O uso do repertório contemporâneo e da notação não-convencional como estratégias para a educação musical na sala de aula.

Abstract

This research presents the results of an investigative didactic sequence on the use of unconventional notation in music education, aiming at the ability of the student in recognizing the sounds of the soundscape and the appreciation of contemporary repertoire. This investigation takes inspiration from the pedagogical proposals of composer and music educator Murray Schafer. Thus, this study intended to offer a way to initiate score reading that does not focus only on traditional music notation, but also on the possibilities of using graphic designs in scores as an interdisciplinary relation between Music and Visual Arts. As a reflective essay, the research relies on theorists who dialogue on this theme: Brito, Bosseur, Caznok, Delalande, Fonterrada, GaborimMoreira, Gainza, Griffiths, Ilari, Mateiro, Menezes, Wisnik and Zampronha. This academic work also included the production of graphic scores, as activities that were not restricted to making drawings, but also promoted interaction between the students towards the sound universe. This dissertation also uses as theoretical supports the baseline document BNCC and the Common Curricular Reference of the Department of Education of the city of Campo Grande. In these materials, it is possible to observe the objects of knowledge related to notation and musical register, exploring the skills that deal with non-conventional notation. Those skills were predicted in the curricular component Art, which is part of the concentration area in languages, a point that serves as support for the title of this study since it uses the same terminology presented in the referred documents (non-conventional notation). Furthermore, this research considered the possibilities of what can be musically constructed with the materials available in the Professor Alcídio Pimentel Public School. Thus, the practicalpedagogical options in the classroom were expanded, respecting the student's creative process. Therefore, the empirical part of this research consisted of a didactic sequence that contemplates a total of 15 activities, distributed in 9 meetings, with the purpose of creating dynamics during the art classes, carried according to the reality and context of the school.