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Foi escolhido para tema desta investigação “A Abordagem Orquestral no Ensino da Flauta Transversal no Primeiro, Segundo e Terceiros Graus do Ensino Básico Especializado de Música”, que consiste na observação das vantagens da abordagem dos excertos de orquestra em três níveis diferentes, para a motivação e preparação dos alunos para a disciplina de orquestra, no ensino básico e complementar artístico. Foram executados quatro excertos de orquestra, adaptados, cada um com três níveis de dificuldade, sendo o terceiro nível o excerto orquestral original. Com o intuito de motivar e incrementar a prática orquestral nos jovens instrumentistas, pretendeu-se, desde os primeiros anos do ciclo de estudos, abordar de forma progressiva o estudo dos excertos orquestrais, facilitando o desempenho na orquestra escolar, na banda filarmónica, ou outras formações camerísticas. Assim, os exercícios preparatórios que serviram de base para o trabalho proposto, consistem em cinco exercícios para cada nível de dificuldade, sendo que os primeiros cinco exercícios correspondem aos níveis um e dois e os cinco últimos exercícios correspondem ao nível três. Na sua aplicação prática, os alunos começaram com uma breve audição dos excertos, seguida de uma leitura da biografia de cada compositor, depois a execução dos exercícios de preparação e por último o estudo detalhado dos três níveis dos excertos propostos. Com este projeto, espera-se que os alunos superem as dificuldades dos desafios propostos melhorando o seu desempenho como instrumentistas, superando as constantes dificuldades quando integrarem a orquestra, adquirindo um maior fascínio pela música de conjunto. Participaram neste projeto três alunas, com idades compreendidas entre os dez e os doze anos. São alunas que frequentam a Escola Artística do Conservatório de Música de Coimbra, em regime articulado e supletivo do ensino básico. A estratégia de investigação aplicada foi, na sua essência, de natureza qualitativa, assente numa abordagem metodológica de aproximação à Investigação-ação (IA), assente numa vertente participativa e colaborativa, desenvolvida de forma cíclica. Nas técnicas de recolha e produção de dados constam a utilização de inquéritos por questionários, observação direta e participante, bem como pesquisa documental, e entrevista semiestruturada. Privilegiou-se a análise de conteúdo para analisar e interpretar os dados quantitativos e qualitativos recolhidos no decorrer da investigação. Assim sendo, pretende-se realçar o forte impacto que a aprendizagem de excertos orquestrais, teve nas alunas, levando a uma forte motivação por parte das alunas, em querer aprender mais e a constatar a facilidade técnica depois de estudarem os três níveis de exercícios preparatórios e os três níveis de excertos. Tornou-se assim mais fácil o processo de leitura musical e a melhoria na atitude e no desempenho. Também de realçar a vontade destas alunas em participar na orquestra escolar, quando tiverem idade para a integrar. De salientar, que esta abordagem poderá ser uma indispensável ferramenta de trabalho nos primeiros anos do estudo de música, levando a pensar que seria positivo a implementação precoce desta metodologia, nas aulas de instrumento. Em conclusão, apesar de ainda termos um longo caminho a percorrer, esperamos com este trabalho sensibilizar os colegas, despertando-os para uma nova abordagem que será certamente útil, motivadora e enriquecedora na aprendizagem de um instrumento.
