Navegando por Autor "Caregnato, Caroline"

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Autismo e o ensino de música: uma análise de intervenções baseadas em evidências científicas
(Universidade do Estado do Amazonas, 2023-03-17) Silva, Adriana Silva da; Caregnato, Caroline; Caregnato, Caroline; Ramos, Érika da Silva; Soares, Bárbara Bianca Carvalho
Este trabalho teve como tema o uso de intervenções baseadas em evidências científicas na aprendizagem musical de crianças autistas, com o objetivo de descobrir se os professores utilizam métodos de ensino baseados em evidências científicas para ensinar os assuntos de música aos alunos autistas na sala de aula. No decorrer dos anos mais crianças estão podendo ter acesso ao diagnóstico de autismo, e essas crianças precisam estar incluídas nas escolas, nas salas de aula aprendendo os mesmos assuntos que as outras crianças, porém de forma adaptada. Assim, foi feita uma revisão de literatura a partir de livros, revistas e anais da ABEM (Associação Brasileira de Educação Musical) entre os anos de 2012 e 2022. Como resultado, foi analisado um total de nove artigos a partir das intervenções baseadas em evidências científicas, em que os alunos alcançaram bons resultados, compreendendo os assuntos de música através dos métodos aplicados pelos professores.
A composição de jingles publicitários e a comunicação de emoções
(Universidade do Estado do Amazonas, 2023-03-28) Brasil, Eduardo Wanderley; Caregnato, Caroline; Caregnato, Caroline; Carvalho, Márcio Pacheco de; Trilha Neto, Mario Marques
Este artigo busca compreender os processos de composição de jingles publicitários e a comunicação de emoções. Objetiva-se com isso investigar de que maneira os elementos da linguagem musical influenciam na comunicação de emoções nos jingles. Esta pesquisa se justifica como forma de relacionar a ciência da comunicação com a arte da música, compreendendo o modo como os elementos musicais interferem na funcionalidade dos jingles. A metodologia utilizada se baseia em revisões de literatura das áreas da música, publicidade e psicologia da música. Também serão utilizados jingles como objeto de análise, observando a maneira como eles comunicam emoções a partir de seus elementos acústico/musicais. As emoções observadas nos jingles analisados vão ao encontro da fundamentação teórica, identificando os tipos de emoção que a literatura afirma que a música consegue comunicar.
As concepções epistemológicas dos docentes de arte de Manaus
(Universidade do Estado do Amazonas, 2019-03-29) Moura, Fábio da Silva; Caregnato, Caroline; Caregnato, Caroline; Santos, Eneila Almeida dos; Nascimento, Maria Evany do
The present research aims to understand how the Art teachers working in Elementary School 2 and in the High School of the state education public of Manaus, understand the construction of knowledge in Art. In order to make an analysis of what teachers say, we start from three bases of epistemology, which are empiricism, apriorism and constructivism, with the intention of problematizing the beliefs of these teachers. Understanding epistemological conceptions is an important issue for both the teacher and the student, as this understanding can influence the pedagogical actions taken by both parties. For the accomplishment of this work, a literature review was elaborated focusing on the epistemological postures, and as a methodological tool, we worked with surveys applied to 1/3 of the Art teachers working in the state public network in Manaus. Throughout the analyzes and the results, a strong empiricist inclination was noticed in the speeches of the participants, while the posture with less expressiveness was the constructivist basis. The adherence to the empiricist position can be criticized because this conception overestimates the role of the medium to the detriment of the learning subjects, from beliefs that reduce the epistemological process to the simple transmission of contents. The research ends by leaving us with some open questions, questions as to what measures can be taken to strengthen the epistemological discussions in the initial and continuous formation of the Art teachers? Keywords: Epistemological Conceptions. Epistemology of teaching art. Art teaching and learning.
