O ato da performance musical: processos mentais e prática pedagógica (2020)

Projeto de pesquisa do Grupo de Pesquisa Cognição Musical em Processos Criativos – CMPC 🔗

Marcos Nogueira, docente responsável
Midori Maeshiro, docente
Anderson Cesar, doutorando
Carlos André Weidt Mendes, doutorando
Eduardo de Carvalho Torres, doutorando
Julio Merlino, egresso
Leandro Soares, doutorando
Tatiana Dumas, doutoranda
Arthur Leppaus, mestrando
Mauro Rufino, mestrando

Idioma alternativo para processo seletivo (Doutorado): francês

À medida que as pesquisas em cognição incorporada se voltam para a apreensão do ato da performance musical—incluídos todos os processos de aprendizagem e desenvolvimento da expertise do performer—alargamos o campo de conhecimento do sentido musical. Estamos referindo, particularmente, o viés que tematiza a interseção mente-corpo, experiência e cultura. Este aporte teórico-metodológico tem uma relevância clara para as práticas pedagógicas da área, pois proporciona uma estrutura pragmática para o entendimento objetivo dos processos cognitivos envolvidos. A abordagem incorporada da performance musical possibilita a estruturação de métodos coerentes de observação e discussão das ações que realizam a performance e seus processos pedagógicos. O presente projeto considera o pressuposto que toda experiência musical é performática. Estamos aqui reconhecendo experiência musical, tanto como processo de criação quanto de ordenação ou representação de ideias musicais na forma de textos (escritos, sônicos, visuais, gestuais, etc.). Os objetivos específicos envolvem o aprofundamento de questões em torno: (1) da leitura musical enquanto aquisição de expertise em “leitura à primeira vista”; (2) da memória musical, habilidade eidética que envolve recuperação de representações mentais de sentidos e ações sequenciais experimentadas, além de processos cognitivos de mapeamento entre níveis distintos de “consciência” e processos sensório-motores e músculo-esqueléticos; (3) dos processos emocionais que regulam a agência e a empatia em performance; (4) da incorporação do ato da performance, tanto como condição sensório-motora do intérprete-executante quanto como fundamento do entendimento musical e da construção interpretativa; (5) da autorregulação e planejamento do estudo; (6) da criatividade e expressividade aplicadas à comunicação interpessoal entre músicos e entre o agente da performance e o público por ele visado; (7) do processo de aquisição de expertise do performer e do pedagogo em performance, com respeito à eficácia nas relações competência/repertório e competência/cena; e (8) do desenvolvimento de estratégias metacognitivas, comportamentais e motivacionais para a superação de problemas como o da concentração para a performance. O programa metodológico do presente projeto inclui: entrevistas e questionários aplicados a alunos, professores (que atuam em universidades, conservatórios e centros de formação musical) e performers, em geral; desenvolvimento de procedimentos e protocolos de coleta de dados em situações de performance; programas de observação e testes orientados, mediante registro videofonográfico; e avaliação e formulação de modelos analíticos dedicados à apreensão e ao tratamento de parâmetros qualitativos e quantitativos da performance musical.

The act of musical performance: mental processes and pedagogical practice

As research into embodied cognition turns to apprehend the act of musical performance — including all the processes of learning and developing the performer’s expertise — we broaden the field of knowledge of musical meaning. We are referring, in particular, to the bias that thematizes the mind-body intersection, experience, and culture. This theoretical-methodological contribution has clear relevance for the performance pedagogical practices, as it provides a pragmatic structure for the objective understanding of the cognitive processes involved. The embodied approach to musical performance makes it possible to structure coherent methods of observation and discussion of the actions that accomplish the performance and its pedagogical processes. The present project considers the assumption that every musical experience is a performance. We recognize musical experience, both as a process of creation and as ordering or representing musical ideas in the form of texts (written, sonic, visual, gestural, etc.). The specific objectives involve the deepening of issues around: (1) sight-reading as an acquisition of expertise; (2) musical memory, an eidetic skill that involves retrieving mental representations of meanings and experienced sequential actions, in addition to cognitive processes of mapping between different levels of “consciousness” and sensory-motor and musculoskeletal processes; (3) the emotional processes that regulate the agency and empathy in performance; (4) emboding the performance act, both as a sensorimotor condition of the performer and as a foundation for musical understanding and interpretive construction; (5) self-regulation and study planning; (6) creativity and expressiveness applied to interpersonal communication between musicians and between the performance agent and the target audience; (7) the process of expertise acquiring of the performer and the pedagogue in performance, with respect to the effectiveness in the competence/repertoire and competence/scene relationships; and (8) the development of metacognitive, behavioral and motivational strategies to overcome problems such as concentration for performance. The methodological program of this project includes interviews and questionnaires applied to students, teachers (who work in universities, conservatories, and music training centers), and performers, in general; development of data collection procedures and protocols in performance situations; guided observation and testing programs, through videophonographic record; and evaluation and formulation of analytical models dedicated to the apprehension and treatment of qualitative and quantitative parameters of musical performance.

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