It was chosen for the theme of this research "The Orchestral Approach in the Teaching of the Transverse Flute in the First, Second, and Third Degrees of Specialized Basic Music Teaching", which consists in the observation of the advantages of the approach of orchestral excerpts at three different levels, for the motivation and preparation of students for the orchestra discipline, in basic and complementary artistic teaching. Four orchestral excerpts were performed and adapted, each with three levels of difficulty, the third level being the original orchestral excerpt. To motivate and increase orchestral practice in young instrumentalists, it was intended, since the first years of the cycle of studies, to progressively approach the study of orchestral excerpts, facilitating the performance in the school orchestra, in the philharmonic band, or in other cameristic formations. Thus, the preparatory exercises that will served as a basis for the proposed work consist of five exercises for each difficulty level, the first five exercises correspond to levels one and two, and the last five exercises correspond to level three. In its practical application, students started with a brief hearing of the excerpts, followed by a reading of the biography of each composer, then the execution of the preparation exercises, and finally, the detailed study of the three levels of the proposed excerpts. With this project, it is expected that students overcome the difficulties of the proposed challenges improving their performance as instrumentalists, overcoming the constant difficulties when integrating the orchestra, acquiring a greater fascination for ensemble music. Three students aged between ten and twelve years participated in this project. They are students who attend the Artistic School of the Conservatory of Music of Coimbra in an articulated and supplementary regime of basic education. The applied research strategy was, in essence, qualitative in nature, based on a methodological approach to an approximation to Action Research (AI), based on a participatory and collaborative aspect, developed cyclically. In the techniques of data collection and production, the use of questionnaire surveys, direct and participant observation, as well as documentary research, and semi-structured interviews are included. Content analysis was favoured to analyze and interpret the quantitative and qualitative data collected during the investigation Therefore, it is intended to highlight the strong impact that the learning of orchestral excerpts had on the students, leading to a strong motivation on the part of the students in wanting to learn more, to verify the technical ease after studying the three levels of preparatory exercises and the three levels of excerpts. Thus making the process of musical reading much easier and showing an improvement in attitude and performance. Also to highlight students willingness to participate in the school orchestra, when they are old enough to integrate it. It should be noted that this approach would be an indispensable working tool in the early years of the study of music, leading to think that it would be positive this methodology implementation early in the instrument classes. In conclusion, although we still have a long way to go, we hope that with this work can sensitize colleagues, awakening them to a new approach that will certainly be useful, motivating and enriching in the learning of an instrument.
It was chosen for the theme of this research "The Orchestral Approach in the Teaching of the Transverse Flute in the First, Second, and Third Degrees of Specialized Basic Music Teaching", which consists in the observation of the advantages of the approach of orchestral excerpts at three different levels, for the motivation and preparation of students for the orchestra discipline, in basic and complementary artistic teaching. Four orchestral excerpts were performed and adapted, each with three levels of difficulty, the third level being the original orchestral excerpt. To motivate and increase orchestral practice in young instrumentalists, it was intended, since the first years of the cycle of studies, to progressively approach the study of orchestral excerpts, facilitating the performance in the school orchestra, in the philharmonic band, or in other cameristic formations. Thus, the preparatory exercises that will served as a basis for the proposed work consist of five exercises for each difficulty level, the first five exercises correspond to levels one and two, and the last five exercises correspond to level three. In its practical application, students started with a brief hearing of the excerpts, followed by a reading of the biography of each composer, then the execution of the preparation exercises, and finally, the detailed study of the three levels of the proposed excerpts. With this project, it is expected that students overcome the difficulties of the proposed challenges improving their performance as instrumentalists, overcoming the constant difficulties when integrating the orchestra, acquiring a greater fascination for ensemble music. Three students aged between ten and twelve years participated in this project. They are students who attend the Artistic School of the Conservatory of Music of Coimbra in an articulated and supplementary regime of basic education. The applied research strategy was, in essence, qualitative in nature, based on a methodological approach to an approximation to Action Research (AI), based on a participatory and collaborative aspect, developed cyclically. In the techniques of data collection and production, the use of questionnaire surveys, direct and participant observation, as well as documentary research, and semi-structured interviews are included. Content analysis was favoured to analyze and interpret the quantitative and qualitative data collected during the investigation Therefore, it is intended to highlight the strong impact that the learning of orchestral excerpts had on the students, leading to a strong motivation on the part of the students in wanting to learn more, to verify the technical ease after studying the three levels of preparatory exercises and the three levels of excerpts. Thus making the process of musical reading much easier and showing an improvement in attitude and performance. Also to highlight students willingness to participate in the school orchestra, when they are old enough to integrate it. It should be noted that this approach would be an indispensable working tool in the early years of the study of music, leading to think that it would be positive this methodology implementation early in the instrument classes. In conclusion, although we still have a long way to go, we hope that with this work can sensitize colleagues, awakening them to a new approach that will certainly be useful, motivating and enriching in the learning of an instrument.
Description
Keywords
Excertos orquestrais Flauta transversal Compositores Ensino da música Orchestral excerpts Flute Composers Music teaching