Estratégias de estudo do instrumento: orientações práticas
(Universidade do Estado do Amazonas, 2019-06-03) Souza, Thiago dos Santos; Souto, Luciano Hercílio Alves; Souto, Luciano Hercílio Alves; Caregnato, Caroline; Carvalho, Márcio Pacheco de
The theme “study strategies” deals with knowing and understanding the steps and processes related to instrumental study, addressing issues such as the best study environment and time, stretching, warming up, divisions and strategies for learning, difficulties identification, mental study, memorization, among many other topics related to the musical practice. Study strategies brought by research in the area of musical cognition can help in overcoming problems related to our instrumental study practice. The proposed problem in this research is: how can instrument study strategies help to understand and have a better performance in the study practice? The general objective of this paper is to verify how instrument study strategies can help to understand and improve practice. The first specific objective is to extract orientations from the theoretical work on the area, in order to obtain a set of ideas and knowledge that allow the creation of a theoretical framework that can support the instrument study understanding, and the second specific objective is to assign solutions for problems related to the understanding of study practice. In order to reach such objectives, this paper proposes a literature review on the subject, ending with a epitome of the study strategies addressed. Keywords: Strategies studying. Studying musical instrument performance. Preparing for performance.
Estratégias para a memorização de repertório musical
(Universidade do Estado do Amazonas, 2024-02-23) Pontes, Thaís Rodrigues de Melo; Caregnato, Caroline; Caregnato, Caroline; Ventura, Fábio Silva; Souto, Luciano Hercílio Alves
The objective of this work is to research strategies for memorizing musical repertoire. This work brings contributions for teachers and especially for students who are often frustrated at not being able to play a piece from memory. This research's methodology is literature review, involving work on the topic studied in English, since research in Portuguese is scarce. Through what was presented in this article, we observed that there are a range of strategies (retrospective of thoughts and focuses of attention during practice; codification of music in terms of structure and tonal relationships; construction of performance cues based on the hierarchical organization of musical structures, among others) that are related to the level of maturity on the instrument, together with dedication and persistence, can bring good results to the instrumentalist during the performance.
Investigando estratégias para facilitar o ditado melódico tonal em três experimentos: o canto, a composição e a execução melódicas
(Universidade do Estado do Amazonas, 2021-07-21) Lima, Fernando Gabriel Batista; Trilha Neto, Mário Marques; Caregnato, Caroline; Trilha Neto, Mário Marques; Caregnato, Caroline; Rauski, Rafael Dalalibera
Melodic dictation is one of the main and most common exercises practiced in music Music Perception courses, because of its contribution to the development of several important of several important skills for a musician. Because it requires the musician to coordinate cognitive and perceptual skills to solve the exercise, it is common that the student uses strategies strategies that facilitate listening, memorizing, or writing the melody heard. or writing the melody heard. Not all of them, however, promote improvements in the performance of the exercise. the exercise, which is why it is important to study in depth how they influence the performance and in the performance and learning of the subjects. This paper investigates the effectiveness of some writing strategies through experimental studies, and brings a literature review focused on publications literature review focused on publications that deal with this subject made in the last years. Three studies were carried out, one experimental and two quasi-experimental, Each one tried to observe the influence of the use of a specific strategy during the performance of melodic dictation the experimental study investigated the effect of singing while writing, and the quasi-experimental study investigated the the other two, done remotely because of the COVID-19 pandemic, investigated the effect of singing while writing pandemic, investigated the effect of melodic composition and performance prior to prior to dictation. The results of the first study suggest that singing, although necessary at some stages of development, may hinder the performance of participants (N=68) if it is participants (N=68) if it is used collectively, especially the less experienced ones. The results of the other two studies, on the other hand, suggest that the strategies used did not significantly influence significantly influence the participants' performance (N=25 for composition and N=44 for execution). in the execution), which may have been caused by the relatively low number of participants, or by the limitations of the instrument used for the experiment, which was executed at a distance. However, we believe that the strategies investigated here can be used as pedagogical be used as pedagogical tools to be employed in the long term for the development of development of students' perception, rather than being understood as simple "magic solutions" to solve dilemmas. "magic solutions" for solving melodic dictation. Future studies, carried out under future studies under better conditions could observe the positive effects of musical composition and composition and musical performance.
