Estratégias utilizadas por clarinetistas brasileiros no preparo de uma obra inédita no prazo de uma semana: uma análise baseada no inventário de prática deliberada em música
Data
2023-02-03
Autores
Leite, Frederico Cesar Assis 
Orientadores
Oliveira, Maria Gabriela Menezes de
Tipo
Dissertação de mestrado
Título da Revista
ISSN da Revista
Título de Volume
Resumo
Músicos profissionais de formação clássica em geral se utilizam da leitura
de partitura como um recurso fundamental para o aprendizado de uma nova
peça. No período de formação, o treino do instrumento pode ser uma prática
deliberada por um tutor, auxiliada por colegas ou desenvolvida autonomamente.
Já no estágio de atuação profissional, a figura do tutor dá lugar a um processo
autorregulado.
Com o intuito de criar um instrumento padronizado para avaliar a
qualidade da prática deliberada relacionada à música, Passarotto (2022)
construiu o “Inventário de Prática Deliberada em Música” (DPMI), formado por
afirmações relacionadas à prática que foram agrupadas em 4 categorias. Estas
afirmações foram estabelecidas a partir de entrevistas qualitativas com músicos
e professores de música, que atribuíam notas de 0 a 7 às afirmações do
inventário, conforme houvesse correspondência com sua prática.
O presente estudo procurou verificar a possibilidade de estender a
utilidade do DPMI para uma situação próxima à realidade de atuação do músico
profissional, onde ele precisa lidar com a limitação de tempo para aceitar um
trabalho. Tratase
de uma pesquisa com abordagem qualitativa, na qual
instrumentistas, todos clarinetistas com formação em música erudita, foram
convidados a relatar como se preparam para uma apresentação que seria
realizada em uma semana, a partir do recebimento de uma partitura inédita.
Procuramos extrair dos relatos, afirmações que corresponderiam às categorias
descritas no DPMI. Além disso, buscamos investigar quais processos cognitivos
estariam envolvidos no preparo da performance.
Foram entrevistados 12 clarinetistas profissionais com no mínimo 14
anos de estudo. Dos 12, quatro eram mais experientes e mais velhos que os
outros oito. Consideramos estes fatores na análise das entrevistas em virtude da
possível diferença de discurso entre os grupos. Foi possível extrair depoimentos
de suas práticas, que estariam relacionadas a algumas afirmações de cada uma
das 4 categorias do DPMI, sugerindo a adequação deste instrumento para
investigar a qualidade do estudo em uma situação de delimitação de tempo, o
que estaria mais próximo à realidade dos músicos profissionais. Entretanto, foi percebida uma categoria não contemplada por esta escala,
que diz respeito a estratégia de resolução de problemas técnicos específicos, e
que está ligada ao conceito de efeito de interferência contextual, onde o músico
realiza modificações estruturais em trechos de maior dificuldade. Os músicos
não relatam a necessidade de um tutor, sendo a preparação da obra feita de
forma autorregulada, utilizando suas capacidades metacognitivas e toda a
bagagem de conhecimento, incluindo elementos de motivação, atenção e
memória implícita. Estes fatores estão relacionados à qualidade e eficiência da
prática.
Classical musicians in general use sheet music reading as a fundamental resource for learning a new piece. During their training period, instrumental practice can be a deliberate practice guided by a tutor, aided by colleagues, or developed autonomously. However, in the professional stage, the role of the tutor gives way to a selfregulated process. With the aim of creating a standardized instrument to assess the quality of deliberate practice related to music, Passarotto (2022) developed the "Inventory of Deliberate Practice in Music" (DPMI), consisting of statements related to practice that were grouped into four categories. These statements were established based on qualitative interviews with musicians and music teachers, who assigned scores from 0 to 7 to the inventory statements according to their correspondence with their own practice. The present study sought to verify the possibility of extending the usefulness of the DPMI to a situation close to the reality of a professional musician's performance, where they have to deal with time constraints when accepting a job. This research employed a qualitative approach, in which instrumentalists, all classically trained clarinetists, were asked to report how they prepare for a performance that would take place in one week, starting from receiving an unpublished sheet music. We aimed to extract from their accounts statements that would correspond to the categories described in the DPMI. Additionally, we sought to investigate the cognitive processes involved in performance preparation. Twelve professional clarinetists with a minimum of 14 years of study were interviewed. Among the 12, four were more experienced and older than the other eight. We considered these factors in the analysis of the interviews due to the potential difference in discourse between the groups. It was possible to extract testimonies of their practices, which were related to some statements in each of the four categories of the DPMI, suggesting the suitability of this instrument to investigate the quality of study in a timelimited situation, which is closer to the reality of professional musicians. However, one category not covered by this scale was identified, which relates to the strategy for solving specific technical problems and is linked to the concept of contextual interference effect, where the musician makes structural modifications in more challenging sections. The musicians did not report the need for a tutor, as the preparation of the piece was selfregulated, utilizing their metacognitive abilities and their wealth of knowledge, including motivational elements, attention, and implicit memory. These factors are related to the quality and efficiency of practice.
Classical musicians in general use sheet music reading as a fundamental resource for learning a new piece. During their training period, instrumental practice can be a deliberate practice guided by a tutor, aided by colleagues, or developed autonomously. However, in the professional stage, the role of the tutor gives way to a selfregulated process. With the aim of creating a standardized instrument to assess the quality of deliberate practice related to music, Passarotto (2022) developed the "Inventory of Deliberate Practice in Music" (DPMI), consisting of statements related to practice that were grouped into four categories. These statements were established based on qualitative interviews with musicians and music teachers, who assigned scores from 0 to 7 to the inventory statements according to their correspondence with their own practice. The present study sought to verify the possibility of extending the usefulness of the DPMI to a situation close to the reality of a professional musician's performance, where they have to deal with time constraints when accepting a job. This research employed a qualitative approach, in which instrumentalists, all classically trained clarinetists, were asked to report how they prepare for a performance that would take place in one week, starting from receiving an unpublished sheet music. We aimed to extract from their accounts statements that would correspond to the categories described in the DPMI. Additionally, we sought to investigate the cognitive processes involved in performance preparation. Twelve professional clarinetists with a minimum of 14 years of study were interviewed. Among the 12, four were more experienced and older than the other eight. We considered these factors in the analysis of the interviews due to the potential difference in discourse between the groups. It was possible to extract testimonies of their practices, which were related to some statements in each of the four categories of the DPMI, suggesting the suitability of this instrument to investigate the quality of study in a timelimited situation, which is closer to the reality of professional musicians. However, one category not covered by this scale was identified, which relates to the strategy for solving specific technical problems and is linked to the concept of contextual interference effect, where the musician makes structural modifications in more challenging sections. The musicians did not report the need for a tutor, as the preparation of the piece was selfregulated, utilizing their metacognitive abilities and their wealth of knowledge, including motivational elements, attention, and implicit memory. These factors are related to the quality and efficiency of practice.
Descrição
Citação
LEITE, Frederico Cesar Assis. Estratégias utilizadas por clarinetistas brasileiros no preparo de uma obra inédita no prazo de uma semana: uma análise baseada no inventário de prática deliberada em música. 2023. 56 f. Dissertação (Mestrado em Psicobiologia) - Escola Paulista de Medicina, Universidade Federal de São Paulo (UNIFESP), São Paulo, 2023.