In this study, the role of physical contact between teachers and students in the process of teaching guitar was investigated in the master class context. Thirty-five videotaped guitar master classes were classified into five groups according to student performance level. The musical topics studied in these classes were categorised, and all moments of physical contact between teachers and students were identified. Analyses of variance and non-parametric tests were used to determine the relationship between use of physical contact as a teaching approach and student gender, student performance level, the teacher giving the lesson, and topic presented by the teacher. The results indicated that physical contact was significantly related to the teacher giving the lesson and to guitar performance topics of “nails”, “muscle relaxation”, and “body posture”. However, of these three topics, only “body posture” was significantly related to students’ performance level. Ultimately, the results suggest that the topic presented by the teacher is helpful in determining the gestural behaviour of teachers in a musical instrument class.
Resumo: O presente artigo traz uma meta-análise de estudos sobre prática musical com o objetivo de propor uma reflexão teórico-conceitual sobre o papel dessa prática nos mais variados contextos onde pode ocorrer o desenvolvimento musical, com considerações especiais sobre a masterclass. Além disso, discute aspectos práticos do planejamento da performance musical para a construção da autonomia musical do aluno de instrumento, fundamentando-se, principalmente, nos estágios do desenvolvimento musical e na identificação de marcas de performance. Conclui-se que o conceito de prática musical ainda é passível de discussão teórica. A expertise view indica uma forte tendência ao acúmulo de horas praticadas para a aquisição da expertise musical, enquanto outros estudos sustentam a necessidade de se considerar conceitos qualitativos, tais como concentração e organização, para a obtenção de uma eficiente performance. Não obstante, percebe-se um maior acordo sobre a importância da construção da autonomia do aluno frente à organização de sua prática musical. Dessa forma, defende-se que a construção da autoconsciência, do autoensino, da autorregulação e da autoavaliação no desenvolvimento musical do aluno deve ser um dos principais objetivos do professor de música.Palavras-chave: Prática deliberada. Prática efetiva. Planejamento da performance. Music Practice and Performance Planning: Theoretical and Conceptual Contributions to the Development of Student AutonomyAbstract: This article presents a meta-analysis study of music practice in order to reflect on the theoretical and conceptual role of practice within various contexts where music skills may develop with special consideration for the master-class. Furthermore, the article discusses the practical aspects of performance planning as a means to build autonomy of the instrumental student primarily basing it on the stages of music development and on identifying performance marks. The study concludes that the theory of music practice is still subject to discussion. The expertise view suggests a strong trend of accumulated hours of practice to achieve expertise, while other studies maintain the need to consider qualitative areas like concentration and organization to achieve performance efficiency. However, there is wider agreement on the importance of building student autonomy in terms of organizing music practice time. Therefore, we defend that building self-awareness, self-teaching, self-regulation, and self-assessment during the student's music development should be one of the main objectives of the music teacher.
Este artigo oferece uma proposta para fundamentação da prática musical de instrumentos e canto, enfatizando procedimentos de estudo, baseando-se principalmente na Teoria da Aprendizagem Pianística de José Alberto Kaplan. Paralelamente, foi realizada uma breve releitura crítica da história do ensino de instrumentos musicais e métodos para educação musical, em diálogo com áreas afins à Performance Musical, entre elas Psicologia Cognitiva, Neurociência e Educação Física.
This study was designed to investigate the effect of student performance level on teachers’ expressive-emotional discourse in musical instrument classes, the possible loci of emotions present in teachers’ discourse and the existence of a tradition of expressive factors in the interpretation of certain musical works. Forty-seven guitar master classes were recorded, and students’ performance levels were subsequently evaluated by independent judges. All material was then transcribed and coded according to the following variables: emotion words, emotional analogies and teaching of expressivity. A questionnaire administered to professional guitarists elicited information on the expressive tradition of the works played in these master classes. Statistical techniques (analysis of variance [ANOVA], the Mann–Whitney U test and the chi-square test) were used to analyse the variables. Results suggest that students’ performance levels and the expressive tradition of the repertoire played can be decisive in how teachers construct their expressive-emotional discourse. Finally, as a teaching strategy for musical expressivity, focus can be directed either towards the emotions felt by the student (i.e., internal locus), or emotions expressed by the music or another source external to the student (i.e., external locus).
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