This paper presents the methodology employed to create the sound installation Saving Shapes (2016... more This paper presents the methodology employed to create the sound installation Saving Shapes (2016-2018). Based on that, we will present some remarks about composing music for sound installations at outdoor places on exhibition for prolonged periods of time, particularly strategies to avoid audio loops. Our approach is based on three phases: (1) gather a wide range of phenomenological “information” from the place, mostly by performing soundwalks, taking notes and doing sound recordings (2) analyzing that “information” and composing music to be performed and installed at that specific place (3) periodically recreate the composition/installation using new “information” retrieved by repeating step number 1. Our research is mostly based and inspired on ideas from soundscape studies and artistic practices of well-known authors such as Murray Schafer (1977), Hildegard Westerkamp (1974), Barry Truax (2001), David Abram (1996) and Bernie Krause (2013). For our specific work and research, Wes...
In November 2017, the international conference Musichildren'17, which took place at the Depar... more In November 2017, the international conference Musichildren'17, which took place at the Department of Communication and Art of the University of Aveiro (UA), organised by members of the University of Aveiro's branch of the research centre INET-md (Instituto de Etnomusicologia – Centro de Estudos em Música e Dança), welcomed the Japanese composer and educator Dai Fujikura as a keynote speaker. Dai Fujikura was interviewed by Sara Carvalho and Filipe Lopes in relation to the project with which he is involved in Japan, namely a composition project for children in Fukushima, Japan. The following interview discusses Dai Fujikura's own work as a composer and his experiences with the Fukushima project for child composers.
In cognitive psychology, retrieval cues are considered stimuli that assist information recovery i... more In cognitive psychology, retrieval cues are considered stimuli that assist information recovery in long-term memory. In educational contexts, they have been investigated as a teaching and learning tool as a means to promote meaningful learning. However, discussion on the use of these specific cues as a tool in instrumental teaching literature has been scarce. Therefore, it is not yet possible to understand the potential impact of this exploration on instrumental lessons. The aim of the present study was to both verify and identify the use of retrieval cues by the teacher in one-toone violin lessons. This empirical pilot study consisted of video observation of twelve one-to-one violin lessons. The participants (N=6; female) were two teachers (aged 28 and 32 years) and four violin students (aged between 11 and 13 years). A set of retrieval cues was identified using qualitative analysis. A quantitative approach has allowed us to verify that most of the retrieval cues were used during v...
Envisaging musical narrative as a sequence of ritual structures, this re-search lies on the conce... more Envisaging musical narrative as a sequence of ritual structures, this re-search lies on the concepts of ritual, transgression, and narrative as ap-plied in a case study of a musical theatre piece, Sound Bridges. In traditional musical narrative, the focus is on construction, and one could speak ...
The current paper presents a study on the relationship between music learning development, and th... more The current paper presents a study on the relationship between music learning development, and the inclusion of a general preschool educator in music lessons, by children aged between 3 and 5 years old. Three study groups (n=51) consisting of existing preschool classes were differentiated by their exposure to a series of ten music lessons with or without the assistance of their habitual educator. One group had both lessons and educator assisting, a second group had lessons but their educator wasn’t present. A third was used as a control group in order to define musical development that was only related with cognitive growth. Participant’s performance concerning reproduction of learned rhythm patterns, melodic patterns and a familiar song were audio recorded in two recordings: once before the ten given lessons and the other after them. These were evaluated by professional music judges that had to choose the best recording of each individual child, without knowing if they were evaluat...
The main objective of this work is to use the know-how provided by Flow Theory and share results ... more The main objective of this work is to use the know-how provided by Flow Theory and share results obtained from an on-going longitudinal study on music pedagogy and musical development in a Portuguese Music Education context, in which Optimal Experiences/Flow States were experienced by 5 th and 6 th grade students during Music Education classes based on the Orff-Schulwerk approach. The main objective of this work is to share results and Flow Theory based analysis of an on-going longitudinal study on music pedagogy and development in a Portuguese Music Education context. In order to assess musical engagement, questionnaires (based on AFIMA -Adapted Flow Indicators in Musical Activity) were given to students. The results obtained were related to the indicator -"Challenges and Skills" (including their equilibrium), which is an AFIMA dimension and a fundamental parameter of Optimal Experiences/Flow States occurrence. The main objective of this longitudinal study is to show that...
