Das possibilidades do ensino coletivo de cordas no Brasil: um estudo com narrativas (auto)biográficas de professores de cordas friccionadas
This work presents the results of a descriptive research, through the analysis of biographies, with the objective of understanding how collective teaching of bowed strings has occurred in Brazil in four regions, describing some aspects of the subject of study, through a theoretical review, involving...
Na minha lista:
| Autor principal: | |
|---|---|
| Outros Autores: | |
| Formato: | Dissertação |
| Idioma: | pt_BR |
| Publicado em: |
Universidade Federal do Rio Grande do Norte
|
| Assuntos: | |
| Endereço do item: | https://repositorio.ufrn.br/handle/123456789/58101 |
| Tags: |
Adicionar Tag
Sem tags, seja o primeiro a adicionar uma tag!
|
| Resumo: | This work presents the results of a descriptive research, through the analysis of biographies, with the objective of understanding how collective teaching of bowed strings has occurred in Brazil in four regions, describing some aspects of the subject of study, through a theoretical review, involving the subject, analyzing and comparing the information. Through a bibliographic survey, documentary research and interviews, it can be concluded that the collective teaching of bowed strings today in Brazil is still configured as a form of teaching, adopted by several teachers, who mostly had their musical training in some instrument. of rubbed ropes, but that they never had specialized training to work with this form of teaching and that knowledge was given from experiences of their professional daily life. The work contains interviews, with a pre-elaborated script and carried out with five teachers from the regions, north, south, center-west and two from the northeast region of Brazil, who today work with collective teaching of frictioned strings and promotes inquiries about how different teachers work their practices with groups of collective teaching of frictioned ropes. After the bibliographic survey and data collection, it was possible to visualize in a more complete way how the musical groups that work with collective teaching of strings work as a way of teaching. It was possible to realize that we still do not have a single methodology and uniform teaching practices, each group has different shapes, sizes, and even the use of varied teaching methods. We were able to find out if there is an urgent need for didactic preparation so that people who work or want to work with this form of teaching are trained for this job. |
|---|