Publication: La función pedagógica del profesor de piano en grado superior ante el miedo escénico de los alumnos
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2016-12-15
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Universidad Complutense de Madrid
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Abstract
Mi labor como pianista y docente en dos países, tanto en España como en Argentina, me ha motivado para la realización de esta tesis. He sentido preocupación al observar los nervios e inseguridades sufridos por los alumnos cuando llega el momento de los conciertos, exámenes o concursos; y debido a ello, he notado que la calidad de la ejecución y la experiencia de la situación del concierto, examen o concurso se ven perjudicadas. Este trabajo no pretende ser un estudio psicológico ni una herramienta terapéutica, sino simplemente un aporte pedagógico, tanto para el alumno en su futuro como músico profesional como para la labor didáctica de los profesores de piano de grado superior. El nerviosismo es un tema clave recurrente en las conversaciones entre compañeros antes de salir al escenario e incluso es también un tema de justificación para los ejecutantes de todo lo que hubiera podido suceder, tanto positiva como negativamente, si no los hubiese sufrido en el transcurso de la interpretación. Es muy poca o casi nula la atención que pedagógicamente se dedica a los estudiantes de música sobre la experiencia escénica en el aprendizaje instrumental. Además, es curioso constatar cómo los centros de enseñanzas musicales preparan a los alumnos para ser instrumentistas pero no les brindan el 100% de las herramientas que necesitan para serlo. Se otorga una preparación basada en la técnica del instrumento, la estética, la comprensión analítica, armónica y morfológica de las obras, la historia de las distintas épocas y compositores, entre otras, todo ello a través de asignaturas obligatorias. Pero estas materias raramente son aplicadas a la hora de hacer una interpretación instrumental. Los alumnos, incluso algunos profesores de instrumento, no establecen una interrelación entre las diferentes asignaturas.Todo eso llevaría a una preparación musical bastante completa si no nos detenemos a observar que falta una preparación mental. Esta carencia se hace presente en el momento de salir a escena o en la presentación ante un tribunal al observar errores, bloqueos, dificultad de concentración y la posterior autocrítica...
My work as a pianist and teacher in two countries, both in Spain and Argentina, has led me to the realization of this thesis. I have been concerned to see the nerves and insecurities suffered by students when it comes to concerts, examinations or competitions arrives; and because of that, I have noticed that the quality of workmanship and the experience of the concert situation, examination or competition, suffer. This work is not intended as a psychological study or a therapeutic tool, but simply an educational contribution for both the students in their future as a professional musician to work teaching piano teachers top grade. Nervousness is a key recurring theme in conversations between peers before going on stage and even is also an issue of justification for performers of all that could happen, both positively and negatively, otherwise had suffered during interpretation. It is very little or no attention is devoted to pedagogical students on the scenic music instrumental learning experience. Furthermore, it is curious to note how music teaching centers prepare students for instrumentalists but not give them 100% of the tools they need to be. A preparation based on the technique of the instrument, aesthetics, analytic, harmonic and morphological understanding of the works, the history of different eras and composers, among others, all through compulsory courses is granted. But these matters are rarely applied when making an instrumental interpretation. Students, even some teachers instrument, do not establish a relationship between the different subjects. All this would lead to a fairly comprehensive musical training if we pause to note that no mental preparation needed. This deficiency is present at the time of going on stage or presentation in court to observe errors, crashes, difficulty concentrating and subsequent criticism...
My work as a pianist and teacher in two countries, both in Spain and Argentina, has led me to the realization of this thesis. I have been concerned to see the nerves and insecurities suffered by students when it comes to concerts, examinations or competitions arrives; and because of that, I have noticed that the quality of workmanship and the experience of the concert situation, examination or competition, suffer. This work is not intended as a psychological study or a therapeutic tool, but simply an educational contribution for both the students in their future as a professional musician to work teaching piano teachers top grade. Nervousness is a key recurring theme in conversations between peers before going on stage and even is also an issue of justification for performers of all that could happen, both positively and negatively, otherwise had suffered during interpretation. It is very little or no attention is devoted to pedagogical students on the scenic music instrumental learning experience. Furthermore, it is curious to note how music teaching centers prepare students for instrumentalists but not give them 100% of the tools they need to be. A preparation based on the technique of the instrument, aesthetics, analytic, harmonic and morphological understanding of the works, the history of different eras and composers, among others, all through compulsory courses is granted. But these matters are rarely applied when making an instrumental interpretation. Students, even some teachers instrument, do not establish a relationship between the different subjects. All this would lead to a fairly comprehensive musical training if we pause to note that no mental preparation needed. This deficiency is present at the time of going on stage or presentation in court to observe errors, crashes, difficulty concentrating and subsequent criticism...
Description
Tesis inédita de la Universidad Complutense de Madrid, Facultad de Educación, Departamento de Expresión Musical y Corporal, leída el 25/11/2015