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Dissertations |
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GABRIEL ALMEIDA DO VALLE
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There are young people in the samba de roda: “This is the samba chula Juventude do Iguape, we are children of Iguape. This is the cultural samba that was born at Casa de Samba
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Advisor : ANGELA ELISABETH LUHNING
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COMMITTEE MEMBERS :
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ANGELA ELISABETH LUHNING
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CARLOS ALBERTO BONFIM
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FRANCISCA HELENA MARQUES
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Data: Oct 1, 2020
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Show Abstract
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There are young people in the samba de roda: “This is the samba chula Juventude do Iguape, we are children of Iguape. This is the cultural samba that was born at Casa de Samba ” is an ethnographic work, from an ethnomusicological perspective, about youth musical practices of the samba de roda group Juventude do Iguape. The dissertation is the result of the researcher's coexistence in the quilombola community of Santiago do Iguape, in the rural area of the municipality of Cachoeira, in the Recôncavo Baiano. It consists of problematizing the generalized discourse that announces the disinterest of young people towards samba de roda. The work proposes an inversion of this perspective through the transposition of the statement in question: why are young people interested in samba de roda? Through testimonies by sambadores and sambadeira, reports in field diaries and photographic records, an attempt was made to articulate the musical practices of the members of the group with conceptual approaches on the categories of youth, territorial identity and tradition, in an interdisciplinary perspective. The research presents reflections on the demands and expectations of young people in relation to the continuity of the musical tradition, the processes of patrimonialization of the manifestation and the potential of the Association of Sambadores and Sambadeiras of the state of Bahia as a place of political articulation. Between conflicts and paradoxes, the research points out that there are young people in samba de roda, towards whom the energies, investments and public politics must be directed.
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2
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JEANDERSON SANTOS BULHÕES DE JESUS
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Memories of the Sambas in the festivities of Rei Roubado, São Cosme and Damião, Santa Bárbara and other games from the rural community of Benfica, Santo Antônio de Jesus - South of Bahia's Recôncavo.
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Advisor : LAILA ANDRESA CAVALCANTE ROSA
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COMMITTEE MEMBERS :
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CARLOS SANDRONI
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FRANCISCA HELENA MARQUES
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LAILA ANDRESA CAVALCANTE ROSA
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LUAN SODRÉ DE SOUZA
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Data: Oct 2, 2020
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Show Abstract
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This research aims to investigate possible processes of reframing and invisibility of samba de roda musical practices in the rural community of Benfica, in Santo Antônio de Jesus - BA - town located south of the Recôncavo. I seek to understand how the standardization of ideals of civilization imposed by local power, the laws and codes of postures, urbanization and modernization affected the practices cultural aspects of the municipality, in this specific case, the samba de roda. When doing a bibliographic survey of works done on Santo Antônio de Jesus, no record was found regarding the samba de roda, except for the works of the historians, Maitê Rangel (2010) and Liliane Lima (2013), who, in their research, observed a strong link between urbanization and modernization processes with the silences and transformations of the city's cultural practices, approaches that contributed to the definition of the central objective of this research. Another important aspect of this work, is to relate these factors mentioned by the authors above with the absence of the town in the Dossier of the Samba de Roda do Recôncavo Baiano produced by IPHAN, since the researches and surveys of samba groups covered several municipalities in that territory. Seeking to meet these demands, the research methodologies procedures that fit the proposal are qualitative, using ethnography as a methodological resource, which, due to the pandemic needed to be reformulated and adapted. For data collection, semi-structured interviews were conducted with the community samba singers, with records in audio and video recordings indicated in the text as a listening script and made available to the public (www.soundcloud.com). It was also realized a transcription and analysis of some of the sambas and their lyrics, as well as data collection from historical documents, public archives, periodicals and newspapers. With this work I intend to contribute to the following questions: How the urbanization and modernization processes influenced / have influenced the samba de roda practices of the town? How this research can contribute to memory, dissemination or elaboration of possible historical repair projects?
