Abordagens pedagógicas de Warm Up para clarineta: análise de materiais didáticos
Ano de defesa: | 2019 |
---|---|
Autor(a) principal: | |
Orientador(a): | |
Banca de defesa: | |
Tipo de documento: | Tese |
Tipo de acesso: | Acesso aberto |
Idioma: | por |
Instituição de defesa: |
Universidade Federal de Santa Maria
Brasil Artes UFSM Programa de Pós-Graduação em Artes Visuais Centro de Artes e Letras |
Programa de Pós-Graduação: |
Não Informado pela instituição
|
Departamento: |
Não Informado pela instituição
|
País: |
Não Informado pela instituição
|
Palavras-chave em Português: | |
Link de acesso: | http://repositorio.ufsm.br/handle/1/24037 |
Resumo: | Routine warm ups bring innumerous benefits for clarinetists, including mental preparation for performances, physical warm up, a review of the fundamentals of clarinet playing and greater consistency in performance (BURKE, 1995). This study, therefore, aimed to investigate pedagogical approaches to warm ups for clarinet used by experienced teachers, Avraham Galper (1999), D. Ray McClellan (1986) and Kelly Burke (1995), based on their teaching materials. More specifically, it aimed to verify how each teacher structures the warm up theme; analyze the elements each emphasizes in the warm up process; and reflect on the performance of these technical-musical elements in the routine warm up practices of clarinetists. Studies in the area of clarinet pedagogy by Clark (1983), McClellan (1987), Kycia (1999), Schmidt (2001), Cheeseman (2001), Dees (2005), Gunlogson (2006), Miller (2010), Pavlovski (2012), Eastwood (2015), Araújo (2016) and Tse (2018) grounded this qualitative multiple case study (YIN, 2005), which analyzed three exemplars of teaching material for the clarinet warm up. Semi-structured interviews were also carried out with D. Ray McClellan and Guy Yehuda, a previous student of Professor Avrahm Galper, and a questionnaire was completed by Professor Kelly Burke. Based on the data generated, the pedagogical approach of each teacher was described and analyzed in order to offer reflections and guidelines for creating routine warm up practices for the clarinet player. Among the particularities found in the approaches, we can mention the importance of developing sonority in the chalumeau register and the 2341 offbeat approach (GALPER, 1999), flexibility in changing the throat register by using the Thing technique and the technical approach to scales of Labanchi-Weber (McCLELLAN, 1986), exercises for the left and right hands and extended clarinet techniques (BURKE, 1995). It is also important to note that there is not a single way to approach the clarinet warm up and that the triad of sonority, technique and articulation make up the basis for developing a warm up routine. Finally, it is important to emphasize the value of establishing connections between the skills developed and the repertoire to be studied. |
id |
UFSM_2f88a19301fa20602bbe43b4d3379bea |
---|---|
oai_identifier_str |
oai:repositorio.ufsm.br:1/24037 |
network_acronym_str |
UFSM |
network_name_str |
Manancial - Repositório Digital da UFSM |
repository_id_str |
|
spelling |
Abordagens pedagógicas de Warm Up para clarineta: análise de materiais didáticosPedagogical approaches to clarinet Warm Up: analysis of teaching materialsWarm-upClarinetaEnsino de instrumentoMateriais didáticosWarm upsClarinetTeaching materialsMusical instrument teachingCNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::MUSICARoutine warm ups bring innumerous benefits for clarinetists, including mental preparation for performances, physical warm up, a review of the fundamentals of clarinet playing and greater consistency in performance (BURKE, 1995). This study, therefore, aimed to investigate pedagogical approaches to warm ups for clarinet used by experienced teachers, Avraham Galper (1999), D. Ray McClellan (1986) and Kelly Burke (1995), based on their teaching materials. More specifically, it aimed to verify how each teacher structures the warm up theme; analyze the elements each emphasizes in the warm up process; and reflect on the performance of these technical-musical elements in the routine warm up practices of clarinetists. Studies in the area of clarinet pedagogy by Clark (1983), McClellan (1987), Kycia (1999), Schmidt (2001), Cheeseman (2001), Dees (2005), Gunlogson (2006), Miller (2010), Pavlovski (2012), Eastwood (2015), Araújo (2016) and Tse (2018) grounded this qualitative multiple case study (YIN, 2005), which analyzed three exemplars of teaching material for the clarinet warm up. Semi-structured interviews were also carried out with D. Ray McClellan and Guy Yehuda, a previous student of Professor Avrahm Galper, and a questionnaire was completed by Professor Kelly Burke. Based on the data generated, the pedagogical approach of each teacher was described and analyzed in order to offer reflections and guidelines for creating routine warm up practices for the clarinet player. Among the