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Abstract(s)
A presente dissertação estuda o efeito produzido pela inclusão de métodos de aprendizagem históricos na formação de alunos de licenciatura e mestrado da área da música antiga. Considerando a dificuldade para o músico atual de aceder ao universo dos conceitos quinhentistas, transmitidos por via da oralidade e da auralidade, a hipótese defendida é que alterando a metodologia de aprendizagem altera-se também o estado mental associado à execução musical, experiência que afetará de forma inefável a perceção e as tomadas de decisão do executante. Para a análise desta metodologia definiu-se um método de trinta semanas, testado num grupo de trabalho formado por alunos do Curso de Música Antiga da ESMAE, com exercícios baseados em modelos históricos que procuraram estimular o treino daqueles aspetos mais afastados da aprendizagem musical tradicional, como a solmização, a compreensão da linguagem modal e a improvisação de contraponto.
This dissertation studies the effect produced by the inclusion of historical learning methods in the training of bachelor and master students in the area of early music. Whereas it is difficult for the current musician to access the universe of sixteenth-century concepts, transmitted through orality and aurality, the hypothesis proposed is that changing the learning methodology also changes the state of mind associated with musical performance, experience which will ineffably affect the performer’s perception and decision-making. For the analysis of this methodology, a thirty-week method was defined and tested in a working group formed by students of the ESMAE Early Music Course, with exercises based on historical models that sought to stimulate the training of those aspects more distant from traditional musical learning, such as solmization, the understanding of modal language and improvisation of counterpoint.
This dissertation studies the effect produced by the inclusion of historical learning methods in the training of bachelor and master students in the area of early music. Whereas it is difficult for the current musician to access the universe of sixteenth-century concepts, transmitted through orality and aurality, the hypothesis proposed is that changing the learning methodology also changes the state of mind associated with musical performance, experience which will ineffably affect the performer’s perception and decision-making. For the analysis of this methodology, a thirty-week method was defined and tested in a working group formed by students of the ESMAE Early Music Course, with exercises based on historical models that sought to stimulate the training of those aspects more distant from traditional musical learning, such as solmization, the understanding of modal language and improvisation of counterpoint.
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Keywords
Auralidade Polifonia Contraponto Investigação em acção Renascimento Aurality Polyphony Counterpoint Action research Renaissance