In this study we propose to identify different experienced emotions boosted by Orff-Schulwerk’ ac... more In this study we propose to identify different experienced emotions boosted by Orff-Schulwerk’ activities in a Music Education context. The empirical process was based on Csikszentmihalyi’s Flow Theory [1] and the consequent adaptation of the FIMA (Flow Indicators in Musical Activity) and AFIMA (Adapted Flow Indicators in Musical Activity), both developed by Custodero [2]. As emotions and cognition are closely linked in music [3], data enabled us to put in evidence several correlations regarding the Orff-Schulwerk approach and the students lived emotions during Music Education classes.
Proceedings of the International Society for Music Education nd 32 World Conference on Music Education Glasgow, 2016
The purpose of this investigation is to study how questioning strategies may influence teaching a... more The purpose of this investigation is to study how questioning strategies may influence teaching and learning music analysis. The exploratory basis of the analytical process accounts for research about strategies that enable the teacher to enhance the student's analytical skills. We used a methodology based on active and collaborative learning, on classroom discussions, on reflective practices used both by teacher and students, and on taxonomic classification, designing and planning of the questions. The action research consisted of a case study with an Analysis and Composition Techniques class of seven students during five lessons, each lesson focusing on a specific goal in the development of questioning strategies. Data was collected by video recording the lessons and through surveys and questionnaires before and after the intervention. The results strongly suggest that the adoption of questioning strategies and reflective practices in teaching brings evident benefits to the students' learning, and the importance of the questions for the instruction process; they also suggest potential negative aspects related to bad questioning skills and to the introduction of the method in the rigid school system structure. The findings point to the need of further investigation in different subjects concerning music education, such as teacher training, evaluation in reflective and questioning contexts, the relation to music composition and question design.
International Symposium on Performance Science, 2013
In cognitive psychology, retrieval cues are considered stimuli that assist information recovery i... more In cognitive psychology, retrieval cues are considered stimuli that assist information recovery in long-term memory. In educational contexts, they have been investigated as a teaching and learning tool as a means to promote meaningful learning. However, discussion on the use of these specific cues as a tool in instrumental teaching literature has been scarce. Therefore, it is not yet possible to understand the potential impact of this exploration on instrumental lessons. The aim of the present study was to both verify and identify the use of retrieval cues by the teacher in one-to- one violin lessons. This empirical pilot study consisted of video observa- tion of twelve one-to-one violin lessons. The participants (N=6; female) were two teachers (aged 28 and 32 years) and four violin students (aged between 11 and 13 years). A set of retrieval cues was identified using qualitative analysis. A quantitative approach has allowed us to verify that most of the retrieval cues were used during verbal communication; spe- cifically, when the teachers focused on aspects related to technical and/or motor skills. The results of this study highlight the importance and the need to organize a way to explore the use of retrieval cues as a teaching tool.
In the earlier stages of instrumental learning, one of the most teaching challenges is to appro... more In the earlier stages of instrumental learning, one of the most teaching challenges is to approach complex contents, which normally involves a rather technical vocabulary with effective and clear communication. In the lessons a possible way to optimize such communication, and consequently to enhance the student’s memorization and engagement, is to explore teaching cues (retrieval cues). In cognitive psychology, retrieval cues (RCs) are recognized as stimuli that assist recovery information in long-term memory. In educational context, this stimulus has been investigated as a teaching and learning tool to promote meaningful learning. However, the use of this teaching cues in instrumental context still needs to be further investigated.
This empirical pilot study aimed to identify the use of teaching cues by the teachers, within one-to-one instrumental context. The data analysed comprised twelve video-recorded one-to-one violin lessons, with two different teachers and their violin students (two of each teacher). A set of teaching cues was identified from the instructions given by the teacher. Moreover, teaching cues were used with the function of advise, diagnose and emphasize specific content during the lesson. The results illustrated that teaching cues can be explored as a teaching tool in order to contribute for the instrumental teaching and learning experience.