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3
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ANDESON CLEOMAR DOS SANTOS
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SOUNDS, TORÉS AND TOANTES OF THE IMBU RACE: AFFIRMATION AND REAFFIRMATION OF THE PANKARARU INDIGENOUS BEING
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Advisor : ANGELA ELISABETH LUHNING
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COMMITTEE MEMBERS :
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ANGELA ELISABETH LUHNING
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CRISTIANE MARIA GALDINO DE ALMEIDA
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MARIA ROSARIO GONCALVES DE CARVALHO
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Data: Oct 5, 2020
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Show Abstract
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We original peoples struggle daily to be able to exist within our specificities and particularities. We live constantly in the territories, cultures, our rights, this since the beginning of the invasion that began in 1500, and that extends to the present day. Given this, this research deals with an ethnography of the ritual of the imbu race, where I present territorial, cultural, political and historical issues of my people, showing the ritual musical making. My People Pankararu, which is located in the Pernambucano hinterland between the municipalities of Jatobá, Petrolândia and Tacaratu, is one of the little more than 80 peoples in the Northeast region, and as we understand that we are diverse peoples, I bring this work in a perspective of affirmation of affirmation , where I try to present a little of the cultural riches of Pankararu. The Imbu Race ritual, is the main folk ritual, which takes place annually with the arrival of the imbu fruit, and lasts for approximately three months since its beginning with the imbu's arrow. It is a celebration of life, respect for all beings that inhabit the planet. The objective is to identify / present how the imbu party appears in the process of affirming Pankararu identity, reaffirming and strengthening the indigenous being Pankararu. As we understand that we live in constant struggles, I bring this dissertation also in the perspective of resistance, showing here the protagonism of the Pankararu within our territory. Based on an ethnomusicological approach around the children, torés and toantes present in this ritual, I propose reflections on spirituality, education and identity that are directly related to our cosmology
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4
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MARCELO SILVA SABACK SANTOS
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THE PROCESSES OF MENTAL ABSTRACTIONS IN THE CONSTRUCTION OF MUSICAL KNOWLEDGE FROM PIAGET: AN INTEGRATIVE REVIEW
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Advisor : DIANA SANTIAGO DA FONSECA
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COMMITTEE MEMBERS :
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DIANA SANTIAGO DA FONSECA
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HELENA MULLER DE SOUZA NUNES
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CAROLINE CAREGNATO
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LILIA AMARAL MANFRINATO JUSTI
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Data: Nov 30, 2020
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Show Abstract
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The musical cognition field is a field of studies that has been gradually attracting the attention of researchers from the musical education field. The understanding of the cognitive activity has been more and more relevant to the comprehension of the acquisition of musical knowledge. This essay aimed to expand those notions, basing itself on an aspect of the cognitive activity described by the epistemologist and biologist Jean Piaget. This aspect is the mental abstractions, which are dived as empirical, pseudo-empirical, and reflexive abstraction. Together, these abstractions directly act towards the construction of one’s logical-mathematical thinking. In order to expand the previously mentioned notions, an integrative review was made. This review aimed to understand the current state of the art of the research that correlates knowledge and the musical activity with piagetian theories.Works that brought proofs based on evidence concerning the relationship between the aforementioned abstractions and the mental cognition that happens during tasks related musical activity were selected for this review. They comprised 60 works; and among those, 12 works that brought proof based on evidence were selected, ones that point towards a strict relationship between the aforementioned mental abstractions described by Piaget and musical activity in multiple aspects.
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5
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Menahem Hein de Oliveira Farias
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Gap of the unfathomable: the academic Widmer and the composer Widmer in the Marginálias da musica ocidental do último milênio.
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Advisor : PAULO COSTA LIMA
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COMMITTEE MEMBERS :
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ANGELO TAVARES CASTRO
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GUILHERME BERTISSOLO
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PAULO COSTA LIMA
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Data: Dec 4, 2020
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Show Abstract
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The present study intends to reflect upon the theoretical constructions presented by the Brazilian composer (born in Switzerland), Ernst Widmer (1927-1990) in three of his monographic works: Bordão e Bordadura (1970), Cláusulas e Cadências (1984) e Paradoxon versus Paradigma: marginalias da música ocidental do último milênio – III falsas relações (1) (1988). It was aimed to identify the core ideas and the methods that he employed, therefore approaching the relationship between theorizing and composing in this composer’s trajectory. The course of this reflection will serve as a guide to the compositional incursions which endorse the present study.
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6
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CATALINA GUTIERREZ PELAEZ
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Ambulant Musicians in Salvador and elsewhere in Latin America: musical practices, strategies and importance
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Advisor : ANGELA ELISABETH LUHNING
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COMMITTEE MEMBERS :
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ANGELA ELISABETH LUHNING
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LUCIANA REQUIÃO
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URPI MONTOYA URIARTE
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Data: Dec 10, 2020
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Show Abstract
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The following text is the result of a process that I have seen from time to time, since so much before the entrance of the researcher to the academic program that allowed its development, concerns arose from an itinerant musician (researcher) in respect of her role in the society, and subject as an objective, register the existence and show the importance of these people in history. It is about an ethnography which has been done with a group of thirteen itinerant musicians (one of them, a researcher), who was (a majority of them) to the city of Salvador of Bahia during the 2018-2020 season. It tells the story of two itinerant musicians, since their existence was registered for the first time, I do not know IX in medieval Europe at the modern times in Latin America. It discusses several themes (Public space, Work, Street art,...) and concepts (Music, Culture, Folklore, Popular,...), considered important and interesting because they outline individuals and characterize the trade. Dialogue with recognized and respected academic authors from various origins, but also as interlocutors of research (Latin-American itinerant musician) and with other varied sources (oral tradition, plates, museums, tourist guides). Provides statistic data (hours, routines, stages, salary, target audience, repertoire) in respect of the personal experience of the researcher exercising as an itinerant musician born in the city of Salvador-Bahia, and other diverse places, the experiences of other nine musicians in the same city, and concludes, among other things, that street musicians defend a marginal position about the capitalist system. Finally, give some considerations more, but mainly, catch the attention and generate curiosity to delve into several of the topics discussed.
