Banca de DEFESA: MICAS ORLANDO SILAMBO

Uma banca de DEFESA de MESTRADO foi cadastrada pelo programa.
DISCENTE : MICAS ORLANDO SILAMBO
DATA : 05/12/2018
HORA: 14:30
LOCAL: Sala 22 Escola de Musica
TÍTULO:

Natural strategies in musical training development: A research about the Nyunganyunga Mbira.

PALAVRAS-CHAVES:

Native processes; Music education and ethnomusicology; Musical instrument training development; Cultural and musical training development; Mbira Nyunganyunga.

PÁGINAS: 146
GRANDE ÁREA: Linguística, Letras e Artes
ÁREA: Artes
SUBÁREA: Música
RESUMO:

This dissertation is a result of a study about the integration of natural strategies in learning and teaching music for future professional musical training development.  The goal of the research, which was conducted in the Postgraduation Music Program at Federal University of Rio Grande do Norte, was to investigate the implementation of didactics resources in the training development of Mbira Nyunganyunga, an African musical traditional instrument, using basis of native processes which highlights its musical practices in a workshop that involved graduate students from EMFURN. Considering that cultural context, this dissertation exposes, discusses, analyses and reflects upon individuals, processes, situations, experiences, knowledge, and so on, which configure the musical training development of students in Mbira musical context. This dissertation is supported by a epistemological perspectives scope of distinguished areas: ethnomusicology, cultural anthropology, music education and other areas. The retrospective technique supported the methodological procedure and made it possible to conduct an intensive reflection about experiences and knowledges experienced in Mbira music context since 2008 at Mukhambira and Wakambira projects. This research is supported by studies done by an American ethnomusicologist, Paul Berliner (1978). His research consists of a seven year study about music and traditions of the Shona people of Zimbabwe which led to many other research topics including the learning and teaching methods of Mbira music and how the symbolism related to the players. On this perspective, this study has the following investigations basis:  bibliography research,  covering different areas of study; documental research to study several papers which include pictures observation and audiovisual material, Mbira methods and experiences; diagnostic questionnaire which aimed to construct data about the context and groups where the learning of Mbira takes place in Mozambique, to collect methods documented for the training, to recognize the recent situations about its diffusion and adherence at the communities and schools, in order to identify the major intervenient in its transmission and training development, to recognize the repertory used in its training development at school and out of school, and also describing the rate or level of motivation in learning this instrument. This technique (diagnostic questionnaire) helped also  to better recognize the profile,  personal information and participants musical preferences; participative observation to experience activities and collet information portrayed on  the research diary; semi-structured interviews, aiming to understand the participant’s perceptions and suggestions about the didactic material proposed; triangular analysis of the singularities obtained to enlarge the interpretation, maintenance,  modification, review and evaluation of didactic material proposed for Mbira music training development. The methodological procedure proposed and experienced in this qualitative research induced the inclusion of integral action research. The results of this research has shown singularities of human and musical training development, through fundamental elements and experiences which demonstrated that Mbira music procedures have a shape and structure in music performance and is understood as a social action with significant consequences of other styles of cultural activities. The application of those idiosyncratic and idiomatic musical experiences, shared and transmitted into Mbira music context, besides the maintenance of music existence and its dynamical, it minimizes cultural shockss which has been verified in academies, allowing the school to become permeated to cultural plurality and enlarging transforming references to consolidate and diversificate in the pedagogies of training development required in contemporary music education.

MEMBROS DA BANCA:
Externo à Instituição - MARIO ANDRE WANDERLEY OLIVEIRA - UFRGS
Interno - 1017535 - TIAGO DE QUADROS MAIA CARVALHO
Presidente - 2212127 - ZILMAR RODRIGUES DE SOUZA