Resumo:
This paper investigates the relationship between dance and music from the perspective of a musician who works as a technical assistant at the School of Dance of the Federal University of Bahia (UFBA). The research focuses on the importance of understanding
musical aspects in dance teaching and its impact on the technical and creative development of dance students. The research is conducted based on the author/researcher's work as a technical musician at the School of Dance of UFBA and as
a member of the research group CORPOLUMEN: Networks for Studies of Body, Image and Creation in Dance. During practical classes in the undergraduate Dance program at
UFBA, it was observed how musical language — including elements such as dynamics, texture, phrasing, melody, musical form and rhythms — is essential for the construction of the repertoire of male and female dancers, favoring a greater assimilation of dance content. Although the National Curricular Guidelines for the Bachelor's and Undergraduate Degrees in Dance recognize the importance of musical understanding, the music component is offered as an optional. However, both the teachers and students interviewed emphasized the need to make it mandatory, due to its relevance in the training of the dancer. This research expands and becomes more complex in the practice of improvisation in dance and music, based on the Improlab-Corpolumen sessions, guided by Professor Dr. Daniela Guimarães. The investigation of this work is to develop pedagogical strategies that integrate elements of music education, performance and
improvisation, aiming to enhance learning and artistic creation in dance. As final productions of the research, a set of cards entitled “Notes between sound and silence” and a digital mini-book entitled “Notes between sound and silence: exploring creativity through sound and body sensitivity” were created, which I develop as pedagogical actions to be explored in the interaction between the languages of Dance and Music based on references such as Ciavatta (2009), Guimarães (2017) and Leite (2017).
