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Final Document 11.01.17 TEACHING THE AUTHENTIC PERFORMANCE OF BRAZILIAN POPULAR MUSIC STYLES TO NON-NATIVE MUSICIANS: THE DEVELOPMENT OF A PEDAGOGICAL APPROACH A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF ARTS BY BRUNO MODOLO CABRERA DISSERTATION ADVISOR: DR. DON P. ESTER BALL STATE UNIVERSITY MUNCIE, INDIANA MAY 2018 ii ABSTRACT DISSERTATION: TeaChing the AuthentiC PerformanCe of Brazilian Popular MusiC Styles to Non-Native Musicians: The Development of a PedagogiCal ApproaCh STUDENT: Bruno Modolo Cabrera DEGREE: DoCtor of Arts COLLEGE: Fine Arts DATE: May 2018 PAGES: 129 The lack of stylistic authentiCity in performanCes of Brazilian popular musiC by non- native musiCians is a significant and often-Cited issue among native Brazilians Who live and perform outside the Country. Based on researCh in the areas of musiC perCeption, musiC Cognition, and psyChomotor learning theories, a Complete pedagogiCal approaCh Was created that develops cultural background, context, pattern vocabulary, and teChniCal skills and guides non-native musiCians to authentiC performanCes of Brazilian popular musiC styles suCh as samba, bossa nova, Choro, baião, and maraCatu. A brief survey of four Brazilian popular music experts obtained anecdotal results suggesting that student ensembles prepared using the pedagogiCal approaCh Were perCeived as relatively more authentiC as Compared to professional non-native ensembles. Future studies can provide more information about the approaCh’s effeCtiveness and appliCations to Cultural musiC styles from different Countries around the World. iii ACKNOWLEDGEMENTS There are no Words that Can eXpress my deepest gratitude to all the people who helped, enCouraged, and supported me! First of all, I would like to thank all faculty members from Ball State University Who Contributed to my eduCation and Completion of this dissertation. SpeCial thanks for my Committee members Who provided guidanCe and support during the eXamination proCess, the development of this researCh, and finally the defense. I appreCiate all the insight and guidanCe reCeived from Dr. SCott Routenberg and Dr. Allen Truell. Thanks are due to professor Braham Dembar, Who Was my perCussion mentor during the past three years and helped me improve tremendously as a performer. Thank you to Dr. Robert Willey for the support With reCordings and meetings related to this and other projects, his input and feedback were deeply appreciated. Thank you to Dr. Don P. Ester, my dissertation advisor, to Whom I oWe my greatest gratitude and appreciation. Without his unconditional help, support, and dedication this project would not have been possible. Dr. Ester Was my PsyChology of Music professor and it was during his class that the inspiration and work for this research started tWo years ago. Besides pushing me to the limit and getting the best out of me, he spent hours and hours providing guidance during meetings and even more hours helping revise and shape this doCument. I have tears in my eyes and no more Words in my mouth to eXpress hoW grateful I am for all his support and Wisdom. Thank you Don! I Would like to thank many friends and Colleagues Who provided support and Were patient during many stressful moments during this proCess. Thanks to all my friends from many different plaCes in the US, other Countries, and espeCially friends from Brazil, Who iv supported me from all the Way over there. Thank you Leonardo Bertolini Labrada, Helvio Mendes, Nelton Essi, Paulo Dias, Herivelto Brandino, and professor Dinho Gebara for being always ready to help whenever I needed! Lastly, I Would like to thank my family that even from far supported me. Thanks to my little brother, Felipe Modolo Cabrera – miss you bro! SpeCial thanks to my parents, José Geraldo Cabrera and Lucila Modolo Cabrera, Who alWays supported and provided me With the best they could. They are excellent parents who, even though heart-broken, accepted my ChoiCe of moving so far aWay to pursue my dream. They have alWays been supportive. My mom is Calling in this very moment as I write this; that Was Weird! Thanks to my fiancée, Marina Stojanovska, who I love very muCh and have treasured being by my side for many years already. She has been my Wonderful Companion and, even though she is going through a doCtorate herself, found the time and strength to help, support, and be patient With me Whenever I needed her by my side. I love you, babe! v TABLE OF CONTENTS ABSTRACT ………………………………………………………………………………………………………………… ii ACKNOWLEDGEMENTS ……………………………………………………………………………………..……… iii TABLE OF CONTENTS ...……………..…..…..…..…..…..…..…..…..……………………………………………… v LIST OF TABLES ………………………………………………………………………………………………………… iX LIST OF FIGURES ……………..………………………………………………………………………………………… iX CHAPTER 1 INTRODUCTION ………..