a educação musical das crianças em escolas públicas, segundo os princípios e metodologias da Pedagogia Musical Wuytack. O projeto foi implementado em 2014-2015 em três escolas do 1º Ciclo EB/JI num bairro social da cidade do Porto. As turmas abrangidas foram selecionadas em função do interesse e da motivação das respetivas professoras. Objetivo O objetivo deste estudo foi analisar a implementação do projeto e investigar o possível impacto que as aulas e outras atividades musicais tiveram nos participantes. Pretendeu-se também compreender em que medida as aulas lecionadas segundo a Pedagogia Musical Wuytack motivam as crianças e contribuem para a aquisição de competências musicais e gerais. Metodologia A metodologia utilizada foi de natureza qualitativa e mista, incluindo vários métodos de recolha de dados: descrição da documentação referente ao projeto; descrição das atividades musicais realizadas pela professora de música; realização de um questionário às crianças e de entrevistas estruturadas às professoras, para compreender as suas perceções sobre o projeto. Participaram neste estudo crianças do Ensino Pré-Escolar e do 1º Ciclo, as professoras das turmas e uma professora de música. Resultados Os resultados dos questionários e das entrevistas indicam que as crianças estiveram bastante motivadas no projeto e reconhecem ter aprendido. As crianças destacam atividades como cantar, tocar, dançar, ouvir e o teatro musical com fantoches, entre as suas preferidas. Também afirmaram que encaravam o dia da aula de música como um dia especial. As professoras inquiridas reconhecem as vantagens e as melhorias que este projeto teve nas crianças, em geral, destacando não apenas o seu desenvolvimento musical, mas também o desenvolvimento de competências gerais. Uma das professoras refere como principal caraterística do projeto ‘A felicidade que houve nas crianças, as crianças felizes são crianças com mais sucesso na escola’.
- Interpersonal Influences on Children's Emotional Responses to New Age MusicPublication . Boal-Palheiros, G.; Hargreaves, David J.This study investigated the effects of interpersonal context and age on children's emotional responses to new age music. One hundred and twenty participants aged 9-10 and 13-14 years listened to four excerpts either alone, or in groups of three. Immediately after listening, they rated the emotions aroused by the excerpts on eight five point-scales based on a circumplex model which conceives of four quadrants of emotional response: positive/negative affect, and high/low arousal. The results showed that participants gave significantly higher ratings on four of the eight scales when listening in groups rather than when listening alone, and that the younger children gave significantly higher ratings on positive emotional states (relaxed, excited, energetic) and liking, whereas the older children gave significantly higher ratings on negative emotions (irritated, bored). These findings suggest the influence of both social and developmental factors upon children 's emotional responses to music; namely group effects, and younger children 's higher tolerance for unfamiliar styles.
- Singing against loneliness. Songs of a homeless choir in PortoPublication . Boal-Palheiros, G.In recent decades, cultural institutions in Western countries have developed educational services and supported community cultural projects. Through the rhetoric of social inclusion, the concert hall Casa da Música (CM) in Porto, Portugal, tries to reach marginalized people in deprived contexts. This study investigated ‘Som da Rua’ (“Sound of the Street”), a music ensemble of homeless adults created by the CM, who perform in rehearsals and concerts supported by professional musicians and social educators. It explores the role of community music while reflecting on its possible effects upon the participants’ development, its significance in their lives and its potential to build resilience among disadvantaged adults. Special attention is given to the songs, as relevant elements in the construction of the group’s identity. The method is designed as a qualitative interpretive case study, combining various approaches: an evaluation of the project’s aims and implementation; a semi-structured interview with the music director; field notes of observations of the musical practice; and an analysis of the song repertoire. The results suggest positive effects of musical practice in building a sense of belonging and a group identity among disadvantaged adults. Through singing and playing, supported by professional musicians, participants develop good interpersonal relationships which may foster their self confidence and social skills. Achieving good musical results and being warmly applauded by the audiences gives them a sense of accomplishment. The musical repertoire is unique to this group, and some songs were built from the participants’ inputs. The repertoire is therefore a key element in the construction of a new musical and social identity. The emotional character of the songs and the lyrics (sadness, despair, but also hope and resilience) reflects participants’ moods and life experiences, while helping them to cope with their harsh lives and build resilience against adversity.
- Effects of the ‘musicogram’ on children’s musical perception and learningPublication . Boal-Palheiros, G.; Wuytack, JosLearning how to listen to music is important, in order to better understand and appreciate it. Children’s everyday modes of listening are often physically active (i.e. singing, dancing), whereas music teachers generally use more passive approaches. Music pedagogue Jos Wuytack has proposed a strategy for teaching non-musicians (‘Active music listening with the musicogram’), which demands the listener’s both physical and mental participation, before and during the listening activity. Children previously learn the musical materials through performance. They then listen while following a ‘musicogram’, in which musical elements and form are represented through colours, geometric figures and symbols. Empirical observation in schools suggests that this strategy enhances children’s learning and enjoyment of ‘classical’ music. Some studies also indicate the advantages of visual materials to enhance perception of ‘classical’ music in nonmusically trained young people. Although music listening and perception have been extensively researched, specific strategies to teach music listening have got somewhat less attention from researchers. This study investigated the effects of the ‘musicogram’ upon children’s perception and learning of ‘classical’ music. Children from Australia, Belgium and Portugal attended to a lesson taught by the same teacher, in which they listened to the ‘March’ from Tchaikovsky’s ‘Nutcracker Suite’ either with or without the ‘musicogram’. After, they were asked about musical characteristics of the excerpt (form, instruments, and tempo) and their enjoyment for both the music and the lesson.
- Effect of strength of rhythmic beat on preferences of young music listeners in Brazil, Greece, Japan, Portugal and the United StatesPublication . LeBlanc, Albert; Fung, C. Victor; Boal-Palheiros, G.; Burt-Rider, Allison J.; Ogawa, Yoko; Oliveira, Alda de Jesus; Stamou, Lelouda
- Making music with joy! Active listening, singing, playing and dancing with childrenPublication . Boal-Palheiros, G.In recent decades, extensive research has been carried out into musical development suggesting not only that humans are born with strong music potential but also that, from early childhood onwards, they display remarkable musical abilities and competences that are similar to those adults (Trehub, 2006). Children's musical development occurs throught acculturation, or, regular exposure to the music of their culture, but also involves training (Sloboda, 1985). Music educators and researchers alike have emphasized the importance of offering children the best possible music education their early years. Children's learning potential proves very high (Gordon, 2000) and their musical development may be accelerated by practice. Singing mursery rhymes, songs with actions, moving, and playing musical games develop language, motor co-ordination, and communication skills. Numerous studies show the benefits of musical learning for children's cognitive, linguistic, logical and spatial abilities (Rauscher, 2009; Schellenberg, 2003). Other studies emphatize its impact on the development of concentration, creativity, emotional sensitivity, self-discipline, self-confidence, and sociability. In sum, musical learning contributes to chidren's intellectual, personal and social development as well as to their physical development, health and well-being (Hallam, 2010).There are many different pedagogies and teaching strategies in music education. This paper presents the Wuytack music pedagogy, its pedagogical principles, methodologies, and teaching strategies for a music education based on activity, creativity and community. The examples suggested are designed for children about 4 to 8 years-old but may easily be adapted to younger children.
- Uma conversa com Teresa MacedoPublication . Boal-Palheiros, G.