Academic literature on the topic 'Guitar music. eng'

Digital music technologies have evolved by leaps and bounds over the last 10 years. The most popular digital music games allow gamers to experience the performativity of music, long before they have the requisite knowledge and skills, by playing with instrument-shaped controllers (e.g. Guitar Hero, Rock Band, Sing Star, Wii Music), while others involve plugging conventional electric guitars into a game console to learn musical technique through gameplay (e.g. Rocksmith). Many of these digital music environments claim to have educative potential, and some are actually used in music classrooms. This article discusses the findings from a pilot study to explore what high school age students could gain in terms of musical knowledge, skill and understanding from these games. We found students improved from pre- to post-assessment in different areas of musicianship after playing Sing Party, Wii Music and Rocksmith, as well as a variety of games on the iPad.

The main purpose of the article is to present textbooks for guitar written by Slovenian authors and published between 1925 and 1950. With basic instructions for playing in Slovenian and mostly domestic musical examples they satisfied the needs of selftaught people for the basics of guitar technique and chordal accompaniment to singing. The first textbooks were entitled Kitarska šola (Guitar School), the basic problems of the guitar playing were treated comprehensively and as such did not envisage continuation. In addition to the basics of the guitar playing, they also included music theory, which was essential for self-taught people without prior musical knowledge, as this was the only way they could follow the practical instructions for playing according to the musical notation. With the reintroduction of guitar teaching into public music education, textbooks were created from the end of the 1960s, entitled Začetnica za kitaro (The Textbook for Beginners) with sequels, and followed the guidelines and development of public music education.

<b><i>Introduction:</i></b> Visual sleep-stage scoring is a time-consuming technique that cannot extract the nonlinear characteristics of electroencephalogram (EEG). This article presents a novel method for sleep-stage differentiation based on sonification of sleep-EEG signals using wavelet transform and recurrent neural network (RNN). <b><i>Methods:</i></b> Two RNNs were designed and trained separately based on a database of classical guitar pieces and Kurdish tanbur Makams using a long short-term memory model. Moreover, discrete wavelet transform and wavelet packet decomposition were used to determine the association between the EEG signals and musical pitches. Continuous wavelet transform was applied to extract musical beat-based features from the EEG. Then, the pretrained RNN was used to generate music. To test the proposed model, 11 sleep EEGs were mapped onto the guitar and tanbur frequency intervals and presented to the pretrained RNN. Next, the generated music was randomly presented to 2 neurologists. <b><i>Results:</i></b> The proposed model classified the sleep stages with an accuracy of >81% for tanbur and more than 93% for guitar musical pieces. The inter-rater reliability measured by Cohen’s kappa coefficient (<i>κ</i>) revealed good reliability for both tanbur (<i>κ</i> = 0.64, <i>p</i> < 0.001) and guitar musical pieces (<i>κ</i> = 0.85, <i>p</i> < 0.001). <b><i>Conclusion:</i></b> The present EEG sonification method leads to valid sleep staging by clinicians. The method could be used on various EEG databases for classification, differentiation, diagnosis, and treatment purposes. Real-time EEG sonification can be used as a feedback tool for replanning of neurophysiological functions for the management of many neurological and psychiatric disorders in the future.

While it is possible for one to detect a person’s dexterity upon an instrument visually, auditorily and sometimes even kinaesthetically, it is the hypothesis here that there are other sets of skills which are just as important to musical capability as the manual technique applied when playing the instrument. Modeling is a process whereby an observer gathers information about the activity of a system with the aim of constructing a generalised description (a model) of how that system works. The purpose of this study is to identify strategies and patterns in how musicians organized their experience of the world around them and then acted in that world so that we may gain some new insights on how they operate. In order to get relevant data, direct observation and interview were employed. For this purpose three exemplar were selected. With each of them an in-depth interview was conducted (videotaped). All the components of the schema were elicited, using an interview schedule (Darlington & Scott, 2002, 141), which followed Dilts logical level model (Dilts, 1998). At the end of the interview each exemplar was asked to perform a piece of music for a live observation of exemplar achieving their results (Frost, 2011).

