Estratégias de aprendizagem autorregulada na prática do hibridismo vocal

relatos de cantores de alta performance

Abstract

Research Question/Problem

The practice of vocal hybridism or technical-vocal crossover, especially between opera and musical theatre, imposes significant technical-stylistic and perceptual challenges on the performer. Due to market demands, even singers whose training was predominantly dedicated to a specific technique end up having to diversify their practice. Interviews conducted by XXXX (0000) investigated which strategies were employed by singers recognized by critics as performers of excellence in both styles in question, seeking to understand how they developed their hybrid careers. The testimonies revealed the existence of elaborate cognitive processes through which these singers managed their learning in a highly strategic and conscious manner. The problem lies in understanding how expert singers organized their trajectories to reconcile high-performance demands with both effectiveness and vocal health.

Objectives

To map cognitive strategies of learning and performance maintenance present in the transcribed testimonies by XXXX (0000).

Method 

A correlational study was conducted between theoretical foundations and semi-structured retrospective interviews. The subject sample consisted of seven singers chosen by relevance, through peer recognition and specialized critics acclaim. The data were interpreted through content analysis, using pre-analysis of word occurrence, sequential analysis of repetitions, and categorization by analogy.

Results and Main contributions

The results evidence the presence of all pillars of human agency described by Bandura (2017): intentionality in the planning of vocal adjustments for distinct repertoires; anticipatory thinking to manage hybrid seasons through prior organization of vocal and bodily routines (Polydoro; Azzi, 2008); self-reactiveness in vocal adjustments according to the response of one's own voice; and self-reflectiveness in the critical assessment of performative experiences. The mobilization of self-regulated learning processes was observed (Zimmerman, 1998), as well as modeling during musicalization through choral singing, along with congruences with the phases of talent development (Bloom and Sosniak, 1985). Finally, the accounts also demonstrated processes of self-observation and performance judgment, associated with self-efficacy.

Conclusions and Implications

It is concluded that excellence in vocal hybridism stems from the advanced mastery of cognitive processes that allow the performer to monitor and adjust their performance independently and intentionally. The research implies the need to integrate self-regulated learning theories into vocal pedagogy, enabling students to cope with the multiple vocal identities required by the contemporary market.