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Vasyl Tsanko O Uso Das Técnicas Expandidas No Início Da Aprendizagem De Um Instrumento: O Caso Particular Do Piano

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Vasyl Tsanko O Uso Das Técnicas Expandidas No Início Da Aprendizagem De Um Instrumento: O Caso Particular Do Piano Universidade de Aveiro Departamento de Comunicação e Arte 2020 VASYL TSANKO O USO DAS TÉCNICAS EXPANDIDAS NO INÍCIO DA APRENDIZAGEM DE UM INSTRUMENTO: O CASO PARTICULAR DO PIANO Universidade de Aveiro Departamento de Comunicação e Arte 2020 VASYL TSANKO O USO DAS TÉCNICAS EXPANDIDAS NO INÍCIO DA APRENDIZAGEM DE UM INSTRUMENTO: O CASO PARTICULAR DO PIANO Relatório realizado no âmbito da disciplina de Prática Ensino Supervisionada apresentado à Universidade de Aveiro para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Ensino de Música, realizado sob a orientação científica da Professora Doutora Helena Maria da Silva Santana, Professora Auxiliar do Departamento de Comunicação e Arte da Universidade de Aveiro. Dedico este trabalho a quem procure ser melhor que ontem o júri Presidente Doutor António Manuel Chagas Rosa Professor Auxiliar, Universidade Aveiro Vogal – Arguente principal Doutor Luís dos Santos Cardoso Diretor Pedagógico, Escola de Artes da Bairrada Vogal – Orientador Doutora Helena Maria da Silva Santana Professora Auxiliar, Universidade de Aveiro agradecimentos Ao tempo que me foi atribuído para viver neste mundo. Aos meus pais, à irmã e às avós por serem o meu “porto de abrigo” e por me fazerem ser quem sou. Ao Diogo e a sua família por se terem tornado a minha família em Portugal. À Professora Doutora Helena Santana por me ter aturado e por ter dedicado uma imensidão de tempo ao aportuguesamento das minhas construções linguísticas. À família Vieira pelos seres maravilhosos que são. A todos os participantes do Projeto por terem tido coragem para desbravar as terras desconhecidas do mundo das técnicas expandidas. Ao Tiago Matos, à Carla de Oliveira, ao Diogo Santos, ao Alexandre Roboredo, ao Miguel Vasconcelos, ao Lucas Xerxes, à Marta Domingues, ao Rui Lima e ao Gustavo Gonçalves por terem escrito peças fantásticas. Aos Professores Álvaro Teixeira Lopes, Ana Telles, António Luís Silva, Bruno Rua, Fausto Neves, Sérgio Brito, Teresa Raminhos e Vânia Santos pelas suas indispensáveis opiniões e pelo seu trabalho árduo, que tanto os jovens pianistas precisam. Aos Maestros Amílcar Vasques-Dias, António Chagas Rosa, Eurico Carrapatoso, Evgueni Zoudilkine e Jaime Reis pela sua música e amor por ela. À Universidade de Aveiro pelos seus espaços sempre disponíveis e pelo seu corpo docente prestes a ajudar. Ao Conservatório de Música de Águeda por me ter feito crescer profissionalmente. Aos meus amigos por acreditarem em mim. A Portugal por me ter acolhido tão acaloradamente. palavras-chave Técnicas Expandidas; Técnicas Estendidas; Ensino do Piano; Iniciação ao Instrumento; Motivação resumo A presente dissertação integra duas componentes: o relatório referente à Prática de Ensino, realizada no ano letivo 2019/2020 no Conservatório de Música de Águeda; e a componente de investigação, o Projeto Educativo. A investigação visa comprovar a aplicabilidade das técnicas expandidas no início da aprendizagem do piano. Propõe, como objetivo geral, contribuir para o desenvolvimento do uso das técnicas expandidas enquanto recurso artístico através da sua introdução no contexto educativo ao nível da Iniciação do Instrumento. Determina como objetivos específicos: Expandir o repertorio pianístico ao nível da Iniciação, incentivando a criação de peças que contemplem o uso de técnicas expandidas no piano; Fornecer metodologias de ensino e aprendizagem para essas peças e para as técnicas nelas incluídas, baseadas não só na sua compreensão e análise, como na sua prática; Ajudar os alunos a explorar as possibilidades do instrumento, fornecendo-lhes princípios e regras para a exploração do piano, de forma a permitir- lhes não danificar o instrumento; Introduzir novas formas de notação, nomeadamente a notação gráfica; Avaliar o impacto da aplicação deste projeto, nomeadamente ao nível da motivação dos alunos para continuar a desenvolver este tipo de repertório. Para tal, criamos um plano metodológico de modo a conseguir os objetivos por nós delineados, optando pelo modelo de investigação-ação e a utilização de um conjunto de ferramentas de obtenção de dados, nomeadamente: o Diário de Bordo, os inquéritos por questionário e por entrevista, a observação direta e a análise de peças criadas no âmbito deste Projeto Educativo. Apesar dos resultados positivos, não é possível proceder à sua generalização devido ao reduzido número de participantes. keywords Extended techniques; Piano Teaching; Children; Motivation abstract This thesis consists of two components: a Supervised Teaching Practice report, carried out in the school year 2019/2020 at the Conservatório de Música de Águeda; and a