Guitar distortion used in rock music modifies a chord so that new frequencies appear in its harmonic structure. A distorted dyad (power chord) has a special role in heavy metal music due to its harmonics that create a major third interval, making it similar to a major chord. We investigated how distortion affects cortical auditory processing of chords in musicians and nonmusicians. Electric guitar chords with or without distortion and with or without the interval of the major third (i.e., triads or dyads) were presented in an oddball design where one of them served as a repeating standard stimulus and others served as occasional deviants. This enabled the recording of event-related potentials (ERPs) of the electroencephalogram (EEG) related to deviance processing (the mismatch negativity MMN and the attention-related P3a component) in an ignore condition. MMN and P3a responses were elicited in most paradigms. Distorted chords in a nondistorted context only elicited early P3a responses. However, the power chord did not demonstrate a special role in the level of the ERPs. Earlier and larger MMN and P3a responses were elicited when distortion was modified compared to when only harmony (triad vs. dyad) was modified between standards and deviants. The MMN responses were largest when distortion and harmony deviated simultaneously. Musicians demonstrated larger P3a responses than nonmusicians. The results suggest mostly independent cortical auditory processing of distortion and harmony in Western individuals, and facilitated chord change processing in musicians compared to nonmusicians. While distortion has been used in heavy rock music for decades, this study is among the first ones to shed light on its cortical basis.

Abstract Older adults commonly experience hearing loss that negatively affects the quality of life and creates barriers to effective therapeutic interactions as well as music listening. Music therapists have the potential to address some needs of older adults, but the effectiveness of music interventions is dependent on the perception of spoken and musical stimuli. Nonauditory information, such as contextual (e.g., keywords, picture related to song) and visual cues (e.g., clear view of singer’s face), can improve speech perception. The purpose of this study was to examine the benefit of contextual and visual cues on sung word recognition in the presence of guitar accompaniment. The researcher tested 24 community-dwelling older adult hearing aid (HA) users recruited through a university HA clinic and laboratory under 3 study conditions: (a) auditory stimuli only, (b) auditory stimuli with contextual cues, and (c) auditory stimuli with visual cues. Both visual and contextual nonauditory cues benefited participants on sung word recognition. Participants’ music background and training were predictive of success without nonauditory cues, and visual cues provided greater benefit than contextual cues. Based on the results of this study, it is recommended that music therapists increase the accessibility of music interventions reliant upon lyric recognition through the incorporation of clear visual and contextual cues.

Simon Løffler's b presents to its audience an immediate question: where are the instruments? Three players sit on straight-backed chairs, joined by a daisy-chain of cables and guitar stomp boxes. The score directs a choreography of foot switching, demanding extraordinary pedal dexterity. Sounds pass down the line, modulated by distortion and equaliser effects, before bursting out of the PA in a series of abrupt electrical barks. But at the other end of the line there is nothing but an unplugged jack, held aloft, inserted nowhere but the open air.

ABSTRACTThis article deals with the circulation of instrumental music between Spain and the New World at the end of the eighteenth century, focusing on Madrid, Mexico City and Lima as main urban centres. By analysing archival documents preserved in these cities, I intend to show that the baroque guitar music composed and copied in Madrid was also intended to be a commercial concern in Latin America (particularly in Mexico City and Lima), and that its cultivation in the New World lasted for a long time, even through to the beginning of the nineteenth century, thus coexisting with music by Johann Christian Bach, Boccherini, Cannabich, Haydn and other ‘modern’ composers. These assertions are reinforced through an examination of two musical manuscripts copied in Lima around 1800, which also shows some of the changes undergone by the repertory during its complex process of reception. I conclude by suggesting that, in the light of all this, a linear and evolutionary view of music history, according to which new repertories replace older ones, should be reconsidered.

From 1990 to 1999 MTV promoted a series of 288 music videos called “Buzz Clips”, designed to highlight emerging artists and genres. Such promotion had a measurable impact on an artists’ earnings and record sales. To date, the kinds of musical and visual practices MTV promoted have not been quantitatively analyzed. Just what made some videos Buzzworthy, and others not? We applied two phases of content analysis to this corpus to determine the most common sonic and visual signifiers in Buzz Clips, then processed the results of that content analysis using polychoric correlations. Our findings show high degrees of shared variance between certain pairs of musical and visual elements observed in the sample music videos. We interpret a number of these relationships in terms of their relevance to a performer’s perceived ethnicity and gender, showing how certain audiovisual features regularly accompany white men (e.g., electric guitar) while others regularly accompany women and performers of color (e.g. drum machines).

