This work aims to investigate different creative musical strategies in favor of an immersive experience of the player through the presentation of concepts and reflections on the multireferential nature inherent to the media of electronic games, from the perspective of the fields of Musical Composition, Embodied Cognition, Game Design and their possible interrelations. The application of these theoretical fields is exemplified through the creative processes of three different musical works belonging to the medium of cinema, animation and electronic games, at an increasing level of complexity regarding their instrumentation, duration, scope (number of segments generated) and applied theoretical references. This application culminates in the musical composition for string quintet, piano, synthesizer and percussion for the second version (with new narrative and interactive elements) of the audiogame BREU: Shadow Hunt, an electronic game with an inclusive approach consisting exclusively of sound resources, that it can be played by blind and sighted players. The creative processes for the game were guided by the following question: "How can the musical composition for a video game without a visual interface articulate its different narrative and interactive elements and consequently generate an immersive experience for the player?". Given its interactive nature, the process of music creation in video games may present particularities in relation to other medium. And, considering its immersive potential, it is important to establish a discussion about possible creative processes to be adopted and how the composer´s intentions can influence the player´s action and perception mechanisms. Finally, this multi-referential articulation made it possible to answer the proposed questions through the contextualization, analysis and musical creation, and presentation of playtesting methodologies about different technical and creative elements related to musical composition in the context of digital games and should contribute to the encouragement of discussions and the foundation of the professionals´ compositional processes interested in approaching this field.

This research is contextualized in the studies of music and youth in the background of high school in the Federal System of Education. Realizing this discussion needs to be expanded, I present a dissertation, methodologically rooted in the state-of-the-art type, whose aim is to understand the relations between youth, music and high school within the Federal System of Education, from communications found inside the proceedings of ABEM national meetings since 2009 to 2019. In the theoretical scope, tensions and approximations in the trajectory of music education in Brazilian basic education are discussed (RADICETTI, 2010; FONTERRADA, 2008; QUEIROZ, 2014; PEREIRA, 2017); conceptual questions about youths, their identities and cultures (DAYRELL, 2005; ARROYO, 2014; PAIS 1990; TROIAN; BREITENBACH, 2018); reflections about youth and high school education (TOMAZETTI; SLICKMANN, 2016; DAYRELL; CARRANO, 2014; CARNEIRO, 2020) and more specific discussions regarding young people and music teaching at RFEPCT (TRAJANO, 2016; AMARAL, 2021). For data analysis, methodological procedures were adopted that raises all papers from national meetings of ABEM from 2009 to 2019, using broader filters that sought data on music in school to the most objective filters for this research, which are data related to music and high school in the RFEPCT. 1603 papers were analyzed and, among these, only 18 are related to the main objective of this research. Based on the articles found, thematic groupings and discussions were carried out based on approximations and articulations for analysis. According to the research, there are few studies on music and youth in high school in the Federal System of Education, and only three dedicated to discussing this theme specifically. From the readings and discussions, it is understood that the pedagogical-musical practices presented, regarding the Federal System, have advanced, somehow, perceiving the musical knowledge of these youths. However, the contexts and life and social markers of these subjects, in the most diverse dimensions beyond musical knowledge, are not pointed out with much emphasis.

“Creative Trombone: a pedagogical proposal for teaching musical creativity using the instrument as a starting point” is a research wich aims to develop a methodology for teaching musical creativity for the trombone, which has the instrument as its starting point and can be used in parallel with the traditionally known methods and regardless of the instrumentalist's level of prior knowledge. This teaching and learning process resulted in the construction of didactic material in the form of an instrumental method. The research used Michel Thiollent's action-research methodology and was applied to 5 students of different levels at the Conservatório de Música da Fundação Carlos Gomes, in Belém do Pará. In the educational field, learning the C(L)A(S)P model by Keith Swanwick, the study of clefs by Letieres Leite and Jose Izquierdo and the innovative perspectives of music education by David J. Elliott join the pedagogy of trombone as a theoretical foundation. At the end, the pedagogical proposal called “Creative Trombone” is presented. The research resulted in the compilation of texts about: creativity development; improvisation and the factors that contribute to that most trombonists do not have the ability when they need to be creative or improvise and analyzed the practical results of the participants after applying the methodology presented here.

Carnivals are diverse where they take place, and this diversity is expressed by the groups that organize them in different ways through the streets of Brazilian cities. These performances are guided by social, economic, political and philosophical factors particular to each place where they occur. The present work proposes to contribute to the reflections about these representative festivities of the imaginary of Brazilian identifications through the study of the carnival held in the Nordeste de Amaralina, neighbourhood of the city of Salvador, state of Bahia, Brazil. The party usually takes place in February and the time frame of this work extends from the 1950s, when the locality experienced a significant population increment to the present day, when the neighbourhood’s carnival festivities took on other features, with the presence of electric mini-trios and the omnipresence of organizational, aesthetic and sonorous desires of the residents of this popular neighbourhood located on the Orla Marítima in Salvador. The research was built based on methodologies characteristic of qualitative research, using interviews, informal conversations, photographs, and videos collected during field research; also, it was used interviews and articles collected in various media sites, especially the Nordesteusou neighbourhood news portal, hosted in a virtual page. In addition, other digital channels, such as social networks, blogs, videos and photos hosted into sharing networks are important to frame this text demonstrating the importance of the virtual environment for this composition. Virtual files were consulted which are important at the time when the presential fieldwork in archives were interrupted by the corona virus pandemic decree, and after the gradual resumption and consequent reopening of these spaces physical archives of some institutions was included. The thesis seeks to understand what makes this neighbourhood carnival unique and how historical invisibilities of the neighbourhood, structural issues and its carnivals and sonorities compared to other party places in the city are mirrored in. Also, the thesis will be based on five discursive axes: a brief analysis of the history of the Nordeste de Amaralina constitution and the construction of its carnival; an analysis of the motivations and bases of support for carnivals, mainly carnivals held in Salvador, with comparative elements with others of these events in other cities and countries; the samba sound importance for the transformation of the carnival in the Nordeste de Amaralina into a sonorous and iconic territory, where generational, gender and racial discourses are performed; a discussion of women's work in the neighbourhood carnival and its connections with the struggle for our rights and those of other political minorities; and finally a reflection on how the public administration presents itself for partnership in the organization of Nordeste de Amaralina carnival after its officialization in 2016.

