Aline Medeiros, was born in Rio de Janeiro, Brazil. He began his studies at the Villa-Lobos Music School where he studied free of lyric singing, musical theory, solfege, history of music and harmony. In 2001 he completed the Basic Course in Music at the Villa-Lobos Music School. In 2008 he entered the Federal University of Rio de Janeiro in the course of Bachelor’s Degree in Canto under the guidance of the baritone Homero Velho. In the same university he was a scholarship holder of the José Bonifácio Foundation where he trained in the cataloging of handwritten scores for a year. She worked as a conductor of Choral Singing by the regent Valéria Matos, where she taught vocal technique classes to the Choir. In 2014, she joined the Conservatório de Música Brasileiro – Rio de Janeiro where she completed her Baccalaureate degree in singing under the guidance of the mezzo-soprano Patricia Peres and she also acquired a degree in music from the same institution. In 2015 he gave proof to the Superior School of Music of Lisbon maintaining his approval in the Master Course in Teaching of Music / Singing under the guidance of Professor Luis Madureira. Currently, he is attending the second year of the Master’s Degree and is a fellow of the CESEM project at IPL.
This theme aims to investigate the relationship between psychology and the teaching of lyric singing. The general objective is to analyze through bibliographical references how these sciences relate to each other. We know that music generates feelings and emotions that activate various structures and parts of the brain, which is responsible for emotions and social behavior, and even more, there is in this process the release of the dopamine responsible for the sensation of pleasure. In the processes of learning and cognition we are aware that psychology is always present bridging the concrete and abstract, generating results in a more satisfactory way. In my point of view in singing teaching we can notice the performance of psychology in a more significant way than in other instruments. Singing is not a palpable and “concrete” instrument where only with our fingers we can press a certain note. In order to emit a sound, it is necessary for a series of “brain events” to develop. In singing teaching the use of psychology is very noticeable, whether in the use of metaphors or images or other psychological methods for the “visualization of sound” to happen. Psychology is a fundamental part of building the voice of the singer and his way of thinking his instrument. Through much research and analysis we can confirm that the union of psychology and music makes teachers have a satisfactory and rewarding result in the art of teaching. This paper aims to investigate the different methods of psychology in the field of teaching and their responses to these different types of mechanisms. Still, I will seek relevant information on the performance of psychology in singing teaching, making us understand how deep and extensive this theme may be. To make a dialogue between psychology and music is to unite knowledge, weave relationships with bases and generate possibilities between concrete and abstract.