Dos hábitos perceptivos à sinestesia: há musicalidade no espelho da alma?

Abstract

The technological world directs the human being to a highly sensitive thematic context, which, undoubtedly, it needs approaches in its interaction with the available resources for the subject's sound formation. This technological background characterizes, in the case of this work, the participation of students of the 5th grade of elementary school group from a public school of Santa Maria / RS in the present research. When entering in this technological universe configured by the transposition of the sound from an acoustic instrument to a digital artifact, the possibilities of finding different perspectives in music are sustained from contexts that maximize the development of human musicality through rhythm. The study is a doctoral research in the area of Education, its central theme is the human musicality and resources and ways to educational robotics. It starts from an understanding that allows the understanding that human musicality, in its most diverse possibilities of development, can also be understood as a diversity of theoretical and technological conceptions. Understanding musicality is essential, which is why it seeks to encompass different areas of knowledge in the present research. These areas lead to different understandings in the learning process that will be supported by the development of the sensible, neuroscience and technology, among others of equal importance. Therefore, thinking about the unfolding of elements present in human musicality, the central objective was to verify the potential of robotics in the process of interaction with the musical making and, in the case of this work, with special attention to rhythm. Thus, this research starts from the following investigative question: “to what extent can educational robotics be established as a resource for rhythmic development in the subject?” It is a research that permeates the generation of knowledge through the construction of a musical artifact, thus, the methodology adopted was Design Science Research, through a quantitative / qualitative approach. The adopted instruments to answer this question go beyond the analysis of the constructed music artifact, which brings the Berimbau musical instrument as a sound in collective activities, by the individuals of the process, once, in this way, it is believed that everyone can develop the musical rhythm and consequently its musicality. The sharing of meanings, based on the interaction by subjects in the same environment, was a major factor for perception, awakening and rhythmic internalization. The conclusions, based on the mirror neurons, indicate that there are musicalities in the soul mirror, and which occur through a mixture of results, resulting from the experimentation of the artifact, as well as the records which comes from this one and from the researcher's observation who establishes educational robotics as a resource for rhythmic development