In this paper, we explore a generative music method that can compose atonal and tonal music in different styles. One of the main differences between regular engineering problems and artistic expressions is that goals and constraints are usually ill-defined in the latter case; in fact the rules here could or should be transgressed more regularly. For this reason, our approach does not use a pre-existing dataset to imitate or extract rules from. Instead, it uses formal grammars as a representation method than can retain just the basic features, common to any form of music (e.g., the appearance of rhythmic patterns, the evolution of tone or dynamics during the composition, etc.). Exploring different musical spaces is the responsibility of a program interface that translates musical specifications into the fitness function of a genetic algorithm. This function guides the evolution of those basic features enabling the emergence of novel content. In this study, we then assess the outcome of a particular music specification (guitar ballad) in a controlled real-world setup. As a result, the generated music can be considered similar to human-composed music from a perceptual perspective. This endorses our approach to tackle arts algorithmically, as it is able to produce novel content that complies with human expectations.

Orientador: Marcos Fernandes Pupo Nogueira<br>Banca: Abel Luis Bernardo da Rocha<br>Banca: Sidney José Molina Júnior<br>Resumo: Esse trabalho tem como foco a versão de "Quadros de uma Exposição" de Modest Musorgsky feita para violão solo por Kazuhito Yamashita. Através de uma contextualização histórica e estética, insere essa obra no cânone do repertório para violão e estuda os impactos causados pela gravação desta e por sua performance. Comparando-a com o original para piano e com a orquestração feita por Maurice Ravel, analisa as técnicas violonísticas empregadas de maneira incomum. Discute as formas de escrita para o violão, seus efeitos e possibilidades de execução<br>Abstract: This work is about the guitar version of Modest Musorgsky's "Pictures at an Exhibition" made by Kazuhito Yamashita. By an esthetic and historical context, analyses the insertion of this piece in the classical guitar repertoire and studies the impacts by the recording and performance of it. Making a comparison with the original piano piece and with the orchestration made by Maurice Ravel, makes an analysis about the guitar techniques used in an unusual way. Debates the guitar writing, his effects and the performance possibilities<br>Mestre

Orientador: Giácomo Bartoloni.<br>Banca: Paulo Augusto Castagna<br>Banca: Sonia Albano de Lima<br>Resumo: Esta dissertação aborda alguns fundamentos teóricos da interpretação musical e sua aplicação nos 12 estudos para violão de Francisco Mignone. A estrutura geral desta pesquisa está desenvolvida em dois segmentos, sendo que o primeiro focaliza os fundamentos teóricos sobre interpretação musical, suas principais tendências, a teoria da Formatividade de Luigi Pareyson e alguns conceitos complementares de Unberto Eco a propósito dos limites da interpretação. No segundo, apresentamos uma revisão bibliográfica do que já foi pesquisado sobre a literatura violonística do compositor, um panorama geral de sua produção violonística na década de 1970, alguns comentários sobre a gênese dos 12 Estudos, aspectos documentais dos Estudos de Mignone e considerações gerais sobre as diferentes versões dessa obra. Apresentamos também um modelo de aplicação dos conceitos teóricos discutidos no primeiro capítulo, abordando as contribuições técnicas desses Estudos, incluindo soluções para trechos problemáticos e diretrizes interpretativas para essa obra. As considerações finais procuram responder aos questionamentos formulados na introdução, porém de forma não conclusiva, por considerarmos que o modelo de interpretação apresentado é apenas uma possibilidade entre muitas. Os anexos incluem uma Edição Aberta dos 12 estudos de Mignone (fac-símile e urtext), entrevistas e um CD contendo nossa interpretação dos estudos, como resultado prático de uma pesquisa orientada pala sua conjugação com a reflexão teórica.<br>Abstract: This dissertation deals with musical interpretation and discussses the practical application of theorical principles in Francisco Mignone's Twelve Studies for Guitar.The body of this paper is sstrucstured in two sections. The first focuses on the theoretical foundations of the musical interpretarion, in main trends, Luigi Pareyson's "theory of formativity", as well as some complementary concepts by Umberto Eco on the limits of interpretarion. The second section contains a bibliographic revision about researches on the Mignone's guitar output, an overview of this compositions for guitar on the seventies, and commemtaries about de genesis of his Twelve Studies, philological aspacts and general considerations about the different versions of this work. There is also apractical application of the concepts discussed in the first chapter, presenting the didactic contribuitions of Mignone's Studies, including some solutions fo difficult passages and some interpretative suggestions for this work. The final considerations are an attempt to answer the questions presented in the introduction, but nor in a conclusive way, since we consider that the model of interpretation presented here inonlu one amongst many others. The annexes contain a "Double Edition" of Mignone's Twelve Studies (the original version and our Urtext), complete interviews, and a CD with our interpretation of this work, a a practical result of a research which was guided by the theoretical reflection.<br>Mestre

