Abordagens pedagógicas de Warm Up para clarineta: análise de materiais didáticos

• Ano de defesa: 2019
• Autor(a) principal: Garbosa, Guilherme Sampaio
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Santa Maria; Brasil; Artes; UFSM; Programa de Pós-Graduação em Artes Visuais; Centro de Artes e Letras
• Palavras-chave em Português: Warm-up; Clarineta; Ensino de instrumento; Materiais didáticos; Warm ups; Clarinet; Teaching materials; Musical instrument teaching; CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::MUSICA
• Link de acesso: http://repositorio.ufsm.br/handle/1/24037

Routine warm ups bring innumerous benefits for clarinetists, including mental preparation for performances, physical warm up, a review of the fundamentals of clarinet playing and greater consistency in performance (BURKE, 1995). This study, therefore, aimed to investigate pedagogical approaches to warm ups for clarinet used by experienced teachers, Avraham Galper (1999), D. Ray McClellan (1986) and Kelly Burke (1995), based on their teaching materials. More specifically, it aimed to verify how each teacher structures the warm up theme; analyze the elements each emphasizes in the warm up process; and reflect on the performance of these technical-musical elements in the routine warm up practices of clarinetists. Studies in the area of clarinet pedagogy by Clark (1983), McClellan (1987), Kycia (1999), Schmidt (2001), Cheeseman (2001), Dees (2005), Gunlogson (2006), Miller (2010), Pavlovski (2012), Eastwood (2015), Araújo (2016) and Tse (2018) grounded this qualitative multiple case study (YIN, 2005), which analyzed three exemplars of teaching material for the clarinet warm up. Semi-structured interviews were also carried out with D. Ray McClellan and Guy Yehuda, a previous student of Professor Avrahm Galper, and a questionnaire was completed by Professor Kelly Burke. Based on the data generated, the pedagogical approach of each teacher was described and analyzed in order to offer reflections and guidelines for creating routine warm up practices for the clarinet player. Among the particularities found in the approaches, we can mention the importance of developing sonority in the chalumeau register and the 2341 offbeat approach (GALPER, 1999), flexibility in changing the throat register by using the Thing technique and the technical approach to scales of Labanchi-Weber (McCLELLAN, 1986), exercises for the left and right hands and extended clarinet techniques (BURKE, 1995). It is also important to note that there is not a single way to approach the clarinet warm up and that the triad of sonority, technique and articulation make up the basis for developing a warm up routine. Finally, it is important to emphasize the value of establishing connections between the skills developed and the repertoire to be studied.