In this research, I propose an investigation of how music can contribute to the identity formation of the young protagonists of the Santo Antônio Orchestra (SAO). It is a Social Project created and developed in the outlying ghettos of Conceição do Coité City, located in the semi-arid region of Bahia, which discusses the relationship between the social projects, which focus on art education. The research’s main objective is to analyze the musical, social, and political processes developed in the referred project. It aims to discuss the issues that involve the actions, which pursue the development of the sense of citizenship, sociability, and self-esteem of children and young adults. The studied population is from outlying ghettos and comes from low-income families. Another research goal is to analyze the relation of these projects to urban violence that has grown both in the large and the small cities. I show the voices of the musicians of Bahia, the northeastern and Brazil from SAO, through an embodied performance, which shatters the Brazilian concert music scenario, revealing creativity and autonomy. I present the musical construction of the SAO’s outlying repertoire, in order to contribute to the assurance of its diversified sonorous identity. It is located in an area where the color of Bahia’s semi-arid is portrayed, but with the contemporary nuances of the Brazilian popular music’s sounds. I highlight the SAO women’s empowerment in a scenario of female silencing and invisibility in the orchestral music context. This research has as its theoretical base the ethnomusicology and gender theories, post-colonial feminist epistemologies, and the theoretical discussions on identity, territoriality, and musical performance. I used as a methodology the systematic observation and the semi-structured interview, in order to discuss the teaching music practices adopted in the light of a social perspective and of the parallel, distinct, and socially complementary cultures. I perform a theoretical-methodological analysis linking Sociolinguistics and the Generative Grammar Theory with Ethnomusicology.

This work aims to investigate the compositional processes related to the writing of vocal music, specially from the point of view of phoneme usage as a protagonist tool in the development of compositional processes in the work of composers that were, at some point, members of the Madrigal Choir of UFBA. The use of phonetic and phonological resources, influenced by the advances in the field of linguistics, were used as tools by composers, with a great awakening in the middle of the 20th century around the world. The UFBA Music School was part of this creative context through its composers and the Madrigal, whose interpretative competence fostered a significant amount of voice compositions. However, the process of choosing phonemes as a compositional determinant has not been fully contemplated due to the unsatisfactory quantity of studies about the theme. This work, therefore, aims to give its
contribution to the subject, so that we may begin to solve this gap in vocal music studies.

The following research aims to observe and define the different types of improvisation and the degrees of freedom, related to indeterminacy and randomness, proposed by the composer to the interpreter in avant-garde works of the twentieth century. Considering some difficulties and lack of familiarity presented by a considerable number of concert music instrumentalists when dealing with works that require the use of improvisation, the research seeks to map the levels of freedom and control to ascertain which methods can best guide the interpreter. The work also seeks to explain which experiences lead the popular musician to present greater skill in this practice, through compositional strategies. And as a compositional proposal, this work will have a piece composed from a game involving control and freedom, accompanied by an analytical memoir as a final product.

The present work look after a research in the scope of Music Education, with a specific perspective on the infantile initiation of the clarinet with four year old children. The objective was to propose parameters and criteria that would assist in the development of a soprano chalumeau, specific to the chosen age group, made using additive manufacturing techniques. The research was justified by the importance of music in children’s educational training, as well as in the contributions that wind instruments can bring to the development of children's orofacial motor skills. The fact that there are already chalumeaux aimed at initiation, but none of them, being a soprano chalumeau, also made up the justification for this thesis. The literature review focused mainly on historical aspects of the chalumeau, in which significant sources and authors were found, such as Hoeprich (2008), Galpin (1937), Rice (1977), Baines (1960) and Karp (1986), who consider that the first chalumeaux date back thousands of years in the Middle East, being present in Greece, Egypt and the Roman Empire. The instrument was consolidated in Europe during the Baroque period and, currently, the techniques of luteria allow its production to be used in the most varied contexts such as: historical performances, modern groupings, amateurs or in music education. Subsequently, we sought to learn more about the use of the chalumeau in contexts of infant initiation. In turn, the theoretical foundation of this work is based on the combination of User Centered Design (DCU), theories of musical acoustics, ergonomics and additive manufacturing. The methodology adopted in this research was qualitative, divided into four stages following the premises of DCU. These steps consisted of: 1) specification of use context, 2) specification of product requirements, 3) production of possible solutions through testable models, and 4) feasibility assessment. Based on these steps, it was possible to evaluate the experiences lived throughout the process and observe considerations in each of the phases. As results, parameters and criteria that make it possible to make a children's soprano chalumeau printed in 3D are presented. The elaboration and production of the instrument by additive manufacture, when incorporated into the learning process, can generate experiences, which, besides being acoustically correct, are also ergonomically and cognitively functional, as well as being engaging and attractive. Thus, the main consideration of this research was that, through DCU and additive manufacturing, students and teachers are no longer passive in the development of children's musical instruments and may, with the adoption of these techniques, be part of all stages of construction and the modification of these instruments. In addition, ways to develop authorial learning by students are shown to be possible, in wich the process of building the instrument can be included as a learning resource. 