Leitura e escrita musical em perspectiva (s)
(Universidade do Estado do Amazonas, 2021-09-05) Caregnato, Caroline
In this collection of texts, produced by researchers and professors from different Brazilian universities, musical reading and writing are approached in perspective(s). In other words, our objects of study are analyzed here in perspective, in a similar way to that proposed by the painters, who place different planes of observation in a single frame. In other words, reading and writing are brought here from different perspectives, from the perspective of different areas of study: iconography, history, analysis, cognition and music education. This multifaceted work was produced thanks to the encouragement of the Foundation for Research Support of the State of Amazonas (FAPEAM), through its First Projects Program, and constitutes the closing of a research project carried out between 2018 and 2021.
Mapeamento da produção acadêmica relacionada ao violão publicado pela Revista Vórtex entre o ano de 2017 a 2021
(Universidade do Estado do Amazonas, 2023-03-17) Silva, Leonardo Corrêa e; Souto, Luciano Hercílio Alves; Souto, Luciano Hercílio Alves; Caregnato, Caroline; Monteiro, Guilherme Aleixo da Silva
This work consists of a mapping of the guitar production published in Vórtex magazine, from 2017 to 2021, with the objective of knowing the main approaches of academic research produced in Brazil, which themes are most researched, in which region most of the guitar is concentrated. production, as well as the profile of academic production in the area. Mapping academic production on guitar is essential to understand trends in the area and identify research gaps that can be explored in the future. It is important to emphasize that the sample of analyzed articles is limited and may not represent the academic production on guitar in Brazil as a whole. Furthermore, there are many aspects of the guitar that still need to be explored and researched, such as the relationship between the guitar and other musical cultures and the relationship between the guitar and technology. The methodology includes the reading of abstracts and introductions of all articles found on the Vórtex magazine website, within the period covered.
Memorização de repertório musical : estratégias de memorização à disposição do intérprete
(Universidade do Estado do Amazonas, 2017-12-13) Silva, Caíque André Carriel da; Caregnato, Caroline; Caregnato, Caroline
This research made a theoretical reference investigation presented as necessary to understand what memory is and the mechanisms involved in its development. The general objective of this work is to investigate strategies for musical repertoire memorization, and the specific objectives are to recognize what is meant by memory, how it works and to identify the main memory strategies of musical repertoire that can be recognized from the specific literature. This research is justified by answering personal questions to the practice of repertory memorization. In addition, it can serve as a theoretical set to help students and teachers during classes and in their daily study practices. The results of this research, in addition to understanding the memory mechanisms and the method of memorizing based on guides of execution proposed by Roger Caffin, also sharpened my interest to apply this knowledge in my personal musical practice. Music memorization strategies are very powerful and efficient tools for performances from memory to be safer and reach high levels of interpretation. KEYWORDS: memorization, strategies, performance, guides of execution, Roger Chaffin.
Música e interfaces
(Universidade do Estado do Amazonas, 2020-12-05) Caregnato, Caroline; Páscoa, Márcio
As much as postmodern thinking turns against the separation and isolation of the different areas of human knowledge, and which were inherited (separation and isolation) from Cartesian thought, we must admit that the establishment of zones of adherence, of relations or, in other words, of interfaces between the different fields of knowledge is still a challenge for many of us, researchers trained in a multidisciplinary tradition. Music and the researchers who discuss it sometimes close themselves off in the specialization and hermeticism of their debates, not allowing themselves to see, in fact, a reality that can hardly go unnoticed: music is not a phenomenon that manifests itself isolated in the world. Although we all know this, it never hurts to remember that the integration of points of view, or knowledge, is necessary for us to approach a less naive understanding of the reality that we were willing to study. Music, like a prism of countless faces, has a “nucleus” where we could place the most specific discussions in the area, but which is surrounded by a multifaceted surface, which relates to the outside, makes contacts, establishes relationships with other areas of knowledge. For this reason, it is necessary to talk about musical “inter-faces” or, in other words, about the relationships that this prism, which composes musical knowledge, establishes with the other areas of knowledge by placing their infinite “faces” in “interrelation” ”With its surroundings. This collection of texts, according to my reading, presents us with the “hard core” of this multifaceted prism that corresponds to musical knowledge, but also presenting some of the countless faces and relationships that this object can establish with its surroundings. . The first section of this book, dedicated to “Interpretative practices”, contains a set of texts that