A constantly growing corpus of interdisciplinary studies support the idea that music is a complex multimodal medium that is experienced not only by means of sounds but also through body movement. From this perspective, musical instruments can be seen as technological objects coupled with a repertoire of performance gestures. This repertoire is part of an ecological knowledge shared by musicians and listeners alike. It is part of the engine that guides musical experience and has a considerable expressive potential. This thesis explores technical and conceptual issues related to the analysis and creative use of music-related body movements in instrumental music performance. The complexity of this subject required an interdisciplinary approach, which includes the review of multiple theoretical accounts, quantitative and qualitative analysis of data collected in motion capture laboratories, the development and implementation of technologies for the interpretation and interactive use of motion data, and the creation of short musical pieces that actively employ the movement of the performers as an expressive musical feature. The theoretical framework is informed by embodied and enactive accounts of music cognition as well as by systematic studies of music-related movement and expressive music performance. The assumption that the movements of a musician are part of a shared knowledge is empirically explored through an experiment aimed at analysing the motion capture data of a violinist performing a selection of short musical excerpts. A group of subjects with no prior experience playing the violin is then asked to mime a performance following the audio excerpts recorded by the violinist. Motion data is recorded, analysed, and compared with the expert’s data. This is done both quantitatively through data analysis xii as well as qualitatively by relating the motion data to other high-level features and structures of the musical excerpts. Solutions to issues regarding capturing and storing movement data and its use in real-time scenarios are proposed. For the interactive use of motion-sensing technologies in music performance, various wearable sensors have been employed, along with different approaches for mapping control data to sound synthesis and signal processing parameters. In particular, novel approaches for the extraction of meaningful features from raw sensor data and the use of machine learning techniques for mapping movement to live electronics are described. To complete the framework, an essential element of this research project is the com- position and performance of études that explore the creative use of body movement in instrumental music from a Practice-as-Research perspective. This works as a test bed for the proposed concepts and techniques. Mapping concepts and technologies are challenged in a scenario constrained by the use of musical instruments, and different mapping ap- proaches are implemented and compared. In addition, techniques for notating movement in the score, and the impact of interactive motion sensor systems in instrumental music practice from the performer’s perspective are discussed. Finally, the chapter concluding the part of the thesis dedicated to practical implementations describes a novel method for mapping movement data to sound synthesis. This technique is based on the analysis of multimodal motion data collected from multiple subjects and its design draws from the theoretical, analytical, and practical works described throughout the dissertation. Overall, the parts and the diverse approaches that constitute this thesis work in synergy, contributing to the ongoing discourses on the study of musical gestures and the design of interactive music systems from multiple angles.

El cuarteto de cuerdas como formato universal permite una circulación más amplia de las músicas tradicionales. La obra para guitarra del maestro Montaña ha sido editada por Caroni Music e interpretada y grabada por importantes guitarristas como Eduardo Fernández o José Antonio Escobar. Suites para guitarra 1, 2 y 4 de Gentil Montaña permitirá que se estudie y conozca una producción musical de altísima calidad, que es patrimonio y legado de uno de los mejores compositores colombianos de este género musical en el siglo XX. Las versiones forman un repertorio de cámara, disponible para cuartetos de profesionales y de estudiantes que se interesen en su interpretación, y proporcionan, a su vez, un material importante para investigadores y estudiosos de la música de nuestro país.

This chapter surveys the existence of Queen—as a band and a cultural product—since 1991. It is argued that the ongoing status of Queen is one of protecting and enshrining certain iconic elements of their musical identity: the extravagant and flamboyant performance style of Mercury; the sonic power of their idiolect; and their position in the canon of rock music. These observations are drawn from examination of the replacement vocalists, a major single release in 1997 (‘No One But You’), and the West End musical We Will Rock You. The chapter concludes by considering Queen’s influence on later artists, which is not as widespread as may be intimated from the praise lavished by their successors (such as Dave Grohl or Katy Perry). It is contended that the very nature of Queen’s idiolect meant that such influence is either difficult to discern musically or is limited to a small selection of textural patterns, such as vocal or guitar arrangements.

