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pg. 373 The present paper discusses some associations between the self-learning process of elect... more pg. 373
The present paper discusses some
associations between the self-learning
process of electronic dance music producers
and the musical training of Elementary
School (2) students. With an approach that
favours the creative process, our study
focuses on three learning resources for
electronic music producers: cyberspace,
musical production technologies, and actual
interaction with the dance floor, seeking
for methodological possibilities that value
discovery, knowledge management, and
autonomy of student learning. This paper
describes the issues, objectives, and the
progress of the DJ, Toca a Banda (DJ, plays
the band) project, which is being developed
at Centro Educacional Sesc Cidadania (Sesc
Citizenship Education Center), in Goiás.
KEYWORDS: Musical production
technologies. Formal music education.
Electronic music. Self-learning.
Thesis Chapters by Eliza Rebeca Vazquez
This research is about the learning process of three electronic music producer of dance floor (DF... more This research is about the learning process of three electronic music producer of dance floor (DFEM), these belong the underground scene of Brasilia and DJs a electronic party, its take place every week in town. After literature studying that has happened the producer interaction environment of DFEM are the dance floor and the cyberspace whose are fence by musical production technology. Around this theme we are looking for to understand how those producers to get the learning process.
The ethnographic cases study were the methodology chosen, where the observation environment is the "5uinto" and the social network sites are the producers in. The gathering tools are mulled interview, the netnographics documents assays and observation. It has been recognized the knowledge of the producer were built by themselves changing experiences between their counterparts looking for information in the cyberspace (at stores, social network sites, sites for information and exchange file, on the dance floor (like a partygoer or a DJ) and using those production technology to learn to produce.
On the dance floor the producer interact as a DJ as a partygoer and these experiences are the moments to analysis and to enhance the repertoire where he notices the dance floor reaction to resounding elements of music and looking for to understand the best way to compose to this context.
The cyberspace is used by the producer to publicize his work, to buy music, to research, to change information and to receive his production feedback. Considering they need to looking for to recognize style, timbres, forms, sets constructions their listening must be active. Through the cyberspace they change information and music, enlarge their knowledge and set up relation with others producer, DJs and regular visitors.
With this in mind the computer, the software and the products technology involved are tools essential to producers building their knowledge, and their music , so that their understand the logic program as better they can produce. Their knowledge is building as they do sound manipulate let them to guide by listening as a result they are building their music consider and modify if it is necessary in a dynamic process of production and learning.
Key word: Producer, Dance floor electronic music, cyberspace, technology of musical produce.
Papers by Eliza Rebeca Vazquez
... CIBERESPAÇO EO ENVOLVIMENTO COM AS TECNOLOGIAS MUSICAIS DE PRODUÇÃO ELIZA REBECA SIMÕES NETO ... more ... CIBERESPAÇO EO ENVOLVIMENTO COM AS TECNOLOGIAS MUSICAIS DE PRODUÇÃO ELIZA REBECA SIMÕES NETO VAZQUEZ Brasília 2011 Page 2. ELIZA REBECA SIMÕES NETO VAZQUEZ A APRENDIZAGEM DE TRÊS PRODUTORES DE MÚSICA ...
Anais ABEM, 2015
Resumo do simpósio: Este simpósio realizado por um grupo de pesquisadores do CNPq traz um recorte... more Resumo do simpósio: Este simpósio realizado por um grupo de pesquisadores do CNPq traz um recorte de uma pesquisa institucional que visa compreender a gestão da sala de aula no mundo contemporâneo das comunidades de aprendizagem. A partir da pedagogia do afeto (do encontro), discute alguns entrelaçamentos entre gestão do conhecimento, ensinar-aprender na educação musical, jogo-cartografia. Considera o mapeamento um exercício cartográfico do professor ante um meio (corpo-música), extraindo as potencialidades desse meio, suas múltiplas qualidades, com poder de afetar o grupo nos trajetos singulares que estão em curso. Outras tantas cartografias podem vir a ser feitas, sempre rascunhos de sujeitos que seguem explorando um meio, afetando e sendo afetados por ele, pelo que é interessante, importante, notável. Mapeamentos são fundamentais na gestão da sala de aula e na gestão do conhecimento, mas não garantem que a viagem-aula seja realizada por todos. Os mapeamentos trazidos neste Simpósio são parte dessa ação docente na gestão da sala de aula e do conhecimento, para o que concorre também um ferramental que pode favorecer percursos da ordem da intensidade. Com uma abordagem que privilegia a experimentação, a pesquisa, o aprendizado colaborativo e o processo de criação, focaliza algumas transformações no binômio ensinar-aprender face as novas tecnologias de informação e comunicação nas aulas de música, considerando o ciberespaço, a produção musical, o autoaprendizado. Este simpósio traz recortes de uma prática com alunos do Centro Educacional SESC Cidadania, produzindo uma storytelling digital. Também traz o mapeamento-cartografia de um módulo que tem como elemento nucleador o funk "Tá tudo errado" no "ensinoaprendizagem", traça os muitos caminhos a partir da potencialidade desse corpo-música e promove a experiência da viagem. Reflete sobre o desenvolvimento desse trabalho em duas turmas do projeto social Centro de Convivência Musical-CECOM (RJ), priorizando uma realização musical ritmicamente precisa, consciente e autônoma, tendo n´O Passo uma ferramenta para percorrer os caminhos deflagrados. Como pesquisador de sua própria prática, nesta pesquisa-ação o professor faz uma observação participante, escuta as vozes dos sujeitos envolvidos, os seus agenciamentos, busca sentir o outro, faz seus registros, procura dar conta do que viu e viveu, mas também traz a presença desses outros (registros, relatos) sobre a sua própria experiência.
