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Dis. Marcos Rosa Elementos Pré-Textuais Universidade Federal da Paraíba Centro de Ciências Humanas, Letras e Artes Programa de Pós-Graduação em Música Ensino e aprendizagem de guitarra em espaços músico- educacionais diversos de João Pessoa Marcos da Rosa Garcia João Pessoa Dezembro de 2011 Universidade Federal da Paraíba Centro de Ciências Humanas, Letras e Artes Programa de Pós-Graduação em Música Ensino e aprendizagem de guitarra em espaços músico- educacionais diversos de João Pessoa Dissertação apresentada ao Programa de Pós-Graduação em Música da Universidade Federal da Paraíba, como requisito parcial para a obtenção do título de Mestre em Música, área de concentração em Educação musical. Marcos da Rosa Garcia Orientador: Prof. Dr. Luis Ricardo Silva Queiroz João Pessoa Dezembro de 2011 G216e Garcia, Marcos da Rosa. Ensino e aprendizagem de guitarra em espaços músico- educacionais diversos de João Pessoa / Marcos da Rosa Garcia.- João Pessoa, 2011. 194f. : il. Orientador: Luis Ricardo Silva Queiroz Dissertação (Mestrado) – UFPB/CCHLA 1. Música. 2. Guitarra – ensino e aprendizagem – espaços de formação. 3. Guitarra – ensino – João Pessoa(PB). UFPB/BC CDU: 78(043) AGRADECIMENTOS Agradeço a minha esposa Cínara Leite Guimarães pelo incentivo, paciência, compreensão e revisão gramatical. Obrigado por estar sempre do meu lado, mesmo quando preciso viajar e me afastar. Obrigado a Anahid Der Garabedian por durante muitos e muitos anos ter me ajudado com seu “mãe-trocínio”. Também, por ter me forçado a estudar até que eu pudesse perceber como isso é importante. Ao meu pai, Luiz da Rosa Garcia Netto que me incentivou a fazer pós-graduação, mesmo que de seu jeito. Sei que me ama, que acredita e confia em minha capacidade. Também por ter me dado um disco do Van Halen na hora certa. Agradeço especialmente aos professores Felipe Grisi, Leonardo Meira (Leo) e Alberto Tavarez (Beto), assim como aos seus alunos, por terem dividido momentos de suas vidas e experiências comigo. Sem vocês nada disso seria possível e, na realidade, vocês são este trabalho. Aos colegas professores e coordenadores do Instituto Federal da Paraíba, assim como os funcionários da biblioteca desta instituição, que várias vezes me “expulsaram” educadamente deste ambiente. Meus alunos de guitarra e violão, por me ensinarem todos os dias. A todos que contribuíram direta ou indiretamente neste trabalho e que não posso listar neste curto espaço. “I’ve found that thinking about guitar playing and music is just as important as it is to keep playing.” Larry Carlton (American Guitar Player, maio, 1979) RESUMO O ensino e aprendizagem da guitarra se consolidaram a partir de uma conjuntura de fatores relacionados ao desenvolvimento histórico, interpretativo e cultural do instrumento. Assim, a formação do guitarrista se desenvolveu em espaços diversos e a partir de estratégias singulares relacionadas à prática e à inserção social da guitarra. Na atualidade, o instrumento tem conquistado novas demandas e novos espaços, ganhando inclusive dimensões institucionalizadas no que se refere ao seu ensino. Dessa forma, é possível afirmar que os espaços educacionais de ensino e aprendizagem da guitarra hoje se constituem tanto em contextos formalizados quanto em diversos outros universos de prática e, conseqüentemente, de formação musical. Considerando essa realidade, realizei um estudo multicaso na cidade de João Pessoa contemplando três importantes contextos de ensino e aprendizagem da guitarra na atualidade. Os espaços investigados foram: cursos de graduação em música da Universidade Federal da Paraíba; a escola de música Studio Musical, de caráter particular e que oferta cursos livres do instrumento; e aulas particulares de um professor que ministra aulas em sua própria residência. Tendo essa pesquisa como base, este trabalho apresenta, discute e analisa aspectos fundamentais que caracterizam aulas de guitarra nos três espaços de formação musical investigados, sobretudo no que tange à infra-estrutura, conteúdos, metodologias e estratégias diversas de ensino e aprendizagem utilizadas. A abordagem metodológica da pesquisa teve como base principal procedimentos qualitativos de coleta e análise dos dados, mas também contemplou instrumentos quantitativos a fim de enriquecer a compreensão do universo estudado. Assim, ao longo do trabalho investigativo, foram realizados estudos bibliográficos, entrevistas semi-estruturadas, aplicação de questionários e observação participante das aulas ministradas. A partir dos resultados obtidos, ficou evidente que, nos três contextos investigados, é comum o uso de escalas e a formação e utilização de acordes e arpejos como base para a prática do instrumento. Todavia, cada contexto apresenta singularidades no que concerne ao uso do repertório como elemento