This research discusses the nature of musical improvisation and the possibility of applying it to... more This research discusses the nature of musical improvisation and the possibility of applying it to music teaching and musical performances. The central issue that motivated the research is the focus on: “Is it possible to work out a meaningful teaching of musical improvisation at schools that work on musical performance, or would this be a task that goes against the nature of what the improvisation is about?” This issue have led us to the following aims: to discuss musical improvisation and meaningful learning concepts, to promote courses and the chance to improvise in schools that use performance as a model for music teaching, and to offer to music students and teachers some methodological paradigms that will enable to turn improvisation into a discipline in instrumental practice or singing courses. To answer this question, the researcher will take into account his own life experience, considering the positive and negative opportunities that led to his musical development and his interest in improvisation. In chapter II the educational theories that are the background of the pedagogic principles that were applied in the research are presented, particularly David Paul Ausubel’s, that explains many aspects of learning for teaching in general. We chose the Ausubel’s concepts that could be used to give support to music and improvisation teaching. The third chapter contains the bibliography used in the research. We went through books and papers that looked into improvisation from a scientific, pedagogic and philosophical point of view. In chapter IV there is a brief report about the history of improvisation in the West since it started to be written and how to apply it to the current music scene, and a look into the issue of the use of improvisation in the popular music of the continent. In Chapter V the sources that generated the research are presented divided in three parts: the first contains the questions answered by the students from the Arts Institute of UNESP in order to find out what the relationship of the undergraduate music students of the Institute with improvisation is like, the second is about the staging, the rehearsals and the execution of Móbile, a didactic music work written by the researcher specifically for this study, and the third consists of two testimonials of people who have links with improvisation and music education. In the same chapter the results of the research are discussed through a dialogue with the theories that were pointed out. The conclusion is that the best way to work on musical improvisation in instrument teaching is during courses that are specific, regular and of long duration, and that meaningful learning provides a reliable support for music teaching which can be extended to improvisation learning. It was not possible to check whether the methodological paradigms, many of which come from jazz and music education, would have the same effect if applied to traditional music courses. This task will be handled a posteriori, as we believe that, from the collected data, teaching improvisation practice to classical musicians could bring countless benefits to their performance.
This research discusses the nature of musical improvisation and the possibility of applying it to... more This research discusses the nature of musical improvisation and the possibility of applying it to music teaching and musical performances. The central issue that motivated the research is the focus on: “Is it possible to work out a meaningful teaching of musical improvisation at schools that work on musical performance, or would this be a task that goes against the nature of what the improvisation is about?” This issue have led us to the following aims: to discuss musical improvisation and meaningful learning concepts, to promote courses and the chance to improvise in schools that use performance as a model for music teaching, and to offer to music students and teachers some methodological paradigms that will enable to turn improvisation into a discipline in instrumental practice or singing courses. To answer this question, the researcher will take into account his own life experience, considering the positive and negative opportunities that led to his musical development and his interest in improvisation. In chapter II the educational theories that are the background of the pedagogic principles that were applied in the research are presented, particularly David Paul Ausubel’s, that explains many aspects of learning for teaching in general. We chose the Ausubel’s concepts that could be used to give support to music and improvisation teaching. The third chapter contains the bibliography used in the research. We went through books and papers that looked into improvisation from a scientific, pedagogic and philosophical point of view. In chapter IV there is a brief report about the history of improvisation in the West since it started to be written and how to apply it to the current music scene, and a look into the issue of the use of improvisation in the popular music of the continent. In Chapter V the sources that generated the research are presented divided in three parts: the first contains the questions answered by the students from the Arts Institute of UNESP in order to find out what the relationship of the undergraduate music students of the Institute with improvisation is like, the second is about the staging, the rehearsals and the execution of Móbile, a didactic music work written by the researcher specifically for this study, and the third consists of two testimonials of people who have links with improvisation and music education. In the same chapter the results of the research are discussed through a dialogue with the theories that were pointed out. The conclusion is that the best way to work on musical improvisation in instrument teaching is during courses that are specific, regular and of long duration, and that meaningful learning provides a reliable support for music teaching which can be extended to improvisation learning. It was not possible to check whether the methodological paradigms, many of which come from jazz and music education, would have the same effect if applied to traditional music courses. This task will be handled a posteriori, as we believe that, from the collected data, teaching improvisation practice to classical musicians could bring countless benefits to their performance.