Palavras chave: pedagogia do afeto, jogo-cartografia, ensino-aprendizagem musical, ciberespaço, produção musical, O Passo.
The Learning Process of Three Electronic Music Producers of Dance Floor Eliza Vazquez This work h... more The Learning Process of Three Electronic Music Producers of Dance Floor
Eliza Vazquez
This work has focused on understanding the learning process of three producers of electronic dance music, they
belong to the underground scene of Brasilia. Around this theme we are looking for to understand how those
producers to get the learning process. The ethnographic case study was the chosen methodology, where the
observation environment is the dance floor and the social network sites are the producers. It was noticed that the
three built their knowledge independently, exchanging experience among peers, searching for information in
cyberspace, on the track (such as a DJ or goer) and making use of manufacturing technologies for learning how to
104
produce. On the track the producer interacts both as a DJ and as goer and these experiences are moments of
analysis and expansion of repertoire, where he sees the reaction of the runway to the sound elements of music and
seeks to understand the best way to compose for this context. The producer uses cyberspace to publicise their
work, buy songs, search, share information and receive feedback from their productions. Their listening is active,
seeking to recognise styles, tones, shapes and constructs sets. Through cyberspace they foster the scene, exchange
information and music, expand knowledge and establish relationships between other producers, DJs and patrons
of the scene.
Involvement with the production technology is key to building these knowledge producers, and computer software
are the tools used to build their music, and as they understand the logic of the program they can better produce.
Their knowledge is built into do during sound manipulation, letting himself be guided by listening, the producer
builds his music, evaluates and modifies if necessary, in a dynamic process of production and learning. This
interweaving of experiences in a non-formal learning space opens reflections for music education in formal
education, which should seek a teaching methodology that understands cyberspace and the dance floor as places
of learning, proposing specific activities and experiences in these environments, as well as understand the
importance of experimentation and different music software, leaving the listener to guide the composition,
developing a critical perception, active and creative.
pg. 373 The present paper discusses some associations between the self-learning process of elect... more pg. 373
The present paper discusses some
associations between the self-learning
process of electronic dance music producers
and the musical training of Elementary
School (2) students. With an approach that
favours the creative process, our study
focuses on three learning resources for
electronic music producers: cyberspace,
musical production technologies, and actual
interaction with the dance floor, seeking
for methodological possibilities that value
discovery, knowledge management, and
autonomy of student learning. This paper
describes the issues, objectives, and the
progress of the DJ, Toca a Banda (DJ, plays
the band) project, which is being developed
at Centro Educacional Sesc Cidadania (Sesc
Citizenship Education Center), in Goiás.
KEYWORDS: Musical production
technologies. Formal music education.
Electronic music. Self-learning.
This research is about the learning process of three electronic music producer of dance floor (DF... more This research is about the learning process of three electronic music producer of dance floor (DFEM), these belong the underground scene of Brasilia and DJs a electronic party, its take place every week in town. After literature studying that has happened the producer interaction environment of DFEM are the dance floor and the cyberspace whose are fence by musical production technology. Around this theme we are looking for to understand how those producers to get the learning process.
The ethnographic cases study were the methodology chosen, where the observation environment is the "5uinto" and the social network sites are the producers in. The gathering tools are mulled interview, the netnographics documents assays and observation. It has been recognized the knowledge of the producer were built by themselves changing experiences between their counterparts looking for information in the cyberspace (at stores, social network sites, sites for information and exchange file, on the dance floor (like a partygoer or a DJ) and using those production technology to learn to produce.
On the dance floor the producer interact as a DJ as a partygoer and these experiences are the moments to analysis and to enhance the repertoire where he notices the dance floor reaction to resounding elements of music and looking for to understand the best way to compose to this context.
The cyberspace is used by the producer to publicize his work, to buy music, to research, to change information and to receive his production feedback. Considering they need to looking for to recognize style, timbres, forms, sets constructions their listening must be active. Through the cyberspace they change information and music, enlarge their knowledge and set up relation with others producer, DJs and regular visitors.
With this in mind the computer, the software and the products technology involved are tools essential to producers building their knowledge, and their music , so that their understand the logic program as better they can produce. Their knowledge is building as they do sound manipulate let them to guide by listening as a result they are building their music consider and modify if it is necessary in a dynamic process of production and learning.
Key word: Producer, Dance floor electronic music, cyberspace, technology of musical produce.