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7
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AILTON MÁRIO NASCIMENTO
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African Music and African Music Practices in Music Licentiateships in Bahia
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Advisor : ANGELA ELISABETH LUHNING
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COMMITTEE MEMBERS :
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ANGELA ELISABETH LUHNING
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FLAVIA MARIA CHIARA CANDUSSO
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BAS ILELE MALOMALO
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Data: Dec 11, 2020
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Show Abstract
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Based on the Curriculum Matrices, Pedagogical Course Projects (PPCs), course menus and interviews with teachers and students of the Bachelor of Music courses at Universities in Bahia, the present work intends to talk about the importance and possible meanings of the presences and absence of African music in these spaces, both as musical repertoires, as well as aesthetic-philosophical and didactic-methodological proposals. Through a critical approach to hegemonic relations in academic music, we try to point out the tensions between conservatory habitus, cultural diversity, ethnic-racial relations, decolonization of musicological thought and practices related to musical formation, and how these vectors are articulated in the construction and (re)construction of curricula and educational practices for degrees in Music in Bahia. The research approach starts from a reflection through dialogues with the fields of anthropology, sociology, oral history, cultural studies, philosophy and ethnomusicology, which in addition to critically analyzing the Eurocentric universalisms underlying Brazilian music education, points out conceptual tools from musical practices Africans, Afro-Brazilians, Afro-Americans and Amerindians, thus helping to understand the educational processes and choices from the musical point of view of music degrees in Bahia.
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8
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AISHÁ LIMEIRA RORIZ
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My singing of love: The sung doctrine of Mestre Irineu in a female and northeastern perspective
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Advisor : LAILA ANDRESA CAVALCANTE ROSA
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COMMITTEE MEMBERS :
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LAILA ANDRESA CAVALCANTE ROSA
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FRANCISCA HELENA MARQUES
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PAULO ALVES MOREIRA
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Data: Dec 14, 2020
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Show Abstract
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Through an autoethnographic approach, this work presents the result of participative observation in the rituals of the sung doctrine of Santo Daime at CICLU-Ba, a center that follows the spiritual work of Mestre Raimundo Irineu Serra, its creator. In this musical tradition the hymns are not composed, but "received" from the spiritual realm. The repertoire analyzed in this research includes the hymnals obtained until the death of Mestre Irineu, in 1971.
Having as main mark the apparition of the Virgin Mary, who first offered the hymns to Mestre Irineu and then to the other daimistas, thus instituting the sacred feminine in its original myth, it will be analyzed the role of women as caretakers of these chants and original guardians of that musical tradition.
Seeking to understand the cultural and musical roots that determined the emergence of this singing style, a study was carried out on the sonorities that permeated the life of Mestre Irineu and his companions before and during the reception of the hymns. Initially, the musical elements from their northeastern origins were analyzed and then those from the Amazon region, where many of them migrated in search of work in the early 20th century. Other musical influences were also observed which, guided by the consciousness expanded by the holy drink, composed the acoustic culture of the original daimistas.
The work is based on a perspective of an engaged and participative ethnomusicology, sensitive to the feminine, that brings references to brazilian theoretical concepts, such as "acoustic culture" by José Lopes (2004), "native theory" by Tiago Pinto (2001) and works on religious music and the sacred feminine like Laila Rosa (2009), Kátia Rabelo (2013), Camila Benedito (2019) and Beatriz Labate (2009).
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Thesis |
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1
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ALESSANDRO PEREIRA DA SILVA
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THE MEMORY OF THE SIX STRINGS: AN INVESTIGATION INTO THE GUITAR MEMORIZATION PROCESSES OF BEGINNER AND INTERMEDIATE STUDENTS
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Advisor : DIANA SANTIAGO DA FONSECA
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COMMITTEE MEMBERS :
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ANA CRISTINA GAMA DOS SANTOS TOURINHO
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DIANA SANTIAGO DA FONSECA
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GUILHERME BERTISSOLO
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CHRISTIAN ALESSANDRO LISBOA
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DANILO RAMOS
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Data: Feb 14, 2020
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Show Abstract
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The objective of the present work was to investigate the memorization processes of a musical work by beginner and intermediate level stidents in the guitar. This doctoral thesis was based on theories about memorization strategies from the specialized literature and applied these theories through the realization of a case study. The theoretical foundations were based on thoughts about memory, following the connectionist perspective. In addition, this work was influenced by the performance cues by Roger Chafin, Gabriela Imreh and Mary Crawford (2002). After an introduction on the state of the art about memory and some Brazilian studies on memory and the relationship between memory and guitar, a case study was presented with beginning and intermediate students in the guitar of the Music Degree course at the Federal University of Sergipe. The case study sought to collect quantitative and qualitative data that comprehensively showed various aspects of the memorization process of the selected musical work. Tha data were collected and analyzed from recordings of the music's performances, a brief structured interview and the participant observation of the researcher who aimed to note the participants' behavioral data during the final performance of the music. The results indicated that the memorization based on activation by the performance cues contributed to the coding, storage and retrieval of information and to the procedures for learning, memorizing and performing the selected music for both the levels of the investigated guitarists.