norteador da aprendizagem, à disponibilidade de equipamentos para a realização das aulas e à estruturação sistemática dos conteúdos aplicados. Palavras chave: guitarra, ensino e aprendizagem, espaços de formação ABSTRACT The teaching and learning of the electric guitar have been consolidated from a conjuncture of factors related to the historical, cultural and interpretative development of the instrument. Thus, the formation of the guitar player was developed in different spaces and from individual strategies related to the practice and the social insertion of the electric guitar. Currently, the instrument has achieved new demands and new spaces, also reaching institutionalized dimensions with regard to its teaching. Therefore, we can say that nowadays the educational spaces for teaching and learning the electric guitar are constituted by formalized contexts and several other universes of practice and, consequently, of musical formation. Taking this scenario into consideration, I conducted a multicase study in the city of Joao Pessoa considering three important contexts of teaching and learning the electric guitar today. The investigated spaces were: graduation courses of music at the Federal University of Paraiba, the school of music Studio Musical, a private school that offer free courses of the instrument, and private lessons with a teacher who gives classes in his own residence. Taking this research as a basis, this study presents, discusses and analyzes key aspects that characterize electric guitar lessons in the three investigated spaces of musical formation, especially in relation to infrastructure, content, methodologies and different strategies used for teaching and learning. The methodological approach of the research was based mainly on qualitative procedures of data collection and analysis, but also contemplated quantitative instruments to enrich the understanding of the universe studied. Thus, throughout the investigative work, bibliographic studies, semi-structured interviews, questionnaires and participant observation of classes were carried out. From the results obtained, it was evident that, in all of the three contexts investigated, it is common the use of scales and the formation and use of chords and arpeggios as the basis for the practice of the instrument. However, each context presents singularities regarding the use of repertoire as a guiding element of learning, the availability of equipment to carry out the lessons and the systematic structuring of the contents applied. Key Words: the electric guitar, teaching and learning, formation spaces LISTA DE IMAGENS Imagem 1 – Archtop Guitar – Gibson L7 .................................................................... 35 Imagem 2 – Resonator Guitar – National NRP14 ........................................................ 36 Imagem 3 – The Log – Les Paul ................................................................................... 37 Imagem 4 – Fryning Pan – Rickenbacker .................................................................... 37 Imagem 5 – Mulher tocando Lap Steel Guitar ............................................................. 38 Imagem 6 – Fender Broadcaster .................................................................................. 39 Imagem 7 – Propaganda MTV, “se beber não dirija, toque guitarra ........................... 42 Imagem 8 – Propaganda de carros da marca Volks ..................................................... 44 Imagem 9 – Frente da loja/escola Studio ..................................................................... 56 Imagem 10 – Sala de guitarra Studio Escola ............................................................... 57 Imagem 11 – Sala UFPB – cadeiras ............................................................................ 63 Imagem 12 – Sala UFPB – quadro ............................................................................... 64 Imagem 13 – Ambiente de aula do professor particular .............................................. 70 Imagem 14 – Acorde C7M, com a Tônica na 5ª corda ................................................ 84 Imagem 15 – Abertura de dedos 1 – 2 – 4 ................................................................... 135 Imagem 16 – Abertura de dedos 1 – 3 – 4 ................................................................... 136 Imagem 17 – Acorde “quadradinho”: Bm7(b5) ........................................................... 159 LISTA DE TABELAS Tabela 1 – Relação quantidade de alunos por idade – Studio Escola ................................ 59 Tabela 2 – Relação alunos e seu interesse no instrumento – Studio Escola ...................... 60 Tabela 3 – Experiência de ensino e aprendizado anteriores – Studio Escola .................... 60 Tabela 4 – Alunos e motivos
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