This research discusses the nature of musical improvisation and the possibility of applying it to... more This research discusses the nature of musical improvisation and the possibility of applying it to music teaching and musical performances. The central issue that motivated the research is the focus on: “Is it possible to work out a meaningful teaching of musical improvisation at schools that work on musical performance, or would this be a task that goes against the nature of what the improvisation is about?” This issue have led us to the following aims: to discuss musical improvisation and meaningful learning concepts, to promote courses and the chance to improvise in schools that use performance as a model for music teaching, and to offer to music students and teachers some methodological paradigms that will enable to turn improvisation into a discipline in instrumental practice or singing courses. To answer this question, the researcher will take into account his own life experience, considering the positive and negative opportunities that led to his musical development and his interest in improvisation. In chapter II the educational theories that are the background of the pedagogic principles that were applied in the research are presented, particularly David Paul Ausubel’s, that explains many aspects of learning for teaching in general. We chose the Ausubel’s concepts that could be used to give support to music and improvisation teaching. The third chapter contains the bibliography used in the research. We went through books and papers that looked into improvisation from a scientific, pedagogic and philosophical point of view. In chapter IV there is a brief report about the history of improvisation in the West since it started to be written and how to apply it to the current music scene, and a look into the issue of the use of improvisation in the popular music of the continent. In Chapter V the sources that generated the research are presented divided in three parts: the first contains the questions answered by the students from the Arts Institute of UNESP in order to find out what the relationship of the undergraduate music students of the Institute with improvisation is like, the second is about the staging, the rehearsals and the execution of Móbile, a didactic music work written by the researcher specifically for this study, and the third consists of two testimonials of people who have links with improvisation and music education. In the same chapter the results of the research are discussed through a dialogue with the theories that were pointed out. The conclusion is that the best way to work on musical improvisation in instrument teaching is during courses that are specific, regular and of long duration, and that meaningful learning provides a reliable support for music teaching which can be extended to improvisation learning. It was not possible to check whether the methodological paradigms, many of which come from jazz and music education, would have the same effect if applied to traditional music courses. This task will be handled a posteriori, as we believe that, from the collected data, teaching improvisation practice to classical musicians could bring countless benefits to their performance.
O artigo teve como objetivo investigar em que medida a improvisação e a tradição oral permitiram ... more O artigo teve como objetivo investigar em que medida a improvisação e a tradição oral permitiram a consolidação do ragtime e do choro em gêneros musicais com aceitação popular na virada do século XIX. A escolha concentrou-se nas semelhanças formais existentes entre ambos e nos caminhos percorridos por ambos para essa consolidação. A partir dos conceitos de territorialização e desterritorialização criados por Gilles Deleuze e Félix Guattari, incorporados à improvisação musical por Rogério Costa, verificamos o tipo de improvisação utilizado nesses dois gêneros. O relato histórico reafirma a ideia de D. Bailey de que a improvisação está sempre presente na criação de novos sistemas notacionais, gêneros e estilos musicais, ainda que nos processos de transmutação, ela saia de cena. O texto é parte da dissertação de mestrado defendida no IA-UNESP.
This study aims at investigating to what extent improvisation and oral tradition allowed for the ... more This study aims at investigating to what extent improvisation and oral tradition allowed for the consolidation of ragtime and choro into musical genres which became popular in the turning of the nineteenth century. The choice was concentrated on the formal similarities existing between both kinds of music and in the paths taken by both of them in their process of consolidation. As far as the concepts of territorialization and de-territorialization coined by Gilles Deleuze and Félix Guattari, and incorporated in musical improvisation by Rogério Costa, it was possible to verify the type of improvisation used in these two genres. Historically, it re-states D. Bailey's idea that improvisation is always present in the creation of new notational systems, genres and musical styles, even if it leaves the scene during the transmutation processes. This article derives from the first author's Master of Arts dissertation (IA-UNESP, Brazil).
This study aims at investigating to what extent improvisation and oral tradition allowed for the ... more This study aims at investigating to what extent improvisation and oral tradition allowed for the consolidation of ragtime and choro into musical genres which became popular in the turning of the nineteenth century. The choice was concentrated on the formal similarities existing between both kinds of music and in the paths taken by both of them in their process of consolidation. As far as the concepts of territorialization and de-territorialization coined by Gilles Deleuze and Félix Guattari, and incorporated in musical improvisation by Rogério Costa, it was possible to verify the type of improvisation used in these two genres. Historically, it re-states D. Bailey's idea that improvisation is always present in the creation of new notational systems, genres and musical styles, even if it leaves the scene during the transmutation processes. This article derives from the first author's Master of Arts dissertation (IA-UNESP, Brazil).
