GRUPO INSTRUMENTAL DA FURG: UMA SÍNTESE DA NECESSIDADE E

IMPORTÂNCIA DAS BANDAS DE MÚSICA E O REFLEXO DE SUAS AÇÕES

SOCIOCULTURAIS NA COMUNIDADE
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banda de música pode trazer a seus integrantes e à comunidade envolvida no projeto.

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FURG’s music ensemble: a synthesis of the need and importance of a music ensemble and the
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that a musical ensemble can bring to its members and to the community involved in the project.

KEYWORDS: Music. Extension. Music ensemble. Education.

O projeto e a motivação

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Qualidades dos Realidades do grupo Necessidades do Proposta

integrantes do grupo grupo 6&*+0+._9)'/e
A maioria dos integrantes
Y%#)62(+5)%/7L&%#/)40/# Estudar harmonia e AG&(&'&(#/-./%#0&#
consegue improvisar e
seguem um caminho 0&%&45+.5&(#*,'4)'/%#0&# )62(+5)%/78+#&#Q/(6+4)/#
/2(&')/#934&(+%#6-%)'/)%#
muito intuitivo e os )62(+5)%+K#-*).)J/40+D/%# e escrever arranjos
&6#F-&#/#)62(+5)%/78+#
integrantes ainda não '+6+#-6/#G&((/6&4*/#4+# F-&#0&&6#.)B&(0/0&#/+#
&%*I#2(&%&4*&#>C/JJK#B+%%/D
conhecem sobre harmonia processo criativo improviso
nova etc.)
Escrever essas
Os integrantes conhecem Conhecer e estudar /(*)'-./7L&%#&#
Desconhecem as
os elementos básicos da /(*)'-./7L&%#&#0)4b6)'/%# 0)4b6)'/%#4+%#/((/4C+%K#
0)G&(&4*&%#/(*)'-./7L&%#&#
*,'4)'/#)4%*(-6&4*/.#&# &%2&'ER'/%#-*).)J/0/%#&6# demonstrando sua
dinâmicas utilizadas em
estão habituado a tocar /((/4C+K#0&4*(&#+-*(/%# &1&'-78+#0&4*(+#0+#
arranjo
em conjunto *,'4)'/% contexto individual e em
conjunto
Desenvolver uma $4%)4/(K#9(/0-/.6&4*&K#
t#&1'&78+#0+%# Y#.&)*-(/#,#.)6)*/0/#/+%# leitura musical mais as escritas musicais mais
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e rítmicos F-&#/%#'+4*&62.&6
Ter acesso a escolas
Os integrantes não de música públicas e M+%%)B).)*/(#F-&#/#
Desejam desenvolver *36#/'&%%+#/#&%'+./%# 2()5/0/%#F-&#2+%%/6# FURG traga músicos
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em seus instrumentos de seus instrumentos instrumental
&%2&'ER'+%

v-/0(+#af#.&5/4*/6&4*+#&#2(+2+%*/#6&*+0+._9)'/

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a continuidade do projeto.

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outros temas acabam emergindo e se inserindo durante o andamento do projeto. Temas como
(&./7L&%#0&#*(/B/.Q+K#2(+B.&6/%#G/6).)/(&%#(&./')+4/0+%#'+6#/#0&0)'/78+#\#6O%)'/9K#0)R'-.0/0&%#
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parte das atividades do projeto.

h)/4*&#0&#*+0+%#&%%&%#)62/%%&%K#+#(&9&4*&#0&5&#-4)'/6&4*&#*(/B/.Q/(#'+6#/#6O%)'/K#(&'-%/40+D
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públicas.

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Y'(&0)*/D%&#F-&#&%%/%#0)(&*()J&%#G/J&6#'+6#F-&#+#2(+C&*+#&%*&C/#)4*&9(/.6&4*&#0&#/'+(0+#'+6#+%#
2/(/0)96/%#2(&5)%*+%#4+#:_(-6#0&#$1*&4%8+K#2+)%#5)/B).)J/6#/7L&%#F-&#/.'/4'&6#/#'+6-4)0/0&#
por meio da Universidade.

REFERÊNCIAS

Y<<AwAK# N/(9/(&*&@# ;6# +.Q/(# /4*(+2+._9)'+# %+B(&# 2(I*)'/%# 0&# &4%)4+# &# /2(&40)J/9&6#
musical. Revista da ABEMK#M+(*+#Y.&9(&K#5@#"K#2@#amK#%&*@# !!!@

]Y<]AiYK#y+&.#s-)J#i@#Da Capo:#6,*+0+#&.&6&4*/(#2/(/#&4%)4+#'+.&*)5+#+-#)40)5)0-/.#0&#
)4%*(-6&4*+%#0&#B/40/@#i8+#M/-.+f#z&SB+/(0K# !!j@

ZYNMAiK# X).'&)/# M(+*I%)+@# A# /%2&'*+# 2&0/9_9)'+# 0/%# B/40/%# &# G/4G/((/%# &%'+./(&%f# +#
aprendizado musical e outros aprendizados. Revista da ABEMK#M+(*+#Y.&9(&K#5@#acK#2@#a!nK#
6/(@# !![@

NA<$W<YK#N/('+%#0+%#i/4*+%@#A#G/*+(#%+')/.#/#)0&4*)0/0&#&#/#(&./78+#'+6#+#&4%)4+#6-%)'/.#
&6#i&(9)2&f#+#'/%+#0/#]/40/#0+#h)5)4+#&6#W40)/(+B/@#ICTUSK#i/.5/0+(K#5@#cK#4@#aK#2@#c K#C-.@#
!![@

XA=;$W<YK#N@#M@#Extensão Universitária:#0)(&*()J&%#'+4'&)*-/)%#&#2+.E*)'/%@#]&.+#p+()J+4*&f#
$0)*+(/#0/#;:N=K# !!!@

Em ExtensãoK#;B&(.b40)/K#5@#cK#4@#aK#2@# !"D a K#C/4@#d#C-.@# !a!@ 211

M$XXYK# N/-(/@# X8+# B/%*/# *+'/(x# h)%'-*)40+# /# G+(6/78+# 0+# &0-'/0+(# 6-%)'/.@# Revista da
ABEMK#M+(*+#Y.&9(&K#5@#aeK#2@#n[DncK#6/(@# !!m@

VWss$K#<&9)/4/#]./4u@#$0-'/78+#6-%)'/.#G+(6/.K#48+#G+(6/.#+-#)4G+(6/.f#-6#&%*-0+#%+B(&#
processos de ensino e aprendizagem musical de adolescentes. Revista da ABEMK#M+(*+#Y.&9(&K#
5@#anK#2@#jaK#%&*@# !!"@

Submetido em 29 de janeiro de 2010

Y2(+5/0+#&6#a"#0&#6/(7+#0&# !a!

212 Em ExtensãoK#;B&(.b40)/K#5@#cK#4@#aK#2@# !"D a K#C/4@#d#C-.@# !a!@