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Authors
Abstract(s)
O principal objetivo desta pesquisa centra-se na compreensĆ£o dos movimentos somĆ”ticos necessĆ”rios para a reproduĆ§Ć£o dos diferentes golpes de arco, com o objetivo final de se alcanƧarem padronizaƧƵes gestuais de cada golpe de arco. InvestigaƧƵes anteriores (Pinto, 2016) demonstram que a tĆ©cnica do arco representa um dos maiores desafios para os violinistas. AtravĆ©s de uma investigaĆ§Ć£o de Ć¢mbito metodolĆ³gico experimental em laboratĆ³rio que envolveu 30 violinistas, foi possĆvel a gravaĆ§Ć£o - em formato de som, vĆdeo e Motion Capture, de um total de 1260 interpretaƧƵes, resultado de uma criteriosa seleĆ§Ć£o de 42 excertos musicais representativos de cada um dos golpes de arco em estudo. Todas as gravaƧƵes de som foram sujeitas Ć apreciaĆ§Ć£o de um jĆŗri, que selecionou a melhor interpretaĆ§Ć£o de cada excerto do grupo 1 (participantes com fato), a melhor interpretaĆ§Ć£o do grupo 2 (participantes sem fato), e a pior interpretaĆ§Ć£o de ambos os grupos. Desta seleĆ§Ć£o foram criadas, atravĆ©s da utilizaĆ§Ć£o do vĆdeo e dos dados recolhidos no Motion Capture, as pretendidas padronizaƧƵes gestuais ā que se traduziram em vĆdeos didĆ”ticos e que permitem a observaĆ§Ć£o dos vĆ”rios componentes em anĆ”lise de cada golpe de arco em estudo. Efetuada a anĆ”lise dos questionĆ”rios implementados, foi tambĆ©m possĆvel concluir-se que os participantes, de forma geral, desconheciam a Tecnologia de Captura de Movimento (90%), e que todos os participantes (100%) entendem que esta estratĆ©gia pode ser muito Ćŗtil, apontando como principais motivos: a simplificaĆ§Ć£o da aprendizagem dos golpes de arco; a possibilidade de visualizaĆ§Ć£o, compreensĆ£o, correĆ§Ć£o e consciencializaĆ§Ć£o do prĆ³prio gesto por cada violinista; e a possibilidade de corrigir a postura e de, consequentemente, prevenir lesƵes. Partindo das conclusƵes deste trabalho foi ainda possĆvel: 1) perceber quais as diferenƧas/semelhanƧas na interpretaĆ§Ć£o dos diferentes golpes de arco em obras de diferentes perĆodos da histĆ³ria da mĆŗsica: barroco, classicismo, romantismo e mĆŗsica moderna (1900-); 2) compreender quais as diferenƧas/semelhanƧas na execuĆ§Ć£o dos golpes de arco de pessoa para pessoa; 3) perceber se alguns dos componentes analisados sĆ£o decisivos para o sucesso/insucesso da execuĆ§Ć£o de cada golpe de arco; 4) entender se a tecnologia de captura de movimento pode ser ou nĆ£o utilizada como recurso e estratĆ©gia no ensino do violino; 5) perceber quais as dificuldades/facilidades sentidas pelos participantes na execuĆ§Ć£o dos diferentes golpes de arco; 6) compreender a importĆ¢ncia da padronizaĆ§Ć£o na aprendizagem musical; 7) e auferir o conhecimento da nomenclatura de cada um dos golpes de arco realizados por parte dos participantes. Em suma, este estudo pretende nĆ£o sĆ³ servir de reflexĆ£o, anĆ”lise e aprendizagem dos diferentes movimentos necessĆ”rios para a execuĆ§Ć£o dos diferentes golpes de arco no repertĆ³rio mainstream de violino, mas tambĆ©m de coadjuvaĆ§Ć£o para violinistas e professores de violino.