This research discusses the nature of musical improvisation and the possibility of applying it to... more This research discusses the nature of musical improvisation and the possibility of applying it to music teaching and musical performances. The central issue that motivated the research is the focus on: “Is it possible to work out a meaningful teaching of musical improvisation at schools that work on musical performance, or would this be a task that goes against the nature of what the improvisation is about?” This issue have led us to the following aims: to discuss musical improvisation and meaningful learning concepts, to promote courses and the chance to improvise in schools that use performance as a model for music teaching, and to offer to music students and teachers some methodological paradigms that will enable to turn improvisation into a discipline in instrumental practice or singing courses. To answer this question, the researcher will take into account his own life experience, considering the positive and negative opportunities that led to his musical development and his interest in improvisation. In chapter II the educational theories that are the background of the pedagogic principles that were applied in the research are presented, particularly David Paul Ausubel’s, that explains many aspects of learning for teaching in general. We chose the Ausubel’s concepts that could be used to give support to music and improvisation teaching. The third chapter contains the bibliography used in the research. We went through books and papers that looked into improvisation from a scientific, pedagogic and philosophical point of view. In chapter IV there is a brief report about the history of improvisation in the West since it started to be written and how to apply it to the current music scene, and a look into the issue of the use of improvisation in the popular music of the continent. In Chapter V the sources that generated the research are presented divided in three parts: the first contains the questions answered by the students from the Arts Institute of UNESP in order to find out what the relationship of the undergraduate music students of the Institute with improvisation is like, the second is about the staging, the rehearsals and the execution of Móbile, a didactic music work written by the researcher specifically for this study, and the third consists of two testimonials of people who have links with improvisation and music education. In the same chapter the results of the research are discussed through a dialogue with the theories that were pointed out. The conclusion is that the best way to work on musical improvisation in instrument teaching is during courses that are specific, regular and of long duration, and that meaningful learning provides a reliable support for music teaching which can be extended to improvisation learning. It was not possible to check whether the methodological paradigms, many of which come from jazz and music education, would have the same effect if applied to traditional music courses. This task will be handled a posteriori, as we believe that, from the collected data, teaching improvisation practice to classical musicians could bring countless benefits to their performance.
This research discusses the nature of musical improvisation and the possibility of applying it to... more This research discusses the nature of musical improvisation and the possibility of applying it to music teaching and musical performances. The central issue that motivated the research is the focus on: “Is it possible to work out a meaningful teaching of musical improvisation at schools that work on musical performance, or would this be a task that goes against the nature of what the improvisation is about?” This issue have led us to the following aims: to discuss musical improvisation and meaningful learning concepts, to promote courses and the chance to improvise in schools that use performance as a model for music teaching, and to offer to music students and teachers some methodological paradigms that will enable to turn improvisation into a discipline in instrumental practice or singing courses. To answer this question, the researcher will take into account his own life experience, considering the positive and negative opportunities that led to his musical development and his interest in improvisation. In chapter II the educational theories that are the background of the pedagogic principles that were applied in the research are presented, particularly David Paul Ausubel’s, that explains many aspects of learning for teaching in general. We chose the Ausubel’s concepts that could be used to give support to music and improvisation teaching. The third chapter contains the bibliography used in the research. We went through books and papers that looked into improvisation from a scientific, pedagogic and philosophical point of view. In chapter IV there is a brief report about the history of improvisation in the West since it started to be written and how to apply it to the current music scene, and a look into the issue of the use of improvisation in the popular music of the continent. In Chapter V the sources that generated the research are presented divided in three parts: the first contains the questions answered by the students from the Arts Institute of UNESP in order to find out what the relationship of the undergraduate music students of the Institute with improvisation is like, the second is about the staging, the rehearsals and the execution of Móbile, a didactic music work written by the researcher specifically for this study, and the third consists of two testimonials of people who have links with improvisation and music education. In the same chapter the results of the research are discussed through a dialogue with the theories that were pointed out. The conclusion is that the best way to work on musical improvisation in instrument teaching is during courses that are specific, regular and of long duration, and that meaningful learning provides a reliable support for music teaching which can be extended to improvisation learning. It was not possible to check whether the methodological paradigms, many of which come from jazz and music education, would have the same effect if applied to traditional music courses. This task will be handled a posteriori, as we believe that, from the collected data, teaching improvisation practice to classical musicians could bring countless benefits to their performance.