"LIVRETO DE RECURSOS DID?TICOS PARA O ENSINO DE CI?NCIAS E BIOLOGIANOS DIAS ATUAIS, N?S PROFESSORES, ESTAMOS CONSTANTEMENTE PROCURANDO FORMAS DE OTIMIZAR NOSSAS AULAS E FAZER COM QUE OS CONTE?DOS ENSINADOS GANHEM MAIS SENTIDO E SIGNIFICADO PARA OS ALUNOS. GUIMAR?ES (2009, P. 13) EVIDENCIA A IMPORT?NCIA DE UMA ?METODOLOGIA DE ENSINO QUE TENHA EM VISTA A COMPLEXIDADE E A DIVERSIDADE DAS CI?NCIAS NATURAIS E QUE N?O ESTEJA RESTRITA ? SIMPLES MEMORIZA??O?. A PARTIR DESSA EVID?NCIA PODEMOS NOS QUESTIONAR: EXISTE UMA METODOLOGIA ?NICA PARA UTILIZARMOS EM NOSSAS AULAS? A RESPOSTA ? NEGATIVA, POIS O QUE EXISTE S?O METODOLOGIAS (NO PLURAL) ADEQUADAS PARA DETERMINADOS CONTEXTOS E SITUA??ES. ATRELADA A QUEST?O METODOL?GICA, TEMOS O DESAFIO DE COLOCAR O SABER CIENT?FICO (T?O VALORIZADO ATUALMENTE) AO ALCANCE DO P?BLICO ESCOLAR, O QUAL ? VASTO E HETEROG?NEO, VISTO QUE ATUALMENTE ? REPRESENTADO ?POR TODOS OS SEGUIMENTOS SOCIAIS E COM MAIORIA EXPRESSIVA ORIUNDA DE CLASSES E CULTURAS QUE AT? ENT?O N?O FREQUENTARAM A ESCOLA? (DELIZOICOV, ANGOTTI E PERNAMBUCO, 2011, P. 33). TENDO ESSE P?BLICO PLURAL EM NOSSAS SALAS DE AULA, EVIDENCIAMOS A DEMANDA DE PENSAR EM VARIADAS ESTRAT?GIAS DID?TICAS PARA CONTEMPLAR ESSES DIFERENTES PERFIS. DELIZOICOV, ANGOTTI E PERNAMBUCO (2011) NOS AUXILIAM A COMPREENDER QUE UMA DAS FUN??ES DA ESCOLA ? PREPARAR PARA O EXERC?CIO CONSCIENTE DA CIDADANIA, N?O SENDO POSS?VEL QUE SEU ENSINO N?O SEJA PERMEADO PELAS POSSIBILIDADES DO CONHECIMENTO CIENT?FICO. OS AUTORES COMPREENDEM TAMB?M QUE DIVERSAS QUEST?ES EXTRAPOLAM O ?MBITO EXCLUSIVO DAS CI?NCIAS NATURAIS E N?O PODEM SER ENFRENTADAS SEM OUTROS CONHECIMENTOS. DESSA FORMA, NA TENTATIVA DE FORNECER MAIS SIGNIFICADO AOS CONTE?DOS TRABALHADOS EM SALA DE AULA, ATENDER A UMA MAIOR DIVERSIDADE DE ALUNOS E AUXILI?-LOS NO EXERC?CIO DA CIDADANIA APOSTAMOS NA UTILIZA??O DE RECURSOS DID?TICOS DIVERSIFICADOS PARA POTENCIALIZAR O ENSINO. NESTE SENTIDO, A PROFESSORA DO COMPONENTE CURRICULAR DE PR?TICAS FORMATIVAS E EDUCATIVAS II (PFE II), DO CURSO DE LICENCIATURA EM CI?NCIAS BIOL?GICAS DA UNIVERSIDADE FEDERAL DO PAMPA (UNIPAMPA) ? CAMPUS S?O GABRIEL, RS, BRASIL, JUNTAMENTE COM O PROFESSOR COORDENADOR DO PROJETO DE ENSINO ?MODALIDADES DID?TICAS ALTERNATIVAS PARA O ENSINO DE CI?NCIAS E BIOLOGIA?, CADASTRADO NA UNIVERSIDADE, ORGANIZARAM