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Abstract(s)
Este relatório de estágio foi criado no âmbito do Mestrado em Ensino de Música – vertente Jazz – da ESMAE, no qual grande parte da inspiração para esta investigação adveio de um interesse pessoal no uso de vocalização percussiva e a complexidade rítmica da cultura musical do Sul da India.
A investigação visa aplicar o Solkaṭṭu em exercícios da pirâmide da subdivisão e não o estudo aprofundado da
tradição Karnatic, como por exemplo a linguagem tradicional gestual para o seu uso.
Partindo de uma metodologia de âmbito qualitativo de análise de conteúdo da literatura crítica disponível e
acessível, pretendeu-se com este projeto de investigação propor novos métodos que estimulem o bom
desenvolvimento rítmico do aluno. Com isto pretende-se elevar a compreensão das estruturas rítmicas que
aborda no seu instrumento e reportório académico, e fortalecer a sua compreensão rítmica em estruturas musicais mais complexas.
A potencial expansão dos horizontes musicais do aluno (e do professor caso se aplique) para as diferentes culturas musicais do mundo e as pedagogias por si usadas, facilitando a adaptação curricular para cada aluno, é outro dos objetivos dos exercícios aqui propostos.
This report was made within the framework of ESMAE’s master’s in Jazz Teaching, in which the majority of the research done came from a personal interest of mine in the use of percussive vocalization and the rhythmic complexity of Southern India’s musical culture. Its purpose is to combine the Solkaṭṭu, with the study of the traditionally called Table of Time or Subdivision Pyramid, and not a deep study on Karnatic traditions, such as the traditional hand gestures used in its practise. Starting from a qualitative methodology of content analysis of available and accessible critical literature, the purpose of this research was to find and propose new methods to facilitate a better rhythmic learning curve of a student. This aims to raise one's understanding of the rhythmic structures that might be addressed in their instrument and academic repertoire, and to strengthen their rhythmic understanding of more complex musical structures. Broadening one’s musical horizons to the different musical cultures of the world and the pedagogies that they use, hopefully easing the curricular adaptation towards a specific student’s needs, is another of this paper’s purposes.
This report was made within the framework of ESMAE’s master’s in Jazz Teaching, in which the majority of the research done came from a personal interest of mine in the use of percussive vocalization and the rhythmic complexity of Southern India’s musical culture. Its purpose is to combine the Solkaṭṭu, with the study of the traditionally called Table of Time or Subdivision Pyramid, and not a deep study on Karnatic traditions, such as the traditional hand gestures used in its practise. Starting from a qualitative methodology of content analysis of available and accessible critical literature, the purpose of this research was to find and propose new methods to facilitate a better rhythmic learning curve of a student. This aims to raise one's understanding of the rhythmic structures that might be addressed in their instrument and academic repertoire, and to strengthen their rhythmic understanding of more complex musical structures. Broadening one’s musical horizons to the different musical cultures of the world and the pedagogies that they use, hopefully easing the curricular adaptation towards a specific student’s needs, is another of this paper’s purposes.
Description
Keywords
Karnatic Música Ritmo e cognição Solkaṭṭu Subdivisões Vocalização Music Cognition and rhythm Subdivisions Vocalization