Papers by Daniel Osvaldo F. Figueiredo
O trabalho em mãos trata-se do Relatório de Prática de Ensino Supervisionada, vulgarmente denomin... more O trabalho em mãos trata-se do Relatório de Prática de Ensino Supervisionada, vulgarmente denominado Relatório de Estágio, referente ao Mestrado em Ensino de Música na especialidade de Análise e Técnicas de Composição. Constitui-se por duas partes: o Projeto Educativo/Investigação e a Prática Pedagógica Supervisionada. O Projeto Educativo/Investigação consiste no trabalho com um grupo de alunos realizado ao longo de quatro Sessões. Neste, pretende-se combater uma certa inércia face à atualização musical do ensino de música, particularmente, no que diz respeito à disciplina de Análise e Técnicas de Composição. Na Sessão n.º 1 elaborou-se uma introdução à Teoria dos Conjuntos e à Teoria das Notas Atrativas. A primeira teoria a partir da perspetiva de Allen Forte e a segunda da autoria de Edmond Costère. Na Sessão n.º 2 tiveram-se em consideração as Personagens rítmicas de Igor Stravinsky partindo-se da perspetiva de Olivier Messiaen. Na Sessão n.º 3 abordou-se o que Lev Koblyakov designa por Processos 'explosivos' de desenvolvimento em Le marteau sans maître. Por último, na Sessão n.º 4 procedeu-se à avaliação dos alunos. A avaliação compreendeu a composição de uma obra para instrumento solo na qual se deveria recorrer a, pelo menos, uma das teorias/técnicas abordadas nas distintas Sessões. As conclusões principais a retirar do Projeto Educativo/Investigação refletem uma opinião positiva dos alunos relativa aos conteúdos e conceitos propostos, demonstram que as teorias/técnicas abordadas, apesar de pouco conhecidas no contexto, contribuíram para o aumento de novas ferramentas a utilizar no processo criativo e indicam a formulação de uma nova compreensão musical. Depreende-se, concisamente, uma expansão do conhecimento dos alunos, assim como, uma melhor aproximação a algumas correntes e conceitos do século XX 'transdiscursivas' para uma criação musical holística e atual. A parte respeitante à Prática Pedagógica Supervisionada engloba a informação sobre a instituição de acolhimento, as aulas observadas e as aulas lecionadas. As conclusões principais a retirar da Prática Pedagógica Supervisionada recaem na sua importância no percurso do educador/professor/pedagogo, uma vez que se trata de uma contextualização fundamental que clarifica e aprofunda o trabalho que pode ser realizado na disciplina de Análise e Técnicas de Composição e, no caso, nas disciplinas de Introdução às Técnicas de Composição e Composição. Quer a realização do Projeto Educativo/Investigação, quer a da Prática de
Processos Criativos; Composição Musical; Análise Musical. Resumo Este projecto artístico divide-s... more Processos Criativos; Composição Musical; Análise Musical. Resumo Este projecto artístico divide-se em duas metades. A primeira parte foca a elaboração do processo criativo; para começar indicando um caminho de correlação entre a minha criatividade e os elementos artísticos preexistentes-excertos de manuscritos musicais religiosos do século XVI/XVII, encontrados em Ancede (freguesia do concelho de Baião), referências à tradição oral e ao património arquitectónico, pictórico e organológico. Em seguida tenta-se a fundamentação e delineação deste caminho numa visão teórica onde assumem particular relevo as perspectivas e conceitos de autores como Giddens, Toynbee e Garcia. A segunda parte do projecto consiste na criação musical propriamente dita. São analisadas as obras A Lenda de Ermelo e Olhares Sobre um Tríptico que reflectem, musicalmente, dois 'retratos' imaginários de Ancede. As partituras destas duas obras encontram-se em anexo.
This project is divided into two halves. The first part focuses on the development of the creativ... more This project is divided into two halves. The first part focuses on the development of the creative process; to begin with is established a correlation between my creativity and preexistent artistic elements – excerpts from religious musical manuscripts of the sixteenth/seventeenth century found in Ancede (county town of Baião), references to oral tradition and architectural, pictorial and organological heritage. Then, attempting to delineate the above-mentioned way, a theoretical view where the concepts and perspectives of author such as Giddens, Toynbee and Garcia are of particular importance.
