The present Professional Master Degree final document in the Professional Graduate Program in Music at the Federal University of Bahia comprises a memorial, an academic paper, a final product and the supervised professional practices reports. The memorial describes my academic and professional path along the program. The paper "Music and Technology: digital resources as auxiliary tools in personal improvement and in chamber rehearsals dynamics" - autoethnographic report, the argumentations are on two contexts: the virtual, a report of my adaptation journey along the pandemic, browsing ways to maintain chamber activities through remote resources; and in-person (just after the lockdown flexibilization) describing the benefits and applicability found in each resource for the chamber activities along the 2021.1 and 2023.2 semesters with the Bahia Quintet and Prof. Dr. Alexandre Casado Chamber Ensemble Class. Moreover, possible different scenarios for the techniques and tools used are pointed out. The final product, a virtual recital with the Bahia Quintet, presents some scores and works develope during this project.

This final conclusion work, presented to the Professional Graduate Program in Music (PPGPROM) of the School of Music (EMUS) at the Federal University of Bahia (UFBA), includes a Memorial, an Article, a Final Product, and reports on Supervised Professional Practices. In the Memorial, I address the importance of musical pedagogical content on the internet as the main source of information and learning in my musical journey and, consequently, in my career as a musician and cellist. In the Article, I highlight the process of selection and analysis of left-hand cello audiovisual content on the internet/YouTube, considering its technical and pedagogical quality, as well as its suitability for different levels of students and organization. The relevance of this type of content to my musical education was decisive in choosing the Final Product: an Ebook containing a compilation of selected videos from the YouTube platform, aimed at assisting in the search for left-hand technique pedagogical material for cellists in general. This listing was compiled through meticulous research, and its results are further analyzed in the Article. Finally, I present the reports on the supervised professional practices carried out during my master's degree.

This final conclusion work is composed of a Memorial, which narrates my life and professional trajectory as a jazz teacher and musician. It also concerns the educational projects that led to the development of this research. In addition to bringing the contributions of the disciplines, practices and guidelines that permeated the activities developed in the Professional Master of Music Education. It also has an article entitled "Teaching-learning performance dynamics for instrumental jazz music in the Bahian scenario", where it addresses issues related to Music Education, bringing reflections on Jazz in Bahia and presenting pedagogical-musical proposals developed in times of pandemic, using digital tools such as Podcast. At the end, in the Appendix, the Reports of Supervised Professional Practices carried out during the course are included, highlighting the musical practices as a teacher and jazz artist, in addition to the Final Product, which constitutes didactic material for the Music Education scenario. 

This document includes the final work presented to the Professional Postgraduate Program in Music (PPGPROM) of the Federal University of Bahia (UFBA) and its main objective is to present an adaptation of system 12 for electric bass based on the book A Modern Method for Guitar, by William Leavitt. Firstly, the Memorial is presented, briefly describing the musical history of the author. Then, an article presenting a brief view of system 12, where considerations are made about the trajectory of the electric bass in Brazil, also raising information about its bibliography. In the sequence, the final product is presented, showing the system 12. Preliminary concepts that are important for understanding the system are discussed, followed by diagrams with the typing models. Soon after, the exercise book is presented, where scores are available containing exercises with the major scale in all keys, divided into 12 sessions that include each of the 12 positions of the system. At the end, reports are presented describing the practices carried out in the period. 

This research seeks to reflect on the universe of electroacoustic music for clarinet, with the main objective of encouraging the practice of Brazilian electroacoustic music. The theme is justified by the absence of electroacoustic music practice or even the lack of knowledge on this subject among clarinet students, which stems from a lack of encouragement during the musical education phase or even in the conservatories themselves. Thinking of a way to bring electroacoustic music closer to new interpreters, we proposed an addition of electroacoustic music with Brazilian popular music. In addition, the practice of contemporary music in general can bring us new languages and improve our techniques and our ways of understanding and thinking about music.