The quality of teacher’s instructions has been appointed in studies as one of some factors that d... more The quality of teacher’s instructions has been appointed in studies as one of some factors that distinguish expert teachers from their less-expert counterparts. One of the teacher’s challenges, while teaching an instrument is to approach a complex content (that involves a specific vocabulary) using effective and clear communication, which can be understood and recalled by the student later. Therefore, this study aims to identify some strategies used by instrumental teachers to achieve a more effective communication in instrumental lessons.
To reach the research aim an exploratory study involving observation of sixteen one-to-one violin lessons, at different venues in the UK, and twelve semi-structured interviews were conducted. The participants (n=12; 7 females and 5 males) were four teachers (aged between 41 and 62) and 8 violin students (aged between 9 and 15). Two sequential lessons were videotaped and the interview was conducted after the first lesson observed. A total of thirty instructions were selected through the lesson observations. The selected instructions were scrutinized through the interviews. Finally, teachers intentions and student’s perceptions were compared in order to evaluate the efficacy of communication. Through a thematic analysis, the strategies used by teachers to make the instructions understandable to the students were identified.
Preliminary results suggest that each teacher had a pedagogical multimodal vocabulary used according to each student's individual differences, learning stages and ages. Moreover, this vocabulary was embodied in ten strategies identified by the analysis of the dataset. On the other hand, the comparative analysis of the interviews revealed that for the students a more effective communication was achieved when the teacher’s instructions were approached through: (i) touching; (ii) using metaphors; (iii) giving attention to specific preferences and (iv) combining different approaches.
This outcomes point to the importance of a respectful negotiation of meanings between teacher and student. The emergent cues in the pedagogical vocabulary shall be empirically tested as a mean to improve such communication. This study reinforces the importance of understanding the phenomenology of communication in one-to-one teaching and learning context.
This study aims to understand the phenomenology of instructional communication in performance tea... more This study aims to understand the phenomenology of instructional communication in performance teaching. In order to reach the research aim, an exploratory case study on the interpersonal communication of one-to-one violin lessons was conducted. Such study involved observations of sixteen one-to-one violin lessons and four semi-structured interviews. From a thematic analysis, preliminary results suggest that each teacher had a pedagogical multimodal vocabulary used according to the student's individual characteristics. Moreover, this vocabulary was embodied in eight communication strategies identified by an analysis of the dataset. We hope this study can contribute to a further understanding of the instructional communication in performance teaching in instrumental lessons.
"(...) Este livro reúne considerações histórico-filosóficas e princípios pedagógicos fundamentais... more "(...) Este livro reúne considerações histórico-filosóficas e princípios pedagógicos fundamentais relativos à abordagem Orff-Schulwerk. Desenvolvida no seio das Pedagogias Musicais Ativas do século XX, esta abordagem teve origem na concepção holística de Carl Orff sobre o ser humano, que procura ampliá-lo através do desenvolvimento de capacidades artístico-criativas. Unindo pedagogicamente expressão rítmico-linguística, música e movimento/dança, a abordagem Orff-Schulwerk permite experiência a música de ângulos e formas tão diferentes, quanto variadas e profícuas, residindo nesta pluridimensionalidade o seu acolhimento internacional. (...) O objectivo central deste livro é difundir aspetos histórico filosóficos e princípios pedagógicos elementares da abordagem Orff-Schulwerk, no sentido de revigorar a sua implementação e desenvolvimento em diferentes contextos educativos portugueses, e de países de expressão lusófona. (...)"