……………………………………………………………………… 1 Purpose of the Project ………………………………………………...…………………………………… 3 Limitations of the Project …………………………………………...………………………………….… 4 Definition of Terms ………………..…………………………………...………………………………….… 4 Significance of the Project …………………………………………...…………………………………… 5 CHAPTER 2 REVIEW OF LITERATURE ………………………………………………...…………….…. 6 The Roots of Brazilian Popular Music Styles ……………………………………………………… 6 PerformanCe AuthentiCity ………………………………………………...…………………………...... 10 MusiC Cognition, PerCeption, and Learning Theory …………………………………….……...14 CHAPTER 3 DESIGN AND METHOD ……………………………………...…………………...………… 20 Inception and Background of the Project …………………………………………...…………….. 20 Overview of the Initial Pedagogical Foundation ……………………………………………….. 21 Initial Validation of the PedagogiCal ApproaCh ……………………………………………..….. 24 Chapter Summary …………………………….………………………...…………………………………... 24 CHAPTER 4 THE PEDAGOGICAL APPROACH ………………………………...…………...….…….. 26 IntroduCtion ……………………………………….…………………………………………...…………….. 26 Overview of the PedagogiCal ApproaCh …………..………………………….………….. 28 vi The Virtual Learning Sequence …………………….……………………………………………..….. 31 Listening ……………………………….………………………...…………………………………... 32 Passive Listening ……………………………………………………………………….. 35 Pattern Listening ……………………………………………………………………….. 36 Recognition Listening …..…………………………………………………………….. 36 Audiating ………………………………………………………………………………….………….. 37 Development of Meaning ………………………………………………….…….….. 38 Solidifying rhythmiC Patterns …………………………………………….………. 39 VoCalizing ………………………………….…………………………………………………...….….. 39 Vocalizing With a Syllable System ………………………………..………..….….. 40 Observing .………………………………….…………………………………………………..….….. 46 Imitating ………………………………………………………………………………...….. 46 Motor-mimesis……..………….………………………………………………………….. 47 Cognitive Motor-Imaging ………………………………………………………………….….... 48 The Levels of CMI ………………………………….…….………………………….…... 48 CMI Level 1 …………………………………..…………………………….…..... 49 CMI Level 2 …………………………………..…………………………….…..... 52 CMI Level 3 …………………………………..…………………………….….… 54 CMI Level 4 …………………………………..…………………………….…..... 57 Using Cognitive Motor-Imaging With Different Instrumentalists ….... 59 Samba …………………………………………..……………………………...….. 60 Bossa nova …………………………………………..……….……………....….. 63 Choro …………………………………………………..……….……………...….. 65 Baião ………………………………….………………..……….……………...….. 67 MaraCatu ……………………………………………..……….……………....….. 69 vii Mental PraCtiCe …………….……………………………………………………………………….. 71 Step 1: Mental Practice of the CM-Image …………….…………….…….…..... 73 Step 2: Mental Practice of CM-Image Plus Physical Action ….….….…... 74 Summary of the VLS …………………………………………..…………………………….….… 74 The Motor Learning SequenCe ………….…………………….……………………………………………..…..... 76 Motor Skill Development ………………………………...…………………………………...... 76 RhythmiC Groupings ….….….……………………………………………………….... 77 PsyChomotor Foundations ………………………………………………………...... 79 AppliCations to Motor Skill Development …..……………………………….... 80 RhythmiC Instruments …………………………………………..…..….….. 82 Drum Set and PerCussion Set Ups ..….….…..……….…….….….….... 89 MelodiC Instruments ………………………………….………………..….... 93 PraCtiCe Strategies ………………………………….….….…………………………………….. 100 Duration of PraCtiCe Sessions ………..……………………………………….….. 100 The ImportanCe of AcCurate PraCtiCe ……………….….…………………….. 101 The Role of Sleep ………………………...……………………………..………….….. 103 Summary of PraCtiCe Strategies ………………………….……………………… 105 ConClusion .……….……………………….…………………………………………………….….. 107 CHAPTER 5 SUMMARY AND RECOMMENDATIONS ………………………………...........…….. 108 Initial EffeCtiveness and Other AppliCations of the ApproaCh ……..…..…..…..…..……. 109 ReCommendations for Further ResearCh …………………..………………………….…………. 111 ConClusion .……….……………………….………………………….…………………………..……….….. 113 REFERENCES …………………………….…………………………………………...…………..…………………..… 114 APPENDICES ……………………………….……..…………………………………………………...…………..……. 116 A Listening Guide .…….…………….…..………………………….…………………………………….,... 116 viii B Basic Vocabulary.…………………….………………………….…………………………………..…… 121 C Questionnaire .……….……………………….………………….….…………………………………..... 126 D Summary of Questionnaire Data .……….…………………………….….……………………….. 129 ix LIST OF TABLES 4.1 Rhythm Vocalization Syllables ……………………………………………………………………………..… 41 LIST OF FIGURES 3.1 Proposed Outline of A PedagogiCal ApproaCh to TeaChing Brazilian Popular MusiC Styles to Non-Native Musicians …..………………………………………………………………………..……………….. 22 4.1 General summary of the pedagogiCal approaCh ……………………………………........................... 29 4.2 The Virtual Learning SequenCe ………………………………………………………………………………. 32 4.3 One-measure jazz eXerCise on drum set ………………………………………………………………….. 38 4.4 Telecoteco pattern ………………………………………………………………………………………………… 40 4.5 3rd surdo pattern ……………………………………………………………………………………………………
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