ATIVIDADES PARA ATENDER AS DEMANDAS QUE SE COLOCAM NA FORMA??O INICIAL E CONTINUADA DE PROFESSORES. O PROJETO DE ENSINO, EST? VINCULADO AO COMPONENTE CURRICULAR PR?TICAS FORMATIVAS E EDUCATIVAS II. DESSA FORMA, AS ATIVIDADES INICIARAM NO ?MBITO DO COMPONENTE, CONTANDO COM AS SEGUINTES ATIVIDADES: ESTUDO, LEITURA E DISCUSS?O DE TEXTOS SOBRE M?TODOS E T?CNICAS DE ENSINO; APROFUNDAMENTO DAS FORMAS DE SE ORGANIZAR/PLANEJAR O ENSINO; PLANEJAMENTOS E DESENVOLVIMENTO DE ATIVIDADES ALTERNATIVAS COM CONTE?DOS/TEMAS DAS CI?NCIAS BIOL?GICAS; ELABORA??O DE MATERIAIS DID?TICOS, AVALIA??O DOS MATERIAIS PRODUZIDOS, ELABORA??O DO LIVRETO E REALIZA??O DE UM WORKSHOP PARA PROFESSORES DA EDUCA??O B?SICA DO MUNIC?PIO DE S?O GABRIEL, RS. NO QUADRO ABAIXO PODE-SE OBSERVAR AS ETAPAS DO PROJETO, RESPONS?VEIS PELAS A??ES E O PER?ODO DE REALIZA??O: ETAPA ATIVIDADES RESPONS?VEIS PER?ODO 1? LEITURA E DISCUSS?O DE TEXTOS SOBRE M?TODOS E T?CNICAS DE ENSINO PROFESSORA PFE II E ALUNOS AGOSTO 2019 2? APROFUNDAMENTO DAS FORMAS DE SE ORGANIZAR/PLANEJAR O ENSINO PROFESSORA PFE II E ALUNOS AGOSTO 2019 3? PLANEJAMENTOS DE ATIVIDADES ALTERNATIVAS COM CONTE?DOS/TEMAS DAS CI?NCIAS BIOL?GICAS PROFESSORA PFE II E ALUNOS SETEMBRO 2019 4? ELABORA??O DE RECURSOS DID?TICOS ALUNOS SETEMBRO 2019 5? AVALIA??O DOS RECURSOS PRODUZIDOS ALUNOS OUTUBRO 2019 6? ELABORA??O DE LIVRETO ALUNOS OUTUBRO 2019 7? ORGANIZA??O DO LIVRETO PROFESSORA PFE II E PROFESSOR COORDENADOR DO PROJETO NOVEMBRO 2019 8? ORGANIZA??O DO WORKSHOP PROFESSOR COORDENADOR DO PROJETO E PROFESSORA PFE II NOVEMBRO 2019 9? REALIZA??O DE WORKSHOP PARA PROFESSORES DA EDUCA??O B?SICA DO MUNIC?PIO PROFESSOR COORDENADOR DO PROJETO, PROFESSORA PFE II E ALUNOS DEZEMBRO 2019 10? AVALIA??O DO WORKSHOP PELOS ORGANIZADORES, SEGUNDA OS FORMUL?RIOS DE AVALIA??O DOS LICENCIANDOS EM CI?NCIAS BIOL?GICAS E PROFESSORES DA EDUCA??O B?SICA PARTICIPANTES DO EVENTO PROFESSOR COORDENADOR DO PROJETO E PROFESSORA PFE II DEZEMBRO 2019 JANEIRO 2020 NA ETAPA 1, OS ALUNOS PARTICIPARAM DE ATIVIDADES EM AULA QUE ENVOLVIAM O ESTUDO DIRIGIDO DE TEXTOS E DISCUSS?ES SOBRE RECURSOS DID?TICOS. KRASILCHIK (2004) DEFENDE A UTILIZA??O DA MODALIDADE DID?TICA DISCUSS?O, POIS ATRAV?S DELA H? TRANSI??O DE UMA AULA EM QUE SOMENTE O PROFESSOR FALA, PARA UMA A QUAL EXISTE O DI?LOGO ENTRE TODAS AS PARTES. A DISCUSS?O