This paper presents the methodology employed to create the sound installation Saving Shapes (2016... more This paper presents the methodology employed to create the sound installation Saving Shapes (2016-2018). Based on that, we will present some remarks about composing music for sound installations at outdoor places on exhibition for prolonged periods of time, particularly strategies to avoid audio loops. Our approach is based on three phases: (1) gather a wide range of phenomenological “information” from the place, mostly by performing soundwalks, taking notes and doing sound recordings (2) analyzing that “information” and composing music to be performed and installed at that specific place (3) periodically recreate the composition/installation using new “information” retrieved by repeating step number 1. Our research is mostly based and inspired on ideas from soundscape studies and artistic practices of well-known authors such as Murray Schafer (1977), Hildegard Westerkamp (1974), Barry Truax (2001), David Abram (1996) and Bernie Krause (2013). For our specific work and research, Wes...
In November 2017, the international conference Musichildren'17, which took place at the Depar... more In November 2017, the international conference Musichildren'17, which took place at the Department of Communication and Art of the University of Aveiro (UA), organised by members of the University of Aveiro's branch of the research centre INET-md (Instituto de Etnomusicologia – Centro de Estudos em Música e Dança), welcomed the Japanese composer and educator Dai Fujikura as a keynote speaker. Dai Fujikura was interviewed by Sara Carvalho and Filipe Lopes in relation to the project with which he is involved in Japan, namely a composition project for children in Fukushima, Japan. The following interview discusses Dai Fujikura's own work as a composer and his experiences with the Fukushima project for child composers.
In cognitive psychology, retrieval cues are considered stimuli that assist information recovery i... more In cognitive psychology, retrieval cues are considered stimuli that assist information recovery in long-term memory. In educational contexts, they have been investigated as a teaching and learning tool as a means to promote meaningful learning. However, discussion on the use of these specific cues as a tool in instrumental teaching literature has been scarce. Therefore, it is not yet possible to understand the potential impact of this exploration on instrumental lessons. The aim of the present study was to both verify and identify the use of retrieval cues by the teacher in one-toone violin lessons. This empirical pilot study consisted of video observation of twelve one-to-one violin lessons. The participants (N=6; female) were two teachers (aged 28 and 32 years) and four violin students (aged between 11 and 13 years). A set of retrieval cues was identified using qualitative analysis. A quantitative approach has allowed us to verify that most of the retrieval cues were used during v...
Envisaging musical narrative as a sequence of ritual structures, this re-search lies on the conce... more Envisaging musical narrative as a sequence of ritual structures, this re-search lies on the concepts of ritual, transgression, and narrative as ap-plied in a case study of a musical theatre piece, Sound Bridges. In traditional musical narrative, the focus is on construction, and one could speak ...
The current paper presents a study on the relationship between music learning development, and th... more The current paper presents a study on the relationship between music learning development, and the inclusion of a general preschool educator in music lessons, by children aged between 3 and 5 years old. Three study groups (n=51) consisting of existing preschool classes were differentiated by their exposure to a series of ten music lessons with or without the assistance of their habitual educator. One group had both lessons and educator assisting, a second group had lessons but their educator wasn’t present. A third was used as a control group in order to define musical development that was only related with cognitive growth. Participant’s performance concerning reproduction of learned rhythm patterns, melodic patterns and a familiar song were audio recorded in two recordings: once before the ten given lessons and the other after them. These were evaluated by professional music judges that had to choose the best recording of each individual child, without knowing if they were evaluat...
The main objective of this work is to use the know-how provided by Flow Theory and share results ... more The main objective of this work is to use the know-how provided by Flow Theory and share results obtained from an on-going longitudinal study on music pedagogy and musical development in a Portuguese Music Education context, in which Optimal Experiences/Flow States were experienced by 5 th and 6 th grade students during Music Education classes based on the Orff-Schulwerk approach. The main objective of this work is to share results and Flow Theory based analysis of an on-going longitudinal study on music pedagogy and development in a Portuguese Music Education context. In order to assess musical engagement, questionnaires (based on AFIMA -Adapted Flow Indicators in Musical Activity) were given to students. The results obtained were related to the indicator -"Challenges and Skills" (including their equilibrium), which is an AFIMA dimension and a fundamental parameter of Optimal Experiences/Flow States occurrence. The main objective of this longitudinal study is to show that...