In the Baptist Churches of Cariri, faith and music are related in more formal activities, related to the service, and in other daily community activities. In this context, choirs can be conducting by people can be maintained, whose music education and performance takes place mainly in these churches. The research that results from this thesis had as general objective to study the musical protagonism choir conductors of Baptist Churches in Cariri, Ceará, from the experience of musical and religious life of conductors who work in this region geographically located to the center of Brazil  Northeastern . The specific objectives of the research were to reflect on my trajectory as a choir conductor in Baptist Churches in Cariri; to know the musical and religious context of the choir conducting and Baptist Churches in Cariri; and, finally, to dialogue with the other choral conductors of Baptist Churches in Cariri about their formation and their performance as conductors. The methodologies adopted for research are autoethnography (BENETTI, 2017; VERGUEIRO, 2016; SANTOS, 2017) and the ethnography of Music (SEEGER, 2008). The idea of musical protagonism was adopted in the research (ROSA; NOGUEIRA, 2015; CARDOSO, 2012; LAGO, 2018). Gender studies in music (BUTLER, 2003; OYĚWÙMÍ, 2004; ROSA, 2010; ROSA et ali, 2013; CUSICK, 1994), situated knowledge (HARAWAY, 1995), locus of speech (RIBEIRO, 2019) and intersectionality (AKOTIRENE, 2019; COLLINS; BILGE, 2020) were chosen as fundamental epistemic bases in the analyzes and discussions raised in this thesis. The research is within the scope of Ethnomusicology, Choir Conducting and Protestant and Baptist Theology (WEBER, 2004; AZEVEDO, 2004; LAGO, 2018; VIEIRA, 2019). The research dealt with musical practices present in the Baptist Churches of Cariri, state of Ceará, with reflections that deepen some discussions related to religious identity, training as conductor, recognition, professionalization, relationship with the religious leadership and performance of female conductors. The research contemplates the performance of conductors and choir conductors, approaching knowledge built in music and in the religiosity of the research interlocutors. The discussions raised in the research point to a significant diversity of formation and performance trajectories of conductors, which are related to the religious and social particularities of the Baptist Churches of Cariri and of individual performances. A variety of tensions between poles were discussed, such as the institutional and the community, the traditional and the modern, the artistic and the social, the professional and voluntary/ministerial performance of the choir conductors in the Baptist Churches. Finally, a critique of religious fundamentalism is postulated from an approximation to Contemporary Theologies, based on situated knowledge (HARAWAY, 1995) and intersectionality (AKOTIRENE, 2019; COLLINS; BILGE, 2020).

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?

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.

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.

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).

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.

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.

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.

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.

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. 

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.

This work comprises a theoretical reflections about mixed electroacoustic music and the development of tools for the composition of mixed music that enhance the interaction between composer, performer and computer temporalities, in the context of a set of musical works composed during the research. Thus, it focuses on the possible clashes related to chronological time and musical time in mixed music, proposing composition strategies that respond to the challenges of interaction between agents in a mixed composition.

 This research aims to describe the pedagogical-musical and instrumental performance approach applied in the Bands Project of the Federal University of Minas Gerais (UFMG). The Band is composed by students of elective classes and teacher assistants of the Bands Project which has started in 1998 at Music Hall School of UFMG in city of Belo Horizonte (MG). The project went thought four stages in which professor Anor Luciano was responsible for conceiving, coordination and conducting the three levels of the course: beginner, intermediate and advanced. The theoretical foundation practiced in the project agrees with the theories and methodologies selected for this study, videlicet: Praxial, authorship of the philosopher and musical educator Dr. David J. Elliott (1995); and Rhythm: function and accentuation, authored by Mathis Lussy (1874), inserted in the fourth chapter of his L'Traitè de L'Expression Musicale. Basically, it is an action research – when the author inserts himself into the group from its genesis – and a “Participant Observation: when the education researcher would be able to produce information and knowledge of a more effective use, including at the pedagogical level" (LAKATOS, 1991, 194). Throughout this experience It was evidenced an educational method consistent with the educational philosophies advocated by Elliott and Lussy.

This study investigated the effects of a music pedagogical approach named in this context PCCE (Person Centered Choral Essay) applied in choral activities in Salvador and three other cities of the Salvador metropolitan area: Candeias, Madre de Deus and São Francisco do Conde. The research targeted thirteen choirs conducted by the researcher in a total of five-hundred-eighty choir singers. The main purpose was to study the effects of this approach as well as the sociocultural networks and individual´s human self valuation which promoted well-being and improvement of the singers´ life quality. The choir practice was investigated in its establishment, obstacles and progress, as well as the methodological and articulation processes in these choirs’ paths. PCCE Approach and its body of activities were studied from the perspective of a Case Study and the Descriptive Qualitative Approach, considering the age range and the environmental diversity. It was sought to identify how this approach contributed to the construction of cultural identity, personal self valuation and recognition of the social role of those involved. The research question was designed as: how did PCCE Approach contribute to the improvement of the singers' quality of life in those contexts? The theoretical basis focused on the studies by Amato (2004; 2009) on Choral Singing, those by Brandão (1999) on Choir conducting issues and Oliveira (2014), on pedagogical articulations in teaching-learning through PONTES Approach. The analysis of the results obtained in the quiz, the statements, the choir rehearsals video recordings as well as in the perception of the singers showed that they recognize and legitimize the effects of the activities proposed by the referred approach in individual and social changes, relating them with the objectives of this investigation. The data obtained in this research suggest a positive influence on the application of PCCE Approach, referring to the musical formative aspects as well as the vocal, physical and psychic health of the surveyed singers. Other statements indicated the perception of improvements in body awareness (singing / walking posture), emotional changes (happiness / motivation / euphoria) and vocal behaviour (vocal classification / vocalizes), as well as the proper use of voice among other improvements. Conducting this research confirms positive results from other studies on welfare issues through choral activity and increases Brazilian knowledge, especially with individuals from Bahia State region, where few studies have been conducted so far. The study contributed to present a practice-tested approach that can raise the awareness of conducting music educators by representing and analyzing a common situation faced by many professionals who deal with the nature and complexity of these activities. It opens doors which they can tune their problems, advances and achievements with the subjects addressed in this dissertation.