particularities found in the approaches, we can mention the importance of developing sonority in the chalumeau register and the 2341 offbeat approach (GALPER, 1999), flexibility in changing the throat register by using the Thing technique and the technical approach to scales of Labanchi-Weber (McCLELLAN, 1986), exercises for the left and right hands and extended clarinet techniques (BURKE, 1995). It is also important to note that there is not a single way to approach the clarinet warm up and that the triad of sonority, technique and articulation make up the basis for developing a warm up routine. Finally, it is important to emphasize the value of establishing connections between the skills developed and the repertoire to be studied.A prática de rotina do warm up para o clarinetista traz inúmeros benefícios como a preparação mental para a performance, o aquecimento físico, a revisão dos fundamentos da execução em clarineta e maior consistência na performance (BURKE, 1995). Neste sentido, este estudo objetivou compreender as abordagens pedagógicas de warm up para clarineta de experientes professores, Avraham Galper (1999), D. Ray McClellan (1986) e Kelly Burke (1995), com base em seus materiais didáticos. Especificamente, buscou-se conhecer como cada professor estrutura a temática de warm up; analisar quais elementos cada autor enfatiza no processo de warm up e refletir sobre a execução destes elementos técnico-musicais na prática cotidiana de warm up do clarinetista. Trabalhos de Clark (1983), McClellan (1987), Kycia (1999), Schmidt (2001), Cheeseman (2001), Dees (2005), Gunlogson (2006), Miller (2010), Pavlovski (2012), Eastwood (2015), Araújo (2016) e Tse (2018) na área da pedagogia da clarineta fundamentaram esta investigação. A pesquisa, de abordagem qualitativa, desenvolveu-se por meio do método de estudo de caso múltiplo (YIN, 2005), no qual foram analisados três materiais didáticos de warm up para clarineta. Além dos materiais, foram realizadas duas entrevistas semiestruturadas – uma com o professor D. Ray McClellan e outra com Guy Yehuda, ex-aluno do professor Avrahm Galper – e um questionário foi respondido pela professora Kelly Burke. A partir disso, foi possível analisar e descrever a abordagem pedagógica de cada professor, obtendo-se desta forma, subsídios para a reflexão sobre as possibilidades da prática do warm up no cotidiano do clarinetista. Entre as particularidades encontradas nas abordagens dos materiais didáticos, destacam-se a importância do desenvolvimento da sonoridade no registro chalumeau e da abordagem off beat 2341 (GALPER, 1999), a flexibilidade na mudança do registro médio através da técnica “Thing” e a abordagem técnica das escalas de Labanchi-Weber (McCLELLAN, 1986), além dos exercícios para a mão esquerda e direita e da abordagem de técnicas expandidas (BURKE, 1995). Observase também que não há um pensamento único em relação ao warm up para clarineta e o tripé sonoridade, técnica e articulação formam a base para o desenvolvimento de uma rotina da prática de warm up. Por fim, salienta-se a relevância de estabelecer conexões entre as habilidades desenvolvidas e o repertório a ser estudado.Universidade Federal de Santa MariaBrasilArtesUFSMPrograma de Pós-Graduação em Artes VisuaisCentro de Artes e LetrasBellochio, Cláudia RibeiroLoss, Andre da SilveiraSilva, Ursula Rosa daBarbosa, Joel Luís da SilvaGarbosa, Guilherme Sampaio2022-04-07T13:18:05Z2022-04-07T13:18:05Z2019info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/doctoralThesisapplication/pdfhttp://repositorio.ufsm.br/handle/1/24037ark:/26339/0013000001fq9porAttribution-NonCommercial-NoDerivatives 4.0 Internationalhttp://creativecommons.org/licenses/by-nc-nd/4.0/info:eu-repo/semantics/openAccessreponame:Manancial - Repositório Digital da UFSMinstname:Universidade Federal de Santa Maria (UFSM)instacron:UFSM2022-07-05T15:07:41Zoai:repositorio.ufsm.br:1/24037Biblioteca Digital de Teses e Dissertaçõeshttps://repositorio.ufsm.br/ONGhttps://repositorio.ufsm.br/oai/requestatendimento.sib@ufsm.br||tedebc@gmail.comopendoar:2022-07-05T15:07:41Manancial - Repositório Digital da UFSM - Universidade Federal de Santa Maria (UFSM)false |
dc.title.none.fl_str_mv |
Abordagens pedagógicas de Warm Up para clarineta: análise de materiais didáticos Pedagogical approaches to clarinet Warm Up: analysis of teaching materials |
title |
Abordagens pedagógicas de Warm Up para clarineta: análise de materiais didáticos |
spellingShingle |
Abordagens pedagógicas de Warm Up para clarineta: análise de materiais didáticos Garbosa, Guilherme Sampaio Warm-up Clarineta Ensino de instrumento Materiais didáticos Warm ups Clarinet Teaching materials Musical instrument teaching CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::MUSICA |
title_short |
Abordagens pedagógicas de Warm Up para clarineta: análise de materiais didáticos |
title_full |
Abordagens pedagógicas de Warm Up para clarineta: análise de materiais didáticos |
