Revista Portuguesa de Educação Musical
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Com Música no Bolso: como os dispositivos móveis podem potenciar a aprendizagem musical
Get PDFThe present article addresses how musicians, composers, performers, and teachers have been taking advantage of computers and how, gradually, these devices have been reducing in size and expanding in potential, to the point of being able to be carried in a pocket. Although contemporary students are inherently proficient in the use of digital technology, they do not always fully explore the potential of mobile devices to enhance their musical education. Therefore, it is imperative that the 21st-century music teacher is able to curate digital content, mastering the various technological resources available to provide appropriate technological guidance for the specific needs of each student. In this sense, after an initial introduction, this article lists several mobile applications that can assist in controlling various aspects of musical performance, managing practice, developing musical reading skills, enhancing auditory perception, and rhythmic sensitivity, among other relevant aspects. Finally, some considerations are formulated regarding the overall management of this process and the precautions to be observed regarding the use of technology by younger generations.O presente artigo aborda a forma como músicos, compositores, intérpretes e professores têm tirado partido de computadores e como, gradualmente, esses dispositivos têm vindo a reduzir tamanho e a expandir potencial, a ponto de poderem ser transportados num bolso. Embora os alunos contemporâneos sejam inerentemente proficientes no que respeita ao uso da tecnologia digital, nem sempre conseguem explorar plenamente o potencial dos dispositivos móveis para aprimorar a sua educação musical. Portanto, é imperativo que o professor de música do século XXI esteja apto a realizar uma curadoria digital, dominando os diversos recursos tecnológicos disponíveis a fim de fornecer orientações tecnológicas adequadas às necessidades específicas de cada aluno. Nesse sentido, após uma introdução inicial, este artigo elenca várias aplicações móveis que podem auxiliar no controlo dos diversos aspetos da performance musical, na gestão da prática, no desenvolvimento de competências de leitura musical, no aprimoramento da perceção auditiva e na sensibilidade rítmica entre outros aspetos relevantes. Por último, são formuladas algumas considerações acerca da gestão global desse processo e dos cuidados a serem observados no que concerne à utilização da tecnologia por parte das gerações mais jovens
Editorial
Get PDFÉ com grande satisfação que apresentamos mais um número da Revista Portuguesa de Educação Musical: o n.º 149 de 20231. Este volume marca efetivamente o importante passo da total passagem do fluxo de submissão de propostas de artigos e revisão por pares para a plataforma digital OPS (Open Journal Systems), simplificando assim todo o trabalho de contato entre autores, revisores e editor. Deste modo, o número 149 da RPEM está já totalmente organizado e editado através da plataforma da revista na OJS e publicado em livre acesso para todos os interessados em trabalhos de investigação na grande área do ensino e aprendizagem de música. Numa perspetiva de maior valorização dos trabalhos publicados na RPEM, muito em breve teremos a revista indexada às mais importantes bases de dados internacionais. Continuaremos ainda o processo da disponibilização online de todos os anteriores volumes da já longa história da Revista Portuguesa de Educação Musical. E em final do ano de 2023 desejo-vos boas leituras, com muitas aprendizagens e partilhas, com tudo isto no contexto de excelentes sons.
Eduardo Lopes
Diretor da RPE
Non-formal Learning as a conduit between students’ social world and Formal Learning: The ‘Rhythm Wave’ Case Study
Get PDFThis paper examines non-formal learning of rhythm in the context of an extra-curricular
percussion group “Rhythm Wave” that formed at UHI (University of the Highlands and Islands)
Perth College, Scotland, UK. Rhythm Wave, that has mutated in the present day into a
community music group out with the formal sector, has been in existence for thirty years.