At first, this dissertation intends to stablish the relevance or irrelevance of the dichotomy in classifying music in classic, concert or erudite, as opposed to those more popular or commercial kinds, under the perspective of distinguishing music execution methods in both fields. Secondly, out of the classification, we bring to the table the subject of realization procedures. In a first, looking at a general perspective from the repertoire, and after this, giving emphasis in a specific work, which is turned to the main subject in the study. As a parameters stablisher reference, we took the Ernani Aguiar’s Sinfonietta Seconda, a symphonic work whose music language and instrumentation was all built out of the percussiveness aspects of the famous Brazilian popular music styles from carnival festivals. We gave the name crossover to this blend of styles, a term which has been used in the unformal environment, with the purpose to nominate repertoires in which the two distinct big music fields interchange and interact under reflexive influences. To enrich the argumentation embodiements within this “new” literature, we collect different point of views from experimented conductors who have been working in this fusion. In the end, we set the music realization and execution considering the convergent or divergent aspects raised from the interviews. We analized the peculiar building process of an unique music construction, which is a medley of songs into one single work. We were determined to check, by music and textual points of view, the distinctive elements in the creation, compilation, conducting and directing of the Abertura Medley Sescanção 2011, a twenty-minute plus duration peace of music, which I was requested for conceiving and realizing it for the release of Sescanção 2011 album event. The concert was part of an event which had been happening in two years cicles in the city of Aracaju, with the porpuse of fomenting and stimulating local new and old artists creativity, in a aptempt to display a picture from the local popular music scenario. The piece, which was commited to assembly instrumentation from both classic and popular fields, should unite fragments of all the selected songs into an unity effect. All the creation and realization process of this concert needed to evoke both composition and conducting skills and habilities. In the end, we believe to be offering to the academy, a distinctive look over an equally distinctive piece, tumbling down aestetic and stylistic barriers, and opening up new music quality standarts.

This work presents discussions about a research that studies the music of Candomblé in
a compositional perspective, aiming, mainly, an understanding of the compositional
strategies related to the rhythmic expressions associated to the function of the Rum (the
lead drum) in the instrumental quartet to which it belongs, according to its hierarchical
position. In the sense to recognize the existence of multiple and equally valuable
alternatives to scientific, technological and artistic conceptions legitimized by Europe
(SANTOS, 2009), and considering the particular context of Candomblé - where music
is linked to a complex sociocultural ecosystem that involves religion, dance, cooking,
hierarchical functions of women and men, among other aspects (CARNEIRO, 2008) -
songs from this tradition were transcribed and analyzed aiming at the observation of
rhythmic situations that could be understood as compositional processes to be explored
in the way of a dialogue with contemporary concert music. In this way, after theoretical
discussions related to an interface between composition and ethnomusicology (naturally
demanded by the research problem), a field research in the context of Candomblé, and
seeking a support in rhythm theories (COPPER and MEYER, 1960 ; BERRY, 1976;
KRAMER, 1988; and HESTY, 1997) and in the bibliography about Candomblé and
African music (LÜHNING, 1990; KUBIK, 2010; BRANDA LACERDA, 2014; and
AGAWU, 2013 and 2016), five rhythmic compositional processes were identified,
conceptualized and exemplified: 1) rhythmic resignification; 2) rhythmic dissociation;
3) rhythmic tuning; 4) rhythmic suspension; and 5) rhythmic sublimation. Without
losing sight of the consequent artistic implications of this study, five musical pieces
were criated through the use and adaptation of the mentioned rhythmic processes, in
their temporal, textural, gestural and formal dimensions. Thus, it is expected to bring
new ideas to the area of composition in its objective space of inseparability between
theory and practice, and to the field of ethnomusicology in the topics related to
Candomblé's musical manifestation.

The purpose of this research was to investigation the knowledges groups that guide the pedagogic practice of teachers of collective guitar teaching in the use of a didactic material with beginning students. For this purpose was observed the mobilization of the several knowledges in the speech and in the educational practice, as well as the social sources of their acquisition. This research was configured as a multi-cases study, where each guitar teacher - his practice and speech - conceived a different case. The study included three guitar teachers, graduated in music, located at different stages of their professional career. The theoretical references were based on the studies of Tardif and Huberman, complemented by other authors of the educational and musician-educational literature. As a result, a specific typology of knowledge of this study was identified, discussed from the temporal element. Similarly, other elements related to the role of the guitar teacher were treated in this research, such as some particularities of this activity and the relationship between professional formation and the teaching, have been studied.

