O Que Eu Sei Hoje: Reflexões sobre a Pedagogia da Teoria da Música
DOI:
https://doi.org/10.52930/mt.v1i2.22Resumo
O livro de Ellyn Spragin, What I Know Now: Letters to My Younger Self (2008), é o ponto de partida deste ensaio, no qual a autora reflete sobre suas experiências pessoais durante trinta anos de ensino de Teoria da Música. Durante aproximadamente vinte desses anos, ela ministrou um curso de pedagogia da teoria da música—campo fértil para o seu próprio aprendizado, enquanto observava jovens professores aprimorarem seu ofício. O ensaio apresenta alguns conceitos importantes desse curso e demonstra como as técnicas de ensino aprendidas via tentativa-e-erro, experimentos, e a observação de seus alunos e colegas têm uma abundante literatura pedagógica e cognitiva que as respaldam. Ela conclui com uma carta escrita para si mesma, quando jovem.Referências
Bain, Ken. 2004. What the Best College Teachers Do. Cambridge: Harvard University Press.
Bruner, Jerome S. 1960. The Process of Education. Cambridge: Harvard University Press.
Clendinning, Jane Piper e Marvin, Elizabeth West. 2016. The Musician’s Guide to Theory and Analysis, 3rd ed. New York: W. W. Norton.
Cogan, Robert e Escot, Pozzi. 1976. Sonic Design: The Nature of Sound and Music. Upper Saddle River: Prentice Hall. [Em português: Cogan, Robert e Escot, Pozzi. 2013. Som e Música: A Natureza das Estruturas Sonoras. (Trad: Gerling, Cristina, Gonçalves Fernando e Muniagurria, Carolina). Porto Alegre: UFRGS Editora.]
Cooper, Paul. 1981. Perspectives in Music Theory: An Historical-Analytical Approach. New York: Harper-Collins College Division.
Deci, Edward. 1971. Effects of Externally Mediated Rewards on Intrinsic Motivation. Journal of Personality and Social Psychology 18, no. 1, p. 105-115.
Eckert, Stefan. 2005. ‘So, you want to write a Minuet?’ – Historical Perspectives in Teaching Theory. Music Theory Online 11, no. 2.
Folio, Cynthia e Kreinberg, Steven. 2009-2010. Blackboard and Wikis and Blogs, Oh My: Collaborative Learning Tools for Enriching Music History and Music Theory Courses. College Music Symposium 49/50, p. 64-175.
King, Alison. 1993. From Sage on the Stage to Guide on the Side. College Teaching 41, no. 1, p. 30-35.
Krathwohl, David R. 2002. A Revision of Bloom's Taxonomy: An Overview. Theory Into Practice 41, no. 4, p. 212-218.
Riener, Cedar e Willingham, Daniel. 2010. The Myth of Learning Styles. Change: The Magazine of Higher Learning 42, no. 5, p. 32-35.
Rogers, Michael R. 2004. Teaching Approaches in Music Theory: An Overview of Pedagogical Philosophies. Carbondale: Southern Illinois University Press.
Ryan, Richard M. e Deci, Edward L. 2000. Intrinsic and Extrinsic Motivations: Classic Definitions and New Directions. Contemporary Educational Psychology 25, no. 1, p. 54-67.
Salzer, Felix e Schachter, Carl. 1969. Counterpoint in Composition: The Study of Voice Leading. New York: Columbia University Press.
Shaffer, Kris e Hughes, Bryn. 2013. Flipping the Classroom: Three Methods. Engaging Students: Essays in Music Pedagogy 1. Accessed April 12, 2016: http://flipcamp.org/engagingstudents/shafferintro.html
Spragins, Ellyn. 2008. What I Know Now: Letters to My Younger Self. New York: Broadway Books.
Thomson, William. 1990. The Anatomy of a Flawed Success: Comprehensive Musicianship Revisited. Quarterly Journal of Music Teaching and Learning 1, no. 2, p. 20-28.
Truland, David. 1999. Comprehensive Musicianship in Undergraduate Music Programs. Accessed April 13, 2016:
http://www.auburn.edu/academic/classes/ctmu/7970CMP/refs/truland-1997.pdf
van Lier, Leo. 2007. Action-based Teaching, Autonomy and Identity. International Journal of Innovation in Language Learning and Teaching 1, no. 1, p. 46-65.
Ward-Steinman, David e Ward-Steinman, Susan L. 1976. Comparative Anthology of Musical Forms. Vol. 1-2. Belmont: Wadsworth Publishing Company.
Wittlich, Gary E. e Humphries, Lee. 1974. Ear Training: An Approach through Music Literature. San Diego: Harcourt College Publishers.
Zbikowski, Lawrence e Long, Charles K. 1994. Cooperative Learning in the Music Theory Classroom. Journal of Music Theory Pedagogy 8, p. 135-57.
