Considerations about music performance learning

Authors

Keywords:

Music Performance, Pedagogy, Transdisciplinarity, Learning Model, José Alberto Kaplan

Abstract

The present work offers a systematized proposal for the practice of musical instruments and singing, emphasizing study procedures. The main basis for this work is the Pianistic Learning Theory (Teoria da Aprendizagem Pianística) by Brazilian pedagogue José Alberto Kaplan. There is also a brief critical overview of the history of musical instrument learning and music education methods, dialoguing with areas such as Cognitive Psychology, Neuroscience and Physical Education.

Author Biographies

  • Daniel Lemos Cerqueira, Federal University of Maranhão (Brazil)

    Piano Technician at the Music Academy Lorenzo Fernandez in the class of pianist Maria Luísa Urquiza Lundberg, Bachelor in Piano at the Federal University of Minas Gerais (UFMG) in the class of pianist Miguel Rosselini, and Master in Performance from the same institution, under the guidance of Prof. Dr. Ana Cláudia de Assis and Piano student of Prof. Dr. Maurício Veloso. He has performed in several concert halls in Brazil as soloist and accompanying pianist. He has participated in festivals and interpretation courses with Celina Szrvinsk, Luís Senise, Fany Solter, Michael Uhde, Ricardo Castro and Fernando Corvisier, among others, and has won prizes in piano interpretation competitions. He was substitute piano teacher at the State University of Maranhão (UEMA), currently working as Assistant Professor at the Federal University of Maranhão (UFMA), dedicating himself to teaching and research in Piano and mainly in the area of Music Performance Teaching, with 18 publications in books, journals and national and international events. He has participated in works that can contribute to the development of Music Education in Maranhão, especially the reform of the Political-Pedagogical Project of the Music School of the State of Maranhão (EMEM), the main institution of music education in this State.

  • Ricieri Carlini Zorzal, Federal University of Maranhão (Brazil)

    Bachelor's degree in guitar performance from the Federal University of Minas Gerais (UFMG), in the class of professor Fernando Araújo, Master in Performance from the Federal University of Bahia (UFBA), under the guidance of professor Dr. Mário Ulloa and PhD in Music Education also from UFBA, under the guidance of Professor Cristina Tourinho. He has worked as a concert performer, playing at Theatro São Pedro in Porto Alegre and at the International Winter Festival of Domingos Martins, among others. As a researcher, he has published articles in periodicals, book chapters and has recently released a book on musical performance. In 2009, he completed a seven-month research internship in music at the Universidade Católica University, in the city of Porto, under the guidance of Professor Daniela Coimbra. He is currently an Adjunct Professor at the Department of Arts and coordinator of the Center for Humanities at the Federal University of Maranhão (UFMA).

  • Guilherme Augusto de Ávila, Federal University of Maranhão (Brazil)

    He started his undergraduate studies at the Federal University of Rio Grande do Sul (UFRGS) and completed his Bachelor's degree in guitar performance at the Federal University of Minas Gerais (UFMG), in the class of Professor Fernando Araújo. He holds a Master in Performance from the Federal University of Bahia (UFBA), under the guidance of professor Dr. Mário Ulloa. He has participated in master-classes with important guitarists, including Fábio Zanon and Eduardo Isaac. He has performed several times as a concert performer, giving recitals in several Brazilian cities. As a researcher, he has publications in national and international symposiums. He was Substitute Professor at the State University of Maranhão (UEMA) and also at the Federal University of Maranhão (UFMA). He is currently Assistant Professor and Head of the Department of Arts at UFMA.

References

LTENMÜLLER, Eckart. From the Neanderthal to the concert hall: Development of sensory motor skills and brain plasticity in music performance. In: International Symposium on Performance Science, Porto, 2007.

BARRY, Nancy H. The Effects of Practice Strategies, Individual Differences in Cognitive Style, and Gender upon Technical Accuracy and Musicality of Student Instrumental Performance. In: Psychologyof Music, v. 20, nº 2, 1992, p.112-123.

BARRY, Nancy H; HALLAM, Susan. Practice. In: PARNCUTT, Richard; MCPHERSON, Gary. The Science & Psichology of Music Performance: Creative Strategies for Teaching and Learning. Oxford University Press, Nova York, 2002. p.151-166

BERIO, Luciano. Entrevista sobre a Música Contemporânea (realizada por Rosana Dalmonte). Ed. Civilização Brasileira, Rio de Janeiro, 1988.