In this study we propose to identify different experienced emotions boosted by Orff-Schulwerk’ ac... more In this study we propose to identify different experienced emotions boosted by Orff-Schulwerk’ activities in a Music Education context. The empirical process was based on Csikszentmihalyi’s Flow Theory [1] and the consequent adaptation of the FIMA (Flow Indicators in Musical Activity) and AFIMA (Adapted Flow Indicators in Musical Activity), both developed by Custodero [2]. As emotions and cognition are closely linked in music [3], data enabled us to put in evidence several correlations regarding the Orff-Schulwerk approach and the students lived emotions during Music Education classes.
Proceedings of the International Society for Music Education nd 32 World Conference on Music Education Glasgow, 2016
The purpose of this investigation is to study how questioning strategies may influence teaching a... more The purpose of this investigation is to study how questioning strategies may influence teaching and learning music analysis. The exploratory basis of the analytical process accounts for research about strategies that enable the teacher to enhance the student's analytical skills. We used a methodology based on active and collaborative learning, on classroom discussions, on reflective practices used both by teacher and students, and on taxonomic classification, designing and planning of the questions. The action research consisted of a case study with an Analysis and Composition Techniques class of seven students during five lessons, each lesson focusing on a specific goal in the development of questioning strategies. Data was collected by video recording the lessons and through surveys and questionnaires before and after the intervention. The results strongly suggest that the adoption of questioning strategies and reflective practices in teaching brings evident benefits to the students' learning, and the importance of the questions for the instruction process; they also suggest potential negative aspects related to bad questioning skills and to the introduction of the method in the rigid school system structure. The findings point to the need of further investigation in different subjects concerning music education, such as teacher training, evaluation in reflective and questioning contexts, the relation to music composition and question design.
International Symposium on Performance Science, 2013
In cognitive psychology, retrieval cues are considered stimuli that assist information recovery i... more In cognitive psychology, retrieval cues are considered stimuli that assist information recovery in long-term memory. In educational contexts, they have been investigated as a teaching and learning tool as a means to promote meaningful learning. However, discussion on the use of these specific cues as a tool in instrumental teaching literature has been scarce. Therefore, it is not yet possible to understand the potential impact of this exploration on instrumental lessons. The aim of the present study was to both verify and identify the use of retrieval cues by the teacher in one-to- one violin lessons. This empirical pilot study consisted of video observa- tion of twelve one-to-one violin lessons. The participants (N=6; female) were two teachers (aged 28 and 32 years) and four violin students (aged between 11 and 13 years). A set of retrieval cues was identified using qualitative analysis. A quantitative approach has allowed us to verify that most of the retrieval cues were used during verbal communication; spe- cifically, when the teachers focused on aspects related to technical and/or motor skills. The results of this study highlight the importance and the need to organize a way to explore the use of retrieval cues as a teaching tool.
In the earlier stages of instrumental learning, one of the most teaching challenges is to appro... more In the earlier stages of instrumental learning, one of the most teaching challenges is to approach complex contents, which normally involves a rather technical vocabulary with effective and clear communication. In the lessons a possible way to optimize such communication, and consequently to enhance the student’s memorization and engagement, is to explore teaching cues (retrieval cues). In cognitive psychology, retrieval cues (RCs) are recognized as stimuli that assist recovery information in long-term memory. In educational context, this stimulus has been investigated as a teaching and learning tool to promote meaningful learning. However, the use of this teaching cues in instrumental context still needs to be further investigated.
This empirical pilot study aimed to identify the use of teaching cues by the teachers, within one-to-one instrumental context. The data analysed comprised twelve video-recorded one-to-one violin lessons, with two different teachers and their violin students (two of each teacher). A set of teaching cues was identified from the instructions given by the teacher. Moreover, teaching cues were used with the function of advise, diagnose and emphasize specific content during the lesson. The results illustrated that teaching cues can be explored as a teaching tool in order to contribute for the instrumental teaching and learning experience.
The quality of teacher’s instructions has been appointed in studies as one of some factors that d... more The quality of teacher’s instructions has been appointed in studies as one of some factors that distinguish expert teachers from their less-expert counterparts. One of the teacher’s challenges, while teaching an instrument is to approach a complex content (that involves a specific vocabulary) using effective and clear communication, which can be understood and recalled by the student later. Therefore, this study aims to identify some strategies used by instrumental teachers to achieve a more effective communication in instrumental lessons.
