Research Remarks – The Contrabass and the Deaf Child

Before initiating the research phases, we had in mind “what” and “how” to introduce the contrabas knowledge for the deaf pupil, however, in elapsing of the studies, we had to modify and/or to adapt contents several times, constructing rhythmic phrases, knowing more what is to be deaf, to request opinions and assessorship of professionals of the deafness area, of musical education and corporal expression, always with the objective to enrich the education process and to acquire a pedagogical support.

By this way, we conclude that, in the body of the deaf person, coexist possibilities and limits that exceed corporal practices. The deaf body is a privileged place for the expression of its memory. We perceive that due to a verbal communication, it is in its body, that, movements, position attitudes, and gestures, state the quality of its emotional experience. It substitutes the loss of the word with its gestual. The corporal experience is associated to the understanding of relationary direction that acquires, as carrier of individual and collective meanings.

The slow perception the contrabass offers, can be worked in corporal expression and music from rhythmic cells, therefore the rhythm is inherent to the human being carrying or not deafness. The contrabass, the corporal expression, and musical/rhythmic structures, can be worked in parallel, in the search of valuation of the auto esteem and social interaction.

The limits would be unmarked by the possibilities of each pupil.
With this work, I want to contribute for the deafness carrier education, in a not only educative dimension, but also socialcultural, be facilitated objectifying the construction of new knowing.