This research discusses the nature of musical improvisation and the possibility of applying it to... more This research discusses the nature of musical improvisation and the possibility of applying it to music teaching and musical performances. The central issue that motivated the research is the focus on: “Is it possible to work out a meaningful teaching of musical improvisation at schools that work on musical performance, or would this be a task that goes against the nature of what the improvisation is about?” This issue have led us to the following aims: to discuss musical improvisation and meaningful learning concepts, to promote courses and the chance to improvise in schools that use performance as a model for music teaching, and to offer to music students and teachers some methodological paradigms that will enable to turn improvisation into a discipline in instrumental practice or singing courses. To answer this question, the researcher will take into account his own life experience, considering the positive and negative opportunities that led to his musical development and his interest in improvisation. In chapter II the educational theories that are the background of the pedagogic principles that were applied in the research are presented, particularly David Paul Ausubel’s, that explains many aspects of learning for teaching in general. We chose the Ausubel’s concepts that could be used to give support to music and improvisation teaching. The third chapter contains the bibliography used in the research. We went through books and papers that looked into improvisation from a scientific, pedagogic and philosophical point of view. In chapter IV there is a brief report about the history of improvisation in the West since it started to be written and how to apply it to the current music scene, and a look into the issue of the use of improvisation in the popular music of the continent. In Chapter V the sources that generated the research are presented divided in three parts: the first contains the questions answered by the students from the Arts Institute of UNESP in order to find out what the relationship of the undergraduate music students of the Institute with improvisation is like, the second is about the staging, the rehearsals and the execution of Móbile, a didactic music work written by the researcher specifically for this study, and the third consists of two testimonials of people who have links with improvisation and music education. In the same chapter the results of the research are discussed through a dialogue with the theories that were pointed out. The conclusion is that the best way to work on musical improvisation in instrument teaching is during courses that are specific, regular and of long duration, and that meaningful learning provides a reliable support for music teaching which can be extended to improvisation learning. It was not possible to check whether the methodological paradigms, many of which come from jazz and music education, would have the same effect if applied to traditional music courses. This task will be handled a posteriori, as we believe that, from the collected data, teaching improvisation practice to classical musicians could bring countless benefits to their performance.
O artigo teve como objetivo investigar em que medida a improvisação e a tradição oral permitiram ... more O artigo teve como objetivo investigar em que medida a improvisação e a tradição oral permitiram a consolidação do ragtime e do choro em gêneros musicais com aceitação popular na virada do século XIX. A escolha concentrou-se nas semelhanças formais existentes entre ambos e nos caminhos percorridos por ambos para essa consolidação. A partir dos conceitos de territorialização e desterritorialização criados por Gilles Deleuze e Félix Guattari, incorporados à improvisação musical por Rogério Costa, verificamos o tipo de improvisação utilizado nesses dois gêneros. O relato histórico reafirma a ideia de D. Bailey de que a improvisação está sempre presente na criação de novos sistemas notacionais, gêneros e estilos musicais, ainda que nos processos de transmutação, ela saia de cena. O texto é parte da dissertação de mestrado defendida no IA-UNESP.
This study aims at investigating to what extent improvisation and oral tradition allowed for the ... more This study aims at investigating to what extent improvisation and oral tradition allowed for the consolidation of ragtime and choro into musical genres which became popular in the turning of the nineteenth century. The choice was concentrated on the formal similarities existing between both kinds of music and in the paths taken by both of them in their process of consolidation. As far as the concepts of territorialization and de-territorialization coined by Gilles Deleuze and Félix Guattari, and incorporated in musical improvisation by Rogério Costa, it was possible to verify the type of improvisation used in these two genres. Historically, it re-states D. Bailey's idea that improvisation is always present in the creation of new notational systems, genres and musical styles, even if it leaves the scene during the transmutation processes. This article derives from the first author's Master of Arts dissertation (IA-UNESP, Brazil).
This study aims at investigating to what extent improvisation and oral tradition allowed for the ... more This study aims at investigating to what extent improvisation and oral tradition allowed for the consolidation of ragtime and choro into musical genres which became popular in the turning of the nineteenth century. The choice was concentrated on the formal similarities existing between both kinds of music and in the paths taken by both of them in their process of consolidation. As far as the concepts of territorialization and de-territorialization coined by Gilles Deleuze and Félix Guattari, and incorporated in musical improvisation by Rogério Costa, it was possible to verify the type of improvisation used in these two genres. Historically, it re-states D. Bailey's idea that improvisation is always present in the creation of new notational systems, genres and musical styles, even if it leaves the scene during the transmutation processes. This article derives from the first author's Master of Arts dissertation (IA-UNESP, Brazil).
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