title_fullStr |
Abordagens pedagógicas de Warm Up para clarineta: análise de materiais didáticos |
title_full_unstemmed |
Abordagens pedagógicas de Warm Up para clarineta: análise de materiais didáticos |
title_sort |
Abordagens pedagógicas de Warm Up para clarineta: análise de materiais didáticos |
author |
Garbosa, Guilherme Sampaio |
author_facet |
Garbosa, Guilherme Sampaio |
author_role |
author |
dc.contributor.none.fl_str_mv |
Bellochio, Cláudia Ribeiro Loss, Andre da Silveira Silva, Ursula Rosa da Barbosa, Joel Luís da Silva |
dc.contributor.author.fl_str_mv |
Garbosa, Guilherme Sampaio |
dc.subject.por.fl_str_mv |
Warm-up Clarineta Ensino de instrumento Materiais didáticos Warm ups Clarinet Teaching materials Musical instrument teaching CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::MUSICA |
topic |
Warm-up Clarineta Ensino de instrumento Materiais didáticos Warm ups Clarinet Teaching materials Musical instrument teaching CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::MUSICA |
description |
Routine warm ups bring innumerous benefits for clarinetists, including mental preparation for performances, physical warm up, a review of the fundamentals of clarinet playing and greater consistency in performance (BURKE, 1995). This study, therefore, aimed to investigate pedagogical approaches to warm ups for clarinet used by experienced teachers, Avraham Galper (1999), D. Ray McClellan (1986) and Kelly Burke (1995), based on their teaching materials. More specifically, it aimed to verify how each teacher structures the warm up theme; analyze the elements each emphasizes in the warm up process; and reflect on the performance of these technical-musical elements in the routine warm up practices of clarinetists. Studies in the area of clarinet pedagogy by Clark (1983), McClellan (1987), Kycia (1999), Schmidt (2001), Cheeseman (2001), Dees (2005), Gunlogson (2006), Miller (2010), Pavlovski (2012), Eastwood (2015), Araújo (2016) and Tse (2018) grounded this qualitative multiple case study (YIN, 2005), which analyzed three exemplars of teaching material for the clarinet warm up. Semi-structured interviews were also carried out with D. Ray McClellan and Guy Yehuda, a previous student of Professor Avrahm Galper, and a questionnaire was completed by Professor Kelly Burke. Based on the data generated, the pedagogical approach of each teacher was described and analyzed in order to offer reflections and guidelines for creating routine warm up practices for the clarinet player. Among the particularities found in the approaches, we can mention the importance of developing sonority in the chalumeau register and the 2341 offbeat approach (GALPER, 1999), flexibility in changing the throat register by using the Thing technique and the technical approach to scales of Labanchi-Weber (McCLELLAN, 1986), exercises for the left and right hands and extended clarinet techniques (BURKE, 1995). It is also important to note that there is not a single way to approach the clarinet warm up and that the triad of sonority, technique and articulation make up the basis for developing a warm up routine. Finally, it is important to emphasize the value of establishing connections between the skills developed and the repertoire to be studied. |
publishDate |
2019 |
dc.date.none.fl_str_mv |
2019 2022-04-07T13:18:05Z 2022-04-07T13:18:05Z |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/doctoralThesis |
format |
doctoralThesis |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
http://repositorio.ufsm.br/handle/1/24037 |
dc.identifier.dark.fl_str_mv |
ark:/26339/0013000001fq9 |
url |
http://repositorio.ufsm.br/handle/1/24037 |
identifier_str_mv |
ark:/26339/0013000001fq9 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.rights.driver.fl_str_mv |
Attribution-NonCommercial-NoDerivatives 4.0 International http://creativecommons.org/licenses/by-nc-nd/4.0/ info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Attribution-NonCommercial-NoDerivatives 4.0 International http://creativecommons.org/licenses/by-nc-nd/4.0/ |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Universidade Federal de Santa Maria Brasil Artes UFSM Programa de Pós-Graduação em Artes Visuais Centro de Artes e Letras |
publisher.none.fl_str_mv |
Universidade Federal de Santa Maria Brasil Artes UFSM Programa de Pós-Graduação em Artes Visuais Centro de Artes e Letras |
dc.source.none.fl_str_mv |
reponame:Manancial - Repositório Digital da UFSM instname:Universidade Federal de Santa Maria (UFSM) instacron:UFSM |
instname_str |
Universidade Federal de Santa Maria (UFSM) |
instacron_str |
UFSM |
institution |
UFSM |
reponame_str |
Manancial - Repositório Digital da UFSM |
collection |
Manancial - Repositório Digital da UFSM |
repository.name.fl_str_mv |
Manancial - Repositório Digital da UFSM - Universidade Federal de Santa Maria (UFSM) |
repository.mail.fl_str_mv |
atendimento.sib@ufsm.br||tedebc@gmail.com |
_version_ |
1822613499367391232 |