In this thesis, the desire of its researcher is to intuit about several issues, involving the work of the music educator. But one of them is prioritized here: the one that regards to the depth of the immersion in the song compositional processes, on the part of the masters and apprentices who experience it, in particular, the process of composition Microsongs CDG (NUNES, 2015). Thus, the General Objective consists of promoting the study of Musical Composition, in the training of Music teachers, under the perspective of the Musicpedagogical Proposal CDG (Cante e Dance com a Gente). The Specific Objectives are three: 1) Characterize specific aspects to Musical Composition, for musicpedagogical purposes, in Brazil; 2) Identify connections implied by teaching and learning about composition of CDG Microsongs, in a specific context; and 3) Enunciate ideas that can optimize the Microsongs Composition Process CDG. Thus, authors and works focused on the children’s songs universe, for educational purposes, are searched through Exploratory and Bibliographic Research, highlighting the musical piece O Navio Pirata, for children's choir with 3 voices, by Lindembergue Cardoso (1981). Being inspired by this literature review, and based on the compositional CDG principles, the researcher composes a Microsong CDG, applying it as a model, in a Case Study – an online course, aimed at training Music teachers. From this experience, ideas are extracted, both to optimize the composition process used, and to adjust the model composition, taking it to a unique Spatialization. The greatest contribution of this thesis is to know how to immerse into the limbo of the unknown to emerge with a result from there, offering it as an answer to the research question. It is concluded, then, that Spatialization is a circumstance of permission to use events that happened and / or possible to happen, in a given space and time, in Music. Understanding this, it is possible to reveal a more experienced and proactive researcher-educator who, in his own development path, be able to continuously walk a few steps ahead of his apprentices. Thus, taking part in the process that he teaches, the experienced educator-composer takes risks in immersions through these environments, leading his apprentices in the confidence to emerge from there, all with new ways of expressing themselves.

This work proposes the friction between different musical schemata as a conceptual horizon,
in order to create compositional processes. We propose a compositional system, based on
theories of cognition – mainly in the works of Gilles Fauconnier and Mark Turner, Candace
Brower and David Huron – through the amalgamation of three key concepts: metaphorical
meaning, musical schemas and music as narrative. Thus, we intend the creation of a workable
environment in consonance with the conceptual multiplicity exhibited by the music of the 21st
century.

Percussions in Salvador / Bahia became an important space of expression in the second half of the twentieth century for Afro-descendants and for the "popular classes" (Freire, Brandon), or "subaltern" groups (GRAMSCI, SPIVAK, MIGNOLO ) of the soteropolitana society. This dissertation proposes an immersion in the socio-percussive movement “Vai quem Vem” that emerged in the 1980s in the community of Candeal, in Salvador-Bahia through a historical-musical survey of the collective memory of some of the members of the movement, and the systematization of experience lived in the years 2016-2017 in the "Ponto de Cultura Pracatum" Project. This research seeks to identify musical knowledge generated in this context with the intention of obtaining tools that can be applied in percussion classes as technical and aesthetic elements derived from this specific musical culture. This implies a reflection on the production and reproduction of knowledge in different contexts from the observation and transmission of local knowledge (FREIRE), and the ways in which a wide range of knowledge safeguarded by "los nadie" (GALEANO) are transmitted in a non-grafocentric culture, where the transmission of these knowledge is a sentimental act (BORDA). Therefore, in order to enable the study of a language as specific and profound as percussive musical knowledge for Afrodescendants and Latin Americans, this discussion highlights the importance of knowledge decolonization by relying on the path traced by Paulo Freire, José Carlos Mariátegui , Aníbal Quijano, Enrique Dussel, Walter Mignolo and others, through a methodology based on the Participant Research for the analysis of transmission of knowledge and musical production in the context of the percussive movement in the Candeal community. After the identification of six rhythms and through the analysis and systematization of two of the searched rhythms, we can observe musical knowledge present in the percussive collection generated in the community and its unfolding in the experience of the "Ponto de Cultura Pracatum" .

This dissertation is the result of a field research carried out between August and December of 2017 at the Casa do Hip Hop Diadema, São Paulo, Brazil. The purpose of this dissertation was to investigate how the process of constructing cultural and afrodiasporic identities occurs, having music as the mediator. As a research methodology, Participant Observation allowed me to take part in classes and actively observe the subjects of the research during the DJ and MC workshops. The theoretical bases are found in the writings of Stuart Hall, Kabengele Munanga, Boaventura de Sousa Santos, Catherine Walsh and Deborah Bradley. The results of the research point to the importance of the Casa do Hip Hop Diadema for the history of Hip Hop in Brazil, and also in favor of a social dynamic between individuals promoting a flow of information, as well as knowledge, contributing not only to musical learning, but also for the process of constructing cultural identities. The research also points to the need for teaching practices that fall into the category of colonial thought, which privileges the knowledge of the colonizers to the detriment of the knowledge of the subalternates, thus calling for a critical awareness towards an emancipatory and libertarian education.

The main focus of this work is the application of the Meaningful Learning Theory in the process of memorization of the musical text. The starting point of the explanation of this theory originated from educational psychology and takes the vision of David Ausubel as its main reference. In addition, some foundations of Neuroscience were applied to the learning process in order to better understand the structure in which it happens. In this context, an operationalization of the aural, visual, muscle and tactile, rhythmic, nominal, analytical and emotional memories was made with the goal of formatting a method for memorizing the musical text. To evaluate the efficiency of this method, an experiment was conducted utilizing the Wilcoxon-Mann-Whitney. The test was conducted with two groups of guitar students of Escola de Música da Universidade Federal do Rio Grande do Norte. Upon request, composer Danilo Guanais wrote the work “Três Tocatas Armoriais” specifically to be utilized in this research. The experimental group studied the work utilizing the proposed method, while the control group studied in the prevailing form. As a result, it was verified that the experimental group obtained better results than the control group.