ESTRUTURADA E ORIENTADA, POSSIBILITOU UMA TROCA DE CONHECIMENTOS E REFLEX?O CR?TICA DOS ALUNOS SOBRE O PAPEL DA UTILIZA??O DE RECURSOS DID?TICOS NO ENSINO DE CI?NCIAS E BIOLOGIA. POSTERIORMENTE, NAS ETAPAS 2 E 3, OS ALUNOS ESTIVERAM ENVOLVIDOS EM ATIVIDADES DE APROFUNDAMENTO TE?RICO SOBRE AS ?MODALIDADES DID?TICAS? (KRASILCHIK, 2004). TAIS ETAPAS VISARAM COMPREENDER E AUXILIAR OS ALUNOS NA ELABORA??O DE PLANEJAMENTOS DE AULA CONTEMPLANDO A INSER??O DE RECURSOS DID?TICOS. LIB?NEO (1994, P. 22) DESTACA A IMPORT?NCIA DO PLANEJAMENTO POR TRATAR-SE DE ?UM PROCESSO DE RACIONALIZA??O, ORGANIZA??O E COORDENA??O DA A??O DOCENTE?. A ETAPA 4, FOI O MOMENTO DEDICADO A ELABORA??O DOS RECURSOS DID?TICOS PELOS ALUNOS. A DEFINI??O DAS TEM?TICAS E/OU CONCEITOS TRABALHADOS POR CADA GRUPO ERA DE ESCOLHA LIVRE, PARTINDO DE SEU TEMA DE INTERESSE. NESSE CONTEXTO, ALGUNS ALUNOS OPTARAM POR ELABORAR MODELOS DID?TICOS, OUTROS CRIARAM JOGOS. ESTE MOMENTO DE IMERS?O DOS ALUNOS POSSIBILITOU ENVOLVIMENTO E MOTIVA??O PARA ELABORA??O DOS RECURSOS DID?TICOS, VISTO QUE SENTIRAM A NECESSIDADE DE PROCURAR INFORMA??ES EM DIFERENTES FONTES, EXPLORANDO A SUA CRIATIVIDADE. BUSCARAM TAMB?M CONTEMPLAR ASPECTOS REGIONAIS (BIOMA PAMPA) E VIABILIZAR A PRODU??O DE TAIS RECURSOS PELOS PROFESSORES (FACILIDADE DE TRANSPORTE E MATERIAIS DE BAIXO CUSTO). A PARTICIPA??O ATIVA DOS ALUNOS TORNOU-OS PROTAGONISTAS NO PROCESSO DE APRENDIZAGEM. DE ACORDO COM COSTA (2000) O PROTAGONISMO, ENQUANTO PARTICIPA??O GENU?NA RESULTA NUM GANHO DE AUTONOMIA, AUTOCONFIAN?A, AUTODETERMINA??O NA CONSTRU??O DA IDENTIDADE PESSOAL, SOCIAL E NO PROJETO DE VIDA. NA ETAPA 5 BUSCOU-SE ANALISAR OS RECURSOS PRODUZIDOS PELOS ESTUDANTES DIALOGANDO COM OS TEXTOS E FUNDAMENTOS TE?RICOS ABORDADOS NA DISCIPLINA. NESTE MOMENTO FOI POSS?VEL REFLETIR SOBRE A ELABORA??O E, POR MEIO DE SUGEST?ES DO GRUPO, APERFEI?OAR AS PROPOSTAS. AO FINAL DESTAS ETAPAS PENSOU-SE EM ELABORAR UM LIVRETO CONTEMPLANDO OS RECURSOS PRODUZIDOS NA DISCIPLINA. O INTUITO DESSE MATERIAL RESIDIA EM SOCIALIZAR A CONSTRU??O DOS LICENCIANDOS E DISPONIBILIZAR, AOS PROFESSORES DA EDUCA??O B?SICA DE S?O GABRIEL, UM MATERIAL COM SUGEST?ES PARA O ENSINO DE CI?NCIAS E BIOLOGIA. ASSIM, NA ETAPA 6 OCORREU A ELABORA??O DO LIVRETO, ONDE CADA GRUPO FICOU RESPONS?VEL DE ESTRUTURAR O PLANEJAMENTO DO