Conhecimento declarativo, processual e condicional no estudo do vibrato

Aplicação do MAI em música

Abstract

Research Question/Problem

The study of vibrato on the violin involves a complex articulation between fine motor control, auditory awareness, and technical-expressive choices (Flesch, 1924; Galamian, 2013; Rolland, 1970; MacLeod 2010). Mastering this technique results in one of the most important interpretative resources during the performance of a musical work, as it directly influences timbral quality, expressiveness, and the variety of tonal colors. However, due to the instrumentalist's need to coordinate and control various movements, vibrato becomes a technique that is difficult to acquire; it is common for students to face difficulties in maintaining hand amplitude and relaxation.

In the light of metacognition, this article examines how metacognitive knowledge influences the learning and refinement of vibrato, considering its interdependence in building the violinist's technical autonomy. For authors such as Flavell (1979); Michael Lawson (1984); Ann Lesley Brown (1987); Gregory Schraw & David Moshman (1995); Louise Lafortune, Suzanne Jacob & Danièla Hébert (2000), and Anastasia Efklides (2009), metacognition is the term used to describe the ability to think about one's own way of learning, resulting in a set of mental resources that enable an individual to self-monitor the cognitive processes related to their own learning. According to Flavell (1979 cited in Lai, 2011), the systematization of metacognition can be categorized into two strands: cognitive knowledge and regulation of cognition. The focus of this research will be on metacognitive knowledge and its three components: declarative, procedural, and conditional knowledge.

Objectives

The central objective of this work is to investigate the influence of metacognitive knowledge — subdivided into declarative, procedural, and conditional knowledge — on the learning and development of violin vibrato. Specific objectives include the planning of a study routine, the mapping of the metacognitive process during practice, and the final analysis of the results obtained.

Method

The present study adopts autoethnography as its methodology (Anderson [2006]; Davies [2012]), supported by the use of reflective journals (Benneti, 2017). The MAI (Metacognitive Awareness Inventory) questionnaire, developed by Schraw and Dennison (1994), adapted and translated by Bártolo-Ribeiro, Simões, and Almeida (2016), and later adjusted to the musical context by Ferronato and Araújo (2021), was also employed as a tool to delineate the metacognitive process.

Results

The theoretical results indicate that declarative knowledge enables an understanding of the biomechanical and expressive principles of vibrato; procedural knowledge guides motor execution through gradual exercises and somatic adjustments; and conditional knowledge allows for interpretative decisions in varied musical contexts. Furthermore, the application of the MAI to musical practice provided a valid instrument to identify self-regulation gaps, guide pedagogical interventions, and promote more conscious and efficient learning.

Conclusions

It is concluded that awareness of "what," "how," and "when" to apply metacognitive strategies not only optimizes practice time but also results in a more balanced, relaxed, and expressive performance. Furthermore, integrating the MAI into the study of vibrato constitutes a promising approach for research in performance, string pedagogy, and music cognition.