Didactic Keyboard for Music Teaching
|The Course content initiated
from didactic experiences developed with the TEDEM- Didactic Keyboarding
for Music Teaching, created by professor Estevao Teixeira. Despite the
name containing a reference to keyboarding, the course is directed for
all instruments and musicians. The keyboard is an illustrated panel
for understanding of musical structures, intervals, chords and scales.
The theory concepts regarding the tonal system formation, theory, harmony and musical perception initially visualized through TEDEM will be addressed. The method will be comprehended through each instrument, with the examples and music that will accompany the course.
|3) THEME JUSTIFICATION|
|The course idealization has
its origin in the practical realization of a deficiency observed at
the conservatories and traditional music schools, where musical teaching
is based on lines reading and writing. It super values technical aspects
of learning, ignoring the musical perception side, the "conscious listening",
the feel and auditive identification of musical elements - before being
able to understand (them) in paper. The course aims to take the popular
musician's experience inside the traditional school, absorbing the form
in which he conceives and comprehends the musical structure, starting
from the way of the bass, the music as a whole, understanding the formation
of chords within the popular language- the sum method.
|4) GENERAL OBJECTIVE|
|The main goal is to show
music instructors and students a new teaching proposal, which seeks
to value the musical perception, updating information in the teaching
of "Musica Popular Brasileira" (Popular Brazilian Music) in the schools.
It will match the language of students who do not accept outdated rules
and who need to be prepared for a new job market. The instructor needs
to get back to playing, while falling in love with the music again.
By uncovering another side of musical knowledge and sensitivity, his/her
personal satisfaction will be decisive for the incentive and integration
with the students.
|5) SPECIFIC OBJECTIVE|
| - To direct the teaching
through TEDEM for each specific instrument: guitar, piano, flute, sax,
etc stimulating "playing by ear" (practice that has been reproved for
years by traditional schools), with the perspective of a varied repertoire,
enabling the students to practice music in varied musical styles.
- To question and offer new solutions in relation to the way our students are being prepared for the job market. The professional path through the scholarly music is scarce, and the job field has been reduced; it re-affirms the need of music schools to seek with more attention the "popular music" teaching side. The latter will allow more space and survival condicoes within the difficult job market that faces us these days.
- To make available new tools for music teachers, so that starting with TEDEM they can develop new ways of teaching offering an individual didactic-pedagogic contribution to the method.
- To reflect about the training that is being offered to students, keeping in mind not to train only teachers, but music teachers that are sensitive to changes. And so adapting to the context of a country where the musicality blooms in the most diversified styles, in all social levels.
|The course will be offered
in two modules - two weekends- for a total of 40 hours. The first part
of the program is the presentation of the method, theory concepts, and
the tonal system formation history. This will be followed by the practical
part, where everyone will be engaged in perception exercises. And then
groups will be formed (according with instrument category: piano, guitar,
recorder, flute, sax/clarinet/oboe, etc.) to assist in the assimilation
of the methodology proposed in this method. This will be done through
the visualization of musical forms within TEDEM, in association with
the practice of groups of each instrument. Each group will be attended
to individually, applying TEDEM for theoretical comprehension of everything
that has been played by students.
The mornings will be utilized for theory classes, joining all participating students. In the afternoon the groups will attend at distinct times, according with each instrument category. Group auditions will take place at the end of the day, when each participant will play in groups that were formed for the development of activities. All must participate.
|Starting with experiences
developed in schools and music conservatories, such as: CIGAM -"Centro
Ian Guest de Aperfeicoamento Musical" (Center Ian Guest for Music Improvement)
Rio de Janeiro, "Conservatorio Estadual de Musica de Leopoldina" (State
Music Conservatory of Leopoldina), "Conservatorio Brasileiro de Musica
(Brazilian Music Conservatory) - Rio de Janeiro, " Conservatorio Estadual
de Music de Juiz de Fora"(State Music Conservatory of Juiz de For a),
the methodology utilized by TEDEM gains credibility among instructors
and students. It makes possible a new musical structure comprehension
form, awakening the interest for perception, valuing the music practice
inside the traditional school. The student must always be attentive
to what he plays. TEDEM will provide a sound awareness, of chords inside
the music, the scale that might be played within each chord, favoring
an improvisation exercise, creativity, freedom spirit that must be always
associated to any artistic activity. TEDEM is not a single idea; it
is an initial idea receptive to other instructors' discoveries- new
ideas that will be progressively incorporated to the method. The most
important thing is to facilitate access to music for every person; to
socialize this form of expression that is directly linked to our life,
which is part of the essence of life itself!
EstÍv„o Couto Teixeira