The rpesent work discusses how clarinetists have learned and developed improvisation in choro.  Through interviews and using the "life history" research methogology, it was investigated how four clarinetists learned and develope improvisation within their musical practices in choro.  These are presente time Braazilian clarinetists with vast experience, recognition and performances, both Brazil and abroad.  By means of analyzing the data obtained through tjhe responses received and transcribed, it was possible to determine the common points regarding their musical learning main characteristics, as well a the materials develope and used by them in the study of improvisation i choro during diffenerent stages of their lives.  As a result of the study, it was found that all grew up within an active musical enviroment and that group musical practice, listening, memorizing, transcribing, and playing clarinetists recommended the study of harmony, counterpoint and percussion instruments form the improvisation apprenhtice.  They also pointed out the need to have a good technical mastery of the instrument in order to transfer all of their musical creativity to it during the act of improvisation.  Fianlly, they emphasized that apprentices in the art of improvisation in choro should be frequent atrtendants of the "rodas de choro" and encountres of "chorões", both watching and also playing.  We conclude tthat the improvisation skills in choro asw acquired by them actually were the result of various social and educacional factore=s, and not onmly of specifric trianing for this purpose

In this research, we sought to observe the cognitive aspects related to correction and textual segmentation used by 12 children in the development of musical activities applied in groups during 32 hours / music lessons, establishing correlations between the cognitive aspects of correction and segmentation present in fluency reader presented by them, who are in the 2nd year of Elementary School I. The research design was based on two stages was carried out initially an integrative review, using the keywords "Music and language" in order to discuss the research, theoretical essays and literature reviews performed by researchers in these two areas of knowledge. To establish a correlation with the cognitive aspects of verbal reading, a reading test was carried out in two stages: each student read a text before the music classes started (pre-test) and another text was read after the period of conducting music classes (post-test). The textscontained 134 words (pre-test) and 139 words (post-test). From the music classes, nine musicalactivities were selected for a descriptive analysis: three compositions, three musical assessments and three performances. As a result, it was observed that the cognitive processes proper to verbal reading can be easily observed in musical activities, such as the mechanisms of memory, attention, anxiety, the ability to take risks, the uses of language among students, speech comprehension, in addition to the interpersonal relationships and socio-cultural differences presented by them. In addition to the deviations in correction and segmentation, it was possible to notice other aspects, which can be investigated in future research that establish correlations between music and verbal language. It is expected that the contributions made through this work to the areas of Music and Psycholinguistic Education will inspire new researchers and expand research in Brazil, since most of the studies found were carried out outside the country.

This project deals with the methods of transmitting musical knowledge within a Candomblé terreiro. The research objective was to analyze and reflect on how the teaching and learning process of atabaque playing techniques occurs within the religious space of Terreiro Ilê Iyá Omin Axé Iyamassê, better known as Terreiro de Mãe Menininha do Gantois. The Project Rum Alagbê is situated in the same local, where it has focused on the teaching and preservation of sacred rhythms with children and teenagers from the community since 2001, with its own teaching methodology, thus facilitating their learning, from exercises that enable beginners to learn the technique, including historical aspects of the religion. The group of students also includes girls and women, thus breaking a great taboo within the masculine universe of the religion, where women can not perform the function of playing the atabaques. In addition, this work investigates the process of atabaque learning in the training of Alagbês, the masters responsible for playing the atabaques and singing for the orixás, through the testimony of Alagbês from several terreiros in Salvador. It has been become increasingly difficult for terreiros to find people able to take on this position because being an Alagbê, and understanding the music or the rhythm of African-born religions, is much more than mastering a technique. The complete process involves the expansion of religious consciousness about the world, nature and oneself, which in turn necessitates much responsibility and availability. Based on these points, this work seeks to discuss, above all, the role of the Alagbê today, as a musician called upon in other contexts, whose musical

In this work I investigated graduates of the EMUS/UFBA Youth Choir who participated in the construction of musical shows between 1996 and 2008. The methodological approach included procedures and techniques for quantitative and qualitative research. With this, it was possible to unveil the most significant artistic learning for the graduates of the Choir, their professional choices and the social bonds created from this practice. Based on the questionnaires applied, it was observed that these apprentices had an impact on professional life, especially those 50% who chose to pursue artistic careers, since they claimed to use, when necessary, the knowledge of Musical Theater. Even those who did not choose to pursue a career in art, attach great importance to what they experienced in the chorus with psychosocial achievements also for their professional performances. Finally, it was possible to perceive, through this research, that the Musical Theater allowed participants to construct not only musical, theatrical and corporal skills. This is because the experiences of the shows investigated had a great impact on the professional or artistic career of the respondents, as well as on the social bonds that were constituted and strengthened through the activities proposed in the Youth Choir. Musical Theater, therefore, can be an effective tool to be used in pedagogical-musical practices, whose purpose is beyond art. It is for the purpose of becoming more and more human.