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2
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OBADIAS DE OLIVEIRA CUNHA
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Evaluation paths in PROLICENMUS: from the source of inspiration to the offer of a model.
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Advisor : HELENA MULLER DE SOUZA NUNES
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COMMITTEE MEMBERS :
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EKATERINA KONOPLEVA
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HELENA MULLER DE SOUZA NUNES
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MARA MENEZES KROGER
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ALAMO PIMENTEL GONÇALVES DA SILVA
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SONIA REGINA ALBANO DE LIMA
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Data: Mar 5, 2020
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Show Abstract
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In this thesis, we present the Evaluation paths of a training course for Music teachers. The starting point is a source of inspiration, that is, the Evaluation System which took place in the Music Graduation Course, Distance Education Modality (EAD), offered by the Pró-Licenciatura Program of the Ministry of Education in Brazil, between 2008 and 2012, conducted by the Federal University of Rio Grande do Sul (UFRGS) and Partner Universities (PROLICENMUS). The overall aim of this research was to update the Sing and Dance with Us Evaluation Model (CDG), dedicated to the conduction of Evaluation in teacher training in Music Graduation courses. The research question was: How can the procedures and practices employed in teacher education in the PROLICENMUS graduation course conduct teacher education for Music professors, nowadays? Methodologically, it was an investigation of basic nature, qualitative approach, exploratory objectives and prevailing Case Study technical procedure. Each of the three chapters was conducted by one of the specific objectives, namely: 1) circumscribing the concept of Evaluation, for the purpose of this thesis; 2) explaining the Evaluation phenomenon, in accordance with that which took place in PROLICENMUS; and 3) prospecting conditions of consistency, within the components of the studied evaluative process. Complementary Research techniques were utilized, such as: Bibliographic, Documental, Ex Posto Facto and Focus Group. The data were treated by Discursive Textual Analysis (DTA) (MORAES; GALLIAZZI, 2006). The revision of the Theoretical Construction in the Evaluation Domain (FERNANDES, 2010), associated with that of the Musicpedagogical Proposal CDG (NUNES, 2017), generated an Evaluation definition of its own: an investigative site, in which the spontaneous Impulse constituted by beliefs, desires and hopes, particular of Internal Worlds, once mediated by the Directing of External Worlds, conducts to the Acquisition by Evidenced Actions in individual or group productions, for an effective practice shared in Music Teacher Education, based on a hermeneutic-dialetic approach, which involves, attracts and captivates commitments led by those involved, thus presenting a Reward at the end of the evaluative process. It was concluded, in the Evaluation of teacher education in Music, to be imperative to harmonize Frames and Instruments, while marked out by the Course’s Pedagogical Project and its Curricular Matrix, on their turn based on a particular theoretical conception of human formation. In the case of PROLICENMUS and in the one here proposed, an integral and integrating formation, through Music, in which co-authorship, inclusion, generosity, self-respect and respect for others are essential conditions. Thus, the Evaluation cannot be based on a third element, punitive or complimentary, in which others attribute importance to it and legitimize it before itself; it is the scholar who, through total commitment to a process of self and professor- being construction, is the main responsible for their Evaluation. It is concluded that their own acknowledgment is their greatest reward; however, this does not exempt them from understanding and accepting that, when aiming to speak on behalf of a certain educational institution, as is the case with the Diploma, it is necessary to obtain the authorization of that institution through approval, in accordance with its own, clearly stated evaluative criteria.
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3
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RICARDO BESSA MAGALHAES FRANCA
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The teaching of double bass in undergraduate courses in Brazilian public universities.
