Práticas renovadas em educação: da compreensão à expressão musical através do ensino do piano.

Abstract

This dissertation will present the teaching-learning practices of the piano of each of the teachers Sodrelina Hallal and Yara Cava from the city of Pelotas, and highlight the experiences that were considered significant to promote in the student the ability to understand and express themselves through this musical instrument, these being the objectives of this work. The methodology developed was based on bibliographic research, with support in documentary aspects and testimonies. To achieve the results, we sought to identify the teachers' practices by conducting semi-structured interviews with Professor Yara and a student of Professor Sodrelina, because she is deceased, and information was also obtained through documents, academic texts and books. Based on the data collected, a study of the teaching-learning practices of each of these teachers was carried out, with the theoretical support of educators Paulo Freire, Hans-Joachim Koellreutter and Violeta de Gainza, in order to illuminate the understanding of the outlined practices. In the development of the dissertation, it begins by presenting education and music in the city of Pelotas, in order to contextualize, locate and justify the presence of teachers, also showing the training environment, as well as the training trajectory and artistic activities of each one. Continuing, it was deemed necessary to provide an overview of the practices of musical education and piano teaching that were developed throughout the 20th century, which can mention the active methods, in order to present practices that brought a more participatory and meaningful to the student. Then there was a presentation of the teaching-learning practices of the educators Freire, Koellreutter and Gainza, in order to search for these practices activities that promote understanding and expression, making an approximation between them, also showing a brief curriculum of these last two educators from music. Finally, the teaching-learning practices of each of the teachers are outlined, and the experiences understood as significant for the development of musical understanding and expression are raised, based on the contributions of educators Freire, Koellreutter and Gainza. The work is concluded with the final considerations.