reflect on the construction of musical performance. In “Allaudistic resources to the guitar: a case study for the performance of JS Bach's Fugue BWV 997”, Vitor de Souza Leite discusses the appropriation, in the performance of a piece by Johann Sebastian Bach to the guitar, of elements of the auditory execution rescued 18th century treatise Theoretisch und Practische Untersuchung des Instruments der Lauten, by Ernest Baron. The guitarist interpretation is also the object of study by Ricardo César dos Santos Castilho Filho and Luciano Hercílio Alves Souto, in “Technical-idiomatic resources of the Baroque repertoire for strings plucked in guitar transcriptions: a critical-reflexive study of the medium change procedures instrumental and notational ”. In this article, the authors discuss the problem 8 involved in the transcription and modern execution, on the guitar, of ancient notations originally produced for strummed string instruments such as vihuelas, guitars and lutes from the Baroque period. A similar theme is addressed by Luciano Hercílio Alves Souto, in “The English guitar and the wire viola in the 18th century: notational, technical-idiomatic approaches and transcription of excerpts from Musical Example No. II, extracted from The Art of Playing the Guitar or Cittra (1760) by Francesco Geminiani ”.The authors, in this work, present characteristics of African rhythm, relating this, then, to the rhythm of Brazilian music. Brazilian music is also the focus of the analysis proposed by Íngrid Lívero, in “The discourse in the arrangements and melody of songs by the Engineers of Hawaii: tracing a musical process of subjectification”. In this article, after a brief historical exhibition on Brazilian rock, consolidated from the 1980s, the author starts from the concept of parrhesia, proposed by Michel Foucault, to analyze the discursive practices that permeate the music “Toda forma de poder”, by Hawaii engineers. The article section entitled “Cognition, training and music education” presents works that provide theoretical foundations in the fields of cognition and / or music education, in addition to reports of pedagogical experiences in the area of music that can contribute to teacher training.
Música, linguagem e (re)conhecimento
(Universidade do Estado do Amazonas, 2020-12-05) Caregnato, Caroline; Páscoa, Márcio
The musical experience gained an enormous dimension with the advancement of digital technologies. One of the main differences huge sound supply that has never been greater in any other time like now. The complete work of an author, however productive has been, however many papers he used to write it and yet hours of rehearsals and recordings have been spent, it is now up to on small devices ranging from the size of a toothpick to a or not at all: they can be accessed from a remote point, which we figuratively call the cloud, even our electronic devices. In fact, we can have entire catalogs, authors diverse, from the same epoch, from all epochs, if we wish. The incredible ease with which it became to make a recorded record, with incredibly high quality compared to two decades past, rivals the stunning availability of documents from the past and of the present, through initiatives of public and private digital portals, large library or new virtual repositories that reorganize in a coherent file many libraries. The experience of doing and listening to music became more common, after all we can have a home recording and music editing studio to make our own demonstration feasible, or even listen in the car or on public transport the repertoires once available only for special and sometimes very exclusive occasions, such as summer mornings Sunday of a Venetian parish church from the early 18th century, a small Parisian cafe from the 1930s, or an unrepeatable night of a rock festival in the late 1960s. But our capacity for enjoyment cannot be intended to be total, nor at the same level of processing of these incredible repertoires that we access today. Something that can be seen at the time of these two decades 21st century is that our capacity for reflection on ideas and musical practices also need to change. Instead of the apparent trivialization of all this musical heritage transformed into computer data, we can understand how different times and places achieved their music. In a world that is being rapidly ratified by globalization determined by the canonical imposition of the great centers radiators of technology and information, we realized, however, that some things do not change. This is because new tools and techniques serve old ideas.In the first chapter, Geoffrey Baker, of long years studying the phenomenon of multiplication of orchestras in the recent history of Venezuela, which should correspond to a massive process of musical education and consequent citizen emancipation, offers arguments that weaken such idea and point to the process as a tool of doubtful purpose, because in the end it seems to be a strategy of social control and domination of the state on the individual, a finding that is never consistent with the construction of free will. Baker refers to Favio Shifres, who in the next chapter does not leave room for doubts to those who still have them: the cultural south is necessary recognize and value their own experiences of manifesting language, in this case musical, to then reach an emancipation of knowing. The (re) knowledge is therefore to make the experience visible outside of the canon, since otherwise only a silent and subordinate, full of mistakes. Graziela Bortz's text