presentation of the Educational Project. The research aims at proving the applicability of extended techniques at the early stage of learning piano. Its main objective is to contribute to the development of the usage of the extended piano techniques as a valid approach to the instrument by introducing them into the beginning stage of the piano learning. It also aims at: expanding the piano repertoire for beginners by encouraging the creation of piano pieces with extended techniques; providing the resulting pieces with the teaching and learning methodology based on their analysis as well as their usage; helping students to explore the possibilities of the instrument by explaining them the basic rules and procedures of the exploration in order to avoid damaging the piano; introducing new forms of notation, the graphic one in particular; evaluating the impact of the application of this project with regard to the student’s motivation to keep practicing this kind of repertoire. In order to achieve that, we opted for the model of action research and collected the data with the help of the following tools: the logbook; the questionnaire and interview surveys; the direct observation; the analysis of the pieces created for this project. Despite the positive results, it is impossible to generalize due to the reduced number of participants. 8 Índice ÍNDICE ............................................................................................................................................. 8 ÍNDICE DE TABELAS ................................................................................................................................... 15 ÍNDICE DE FIGURAS .................................................................................................................................... 20 ÍNDICE DE GRÁFICOS ................................................................................................................................. 22 INTRODUÇÃO .............................................................................................................................. 25 1. REVISÃO DA LITERATURA ............................................................................................. 27 1.1. TÉCNICAS EXPANDIDAS ................................................................................................................. 27 1.1.1. Enquadramento teórico ........................................................................................................ 27 1.1.1.1. Dilema da tradução .......................................................................................................... 28 1.1.1.2. Multiplicidade de termos .................................................................................................. 29 1.1.1.3. Definição........................................................................................................................... 29 1.1.1.3.1. Geral ........................................................................................................................... 29 1.1.1.3.2. No contexto do piano .................................................................................................. 30 1.1.1.4. Classificação das técnicas expandidas do piano .............................................................. 31 1.1.2. Enquadramento histórico ..................................................................................................... 34 1.1.3. Técnicas selecionadas para implementação no Projeto Educativo .................................... 36 1.1.3.1. Enquadramento teórico .................................................................................................... 36 1.1.3.1.1. Glissando .................................................................................................................... 36 1.1.3.1.2. Cluster ......................................................................................................................... 39 1.1.3.1.3. Técnicas do uso dos pedais ......................................................................................... 40 1.1.3.1.4. Teclas premidas silenciosamente ................................................................................ 41 1.1.3.1.5. String Piano ................................................................................................................ 42 1.1.3.1.6. Piano preparado .......................................................................................................... 43 1.1.3.1.7. Piano percussivo ......................................................................................................... 45 1.1.3.2. Enquadramento histórico.................................................................................................. 45 1.1.3.2.1. Glissando ...................................................................................................................
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