RECURSO ELABORADO, DE ACORDO COM OS CRIT?RIOS ESTABELECIDOS NO COMPONENTE CURRICULAR PFE II. POSTERIORMENTE A PROFESSORA DA DISCIPLINA, JUNTAMENTE COM O COORDENADOR DO PROJETO ORGANIZARAM O LIVRETO, UNINDO OS MATERIAIS DOS ALUNOS, ELABORANDO CAPA, PREF?CIO, APRESENTA??O E AS DEVIDAS FORMATA??ES. O LIVRETO (FIGURA 1) SOCIALIZA UM CONJUNTO DE RECURSOS DID?TICOS, ORGANIZADOS NA FORMA DE M?DULOS DE ATIVIDADES, VOLTADAS AO ENSINO DE CI?NCIAS E BIOLOGIA. OS M?DULOS EST?O ORGANIZADOS DA SEGUINTE FORMA: INTRODU??O, OBJETIVOS, MATERIAIS E EXPLORA??O DID?TICA. AL?M DO LIVRETO, COM O AUX?LIO DE UM DOS ALUNOS, FOI ELABORADO UM BLOG QUE APRESENTA ALGUNS RECURSOS DE FORMA MAIS DETALHADA, COM OP??ES DE IMPRESS?ES DE JOGOS E MATERIAIS. FIGURA 1: CAPA DO LIVRETO PRODUZIDO OS RECURSOS DISPONIBILIZADOS NO LIVRETO ABORDAVAM AS SEGUINTES TEM?TICAS: R?PTEIS, C?LULAS, BACT?RIAS, PIR?MIDE ALIMENTAR, SISTEMA GENITAL, SISTEMA DIGESTIVO, SISTEMA CIRCULAT?RIO, SISTEMA IMUNOL?GICO, SISTEMA ARTICULAR E SISTEMA SOLAR. NESTA PERSPECTIVA, FOI ORGANIZADO UM WORKSHOP PARA PROFESSORES DA EDUCA??O B?SICA DO MUNIC?PIO (ETAPA 8), A FIM DE SOCIALIZAR OS JOGOS E RECURSOS DID?TICOS PRODUZIDOS. DADOS OBTIDOS NA AVALIA??O (ETAPA 9) TANTO DOS PROFESSORES PARTICIPANTES, COMO DOS ALUNOS DA LICENCIATURA EM CI?NCIAS BIOL?GICAS DA UNIPAMPA APRESENTAVAM QUE O EVENTO TINHA ALCAN?ADO O SEU OBJETIVO. PALAVRAS CHAVE: ENSINO DE CI?NCIA, ENSINO DE BIOLOGIA, RECURSO DID?TICO, JOGO DID?TICO, FORMA??O DE PROFESSORES. AGRADECIMENTOS AOS ALUNOS DO CURSO DE LICENCIATURA EM CI?NCIAS BIOL?GICAS DA UNIPAMPA PELO EMPENHO NA ELABORA??O DOS RECURSOS. AOS ALUNOS E PROFESSORES DO CAMPUS S?O GABRIEL DA UNIPAMPA QUE COLABORARAM COM A REALIZA??O DO WORKSHOP. AOS PROFESSORES DA EDUCA??O B?SICA DE S?O GABRIEL PELA ACOLHIDA E PARTICIPA??O NO WORKSHOP. REFER?NCIAS COSTA, A. C. G. PROTAGONISMO JUVENIL: ADOLESC?NCIA, EDUCA??O E PARTICIPA??O DEMOCR?TICA. SALVADOR: FUNDA??O ODEBRECHT, 2000. DELIZOICOV, D.; ANGOTTI, J. A.; PERNAMBUCO, M. M. ENSINO DE CI?NCIAS: FUNDAMENTOS E M?TODOS. 4 ED. S?O PAULO: CORTEZ, 2011. GUIMAR?ES, LUCIANA RIBEIRO. ATIVIDADES PARA AULAS DE CI?NCIAS: ENSINO FUNDAMENTAL, 6? AO 9? ANO. S?O PAULO: NOVA ESPIRAL, 2009. KRASILCHIK, M. 2004. PR?TICA DO ENSINO DE BIOLOGIA. EDITORA EDUSP, 2004. LIB?NEO; J. C. DID?TICA. S?O PAULO: CORTEZ, 1994."