And in the formal education context that is the nexus of this research, non-formal learning
(NFL) and teaching ran contiguously with the instrumental pedagogy of the college’s popular
music curricula. The ensemble started with Brazilian Samba instrumentation and a tiny cell of
learners but grew to encompass varied rhythm styles and textures whilst developing a
network of alumni mentors who honed their musical and social skills through both peer and
musical leadership interactions. Key aspects of rhythm learning that occurred in this
ensemble have emerged from semi-structured interviews and observations and the
enhancement of formal curricular learning of rhythm is evident in the findings. This includes
aspects shared with Green’s (2001, 2008, 2010, 2014) research into popular music practices
and with the ongoing development of non-formal world music pedagogy (Murtadza; Walden;
in Wright, Beynon, & Younker: 2016).This paper examines non-formal learning of rhythm in the context of an extra-curricular percussion group “Rhythm Wave” that formed at UHI (University of the Highlands and Islands) Perth College, Scotland, UK. Rhythm Wave, that has mutated in the present day into a community music group out with the formal sector, has been in existence for thirty years. And in the formal education context that is the nexus of this research, non-formal learning (NFL) and teaching ran contiguously with the instrumental pedagogy of the college’s popular music curricula. The ensemble started with Brazilian Samba instrumentation and a tiny cell of learners but grew to encompass varied rhythm styles and textures whilst developing a network of alumni mentors who honed their musical and social skills through both peer and musical leadership interactions. Key aspects of rhythm learning that occurred in this ensemble have emerged from semi-structured interviews and observations and the enhancement of formal curricular learning of rhythm is evident in the findings. This includes aspects shared with Green’s (2001, 2008, 2010, 2014) research into popular music practices and with the ongoing development of non-formal world music pedagogy (Murtadza; Walden; in Wright, Beynon, & Younker: 2016)
A criatividade à luz da psicanálise: contribuições da obra de Donald W. Winnicott para aulas de música
Get PDFoai:ojs2.rpem.apem.org.pt:article/16The present study aims to investigate children's creativity in some texts by Donald Winnicott, seeking to incorporate his theory and clinical practice into psychoanalysis and music education. The attempt is to analyze how the experience with playfulness, the perception, the expressiveness and the imagination can gain prominence in the creative and healthy development of the child, redefining spaces inside and outside of the school within the scope of musical education. Based on the nature of play and creative gesture, this work seeks to describe a perspective of understanding the psyche, from the point of view of psychoanalysis, articulating it with the development of musical creation, especially in the relationship between the child and creative appreciation.O presente estudo tem como objetivo a investigação da criatividade infantil em alguns textos de Donald Winnicott, procurando incorporar sua teoria e sua prática clínica à psicanálise e à educação musical. A tentativa é analisar como a experiência com a ludicidade, a percepção, a expressividade e a imaginação podem ganhar destaque no desenvolvimento criativo e saudável da criança, ressignificando os espaços dentro e fora da escola no âmbito da educação musical. Com base na natureza do brincar e do gesto criativo, este trabalho busca descrever uma perspectiva de compreensão da psique, sob o ponto de vista da psicanálise, articulando-a com o desenvolvimento da criação musical, sobretudo na relação entre a criança e a apreciação criativa
Emergency Remote Teaching in instrumental and vocal lessons in Portugal
Get PDFThis article reports a study of the processes involved in the sudden adoption of Emergency Remote Teaching during the first lockdown due to the COVID-19 pandemic in Portugal. After interviewing eleven instrumental and vocal teachers of the specialised Portuguese music education system, the results revealed four main themes that were addressed in their perception of the impact of ERT, namely: (i) adaptation process; (ii) strategies; (iii) limitations and (iv) implications. Overall, due to the pandemic situation, teachers focused on students' well-being and tried to build a close relationship through synchronous and asynchronous interactions. Teaching was primarily dependent on the support of parents and the availability of technological resources by students. Teachers concerns were to keep the bond and motivation, find effective ways to evaluate their progress and establish effective communication and interaction with them. The adaptation process also revealed five different groups of strategies adopted by the teachers. Apart from the technical difficulties and limited opportunities to use conventional teaching approaches, teachers recognised that students developed autonomy and self-reflection in instrumental/vocal practise during the first COVID-19 pandemic in Portugal. However, they also agreed that this state was strongly influenced by the lockdown, which led to more opportunities for practise. This format has brought teachers and students closer together and made emotional aspects an important element of the lessons.