BRANDFONBRENER, Alice G; KJELLAND, James M. Music Medicine. In: PARNCUTT, Richard; MCPHERSON, Gary. The Science & Psichology of Music Performance: Creative Strategies for Teaching and Learning. Oxford University Press, Nova York, 2002. p.82-96

BRASIL. Lei nº 11.769/08 de 19 de agosto de 2008.

BRUNER, Jerome Seymour. The Process of Education. Harvard University Press, Cambridge, 1960.

CARDASSI, Luciane. Pisando no Palco: prática de performance e produção de recitais. In: Anais do I Seminário Nacional de Pesquisa em Performance Musical. Belo Horizonte: UFMG, 2000, p.251-257.

CERQUEIRA, Daniel Lemos. Compêndio de Pedagogia da Performance Musical. Edição do Autor, São Luís, 2011. Disponível em http://musica.ufma.br.

CHAFFIN, Roger; IMREH, Gabriela; CRAWFORD; Mary. Practicing Perfection: Memory and Piano Performance. Lawrence Erlbaum Associates Publishers, Mahwah, 2002.

COSO, Jose Antonio. Tocar un instrumento: Metodologia del Estudio, Psicología y Experiencia Educativa en el Aprendizaje Instrumental. Editorial Música Mundana, Madri, 1992.

ESPERIDIÃO, Neide. Educação profissional: reflexões sobre o currículo e a prática pedagógica dos conservatórios. Revista da ABEM, no 7, set-2002. Porto Alegre, 2002, p.69-74.

FISHER, Christopher. Teaching Piano in Groups. Oxford University Press, Nova York, 2010.

FONTERRADA, Marisa Trench de Oliveira. De Tramas e Fios: um ensaio sobre Música e Educação. Ed. UNESP, São Paulo, 2005. 1ª ed

FUCCI AMATO, Rita de Cássia. Educação pianística: o rigor pedagógico dos conservatórios. Música Hodie, v. 6, no1. Goiânia: UFG, 2006, p.75-96.

____________________________. O Piano no Brasil: uma perspectiva histórico-sociológica. In: Anais do XVII Congresso da ANPPOM, São Paulo, 2007.

GERLOFF, Christian; HUMMEL, Friedhelm. The role of inhibition in the motor control of finger function. In: ALTENMÜLLER, Eckart; WIESENDANGER, Mario, KESSELRING, Jürg. Music, Motor Control and the Brain. Oxford University Press, Nova York, 2006. p.239-247

GINSBORG, Jane. Strategies for Memorizing Music. In: WILLIAMON, Aaron (org.). Musical Excellence: Strategies and techniques to enhance performance. Oxford University Press, Nova York, 2004. p.123-141

GLASER, Scheila. Criatividade na aula de piano: múltiplas facetas. Revista A, v. 1, mar-2007. UNESP: São Paulo, 2007. Disponível em meio digital.

GLASER, Scheila; FONTERRADA, Marisa. Músico-Professor: uma questão complexa. Música Hodie, v. 7, no 1. Goiânia: UFG, 2007, p.27-49.

GORDON, Stewart. Etudes for Piano Teachers. Oxford University Press, Nova York, 1995.

HARNONCOURT, Nikolaus. O Discurso dos Sons: Caminhos para uma nova compreensão musical.Ed. Jorge Zahar, Rio de Janeiro, 1988.

HOMMEL, Bernard; RIDDERINKHOF, Richard; THEEUWES, Jan. Cognitive control of attention and action: issues and trends. In: Psychological Research, 2002, v. 66, p.215-129.

HUDSON, Glenn; ROLAND, David. Performance Anxiety. In: PARNCUTT, Richard; MCPHERSON, Gary. The Science & Psichology of Music Performance: Creative Strategies for Teaching and Learning. Oxford University Press, Nova York, 2002. p.47-61

JØRGENSEN, Harald. Strategies for Individual Performance. In: WILLIAMON, Aaron (org.). Musical Excellence: Strategies and techniques to enhance performance. Oxford University Press, Nova York, 2004. p.85-103

KAPLAN, José Alberto. Teoria da Aprendizagem Pianística. Ed. Movimento, Porto Alegre, 1987. 2ª ed

KESSELRING, Jürg. Music performance anxiety. In: ALTENMÜLLER, Eckart; WIESENDANGER, Mario, KESSELRING, Jürg. Music, Motor Control and the Brain. Oxford University Press, Nova York, 2006. p.309-318

KIHLSTROM, John. The cognitive unconscious. Science Magazine, v. 237, p.1445-1452.