refers to the first words of this presentation leading to think that the technological race also ends because it is a challenge to understand the human being. The challenges educational aspects of the previous text here seem to echo as challenges to human essence itself. The social dimension of music continues to be discussed by João Quadros Jr. in order to complete the section dedicated to cognition and music education. To close the block, Beatriz Ilari discusses the latest research in the field of musical cognition, involving central aspects that the previous authors were concerned, such as the construction of a rationale musical, emotionality and impact on social relationships.The second block is intended for musicological discussions that lose sight of many of the preceding elements. Here we see diverse concerns with theory, analysis and musical interpretation for which historical, semiotic contributions and approaches are called intertextual analytics. Robert Gjerdingen's work echoes in almost everyone the texts here in this section, since this researcher revealed effectively the teaching-learning and musical creation of the tradition of Neapolitan origin that in the 18th century would reach with consequences and traces for many decades. This tradition provided for pre-compositional stages that guided a massive process of musical formation and elaboration. These are the counterpoint schemes, virtual models from which they were oriented (and are still oriented) many practical achievements with great possibility of uses and variations. Mário Trilha looks at one of these schemes in particular, Romanesca, identifying wide use in the middle of instrumental works of 11 several authors from the second half of the 18th century, in contrast to its frequent application in the opening of movements, until then the way most commonly seen in the European repertoire. Romanesque remains the point of attention in the following text, in which I argue for her interaction with the subject of love in opera would be Italian. The theory of musical topics, were they not problems methodological factors that have restricted it, could have come here as a support for understanding meanings. However, the issue seems to be much more correct in a discussion on how to represent and interpret ideas and their context, thus being a debate about mimesis.The last text in this block could be the first in the next section. Guilherme Monteiro, who carried out the first integral analysis of a work dimension of a Brazilian author, following the theoretical framework Gjerdingen and showing associations with musical topics, highlights here some excerpts from the Six Funeral Responsibilities of João de Deus Castro Lobo who connect because of the unusual structure and textual similarities. For the interpretative analytical approach I took the exciting opportunity to collaborate, literary sources were brought and above all iconographic ones that seem to make sense of what the Minas Gerais composer in his last musical creation. Thus, the next section, dedicated to musical iconography, appears in a timely manner. In it, Vergara shows us approximations of musical education, or through music, and homoerotic social practice in iconographic representations in Classical Antiquity, which reveals other social constructions and artistic understandings.
Olhares sobre o Ensino de Arte em Manaus e região
(Universidade do Estado do Amazonas, 2021-07-30) Caregnato, Caroline
This book is a collection of texts, or "views", about the Teaching of Art in Manaus and region.
O papel da educação musical no ensino médio técnico integrado do IFAM : perspectivas de docentes e discentes Manaus 2019
(Universidade do Estado do Amazonas, 2019-03-27) Almeida, Daniele Silva de; Caregnato, Caroline; Caregnato, Caroline; Páscoa, Luciane Viana Barros; Duarte, Rosângela
This study has as its theme the importance of music education in three IFAM campuses. The motivation to research this theme came from a concern about why music education is in a space that is strictly focused on technical and professional education. The objective of this work was to understand the role of Music teaching in the academic formation of the Technical High School student of the Integrated Way in the context of the campuses of the Federal Institute of Amazonas; to analyze, according to the perspective of Art / Music teachers and technical high school students of the integrated form of the campuses of Manaus / Am, the function and necessity of the existence of the teaching of Music in these institutions; and make a comparative between the answers of teachers and students. The problem that guided this research was what is the role of musical education in IFAM? For the theoretical basis, a specific literature review was done that involved the areas of History of Music teaching in Brazil, Musical Cognition and Philosophy of Musical Education. The participants of this research were three Art / Music teachers and 218 students of IFAM technical high school, belonging to the three campuses of Manaus of the Institute. The instrument of data collection was a questionnaire divided into two parts, through which the participants give their opinion about what they thought about the subject. It is concluded here that teachers believe that the teaching of music in school is important for different reasons and that they do not reach a consensus, while the students also think that teaching is important, however, most of them justify their answer to the question of well-being and not for musical development purposes.