The second part of the project is the musical creation itself, where are analyzed the works "A Lenda de Ermelo" and "Olhares Sobre um Tríptico", that reflect musically two imaginary ‘portraits’ of Ancede. The scores of these two works are attached.
Thesis Chapters by Daniel Osvaldo F. Figueiredo
The work at hand is the Supervised Teaching Practice Report, commonly called the Internship Repor... more The work at hand is the Supervised Teaching Practice Report, commonly called the Internship Report, for the Master's Degree in Music Teaching in the specialty of Analysis and Composition Techniques. It consists of two parts: The Educational/Research Project and the Supervised Pedagogical Practice.
The Educational/Research Project consists of working with a group of students conducted during four Sessions. In this, it is intended to combat a certain inertia in relation to the musical updating on teaching, particularly, with respect to the discipline of Analysis and Composition Techniques. In Session No. 1 an introduction to the Pitch Class Set Theory and the Theory of Attractive Notes was elaborated. The first theory from the perspective of Allen Forte and the second authored by Edmond Costère. In Session No. 2, Igor Stravinsky's Rhythmic characters were taken from the perspective of Olivier Messiaen. In Session No. 3, approached what Lev Koblyakov refers to as 'Explosive' development processes in Le marteau sans maître. Finally, in Session No. 4, students were evaluated. The evaluation comprised the composition of a work for solo instrument in which at least one of the theories/techniques addressed in the different Sessions should be used.
The main conclusions to be drawn from the Educational/Research Project reflect a positive opinion of the students regarding the contents and concepts proposed, demonstrate that the theories/techniques approached, although little known in the context, contributed to the increase of new tools to be used in the creative process and indicate the formulation of a new musical understanding. It concisely conveys an expansion of students’ knowledge, as well as a better approximation to some ‘transdiscursive’ currents and concepts of the twentieth century for a holistic and current musical creation.
The section on Supervised Pedagogical Practice includes information about the host institution, the classes observed and the classes taught.
The main conclusions to be drawn from the Supervised Pedagogical Practice fall back on its importance during the educator/teacher/pedagogue, since it is a fundamental contextualization that clarifies and deepens the work that can be carried out in the discipline of Analysis and Composition Techniques and, in this case, in the subjects of Introduction to Techniques of Composition and Composition.
Both the Education/Research Project and the Supervised Teaching Practice took place at the Conservatório de Música Calouste Gulbenkian de Braga.
The work at hand is the Supervised Teaching Practice Report, commonly called the Internship Repor... more The work at hand is the Supervised Teaching Practice Report, commonly called the Internship Report, for the Master's Degree in Music Teaching in the specialty of Analysis and Composition Techniques. It consists of two parts: The Educational/Research Project and the Supervised Pedagogical Practice. The Educational/Research Project consists of working with a group of students conducted during four Sessions. In this, it is intended to combat a certain inertia in relation to the musical updating on teaching, particularly, with respect to the discipline of Analysis and Composition Techniques. In Session No. 1 an introduction to the Pitch Class Set Theory and the Theory of Attractive Notes was elaborated. The first theory from the perspective of Allen Forte and the second authored by Edmond Costère. In Session No. 2, Igor Stravinsky's Rhythmic characters were taken from the perspective of Olivier Messiaen. In Session No. 3, approached what Lev Koblyakov refers to as 'Explosive' development processes in Le marteau sans maître. Finally, in Session No. 4, students were evaluated. The evaluation comprised the composition of a work for solo instrument in which at least one of the theories/techniques addressed in the different Sessions should be used. The main conclusions to be drawn from the Educational/Research Project reflect a positive opinion of the students regarding the contents and concepts proposed, demonstrate that the theories/techniques approached, although little known in the context, contributed to the increase of new tools to be used in the creative process and indicate the formulation of a new musical understanding. It concisely conveys an expansion of students’ knowledge, as well as a better approximation to some ‘transdiscursive’ currents and concepts of the twentieth century for a holistic and current musical creation. The section on Supervised Pedagogical Practice includes information about the host institution, the classes observed and the classes taught. The main conclusions to be drawn from the Supervised Pedagogical Practice fall back on its importance during the educator/teacher/pedagogue, since it is a fundamental contextualization that clarifies and deepens the work that can be carried out in the discipline of Analysis and Composition Techniques and, in this case, in the subjects of Introduction to Techniques of Composition and Composition. Both the Education/Research Project and the Supervised Teaching Practice took place at the Conservatório de Música Calouste Gulbenkian de Braga.