The main goal of this research focuses on the understanding of the somatic movements necessary for the reproduction of the different bow strokes, with the ultimate goal of achieving gestural standardization of each bow stroke. Previous research (Pinto, 2016) shows that the bow technique represents one of the biggest challenges for violinists. Through an experimental methodological investigation in a laboratory involving 30 violinists, it was possible to record - in sound, video and Motion Capture formats - a total of 1260 interpretations, the result of a careful selection of 42 musical excerpts representing each of the bow strokes in study. All sound recordings were subject to review by a jury, which selected the best interpretation of each excerpt from group 1 (participants with the suit), the best interpretation from group 2 (participants without the suit), and the worst interpretation from both groups. From this selection were created, through the use of video and data collected in Motion Capture, the intended gestural standardizations - which were translated into didactic videos that allowing the observation of the various components under analysis of each bow stroke in study. By analyzing the implemented questionnaires, it was also possible to conclude that participants were generally unaware of Motion Capture Technology (90%), and that all participants (100%) understand that this strategy can be very useful, pointing as main reasons: the simplification of the learning of the bow strokes; the possibility of visualization, comprehension, correction and awareness of one's gesture by each violinist; and the possibility of correcting the posture and, consequently, preventing lesions. Based on the conclusions of this work, it was still possible: 1) understand the differences/similarities in the interpretation of the different bow strokes in works of different periods of the music history: baroque, classicism, romanticism and modernism; 2) understand the differences/similarities in the execution of bow strokes from person to person; 3) understand if some of the analyzed components are decisive for the success/failure of the execution of each bow stroke; 4) understand whether or not motion capture technology can be used as a resource and strategy in violin teaching; 5) understand the difficulties/facilities felt by the participants in the execution of the different bow strokes; 6) understand the importance of standardization in music learning; 7) and gain knowledge of the nomenclature of each bow strokes performed by the participants. In summary, this study is intended not only to reflect, analyze and learn the different movements needed to perform the different bow strokes in the mainstream violin repertoire, but also to assist violin students and teachers.
The main goal of this research focuses on the understanding of the somatic movements necessary for the reproduction of the different bow strokes, with the ultimate goal of achieving gestural standardization of each bow stroke. Previous research (Pinto, 2016) shows that the bow technique represents one of the biggest challenges for violinists. Through an experimental methodological investigation in a laboratory involving 30 violinists, it was possible to record - in sound, video and Motion Capture formats - a total of 1260 interpretations, the result of a careful selection of 42 musical excerpts representing each of the bow strokes in study. All sound recordings were subject to review by a jury, which selected the best interpretation of each excerpt from group 1 (participants with the suit), the best interpretation from group 2 (participants without the suit), and the worst interpretation from both groups. From this selection were created, through the use of video and data collected in Motion Capture, the intended gestural standardizations - which were translated into didactic videos that allowing the observation of the various components under analysis of each bow stroke in study. By analyzing the implemented questionnaires, it was also possible to conclude that participants were generally unaware of Motion Capture Technology (90%), and that all participants (100%) understand that this strategy can be very useful, pointing as main reasons: the simplification of the learning of the bow strokes; the possibility of visualization, comprehension, correction and awareness of one's gesture by each violinist; and the possibility of correcting the posture and, consequently, preventing lesions. Based on the conclusions of this work, it was still possible: 1) understand the differences/similarities in the interpretation of the different bow strokes in works of different periods of the music history: baroque, classicism, romanticism and modernism; 2) understand the differences/similarities in the execution of bow strokes from person to person; 3) understand if some of the analyzed components are decisive for the success/failure of the execution of each bow stroke; 4) understand whether or not motion capture technology can be used as a resource and strategy in violin teaching; 5) understand the difficulties/facilities felt by the participants in the execution of the different bow strokes; 6) understand the importance of standardization in music learning; 7) and gain knowledge of the nomenclature of each bow strokes performed by the participants. In summary, this study is intended not only to reflect, analyze and learn the different movements needed to perform the different bow strokes in the mainstream violin repertoire, but also to assist violin students and teachers.
Description
Keywords
Performance do violino Golpes de arco PadronizaĆ§Ć£o gestual Ensino-aprendizagem do violino Violin performance Bow strokes Gestural standardization Motion capture Violin teaching-learning