The granting of the title of Intangible Cultural Heritage of Humanity for the samba de roda of the Recôncavo Baiano in 2005, by Unesco, is part of a context in which public policies to promote culture in Brazil began to take as a priority the encouragement of diversity Of musical expressions, the territorial development of actions and the safeguarding of the immaterial Brazilian patrimony. Especially in the decade of 2005-2015, these policies and their developments, under the seal of financial support from state and federal public bodies and institutions, have encouraged the process of professionalization of artists, groups and songs of samba de roda, through the production of music and international promotion of these even within the emblematic market niche of world music. In this work, sound reflexes of this "patrimonialization" and "institutionalization" of the samba de roda are observed, taking as an example the recent musical trajectory of the group Samba Chula de São Braz - perhaps one of the most representative in the music scene of the Recôncavo Baiano since the decade of 2000. An extraordinary musical experience was experienced by the author together with the members of this group, including an initial moment of ethnomusicological researches, passing through the phonographic production of the first album of the group and arriving at the international release of it at the biggest business fair of the world music - the World Music Expo (Womex) held in October 2010 in Copenhagen, Denmark. Key points in the professional career of the group from 2008 to 2014 - in a journey that started from the mangroves of the old quilombo of São Braz, in the district of Santo Amaro da Purificação, Bahia, followed some of the largest European stages and festivals -, in an attempt to reveal a panorama of the scope of the current phonographic production of samba de roda groups from Recôncavo Baiano. However, a question hangs in the air: "If the radio does not play and the television does not pass, how is it heritage?" This question is asked by Dona "Jelita" (in memorian), master sambadeira of the group Samba de Saubara, Bahia, died in 2016. Her questioning reflects only part of the uncertainties experienced by sambadores and sambadeiras of many communities of the present Recôncavo in front of the process of professionalization of samba de roda and the existence of this tradition as a whole. In this sense, I make considerations about the role played by current Brazilian Ethnomusicology as essential for directing and scaling the scope of cultural policies in Bahia and Brazil, for the sake of sambadores and sambadeiras.

The NEOJIBA, State Centers for the Youth and Children's Orchestras of Bahia, is a priority program of the state government of Bahia, and their musical practices are guided on the basis of the fundamental principles originated of El Sistema, National System for the Youth and Children's Orchestras of Venezuela. The main objective of this research was to understand how these fundamental principles present themselves and how they are experienced in instrumental practice. The research was developed under the optic of the clarinetists of the program. The specific objectives were: a) to present the social profile of the clarinetists attended by the program; b) to present the history of the program, listing the invited teachers, activities, repertoire and didactic material used for the development of clarinetists during the first 10 years of the program; c) to describe the characteristics of the instrumental and training practice of the clarinetists of the program; and d) to understand how clarinetist acting as monitors apply the fundamental principles in class."The Five Fundamentals of El Sistema" by Jonathan Govias (2011) was used as a theoretical reference of the research, that he presents the fundamental principles of El Sistema, which have served as references for the NEOJIBA. The qualitative research approach was used and the case study was the methodological procedure. Based on the observations and interviews, the living standards of the clarinetists of the program were observed for each fundamental principle. The patterns observed were: social integration, interaction in collective musical practices; improvement in behavior, discipline, focus and responsibility, generating development in relation to patience and persistence; feeling of security while being in the nuclei; increased self-esteem; expectations of a better future as a result of the opportunities offered by the program, opportunities for acquiring high quality specific knowledge, access to good musical instruments and international exchanges; team spirit; balance between competition and cooperation, expanding the sense of solidarity; activities based on peer tutoring; accessibility due to the gratuity of activities and non-selective access, thus causing pedagogical difficulties due to the different levels in the classroom; and free mobility between nuclei. As final considerations, it was observed the presence and agreement of the five fundamentals in the experiences of the clarinetists of the program, despite the lack of theoretical knowledge of these members on these grounds. It was noted that social integration through collective music practice and peer tutoring, because it is inseparable from the program daily practices, should be considered as another fundamental principle of NEOJIBA. It was also noted that, in order for the program to fulfill its mission and vision, it will require a greater investment in opening well-equipped nuclei and in the training of professionals in collective music education of excellence.

The work embodied here is the outcome of my Ph.D. research based on combinatoriality. My main focus was to present the text “Introduction to the Combinatoriality” where the reader will be able to find the most of the relevant information about this technique approached in a clear, simplified and pedagogical way.
The work is divided into 5 chapters, followed by final considerations and 4 Appendices.
In the first one, some general guiding data about this work is presented, such as preliminary information about the combinatoriality, research “challenges”, objectives and methodology. In chapter 2 the main papers related to the technique was reviewed. In Chapter 3 the text "Introduction to the Combinatoriality" is presented. In the fourth chapter there is a review of 5 relevant books in composition, music theory and analysis whose the authors have given some attention to the combinatoriality. The level of this attention was measured. In chapter 5 there are two brief analysis of two works that I have composed using the technique: “Axis” and “Diptera”. Both scores follow in the same Chapter. In Appendix 1 there is an expanded review of the literature. Some combinatoriality papers were more deeply commented. In Appendix 2 are 2 papers on the topic that I have published. They are followed by the third Appendix where an informal narrative of the facts that led me to this research is presented. Finally in the Appendix 4 are some incomplete items that were suppressed from this thesis version.

This dissertation investigates the music professional course at Deputado Manoel Novaes High School in the preparation and insertion of students from the Music College of the Federal University of Bahia, considering the historical, cultural and political aspects of profetional education. The research also examines the formation and discusses the relevance of the course in the process of democratization of music education (primarily for the low- income classes) toward the University. The methodology used is qualitative in nature, approaching the case study. Semi-structured interviews were conducted as well as applied socio demographic questionnaire with closed and open questions with nine leavers (ex students) and with thirteen teachers from Deputado Manoel Novaes High School. Another questionnaire formed also by open and closed questions was applied to six teachers from the Music College of the Federal University of Bahia. It was also used as a research source many documents (laws, decrees, acts and opinions) about the educational legislation, especially those addressed to the technical professional courses, published on the Web and / or in print. By analyzing the importance of the investigated phenomenon, it was necessary to carry out a survey of the history of the course, since its implementation until the present day. The analysis was done according to the respective changes in the models of public educational policy that has undergone by every professional technical teaching in the country, in the Government of Fernando Henrique Cardoso and Luiz Inácio Lula da Silva, through the theoretical foundation that has guided the main focus of this work. The results point to the need for further development of these studies in other institute (the scientific community) in order to continue the researches like this, with the intention of pointing solutions to the severe shortage of new models of music training in the professional level, as the course in the Deputado Manoel Novaes High School.