To reach the research aim an exploratory study involving observation of sixteen one-to-one violin lessons, at different venues in the UK, and twelve semi-structured interviews were conducted. The participants (n=12; 7 females and 5 males) were four teachers (aged between 41 and 62) and 8 violin students (aged between 9 and 15). Two sequential lessons were videotaped and the interview was conducted after the first lesson observed. A total of thirty instructions were selected through the lesson observations. The selected instructions were scrutinized through the interviews. Finally, teachers intentions and student’s perceptions were compared in order to evaluate the efficacy of communication. Through a thematic analysis, the strategies used by teachers to make the instructions understandable to the students were identified.
Preliminary results suggest that each teacher had a pedagogical multimodal vocabulary used according to each student's individual differences, learning stages and ages. Moreover, this vocabulary was embodied in ten strategies identified by the analysis of the dataset. On the other hand, the comparative analysis of the interviews revealed that for the students a more effective communication was achieved when the teacher’s instructions were approached through: (i) touching; (ii) using metaphors; (iii) giving attention to specific preferences and (iv) combining different approaches.
This outcomes point to the importance of a respectful negotiation of meanings between teacher and student. The emergent cues in the pedagogical vocabulary shall be empirically tested as a mean to improve such communication. This study reinforces the importance of understanding the phenomenology of communication in one-to-one teaching and learning context.
This study aims to understand the phenomenology of instructional communication in performance tea... more This study aims to understand the phenomenology of instructional communication in performance teaching. In order to reach the research aim, an exploratory case study on the interpersonal communication of one-to-one violin lessons was conducted. Such study involved observations of sixteen one-to-one violin lessons and four semi-structured interviews. From a thematic analysis, preliminary results suggest that each teacher had a pedagogical multimodal vocabulary used according to the student's individual characteristics. Moreover, this vocabulary was embodied in eight communication strategies identified by an analysis of the dataset. We hope this study can contribute to a further understanding of the instructional communication in performance teaching in instrumental lessons.
"(...) Este livro reúne considerações histórico-filosóficas e princípios pedagógicos fundamentais... more "(...) Este livro reúne considerações histórico-filosóficas e princípios pedagógicos fundamentais relativos à abordagem Orff-Schulwerk. Desenvolvida no seio das Pedagogias Musicais Ativas do século XX, esta abordagem teve origem na concepção holística de Carl Orff sobre o ser humano, que procura ampliá-lo através do desenvolvimento de capacidades artístico-criativas. Unindo pedagogicamente expressão rítmico-linguística, música e movimento/dança, a abordagem Orff-Schulwerk permite experiência a música de ângulos e formas tão diferentes, quanto variadas e profícuas, residindo nesta pluridimensionalidade o seu acolhimento internacional. (...) O objectivo central deste livro é difundir aspetos histórico filosóficos e princípios pedagógicos elementares da abordagem Orff-Schulwerk, no sentido de revigorar a sua implementação e desenvolvimento em diferentes contextos educativos portugueses, e de países de expressão lusófona. (...)"
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Papers by Sara Carvalho
Conference Presentations by Sara Carvalho
This empirical pilot study aimed to identify the use of teaching cues by the teachers, within one-to-one instrumental context. The data analysed comprised twelve video-recorded one-to-one violin lessons, with two different teachers and their violin students (two of each teacher). A set of teaching cues was identified from the instructions given by the teacher. Moreover, teaching cues were used with the function of advise, diagnose and emphasize specific content during the lesson. The results illustrated that teaching cues can be explored as a teaching tool in order to contribute for the instrumental teaching and learning experience.