KIRCHNER, Joann. Managing musical performance anxiety. American Music Teacher, dec-2005, p.31-33.

KOCH, Christof; TSUCHIYA, Naotsugu. Attention and counsciouness: two distinct brain processes. TRENDS in Cognitive Sciences, nov-2006, v. 11, nº 1, p.16-22.

KOVACS, Sandor. Untersuchungenüber das musikalische Gedächtnis. Zeitschriftfürangewandte Psychologie, v. 11, p.113-135.

KRAMPE, Ralf T; ERICSSON, K. Anders. Deliberate practice and elite musical performance. In: RINK, John (org.). The Practice of Performance: studies in musical interpretation. Cambridge University Press, Cambridge, 1995. p.84-102.

LAWSON, Colin James; STOWELL, Robin. The historical performance of music: an introduction. Cambridge University Press, Cambridge, 1999.

LESTER, Joel. Performance and analysis: interaction and interpretation. In: RINK, John (org.). The Practice of Performance: studies in musical interpretation. Cambridge University Press, Cambridge, 1995. p.197-216

LIEBERMAN, Matthew. Intuition: A Social Cognitive Neuroscience Approach. PsychologicalBulletin, 2000, v. 126, nº 1, p.109-137.

O’NEILL, Susan A; MCPHERSON, Gary E. Motivation. In: PARNCUTT, Richard; MCPHERSON, Gary. The Science & Psichology of Music Performance: Creative Strategies for Teaching and Learning. Oxford University Press, Nova York, 2002. p.31-46

PARAKILAS, James (org). Piano Roles: three hundred years of life with the Piano. Yale University Press, New Haven, 2001.

PÓVOAS, Maria Bernardete Castelán; SILVA, Daniel da; PONTES, Vânia Éger. Ação Pianística e Coordenação Motora – redução do movimento como possibilidade de otimização da técnica com foco na transmissão do conteúdo musical. In: Anais do XVIII Congresso da ANPPOM, Salvador, 2008. p.329-333

RUGIU, Antônio Santoni. Nostalgia do Mestre Artesão. Ed. Autores Associados, Campinas, 1998.

SCHMIDT, Richard, A; WRISBERG, Craig A. Motor Learning and Performance. Human Kinetics, Champaign, 2008. 4ª ed

SPRENGER, Marilee. Learning & Memory: the brain in action. Association for Supervision and Curriculum Development,

Alexandria, 1999.

SUZUKI, Shinichi. Shinichi Suzuki: His Speechs and Essays.Warner Bros Publications, Miami, 1998.

USZLER, Marienne; GORDON, Stewart; SMITH, Scott McBryde. The Well-Tempered Keyboard Teacher. Schirmer Books, Nova York, 2000. 2ª ed

VIEGAS, Maria Amélia de Resende. O ensino de Piano no Curso Técnico do Conservatório Estadual de Música Padre José Maria Xavier de São João del-Rei enquanto Prática Pedagógica Institucional: O problema, suas implicações, e perspectivas. Cadernos do Colóquio. Rio de Janeiro: UNIRIO, 2006.

WATSON, Alan H. D. The Biology of Musical Performance and Performance-Related Injury. Scarecrow Press Inc, Toronto, 2009.

Downloads

Published

2012-12-10

Issue

No. 26 (2012): General Topics

Section

Articles in Portuguese/Spanish

License

Creative Commons License

This work is licensed under a Creative Commons Attribution 4.0 International License.

Licença Creative Commons
Except where otherwise noted, contents on this site are licensed under a  Creative Commons - Atribuição 4.0 Internacional.

How to Cite

“Considerations about Music Performance Learning”. 2012. Per Musi, no. 26 (December): 1-16. https://periodicos.ufmg.br/index.php/permusi/article/view/39970.

Similar Articles

11-20 of 185

You may also start an advanced similarity search for this article.