A improvisação por meio de cantigas de capoeira na iniciação em clarineta: uma abordagem pedagógica

Abstract

The theme of this thesis is the inclusion of improvisation in the initiation of the clarinet. It is a research aimed at experimenting with a set of didactic strategies for improvisation in music (CEDIM) based on capoeira music and aimed at the initiation of the instrument. This pedagogical approach consists of activities that seek first, through the use of recordings, the internalization and memorization of rhythmic accompaniment and melody, and then, work on improvisation. This work used the qualitative method of action-research, in which it was possible to describe the dynamic between teacher and students during improvisation activities. Thus, the researcher was also the teacher who applied the set of didactic strategies with his own students. The songs used in this research were Paranaê and Marinheiro Só, well known in the practice of capoeira. Two groups of students participated in this study: in group 1, three students, between 9 and 10 years old, from the Sergipe Music Conservatory (CMS). In group 2, three students, between 12 and 13 years old, from the Philharmonic Society 28 de Agosto (SOFIVA). The ideas from the music educators David Elliott, Keith Swanwick and Lucy Green served as the basis for the theoretical foundation of this research. Elliott's thoughts about the Praxial Philosophy of Music Education (1995) and Swanwick's C(L)A(S)P (1979) approach were used to ground CEDIM. From Lucy Green, reflections on informal learning prac-tices, as well as applications of such practices in the formal teaching context, served as the foundation for this research. The process of analyzing and evaluating the partici-pants' improvisations was also grounded in Swanwick's three principles advocated in his book Teaching Music Musically (2003), as well as his evaluation criteria from his Spiral Theory of Music Development. The participants' improvisations were analyzed in two aspects: compositional and performance parameters. The analysis of the improvisations and the questionnaires indicated that CEDIM promoted a favorable environment for the participants to work and develop their musical creativity collectively. Finally, the participants demonstrated a musical intuition to improvise that questions the absence of improvisation in conventional pedagogy in the initiation of the clarinet.