To reach the research aim an exploratory study involving observation of sixteen one-to-one violin lessons, at different venues in the UK, and twelve semi-structured interviews were conducted. The participants (n=12; 7 females and 5 males) were four teachers (aged between 41 and 62) and 8 violin students (aged between 9 and 15). Two sequential lessons were videotaped and the interview was conducted after the first lesson observed. A total of thirty instructions were selected through the lesson observations. The selected instructions were scrutinized through the interviews. Finally, teachers intentions and student’s perceptions were compared in order to evaluate the efficacy of communication. Through a thematic analysis, the strategies used by teachers to make the instructions understandable to the students were identified.
Preliminary results suggest that each teacher had a pedagogical multimodal vocabulary used according to each student's individual differences, learning stages and ages. Moreover, this vocabulary was embodied in ten strategies identified by the analysis of the dataset. On the other hand, the comparative analysis of the interviews revealed that for the students a more effective communication was achieved when the teacher’s instructions were approached through: (i) touching; (ii) using metaphors; (iii) giving attention to specific preferences and (iv) combining different approaches.
This outcomes point to the importance of a respectful negotiation of meanings between teacher and student. The emergent cues in the pedagogical vocabulary shall be empirically tested as a mean to improve such communication. This study reinforces the importance of understanding the phenomenology of communication in one-to-one teaching and learning context.
Books by Sara Carvalho
Unindo pedagogicamente expressão rítmico-linguística, música e movimento/dança, a abordagem Orff-Schulwerk permite experiência a música de ângulos e formas tão diferentes, quanto variadas e profícuas, residindo nesta pluridimensionalidade o seu acolhimento internacional.
(...) O objectivo central deste livro é difundir aspetos histórico filosóficos e princípios pedagógicos elementares da abordagem Orff-Schulwerk, no sentido de revigorar a sua implementação e desenvolvimento em diferentes contextos educativos portugueses, e de países de expressão lusófona. (...)"
This empirical pilot study aimed to identify the use of teaching cues by the teachers, within one-to-one instrumental context. The data analysed comprised twelve video-recorded one-to-one violin lessons, with two different teachers and their violin students (two of each teacher). A set of teaching cues was identified from the instructions given by the teacher. Moreover, teaching cues were used with the function of advise, diagnose and emphasize specific content during the lesson. The results illustrated that teaching cues can be explored as a teaching tool in order to contribute for the instrumental teaching and learning experience.
To reach the research aim an exploratory study involving observation of sixteen one-to-one violin lessons, at different venues in the UK, and twelve semi-structured interviews were conducted. The participants (n=12; 7 females and 5 males) were four teachers (aged between 41 and 62) and 8 violin students (aged between 9 and 15). Two sequential lessons were videotaped and the interview was conducted after the first lesson observed. A total of thirty instructions were selected through the lesson observations. The selected instructions were scrutinized through the interviews. Finally, teachers intentions and student’s perceptions were compared in order to evaluate the efficacy of communication. Through a thematic analysis, the strategies used by teachers to make the instructions understandable to the students were identified.
Preliminary results suggest that each teacher had a pedagogical multimodal vocabulary used according to each student's individual differences, learning stages and ages. Moreover, this vocabulary was embodied in ten strategies identified by the analysis of the dataset. On the other hand, the comparative analysis of the interviews revealed that for the students a more effective communication was achieved when the teacher’s instructions were approached through: (i) touching; (ii) using metaphors; (iii) giving attention to specific preferences and (iv) combining different approaches.
This outcomes point to the importance of a respectful negotiation of meanings between teacher and student. The emergent cues in the pedagogical vocabulary shall be empirically tested as a mean to improve such communication. This study reinforces the importance of understanding the phenomenology of communication in one-to-one teaching and learning context.
Unindo pedagogicamente expressão rítmico-linguística, música e movimento/dança, a abordagem Orff-Schulwerk permite experiência a música de ângulos e formas tão diferentes, quanto variadas e profícuas, residindo nesta pluridimensionalidade o seu acolhimento internacional.
(...) O objectivo central deste livro é difundir aspetos histórico filosóficos e princípios pedagógicos elementares da abordagem Orff-Schulwerk, no sentido de revigorar a sua implementação e desenvolvimento em diferentes contextos educativos portugueses, e de países de expressão lusófona. (...)"