The present work was produced during the Professional Master's Degree in Music of the Federal University of Bahia (UFBA), in the area of musical performance, contemplating the Memorial; the Article with the analysis of the Hermetic Suite - for wind quintet, by Liduíno Pitombeira and the identification of the use of the clarinet in his work; the Final Reports and the Final Product. In addition, the following will be presented: the biography of the author; the results arising from the contributions of the master's program to the research; the supervised professional practices; productions; and the final considerations. The objective was to analyze the play, Suite Hermética, to contextualize the life and work of the aforementioned composer, to identify the compositions where the clarinet is used, to point out the modes used, and to contribute to the dissemination of the work of Pitombeira. Through interviews with the composer himself, it was possible to have access to information about his works using the clarinet and more precisely about the quintet. With the identification of the works for the instrument, the appreciation and production of this composer is perceived. As a final product, the phonographic record of five pieces for Pitombeira's clarinet was made: Rigel, a solo piece dedicated to the author; Japan, duo for clarinet and Euphonium (unpublished work); Ventos Tejaños, trio for clarinet, oboe and bassoon (compositional model, Systemic Modeling); Landscapes No 13, for clarinet quartet; and, the Hermetic Suite, for wind quintet.

This final work presents the prerequisites for obtaining the title of Master of Music by the Graduate Program in Music at the School of Music, Federal University of Bahia, which are: Memorial, Final Product, Supervised Professional Practice and Article. The memorial seeks to synthesize my professional and academic trajectory, before and during the professional master's course. The final product presents the result of a professional phonographic recording, with three original Brazilian works for clarinet and guitar dedicated to Duo Tercina. The supervised professional practices, located in the appendices of this work, elucidate the entire professional process developed during the course. The article deals with the contextualization, survey and cataloging of original Brazilian works, transcriptions and arrangements for clarinet and guitar duo, and the catalog is located in the appendices of this work. The practice of chamber music is essential for the formation of a musician, and the objective of this catalog is to divulge the existence of this repertoire among clarinetists and guitarists, aiming at the practice of chamber music, as well as to encourage the production of new works, recordings and academic research. To date, we have twenty-two original works, eight transcriptions and seven written arrangements, totaling thirty-seven works, which will contribute to the discipline of chamber music in universities, colleges and music conservatories throughout Brazil. 

This work contains three parts. The first part consists of a memorial that lists my musical inspirations, teachers, and learning experiences. It Took Place before the beginning of my Master's degree program, as well as activities and materials produced during the course work. After this, an article that discusses the importance of the daily technical studies for the trombonist's improvement, and the creation of studies aimed at preparing the performance of the piece Divertimento by composers Gilberto Gagliardi and Oscar S. Brum. The text was based on the understanding of Kristeva's concept of intertextuality (2005) and, later, on the application of this same concept in the construction of Intertextual Diary Studies for the Trombone (EDIT), making it possible to guarantee the maintenance of the trombonist's general technique associated with the preparation of a specific repertoire. In the final product, a notebook containing eight EDIT is available, all based on melodies and excerpts from solo pieces from the Brazilian repertoire for tenor trombone. The construction of a didactic material aimed at the preparation of Brazilian pieces for solo trombone and piano is directed, such as Fantasia by Abdon Lyra, Duas Danças by “Maestro Duda”, and Fantasia Sul América by Claudio Santoro, among others. Indeed, the mentioned pieces are contained in curricula of educational institutions spread across Brazil, including the Graduation in tenor trombone at UFBA.

This work is presented as a requirement for obtaining a Master Degree by the Professional Postgraduate Program in Music (PPGPROM) at the Federal University of Bahia, Brazil. In this sense, the work has the general objective of presenting an academic and professional historical report, portraying the main points that led to the construction of a research product in the area of Music Education. Specific objectives are: 1) to present the initial steps as a student, instrumentalist, pedagogue, and what led to decision-making while joining the Professional Postgraduate Program in Music at the Federal University of Bahia; 2) describe the activities developed at PPGPROM; 3) display the Academic Article entitled Playing as a Foundation in Teaching and Learning of the Musical Instrument; 4) present the Final Product of PPGPROM - Didactic Playful activities for teaching violin and viola: material to support the Suzuki methodology. Thus, we seek to answer the problem question of this investigation: How can playing be used in the processof teaching and learning of violin and viola through the Suzuki methodology? The justification for the development of this work is due to my practice as a Suzuki violin teacher, which is permeated by the empirical experimentation of playfulness in teaching the musical instrument. The methodology used in this work is based on the qualitative approach and on the bibliographic method, regarding its procedure. In view of this, in our theoretical foundation we rely on: Freire (2016), Marín (2018), Chateau (1987), Suzuki, (2008), Barber (1993), Eubanks (2014), Ebin (2015), Charlot (2020), among others. Thesolution to the problem is presented through the proposal of progressive and detailed pedagogical activities, addressed in the aforementioned PPGPROM Product, aimed at teachers of the instrument (violin/viola) who emerge their professional performance through a creative and effective methodology. 

