Ritmo falado : uma proposta de sistema consolidada e uma linguagem para compreender ritmo
Type
masterThesis
Creator
Identifier
203048580
Title
Ritmo falado : uma proposta de sistema consolidada e uma linguagem para compreender ritmo
Contributor
Raimundo, José Filomeno Martins
Subject
Solfejo rítmico
Ritmo falado
Konakkol
Takadimi system
Música
Rhythmic solfège
Spoken rhythm
Music
Domínio/Área Científica : Humanidades
Ritmo falado
Konakkol
Takadimi system
Música
Rhythmic solfège
Spoken rhythm
Music
Domínio/Área Científica : Humanidades
Date
2022-08-03T11:22:12Z
2022-08-03T11:22:12Z
2021
2022
2022-08-03T11:22:12Z
2021
2022
Description
Este trabalho propõe uma abordagem de ritmo falado original e desenvolve um sistema simples e flexível para traduzir as operações necessárias durante a realização musical do ritmo em palavras rítmicas e instruções claras e intuitivas.
O sistema proposto neste trabalho localiza-se, na literatura, próximo aos sistemas de ritmo silábicos, como o sistema francês de nomear os tempos também conhecido como Galin-Paris-Chevé (Chevé, 1844); a abordagem de Curwen/Kodály (Palkki, 2010) a proposta de solfejo de Gordon/Froseth (Gordon, 2012) e, em especial, o Takadimi System (Hoffman, Pelto, & White, 1996).
Assim como o Takadimi System, nossa proposta de sistema foi profundamente inspirada pelos princípios rítmicos estabelecidos na tradição de ritmo falado do sul da Índia, conhecida como o Konakkol, e os aproveita e adapta onde estes podem expandir e enriquecer a nossa prática do ritmo.
Nosso trabalho foi pautado pelos seguintes objetivos: primeiro, explorar e compreender as propostas de sistemas anteriores, identificar suas capacidades e deficiências e estabelecer os requisitos necessários para integrar estas capacidades em um único sistema abrangente; segundo, desenvolver e propor um sistema de solfejo rítmico que compreenda as qualidades dos esforços anteriores e atenda às críticas apontadas a estes sistemas ao longo do tempo, sejam estas levantadas por outros autores ou por nossa própria reflexão; terceiro, realizar uma experiência de ensino do nosso sistema a alunos iniciantes e, por um processo iterativo e interativo, reavaliar nossas escolhas e consolidar um sistema que seja prático e adequado ao aprendizado; quarto, descrever a metodologia utilizadas em sala de aula para ensinar ritmo a partir do nosso sistema, estabelecendo parâmetros para outros educadores que desejem ensinar a partir do nosso trabalho.
Nosso esforço é inspirado pelo princípio de compreender o ritmo como uma estrutura depreendida do material sonoro da música – não do papel – e estabelecer o ritmo falado como uma linguagem primitiva à partitura. Nossa intenção é contribuir para o esforço de outros educadores, que acreditam, como nós, que o aprendizado musical é melhor quando guiado pelo ouvido, pelo gesto corporal e pela voz; mas compreendem como uma abordagem clara e estruturada convida a curiosidade e inteligência dos estudantes a participar do processo de aprendizado.
Abstract : This work proposes a novel approach for spoken rhythm and develops a simple and flexible system that translates the necessary operations for musical rhythm performance into rhythmic words and concise and intuitive instructions. Our proposed system stands alongside other system for syllable-based rhythmic solfège in literature, such as the French Time-Names System, sometimes referred as the Galin-Paris-Chevé System (Chevé, 1844); the Curwen/Kodály approach (Palkki, 2010); the Gordon/Froseth proposal; and, specially, the Takadimi System (Hoffman, Pelto, & White, 1996). As Takadimi System, our proposed system was deeply influenced by the rhythm principles found in South India’s tradition of spoken rhythm, known as Konakkol, borrowing, and adapting from those principles when they were found to deepen and expand our own practice Our work stablishes the following objectives. First, to explore the efforts of previous authors, identify the capabilities and deficiencies of their systems and establish the prerequisites to coalesce its capabilities in a single system. Second, to develop and propose a rhythmic solfège system that comprises the qualities of previous efforts and answer to standing criticism raised by subsequent authors or by our own considerations towards these systems. Third, develop a tentative teaching experience, and through this iterative and interactive process, reevaluate our choices and consolidate a system that is both practical and classroom ready. Fourth, describe the methodology used in classroom during the teaching experience of our system, establishing a common practice and parameters for future educators interested in teaching through our approach. Our effort is inspired by the principle of understanding rhythm as a structure derived from the sound material of music – not from the paper – and establish spoken rhythm as primitive to score notation. Our intention is to further efforts by educators that, like ourselves, believe that music learning is improved when guided through listening, gesture, and voice; but also understand how a clear and structured approach invites a student’s curiosity and intelligence into the learning process.
Abstract : This work proposes a novel approach for spoken rhythm and develops a simple and flexible system that translates the necessary operations for musical rhythm performance into rhythmic words and concise and intuitive instructions. Our proposed system stands alongside other system for syllable-based rhythmic solfège in literature, such as the French Time-Names System, sometimes referred as the Galin-Paris-Chevé System (Chevé, 1844); the Curwen/Kodály approach (Palkki, 2010); the Gordon/Froseth proposal; and, specially, the Takadimi System (Hoffman, Pelto, & White, 1996). As Takadimi System, our proposed system was deeply influenced by the rhythm principles found in South India’s tradition of spoken rhythm, known as Konakkol, borrowing, and adapting from those principles when they were found to deepen and expand our own practice Our work stablishes the following objectives. First, to explore the efforts of previous authors, identify the capabilities and deficiencies of their systems and establish the prerequisites to coalesce its capabilities in a single system. Second, to develop and propose a rhythmic solfège system that comprises the qualities of previous efforts and answer to standing criticism raised by subsequent authors or by our own considerations towards these systems. Third, develop a tentative teaching experience, and through this iterative and interactive process, reevaluate our choices and consolidate a system that is both practical and classroom ready. Fourth, describe the methodology used in classroom during the teaching experience of our system, establishing a common practice and parameters for future educators interested in teaching through our approach. Our effort is inspired by the principle of understanding rhythm as a structure derived from the sound material of music – not from the paper – and establish spoken rhythm as primitive to score notation. Our intention is to further efforts by educators that, like ourselves, believe that music learning is improved when guided through listening, gesture, and voice; but also understand how a clear and structured approach invites a student’s curiosity and intelligence into the learning process.
Access restrictions
openAccess
http://creativecommons.org/licenses/by/4.0/
http://creativecommons.org/licenses/by/4.0/
Language
por
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