Os paradigmas de inclusão na educação musical de crianças com autismo: uma análise dos relatos de experiência publicados pela ABEM de 2000 a 2022
(Universidade do Estado do Amazonas, 2023-03-17) Silvetsrim, Fernanda Guerra; Caregnato, Caroline; Caregnato, Caroline; Soares, Bárbara Bianca Carvalho; Ramos, Érika da Silva
Este trabalho objetiva discutir como se desenvolveram ao longo da história os paradigmas de inclusão na educação brasileira e apurar quais paradigmas de inclusão se encontram presentes em relatos de experiência publicados pela Associação Brasileira de Educação Musical (ABEM), com recorte temporal de 2000 a 2022. A metodologia utilizada foi a revisão sistemática de literatura, sendo possivel identificar, nos artigos analisados, o paradigma de institucionalização como o paradigma de inclusão predominante na educação musical de pessoas com autismo.
Preparatório para o vestibular de música da uea: breve histórico, atualidade e planos para o futuro
(Universidade do Estado do Amazonas, 2019-01-16) Caregnato, Caroline; Ventura, Fábio Silva; Cavalcanti, Brunno Cezar Menezes; Santos, Nilzilene da Costa; Kazak, Irina
The “Preparatório para o Vestibular de Música da UEA” is a university extension project that, since 2014, has been offering music lessons to community members interested in entering the undergraduate courses in Music at Amazonas State University (UEA) and other higher education institutions. In this paper, we report on a brief history of the project; we also present the work team involved in the educational activities and an extensive description of the current students’ profile and their study expectations. Finally, actions for the continuation and expansion of the project are concisely presented.
Teoria, percepção e criação musical: nível 1A: material do(a) estudante
(Universidade do Estado do Amazonas, 2023-06-24) Caregnato, Caroline; Ventura, Fábio Silva
"Music Theory, Perception and Creation - Level 1A"; is the first volume of a series of four that brings contents and exercises in music theory, ear training, and solfege alongside music creation projects that seek to integrate theoretical learning with music practice. Developed by teachers from the Universidade do Estado do Amazonas (UEA), this material is meant to be used with children and teenagers from nine years old on and can be adopted by music theory and ear training teachers, but also in instrument or musicalization classes. Each volume is divided into four sections (Music Theory, Ear Training, Solfege, and Music Creation), which have exercises graded in difficulty and that were developed and improved over years of experimentation in classes from UEA extension courses. The book's sections should be combined so that the learning of theory, ear training, and solfege occurs in a way connecting practice and listening, that is, therefore, more meaningful to the students. The "Student Book" has explanatory texts and exercises, and is also richly illustrated with pictures that can be painted by the student. This material can be freely downloaded from the internet and printed on a home printer. Also included in this volume are the "Teacher's Book" and the "CD 1A".
Teoria, percepção e criação musical: nível 1A: material do(a) professor(a)
(Universidade do Estado do Amazonas, 2023-06-24) Caregnato, Caroline; Ventura, Fábio Silva
"Music Theory, Perception and Creation - Level 1A"; is the first volume of a series of four that brings contents and exercises in music theory, ear training, and solfege alongside music creation projects that seek to integrate theoretical learning with music practice. Developed by teachers from the Universidade do Estado do Amazonas (UEA), this material is meant to be used with children and teenagers from nine years old on and can be adopted by music theory and ear training teachers, but also in instrument or musicalization classes. Each volume is divided into four sections (Music Theory, Ear Training, Solfege, and Music Creation), which have exercises graded in difficulty and that were developed and improved over years of experimentation in classes from UEA extension courses. The book's sections should be combined so that the learning of theory, ear training, and solfege occurs in a way connecting practice and listening, that is, therefore, more meaningful to the students. The “Teacher’s Book” presents guidelines for the approach and execution of the activities in the book. They are based on theoretical reflections by renowned authors in the fields of music education and music psychology. The material also contains chords and music sheets that can be played live by the teacher. Also included are the "Student’s Book's and the CD 1A".