... CIBERESPAÇO EO ENVOLVIMENTO COM AS TECNOLOGIAS MUSICAIS DE PRODUÇÃO ELIZA REBECA SIMÕES NETO ... more ... CIBERESPAÇO EO ENVOLVIMENTO COM AS TECNOLOGIAS MUSICAIS DE PRODUÇÃO ELIZA REBECA SIMÕES NETO VAZQUEZ Brasília 2011 Page 2. ELIZA REBECA SIMÕES NETO VAZQUEZ A APRENDIZAGEM DE TRÊS PRODUTORES DE MÚSICA ...
Anais ABEM, 2015
Resumo do simpósio: Este simpósio realizado por um grupo de pesquisadores do CNPq traz um recorte... more Resumo do simpósio: Este simpósio realizado por um grupo de pesquisadores do CNPq traz um recorte de uma pesquisa institucional que visa compreender a gestão da sala de aula no mundo contemporâneo das comunidades de aprendizagem. A partir da pedagogia do afeto (do encontro), discute alguns entrelaçamentos entre gestão do conhecimento, ensinar-aprender na educação musical, jogo-cartografia. Considera o mapeamento um exercício cartográfico do professor ante um meio (corpo-música), extraindo as potencialidades desse meio, suas múltiplas qualidades, com poder de afetar o grupo nos trajetos singulares que estão em curso. Outras tantas cartografias podem vir a ser feitas, sempre rascunhos de sujeitos que seguem explorando um meio, afetando e sendo afetados por ele, pelo que é interessante, importante, notável. Mapeamentos são fundamentais na gestão da sala de aula e na gestão do conhecimento, mas não garantem que a viagem-aula seja realizada por todos. Os mapeamentos trazidos neste Simpósio são parte dessa ação docente na gestão da sala de aula e do conhecimento, para o que concorre também um ferramental que pode favorecer percursos da ordem da intensidade. Com uma abordagem que privilegia a experimentação, a pesquisa, o aprendizado colaborativo e o processo de criação, focaliza algumas transformações no binômio ensinar-aprender face as novas tecnologias de informação e comunicação nas aulas de música, considerando o ciberespaço, a produção musical, o autoaprendizado. Este simpósio traz recortes de uma prática com alunos do Centro Educacional SESC Cidadania, produzindo uma storytelling digital. Também traz o mapeamento-cartografia de um módulo que tem como elemento nucleador o funk "Tá tudo errado" no "ensinoaprendizagem", traça os muitos caminhos a partir da potencialidade desse corpo-música e promove a experiência da viagem. Reflete sobre o desenvolvimento desse trabalho em duas turmas do projeto social Centro de Convivência Musical-CECOM (RJ), priorizando uma realização musical ritmicamente precisa, consciente e autônoma, tendo n´O Passo uma ferramenta para percorrer os caminhos deflagrados. Como pesquisador de sua própria prática, nesta pesquisa-ação o professor faz uma observação participante, escuta as vozes dos sujeitos envolvidos, os seus agenciamentos, busca sentir o outro, faz seus registros, procura dar conta do que viu e viveu, mas também traz a presença desses outros (registros, relatos) sobre a sua própria experiência.
Palavras chave: pedagogia do afeto, jogo-cartografia, ensino-aprendizagem musical, ciberespaço, produção musical, O Passo.
The Learning Process of Three Electronic Music Producers of Dance Floor Eliza Vazquez This work h... more The Learning Process of Three Electronic Music Producers of Dance Floor
Eliza Vazquez
This work has focused on understanding the learning process of three producers of electronic dance music, they
belong to the underground scene of Brasilia. Around this theme we are looking for to understand how those
producers to get the learning process. The ethnographic case study was the chosen methodology, where the
observation environment is the dance floor and the social network sites are the producers. It was noticed that the
three built their knowledge independently, exchanging experience among peers, searching for information in
cyberspace, on the track (such as a DJ or goer) and making use of manufacturing technologies for learning how to
104
produce. On the track the producer interacts both as a DJ and as goer and these experiences are moments of
analysis and expansion of repertoire, where he sees the reaction of the runway to the sound elements of music and
seeks to understand the best way to compose for this context. The producer uses cyberspace to publicise their
work, buy songs, search, share information and receive feedback from their productions. Their listening is active,
seeking to recognise styles, tones, shapes and constructs sets. Through cyberspace they foster the scene, exchange
information and music, expand knowledge and establish relationships between other producers, DJs and patrons
of the scene.
Involvement with the production technology is key to building these knowledge producers, and computer software
are the tools used to build their music, and as they understand the logic of the program they can better produce.
Their knowledge is built into do during sound manipulation, letting himself be guided by listening, the producer
builds his music, evaluates and modifies if necessary, in a dynamic process of production and learning. This
interweaving of experiences in a non-formal learning space opens reflections for music education in formal
education, which should seek a teaching methodology that understands cyberspace and the dance floor as places
of learning, proposing specific activities and experiences in these environments, as well as understand the
importance of experimentation and different music software, leaving the listener to guide the composition,
developing a critical perception, active and creative.