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Advisor : JOSE MAURICIO VALLE BRANDAO
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COMMITTEE MEMBERS :
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FLAVIA ALBANO DE LIMA
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JOEL LUIS DA SILVA BARBOSA
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JOSE MAURICIO VALLE BRANDAO
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LAILA ANDRESA CAVALCANTE ROSA
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MARIA THEREZA PITA GONDIM
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Data: Mar 11, 2020
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Show Abstract
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This thesis aims to understand and gather specific information on the professional education of double bass players in undergraduate bachelor degree courses in Brazilian public universities. The study focuses on the pedagogical practices of the double bass teachers in those institutions. At first, we conducted a literature review on the teaching of music and the model of the 19th century European Conservatories in Europe as well as their influence on music education in Brazil. About this model we pointed out six itens most criticized by authors such as: Kingsburry (1988), Hallam (1998, 2006), Harnoncourt (1988), Haynes (2007), Vasconcelos (2002, 2011) Borém (1997, 2001, 2005, 2006) Fonterrada (1994), Freire (2011), Glaser (2007), Jardim (2008), Louro (2008). Then, through specialized bibliography and legislation we analyzed the university teaching of music in Brazil and the four duties of a university teacher: teaching, research, university extension programs and administration. We compiled a list of all the double bass dissertations / theses published in Brazil between 1992 and 2019, and separated them according to several criteria, especially those elaborated by Cerqueira (2015). We list all bachelor's courses in instrument / double bass in Brazilian public universities. In the case study, we applied a questionnaire composed of 75 questions aimed at covering all the work developed by the teachers. The questionnaire was divided into the following themes: questions on teachers’ identification, about students’ admission, teaching, the lesson itself, the repertoire used , physical conditions of the University, the format of the course, student evaluation criteria, research, extension programs and administration. The questionnaire was answered by 12 teachers (75% of the total) and their answers grouped and analyzed.
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4
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MOISES SILVA MENDES
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A HISTORICAL VIEW ON THE LIFE AND WORK OF AGENOR ALUÍSIO GOMES: A STUDY ON THE CONTEXTS OF ACTION
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Advisor : WELLINGTON MENDES DA SILVA FILHO
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COMMITTEE MEMBERS :
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ADEMIR ADEODATO
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IONE CELESTE JESUS DE SOUSA
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JOEL LUIS DA SILVA BARBOSA
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MARCOS DOS SANTOS MOREIRA
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WELLINGTON MENDES DA SILVA FILHO
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Data: May 29, 2020
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Show Abstract
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This doctoral research in music aims to study the life and work of conductor Agenor Aluísio Gomes, observing its relations with the contexts in which they were inserted. Among the specific objectives, the investigation of Gomes' biography, location of unpublished compositions and the discussion of the importance of the musical practices carried out by Gomes in the context of the History of music in Bahia were carried out. This is a historical research that has used the methodology of qualitative research. Among the activities developed in the field research can be mentioned, conducting documentary research in search of iconographic, oral and sound documentary sources. Interviews were conducted with personalities who lived with the subject, such as former students of the project Hora da Criança, as well as musicians like Cacau do Pandeiro who played with Gomes. The researched acted in several contexts related to music, among which, he started his studies as a student, in philharmonic bands in the interior of Bahia, then he acted as conductor of these groups. He also acted as conductor and performer of musical groups that performed at dances in the interior of Bahia and in Salvador. In the capital of Bahia, he acted as conductor, performer, composer and arranger in several contexts, standing out as conductor of Excelsior and Rádio Sociedade da Bahia radios. He was also co-founder of the A Hora da Criança program, along with Adroaldo Ribeiro Costa, with whom he worked for three decades (between 1940 and 1970). In addition to the contexts of action mentioned, Gomes composed musical pieces for the children's show A Opereta Narizinho, based on in Monteiro Lobato's tales. The results of the analysis of the documentation found inform that, the researched person acted as conductor, performer, composer and arranger, but that he would have excelled in the field of authorial compositions, such as the creation of musical arrangements for military music bands and the creation of the arrangement instrumental of the Anthem of Esporte Clube Bahia. Gomes participated as a musician and musical director in the recording process of the albums “Os twenty anos da Hora da Criança (1963) and Navio Negreiro (ca. 1968). It is understood that Gomes' compositions are a cultural legacy resulting from his musical work activities, they contributed to educational processes related to theater and music in the 20th century soteropolitan society, and represent part of the Bahian and Brazilian culture of the time, mainly because reflect aspects of the political, social and musical context.
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5
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JURACY DO AMOR CARDOSO FILHO
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(In) visible music: People and sonorities excluded
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Advisor : LAILA ANDRESA CAVALCANTE ROSA
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COMMITTEE MEMBERS :
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CARLOS ALBERTO BONFIM
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DEISE LUCY OLIVEIRA MONTARDO
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DINAMARA GARCIA FELDENS
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JOEL LUIS DA SILVA BARBOSA
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LAILA ANDRESA CAVALCANTE ROSA
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Data: Jul 31, 2020
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Show Abstract
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(In) visible music: Excluded people and sounds, consists of a musical ethnography based on meetings and music workshops held with people in a street situation / context, who attended the Movimento de População de Rua, the Programa Corra pro Abraço and CAPS Gregório de Matos, all in Salvador/Ba. I describe how these people performed their musical practices and what situations, activities and products were developed throughout the research. The theoretical foundation integrates contributions from Social Sciences, Anthropology, Music and Ethnomusicology and dialogues with decolonial and feminist studies from Latin America and other territories. It is located within the framework of qualitative research with engaged and committed practices, through interaction, observation and ethnographic and performative description. It approaches the Phenomenology approach, the Multi-referential approach, the Epistemology of the Event, the action research, participatory, dialogical, collaborative, engaged, ethical and shared research. This thesis intends to collaborate with the defragmentation of the perverse social imaginary that has about people in a situation / street context, and to promote the expansion of the current epistemological horizons, besides proposing discussions about gender, race, class, urban space and sound territories in Salvador/Ba.
