Detalhes bibliográficos
| Ano de defesa: |
2018 |
| Autor(a) principal: |
Felipe Brito de Melo |
| Orientador(a): |
Eluiza Bortolotto Ghizzi |
| Banca de defesa: |
Não Informado pela instituição |
| Tipo de documento: |
Dissertação
|
| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Fundação Universidade Federal de Mato Grosso do Sul
|
| Programa de Pós-Graduação: |
Não Informado pela instituição
|
| Departamento: |
Não Informado pela instituição
|
| País: |
Brasil
|
| Palavras-chave em Português: |
|
| Link de acesso: |
https://repositorio.ufms.br/handle/123456789/9607
|
Resumo: |
We understand that the social conceptions of the ethnocentric elites, which generally put European classical music as synonymous with progress, ended up making the rhythmic memory of Brazil acquired from the African cultural introduction in the country not recognized in the instances where music was taught and learned. Nevertheless, more recently, such memory has been undergoing a slow process of valorization, which involves its consolidation as one of the main brands of Brazilian music. Thus, the transmission of knowledge of percussive music occurred informally in the contexts where it was present and this informality triggered specific characteristics of teaching and learning of music in the popular manifestations; among them imitation as an important tool for exchanging knowledge in these spaces. This research aimed at analyzing, in the light of Peircian semiotics, the signs involved in the process of imitation within an environment of teaching and musical learning, especially of percussion instruments. With this aim, we carried out a bibliographical revision of texts on the existing music teaching formats and their characteristics, in order to understand the processes present in our corpus that would be relevant to be investigated. This bibliographic review included aspects of C. S. Peirce's semiotics and research relating Peircian semiotics, music, and imitation. In the end, we took as a base the theoreticalmethodological concepts presented in the review to carry out a case study, about the production and interpretation of signs in a percussion class, focused on the presence of mimesis. The results of this research collaborate in the construction of a semiotics of music, regarding the relations between imitation and percussion teaching and learning, and with the academic (re) knowledge of ways of constructing meaning, facilitating teaching and learning practices involving imitation and percussion. KEYWORDS: Percussion teaching. Peircian semiotics. Imitation as a sign. Teaching music. |