The purpose of this work is to present the result obtained in the professional master's course of the Professional Postgraduate Program in Music (PPPROM), at the School of Music of the Federal University of Bahia, describing the research, through the article, and the parts of the thesis. This document includes the memorial, containing autobiographical and academic aspects, an article, the final product and reports of supervised professional practices. The autobiographical part of the memorial talks about me and my musical trajectory until I entered the PPPROM. The academic part presents my achievements within the master's course, curricular components and supervised professional practices studied. The article presents research on how teachers, including me, teach breathing, embouchure, posture and tone emission (BEPTE), aiming at the training of clarinetists at a high school level, the equivalent of training in the technical course in music/clarinet. The article aims to lead clarinetists, students and teachers, to a reflection on the BEPTE, improving the use of the fundamentals of breathing, embouchure, posture and tone emission. In addition, the research was carried out with teachers who work primarily in courses focused on concert music, as well as myself and the authors of the bibliography used for the theoretical foundation. The final product, unrelated to the article unless it was produced by the same author, includes two didactic arrangements of Brazilian music for symphonic band at initial levels. There is a shortage of this type of teaching material in the Brazilian market. The task of writing within a didactic level, both, in the limited range of notes of band instruments and in the use of simple rhythmic figures, as it is a material intended for training, that is, for the development of musicians still at a beginner level, is complex and attracts few arrangers. With the product it is intended to guide the beginning members of the symphonic band in the discovery and appreciation of Brazilian music. 

This present article aims to describe and present the research process and the results obtained during the Professional Master Degree in Music course at the Federal University of Bahia – PPGPROM. It contains a memorial, an article and a final product, which consists of a violin and piano recital recorded on December 2, 2021. In the memorial, the musical trajectory of the mestrans was presented, describing important points that led her to the choice of the predent theme of this article. They were also the process of construction of the works and stages of research. The aforementioned article is an investigation into the importance of daily technical warm-ups for violinists. For this, a bibliographic review on the subject was carried out.The results show that performing a daily technical warm-up positively influences the rest of the study and decreases the risk of muscle injuries in violinists. 

This final conclusion work, presented to the Professional Graduate Program in Music of the Federal University of Bahia – PPGPROM, includes a memorial, an article, the final product and the reports of professional practices. The memorial seeks to synthesize my musical trajectory, my professional master's degree and my experiences with brazilian popular music. In the article, I investigate the main aspects of the frevo genre and seek to make a relationship with the idiom of the cello, seeking theoretical subsidies in order to support my interpretative choices of the recorded works; and the final product consists of the video recording of 3 frevos for cello: Frevo para Nora, by Maria di Cavalcanti; Tic, Toque Frevo!, by Rodolfo Lima and Meloritmias n°14 (frevo), by Ernani Aguiar. Complementing, I present at the end of this work, the reports referring to the professional practices carried out during the course. 

This work presents a memorial of my personal trajectory where I mention the main references that led me to the musical environment as a chosen profession, from childhood to the choice of conducting career. Work experiences, admission to university, change of course and acceptance/experience in the professional master's degree. In this, my thesis defends the idea of using language more focused on mental and sensitive figures to help singing students understand how to perform their singing better, understanding how “better” is considered to sing faster and more comfortably. The study is not new and there are bibliographical references that corroborate the use of this language as a substitute for the well-known visualization language and conscious movement of the organs of the vocal tract. Through observations in my action-research, it is possible to present arguments that may be the basis, not for substitution, but to place them as a complement for each other, depending on the objective of vocal advisors (teachers, conductors, musical directors and others) and your mentors. In conclusion, the Oriented Professional Practices reports corroborate the result of using these techniques in individual and group classes. 

While observing the musical activity among the students of the prison teaching unit, in the Annex III of the Colégio Estadual Paulo VI, in Feira de Santana-BA, it is noticed that this interaction reveals values and generates a cycle of musical production. This is a work that consists of three parts: memorial, article and research reports, according to UFBA's PPGPROM rules. In the memorial, I will explain about the origin and the trajectory of this project, while in the article, I will focus on the importance of musical education with prisoners and its effects. Then, the reports will relate to the activities carried out throughout the process. This study is based on the fundamentals of Pereira (2011), MacDonald (2012), and Cohen (2007). Some aspects of social pedagogy in favor of music will be addressed. A case study is estimated between this North American work (Oakdale Community Choir) and the process of musical experiences with prisoners through collective singing, in the Penal Settlement of Feira de Santana-BA, in a group of inmates as students of basic education. This experience allowed me to deepen some reflections on music education and the use of collective singing as a tool in the process of re-socialization, in the themes present in the article, as well as in personal and professional practices. 