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6
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MÔNICA CAJAZEIRA SANTANA VASCONCELOS
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Self-regulatory processes of practice and memorization strategies in children's and youth orchestras
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Advisor : DIANA SANTIAGO DA FONSECA
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COMMITTEE MEMBERS :
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DIANA SANTIAGO DA FONSECA
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ANA CRISTINA GAMA DOS SANTOS TOURINHO
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EVELY BORUCHOVITCH
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LOURDES MARIA BAGAGNOLO FRISON
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TAIS DANTAS DA SILVA
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Data: Aug 31, 2020
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Show Abstract
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Understanding the musical learning processes of musicians is a challenge, because playing an instrument is a complex activity where planning, organization, effective strategies, self-monitoring and evaluation are required. The practice of memorization is present in the experiences of expert as well as less experienced musicians. Although most of the research documenting memorization processes is with expert musicians, current studies indicate that there is a greater interest in understanding how student musicians manage their practices. Self-regulation is one of the constructs of Social Cognitive Theory with potential in the educational field, in order to understand students' learning processes. The objectives of this research were: 1) to identify the self-regulatory processes of musical practice and memorization that can be found, at lower or higher levels, with students in the early and intermediate stages of learning; 2) to seek to understand how students acquire the strategies and resources necessary to monitor and control their knowledge, feelings and emotions in order to improve their music practice and memorization. Two studies were conducted. Study I was a survey that sought to give a macro view of how musicians from Portuguese and Brazilian juvenile orchestras (170 musicians aged between 11 and 17 years) get involved in musical practice and memorization. Study II was an exploratory, descriptive and explanatory case study that sought to understand the self-regulatory processes of learning in musical practice and memorization (20 musicians aged between 12 and 17 years). The results point to the involvement of student musicians in choosing, applying and adapting the necessary cognitive strategies in the process of their practices. They have also pointed that, even if the young musicians are unaware of the memorization strategies employed by experienced musicians, they use some of the strategies used by the experts. Aural, kinesthetic and visual memories have stood out among the memory recovery strategies used by the students in their practice and performance.
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7
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RODRIGO HERINGER COSTA
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Music as an art of living in Salvador
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Advisor : ANGELA ELISABETH LUHNING
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COMMITTEE MEMBERS :
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ANGELA ELISABETH LUHNING
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JOSÉ ALBERTO SALGADO SILVA
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LUCAS ROBATTO
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LUCIANA REQUIÃO
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MARIELLA PITOMBO VIEIRA
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Data: Sep 29, 2020
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Show Abstract
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This work aims to contribute to discussions on musical performance as an art of living. Located in the city of Salvador (Brazil), the research field was focused on understanding conflicts inherent to the approximation between dominant values in both, musical and economic spheres, taken in their symbolic and objective dimensions. The processes to support it, mainly qualitative, were based on the convergence of different procedures (participant observation; interviews; historiographical research; quantitative analysis techniques) and sources (field notes, interview transcripts, dialogues and virtual interactions – e-mails and app’s messages; IBGE’s microdata – Censos and Pnads), resulting in seven axes of analysis for reflections about the specificities of the occupational habitus of the research collaborators. The axes are: (1) the structural and historically established dissociation between work and music; (2) the connections of the latter with an essentialist understanding of talent; (3) the low recognition – in the musical field – of cultural capital in its institutionalized form; (4) the understanding of music as an occupation “of love”; (5) the informality that permeates musician’s work; (6) the flexibility that also characterizes their work; (7) the spectacular and legitimate inequalities seen in a “winner-take-all” market. Conclusions are that symbolic and objective elements which distinguish musician’s work experience operate, dialectically, to sustain an occupation with exacerbated traces of informality, flexibility and inequality. Thus, the transformation of the verified condition presupposes the engagement of several actors – with special attention to musicians – in actions that transcend the institutional spheres, musting be addressed to the symbols historically and socially attributed to musical activities, in order to favour them in its assimilation as labour practices.
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8
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MICHELE GIRARDI
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Arnold Jacobs in the light of the CDG’s Music Pedagogical Proposal: from individual teaching to collective learning of brass instruments.
