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Publication
A importância do timbre no ensino da composição e análise musical
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| 5.34 MB | Adobe PDF |
Abstract(s)
O timbre é um dos parâmetros mais complexos, abstratos e difíceis de verbalizar e analisar. Durante séculos, foi um parâmetro menos estrutural na composição e análise musical. No presente relatório, que documenta a Prática de Ensino Supervisionada no âmbito do Mestrado em Ensino de Música, variante de Análise e Técnicas de Composição, explorase o timbre como um parâmetro estruturante da música no contexto do Ensino Profissional.
O projeto de intervenção incidiu nas disciplinas de Teoria e Análise Musical e Práticas de Conjunto, onde se procurou desenvolver a escuta ativa, a consciência tímbrica e a criatividade dos alunos, através de atividades de análise, composição e improvisação. Na disciplina de Teoria e Análise Musical, estas competências foram promovidas por via de integração de conteúdos relacionados com a análise tímbrica de repertório do séc. XX e XXI e composição com objetos sonoros. Na disciplina de Práticas de Conjunto, houve um foco na improvisação e na exploração tímbrica dos instrumentos, articulando a escuta, aprendizagem de técnicas instrumentais estendidas e formação de camadas tímbricas distintas.
A partir de observação direta, análise de dados, do feedback dos alunos e da reflexão pedagógica, procurou-se perceber em que medida a abordagem adotada promoveu aprendizagens significativas, o desenvolvimento da escuta e a motivação dos alunos para as práticas musicais contemporâneas. Discutem-se, ainda, as limitações da intervenção, as adaptações metodológicas e os caminhos que se abrem para uma pedagogia do timbre no ensino de música.
Timbre is one of the most complex, abstract and difficult parameters to verbalise and analyse. For centuries, it was a less structural parameter in musical composition and analysis. In this report, which documents the Supervised Teaching Practice within the Master's Degree in Music Teaching, Analysis and Composition Techniques variant, timbre is explored as a structuring parameter of music in the context of the Professional Education curriculum. The project focused on the subjects of Music Theory and Analysis and Ensemble Practices, where the aim was to develop active listening, timbral awareness and creativity in students through analysis, composition and improvisation activities. In the subject of Music Theory and Analysis, these skills were promoted through the integration of content related to timbral analysis of 20th and 21st century repertoire and composition with sound objects. In the subject of Ensemble Practice, there was a focus on improvisation and the timbral exploration of instruments, articulating listening, learning extended instrumental techniques and forming distinct timbral layers. Based on direct observation, data analysis, student feedback, and pedagogical reflection, the aim was to understand the extent to which the adopted approach promoted meaningful learning, the development of listening skills, and student motivation for contemporary musical practices. The limitations of the intervention, methodological adaptations, and paths that open up for a pedagogy of timbre in music education are also discussed.
Timbre is one of the most complex, abstract and difficult parameters to verbalise and analyse. For centuries, it was a less structural parameter in musical composition and analysis. In this report, which documents the Supervised Teaching Practice within the Master's Degree in Music Teaching, Analysis and Composition Techniques variant, timbre is explored as a structuring parameter of music in the context of the Professional Education curriculum. The project focused on the subjects of Music Theory and Analysis and Ensemble Practices, where the aim was to develop active listening, timbral awareness and creativity in students through analysis, composition and improvisation activities. In the subject of Music Theory and Analysis, these skills were promoted through the integration of content related to timbral analysis of 20th and 21st century repertoire and composition with sound objects. In the subject of Ensemble Practice, there was a focus on improvisation and the timbral exploration of instruments, articulating listening, learning extended instrumental techniques and forming distinct timbral layers. Based on direct observation, data analysis, student feedback, and pedagogical reflection, the aim was to understand the extent to which the adopted approach promoted meaningful learning, the development of listening skills, and student motivation for contemporary musical practices. The limitations of the intervention, methodological adaptations, and paths that open up for a pedagogy of timbre in music education are also discussed.
Description
Keywords
Timbre Escuta ativa Progressão de transformação tímbrica Improvisação Composição Active listening Timbral similarity progressions Improvisation Composition