Uploads
Papers by Daniel Osvaldo F. Figueiredo
The second part of the project is the musical creation itself, where are analyzed the works "A Lenda de Ermelo" and "Olhares Sobre um Tríptico", that reflect musically two imaginary ‘portraits’ of Ancede. The scores of these two works are attached.
Thesis Chapters by Daniel Osvaldo F. Figueiredo
The Educational/Research Project consists of working with a group of students conducted during four Sessions. In this, it is intended to combat a certain inertia in relation to the musical updating on teaching, particularly, with respect to the discipline of Analysis and Composition Techniques. In Session No. 1 an introduction to the Pitch Class Set Theory and the Theory of Attractive Notes was elaborated. The first theory from the perspective of Allen Forte and the second authored by Edmond Costère. In Session No. 2, Igor Stravinsky's Rhythmic characters were taken from the perspective of Olivier Messiaen. In Session No. 3, approached what Lev Koblyakov refers to as 'Explosive' development processes in Le marteau sans maître. Finally, in Session No. 4, students were evaluated. The evaluation comprised the composition of a work for solo instrument in which at least one of the theories/techniques addressed in the different Sessions should be used.
The main conclusions to be drawn from the Educational/Research Project reflect a positive opinion of the students regarding the contents and concepts proposed, demonstrate that the theories/techniques approached, although little known in the context, contributed to the increase of new tools to be used in the creative process and indicate the formulation of a new musical understanding. It concisely conveys an expansion of students’ knowledge, as well as a better approximation to some ‘transdiscursive’ currents and concepts of the twentieth century for a holistic and current musical creation.
The section on Supervised Pedagogical Practice includes information about the host institution, the classes observed and the classes taught.
The main conclusions to be drawn from the Supervised Pedagogical Practice fall back on its importance during the educator/teacher/pedagogue, since it is a fundamental contextualization that clarifies and deepens the work that can be carried out in the discipline of Analysis and Composition Techniques and, in this case, in the subjects of Introduction to Techniques of Composition and Composition.
Both the Education/Research Project and the Supervised Teaching Practice took place at the Conservatório de Música Calouste Gulbenkian de Braga.
The second part of the project is the musical creation itself, where are analyzed the works "A Lenda de Ermelo" and "Olhares Sobre um Tríptico", that reflect musically two imaginary ‘portraits’ of Ancede. The scores of these two works are attached.
The Educational/Research Project consists of working with a group of students conducted during four Sessions. In this, it is intended to combat a certain inertia in relation to the musical updating on teaching, particularly, with respect to the discipline of Analysis and Composition Techniques. In Session No. 1 an introduction to the Pitch Class Set Theory and the Theory of Attractive Notes was elaborated. The first theory from the perspective of Allen Forte and the second authored by Edmond Costère. In Session No. 2, Igor Stravinsky's Rhythmic characters were taken from the perspective of Olivier Messiaen. In Session No. 3, approached what Lev Koblyakov refers to as 'Explosive' development processes in Le marteau sans maître. Finally, in Session No. 4, students were evaluated. The evaluation comprised the composition of a work for solo instrument in which at least one of the theories/techniques addressed in the different Sessions should be used.
The main conclusions to be drawn from the Educational/Research Project reflect a positive opinion of the students regarding the contents and concepts proposed, demonstrate that the theories/techniques approached, although little known in the context, contributed to the increase of new tools to be used in the creative process and indicate the formulation of a new musical understanding. It concisely conveys an expansion of students’ knowledge, as well as a better approximation to some ‘transdiscursive’ currents and concepts of the twentieth century for a holistic and current musical creation.
The section on Supervised Pedagogical Practice includes information about the host institution, the classes observed and the classes taught.
The main conclusions to be drawn from the Supervised Pedagogical Practice fall back on its importance during the educator/teacher/pedagogue, since it is a fundamental contextualization that clarifies and deepens the work that can be carried out in the discipline of Analysis and Composition Techniques and, in this case, in the subjects of Introduction to Techniques of Composition and Composition.
Both the Education/Research Project and the Supervised Teaching Practice took place at the Conservatório de Música Calouste Gulbenkian de Braga.