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Advisor : HELENA MULLER DE SOUZA NUNES
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COMMITTEE MEMBERS :
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DIANA SANTIAGO DA FONSECA
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FABRÍCIO DALLA VECCHIA
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HEINZ KARL NOVAES SCHWEBEL
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HELENA MULLER DE SOUZA NUNES
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JOEL LUIS DA SILVA BARBOSA
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Data: Sep 29, 2020
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Show Abstract
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In this thesis, the researcher wants to find out some opportunities for dialogue between the brass musical instruments’ teaching worlds. On the one hand, the traditional and practical models, whose focus of teaching-learning is the individual instrumental performance with all its implications. On the other hand, a didactic-pedagogical approach, which has a deeper proposal: integration, participation and cooperation in making music within a collective context. In this regard, there is an intentional effort to train the students to become active and thoughtful individuals, throughout the learning process. Aiming at offer to professors a training specific to the collective teaching reality, the development of this research refers to a general objective: making accessible to the community of this area the theoretical foundations of a Teacher Performance focused on both the development of the virtuous and the empowerment of the student's self-consciousness through the musical practice in a collective learning context at the time. It is a basic research with a qualitative and exploratory aim. The work is divided into three chapters, each of which deals with one of the specific objectives through three methodological approaches: 1) Bibliographic Research, presenting the didactic-pedagogical principles of Arnold Jacobs. They are associated to the concept of Community of Practice of the Situated Learning Theory, in line with the CDG’s Music Pedagogical Proposal theoretical foundations; 2) Action Research, with the development of a practical training experience inspired by the CDG’s Theoretical Model, aiming at a Teacher Performance able to promote balance between students' musical and human skills, properly integrated into the social dimension of Music; 3) Discursive Textual Analysis, supporting the statement of theoretical principles and paths relevant to a collective teaching of brass instruments, which promote the student’s overall integral development in a perspective that associates Arnold Jacobs with the Community of Practice through the CDG’s Music Pedagogical Proposal. In the light of the CDG, the theoretical foundations chosen to lead this research, together with a deep analysis of the data gathered through the administered training experience, let the researcher to elaborate a particular pedagogical and learning architecture that represents a groundwork to elaborate training proposals at different stages (initial as well as continued) and mode (in person and, above all, remotely). They would involve teachers already engaged or aspiring to the Music Education through collective instrumental / musical practice. It is expected thereby to contribute to the affirmation of a redesigned figure of a musical instrument’s teacher, able to lead himself in the classroom with a focus on the students ‘overall development, through a Teacher Performance and a high-quality musical teaching useful for life.
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9
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NILTON DA SILVA SOUZA
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The music bands of Baixo São Francisco Alagoano: musical cultural practices in context.
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Advisor : PABLO SOTUYO BLANCO
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COMMITTEE MEMBERS :
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ALBERTO PEDROSA DANTAS FILHO
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BEATRIZ DUARTE PEREIRA DE MAGALHÃES CASTRO
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JOEL LUIS DA SILVA BARBOSA
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MARSHAL GAIOSO PINTO
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PABLO SOTUYO BLANCO
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Data: Oct 30, 2020
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Show Abstract
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The objective of this work was to study musical practices in the context of the music bands of Baixo São Francisco Alagoano, a region located near the mouth of the São Francisco River, in the stretch between the cities of Piaçabuçu and Delmiro Gouveia, along the Alagoas bank and which involved the cities of Piaçabuçu, Penedo, Porto Real do Colégio, São Brás, Traipu, Belo Monte, Pão de Açúcar, Piranhas and Delmiro Gouveia, cities where the presence of music bands was verified. Specifically, we seek to understand the process of disseminating the bands, as well as analyzing and discussing the historical and socio-cultural context of musical practices within the temporal process of permanences and changes since the 19th century. The research we undertook was peculiar because we used social science tools, such as the interview, and, for ethical reasons, had to submit to the Research Ethics Council, through the Plataforma Brasil. However, on another front of the research, referring to the area of musicology, we researched hemerographic, iconographic and musicographic archives related to music bands, which added to the documents concerning orality were able to better explain the studied phenomena. This was an explanatory-level research that is justified by the lack of detailed studies on music bands in the region and on cultural musical practices, in addition to the commitment to the precepts of research outside Brazilian metropolises since, in their particularity, this type of investigation can provide data on a little explored and, consequently, little understood Brazil. We theoretically resort to the works of authors that focus on cultural practices such as Chartier, Certeau and Bourdieu, in view of Certeau's premise that cultural practices can lose their symbolic reach due to the lack of articulation with social practices. Methodologically, we use the procedures of categorization, inference, description and interpretation of the collected data related to each of the documented types researched, that is, oral, iconographic, musicographic and hemerographic. In this way, we were able to cross the data in the pertinent discussion that resulted in safer information about the cultural musical practices of the Baixo São Francisco Alagoano.
