Pedro Barreiros was born in Porto in 1962, began his musical activity in 1969 in the Mini-Pop project (1969-79), Jafumega (1979-83), António Pinho Vargas Quartet (1983-89), Sextet Jazz Lisbon (1982-90), Mario Laginha Trio (1985-90), nonet of Paulo Gomes (2001-03), Matosinhos Jazz Orchestra (2002-04), Sextet Mário Barreiros (2002-08), Sextet Miguel Moreira (2008-). From 2005 to 2012 He teaches at the Jazz bass ESMAE discipline, receiving in 2012 the degree of Master of String Bass Performance - Jazz variant by ESMAE. He is currently a professor at the Jazz School of Porto and attends the 3rd year of the PhD in Music / Education at the University of Aveiro.
Presentation of a cognitive algorithm for the double-bass, support of new technologies in the development of strategies for a self-regulation, self-assessment and metacognition in a collective context of improvised music and rhythmically oriented
With the aim of increasing the rigour in individual musical composition in real time – in the melodic, harmonic, rhythmic and expression components – a rhythmic-melodic algorithm was developed. This algorithm has been designed in order to build a direct relationship between the rhythmic figure and the smaller melodic range in the well- tempered scale (the chromatic semitone). To increase the rhythmic diversity, 6 heptatonic families without the 2 consecutive chromatic semitone were chosen, as well as some limited transposition modes, such as the scales: chromatic, whole tone, diminished and augmented, at one and two octaves. Supported by the new technologies in teaching and learning, the implementation of this algorithm has been tested over the course of 11 months with 10 first-year students in higher education of double bass. The study design was planned to permit that all the students could constitute control of themselves, without compromising access to the algorithm. The impact of using the algorithm was evaluated by comparing the results before, during and after its implementation, respecting: (i) by establishing strategies for self-regulation, self-evaluation and metacognition; and (ii) the sensory and cognitive development of musical elements like syncing, tuning, timbre and intensity, during an musical improvisation performance in ensemble of the participating students.