The object of this research was a custom study plan, lasting six weeks, for each of the two clarinetists, of different levels, subjects in this study. A case study exploratory and descriptive of both qualitative and quantitative approaches was carried out from a new perspective: transdisciplinary. The instrumentists are seen as an athlete, and the music that they will play is the competition which will perform, and for this, need specific training methodologically based on periodization models of sports training and some deliberate practice strategies presented in the music literature. We had a goal result in alternative systematization and organization of practical studies of the musical instrument. Analysis and an in-depth study will be presented in this work, which showed positive results according to the development possibilities of such planning and the reports of the subjects who experienced study. Research that addresses this issue are necessary to strengthen relations between disciplines, helping to develop new study strategies for professional or amateur musicians, and also for instrument pedagogy.

The embolada is a musical genre characteristic of the brasilian northeast popular culture documented since the 1920s, but which has gained great projection in the national scene from the decades of 1970 and 1980. Among the states of the Northeast region that have the embolada as an important cultural manifestation, I emphasize, in this doctoral dissertation, the musical performance of Paraíba emboladores. Considering this universe, this work aims to present, discuss and analyze the fundamental aspects of the musical performance of the embolada in the state, reflecting on the identity dimensions and the resignificances that constitute it nowadays. The research was based on the epistemological pillars of ethnomusicology and was guided by a qualitative approach with emphasis on the ethnographic fieldwork. Throughout the study, data collection instruments such as bibliographic research, sound-documentary research, participant observation and interviews were contemplated. The data were organized and analyzed from a systematic set of procedures that allowed us, from the specificities of the information obtained, to understand the nuances that characterize the musical performance in that context. From the research it was possible to conclude that the performance of the embolada has a great recurrence in the state and that the practice of such musical expression requires the insertion and the knowledge of the embolador in a series of parameters considered fundamental to make the embolada. Among these parameters it is possible to highlight: the mastership of poetic genres and musical poetry, the instrumental mastership for accompanying themselves, the ability to improvise within the sound structure of the genre, the knowledge of the traditional repertoire of the manifestation, the fundamental skills for singing in duos and for the practice of the live embolada in different contexts of performance. 

Observing  the  overall  dynamic  of  objectives  and  deadlines  in  the  music  performance activities,  it  is  possible  to  determine  that  there  are  often  less  time  than  necessary  to complete  the  required  rehearsal  tasks.  This  phenomenon  happens  partly  because  of the  lack  of  substantial  information  regarding  to  rehearsal  procedures  and management.  This  paper  intends  to  understand  the  conducting  skills  related  to rehearsal  management.  It  aims  to  define  rehearsal  management  through competences  as  well  as  identify  the  specific  conducting  skills  related  to administration.  Starting  from  the  understanding  the  rehearsal  as  a  time  lapse  planed to  achieve  a  satisfactory  musical  result.  This  procedure  can  be  viewed  as  an organization  to  be  administrated.  Based  on  the  assumed  argument  conducting should  be  a  compound  of  actions,  which  aims  to  add  values  to  musical  groups  work. These  actions  and  results  are  the  focal  point  of  competence. Keys  words

In this study, i investigate the process of modernization of Carimbó in Para state, highlighting the role played by public institutions created under intense modernizing transformations in the Amazon region from the 50s. Establishing a historical retrospective, i argue that the trajectory of pace from his first historiographical records in the late nineteenth century, was marked by discrimination, stigmatization and prohibitions. I understand the moments of mobilization of popular culture through the experience of trauma generated by the disruptive character of capitalist modernization. Analyzing data collected from interviews, newspapers and literature, reveal the slope of various public institutions in promoting Carimbó from the 50s. Creation of Pará Folklore Commission in 1950 and the State Council Culture, CEC, in 1968, are key milestones in the planning and mobilization of agents of popular culture. I show that, in line with this institutional bias, local municipalities, through the creation of festivals Carimbó, public school and the department of tourism (DETUR and PARATUR) were important tools in legitimizing the Carimbó in the early 70s. This sense, i highlight the role of regional intellectuals, especially the Para folklorists. In conclusion, i believe that modernizing Carimbó mobilization carried out by regional intellectuals through public institutions, has become a growing strategy within the period of authoritarian modernization during the civil-military dictatorship in Brazil. Currently, the proposal is pending in the Carimbó registry as Cultural Heritage of Brazil. This official recognition of Carimbó is understood as modernizing continued expansion analyzed in this work.

This work discusses the history of the afoxés Congos d' África and Badauê and the identity construction of young people in the neighborhood of the Engenho Velho de Brotas, located in the city of Salvador, Bahia. To this end we investigate the history of the groups in their respective periods of existence, the history of Carnival in Salvador and the associations organized by blacks, lyrics and pictures of historical associations. Using as a methodology to conduct interviews, research in archives and other supplementary materials such as disks and images, and considering the oral sources as a vehicle central to the problem definition and direction of research as a whole. To this end we consider the founders of these groups as cultural entrepreneurs and multipliers of knowledge and from the contributions of research in ethnomusicology, social sciences and history has prepared this final text that aims to contribute to the further research on ethnomusicology, afoxés, carnival, popular communities and music.