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10
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AURÉLIO NOGUEIRA DE SOUSA
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SCHOOL MARTIAL BANDS OF GOIÂNIA: RELATIONS WITH THE STUDENT LIFE OF ITS MEMBERS
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Advisor : JOEL LUIS DA SILVA BARBOSA
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COMMITTEE MEMBERS :
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JOEL LUIS DA SILVA BARBOSA
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LELIO EDUARDO ALVES DA SILVA
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MARCOS DOS SANTOS MOREIRA
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MARIA DO ROSÁRIO CORREIA PEREIRA PESTANA
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SÔNIA MARTA RODRIGUES RAIMUNDO
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Data: Dec 14, 2020
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Show Abstract
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In spite of the state of Goiás be the first state of the federation to include music as a curriculum subject, in both part-time and fulltime schools including marching bands, there are very few studies that help to understand the role that these music groups may play in the social and educational developments of the students. This article presents the results of a research which investigated the relationship between the band activities and the student life in the elementary grades. The research focuses on three school bands in Goiânia. It employs the qualitative method, with descriptive and analytical approaches, and the quantitative method to verify the student educational achievements. The main aim of the study is to verify if there is any relationship between the band activities and the student behavior in the school, as well their academic achievements. The statistical findings show that the students achievement got better during their time as band members, but it did not achieve a significant level. The research method includes analysis of documents, interviews, questioners, and focal group. For the academic achievements, it analyses the IDEB (Índice de Desenvolvimento da Educação Básica) of 2015 and 2017, and the student grade ́s records, considering the years of 2015, 2016, and 2017. The questioners and interviews are applied with teachers, coordinators, and student families, which allows to verify the social behavior of the students in the school and in the family. With the band ́s members, it is presented three focal groups, one with each band, which try to understand why they joined the band and maintain active in it. The findings demonstrate that the students present a betterment in their social relationship and behavior after have joined the bands. One of the pedagogic coordinators relate that the band students show a significative betterment of body coordination, cognition, behavior and respect to others. Teachers of Portuguese, mathematics and art relate that they have noticed a significant betterment of the band student ́s behavior in their classes. Concluding, the study verifies that the bands activities may not have much relation with the student ́s academic achievements, but they may have significative relations with their social e behavior developments.
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11
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ANTONIO SÉRGIO BRITO DE AMORIM
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SOMNA TELA: ETHNOMUSICOLOGIES PERSPECTIVES ABOUT SONG ANDA TECHNOLOGY
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Advisor : LAILA ANDRESA CAVALCANTE ROSA
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COMMITTEE MEMBERS :
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ANGELA ELISABETH LUHNING
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CRISTIANE MARIA GALDINO DE ALMEIDA
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ISA BEATRIZ DA CRUZ NEVES LUSTOSA
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JORGETE MARIA PORTAL LAGO
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LAILA ANDRESA CAVALCANTE ROSA
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Data: Dec 17, 2020
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Show Abstract
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This thesis deals with the importance of using technology in the classroom from mobile devices (smartphones and tablets), taking as a reference the musical practice with children from the 4th year of elementary school, in a municipal public school in Salvador. Using participatory ethnography and engaged ethnomusicology (LÜHNING and TUGNY, 2016), feminist and anti-racist (ROSA, HORA and SILVA, 2013) as a methodology and through the applications for the practice of musical education. Many transversal themes were necessary to understand this study and the results of this work, such as the dialogues on intersectionality (AKOTIRENE, 2018), race, gender, public education, diversity and technology (SANTOS, 2016). It is dealt with in the text on the legislation on the use of these technologies in the classroom, proposals for the insertion of mobile education and the benefits that these methodologies can provide (UNESCO, 2014). Through the practice of music, I also discuss the importance of technological infrastructure in public basic education and its consequences for the development of comprehensive education for students (AMORIM, 2019). Among the results I bring the musical development through the applications on mobile devices, the joint practice, the construction of audiovisual material and the strengthening of the protagonism and autonomy of the students, many examples are accompanied by a QR code for the reader / can visit the media. In the final reflections, I discuss the possibilities of providing other perspectives for mobile technology and diversifying the ways of educational practice at school.
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12
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MARCOS DOS SANTOS SANTOS
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Ethnomusicological perspectives about Batuque: Sound racialization and ressignification in diaspora.
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Advisor : ANGELA ELISABETH LUHNING
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COMMITTEE MEMBERS :
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ANGELA ELISABETH LUHNING
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EDUARDO DAVID DE OLIVEIRA
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EURIDES DE SOUZA DOS SANTOS
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KATHARINA DORING
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TIGANA SANTANA NEVES SANTOS
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Data: Dec 18, 2020
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Show Abstract
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This work aimed to investigate the term batuque from an ethnomusicological approach based on decolonial methodology. Defending the thesis that batuque acted as a device to sound racialization in the face of black musicalities and gestures in Brazil, we sought to understand the processes of emergence, performance, continuities and ressignifications of this device in the sphere of social life of certain black populations, whose nickname batuqueiro/batuqueira crosses them from the past-present flow. Understanding device from a philosophical perspective, through its five chapter this work sought to map the historical, sociological, ethnographic and philosophical-musical crossings to wich batuque was present in a fundamental way, analyzing from these spheres both the racialized place wich was black sounds, as well as the resignifications engendered by the black people in diaspora around this device are also discussed.
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