In this final-memorial paper conclusion I present the research process and the results obtained during the UFBA Professional Master's Degree, which aimed to compose and elaboratesevencopyrighted parts songs for ukulele soloby WaldirAzevedo.I beginby telling my path until the entrance into the program. I talk about the subjects studied and present the supervisedreports practices. Thearrangement of“Pedacinhos do Céu”by composer WaldirAzevedo.It is the article's objective, in which I discuss issues related to harmony, counterpoint and conduction of voices. At the end I make brief comments about the five arrangements produced, then bringing the final product, my edition of the scores.

This Course Completion Work is presented as a requirement for obtaining a Master's Degree in Music. The general objective is to reflect on my professional and academic trajectory and present research products in the area of Music Education. Thus, I answer the problem question: How can the music teaching in basic education be conducted considering Willems' principles and the Northeastern Brazilian repertoire? This theme is justified because it reflects my experience as a musician and music educator working in several elementary schools. I believe that Northeastern ethnic music must be present in music teaching at school, but unfortunately it is still little worked in this space of performance. On the other hand, I believe that the implementation of Willems' principles can contribute significantly to the process of musical teaching learning. The methodology of the present work fits in the qualitative research approach and the bibliographic method, as to its procedure, and is based on Lubisco (2019), Severino (2000), Rocha (1990), Paz (2013), Hortélio (2019) and others. As a Final Product, a pedagogical proposal was built to apply the principles of the Willems method using the Northeastern Brazilian repertoire in the form of a Course Plan and Activity Book as support material for music teachers working in schools in Salvador, in addition to providing opportunities relevant reflections on possible future research for academia.

This document presented to the Professional Postgraduate Program in Music of Federal University of Bahia, proposes the development of the arpeggio technique on the classical guitar using Brazilian rhythms. In the memorial, the musical experiences of the author until the moment of completion of the master´s program are presented and how each of those experiences described contributed to this work. In the article, the adaptation processes for ten arpeggios from famous “120 arpeggios by Mauro Giuliani” for three Brazilian rhythms are shown. In the third part, the reports that describe the professional practices carried out are presented and, finally, the product – the result of this research – is presented with seventy-six exercises covering nine rhythms.

This work reports the author's process along the Professional Master in Music at the Federal University of Bahia, recording in a memorial her previous experience as a violinist and practitioner of the Alexander Technique (TA) applied to body awareness in music practice. Also reflect on the use and relevance of psychophysical tools acquired in this process for the optimization of musical performance and the well-being and longevity of the musician in activity. The work also includes an academic article on the possibilities of applying one of the principles of AT ‒ the principle of inhibition ‒ in musical practice and performance; a social residency report on the activity of observing AT classes in two institutions of higher education in music in Germany; reports on the subjects and professional practices performed during the master's degree.

The review and analysis of undergraduate music - musical instrument courses should be a permanent habit of university professors. The improvement of techniques, the creation of new pieces for the instrument and the changes in the labor market are some of the reasons that reinforce the need for constant revision. Upon entering the Professional Master's course at UFBA, the issues revolved around a study that could meet the real demands of teachers and students from the numerous trombone courses in Brazil, with emphasis on the Bachelor's course at UFBA. The present work had the following objectives: to analyze the program of the trombone undergraduate course at UFBA, to know the current literature destined for the instrument, to compare different course plans of Brazilian universities and to present a proposal for its revision with the possible inclusion of new works, orchestral excerpts, bandistic excerpts and methods. The part destined to the methods was subdivided by topics, organized by essential elements for the formation of a trombonist that we call in this work as technical/musical axes. The final product conceived after the research consists of the creation of notebooks and studies for each of the eight periods of the tenor trombone course and the eight periods of the bass trombone course. Each notebook has a compilation containing studies for each technical/musical axis, Brazilian and foreign repertoire with solo pieces with and without piano/orchestra accompaniment, works of popular repertoire and also chamber music. It is worth mentioning that for each of the study notebooks for the tenor trombone and bass trombone specific notebooks were compiled containing the piano accompaniment scores of the pieces.

In the first part of this TCF, I present the reader with the Memorial sharing my musical experiences - since started until the conclusion of the disciplines and activities at PPGPROM. In the following article, I report aspects of guitar technique in Caribeanas 1, 2, 3 and 4 by Henrique Annes - showing which technical elements to the guitar I used to favor the choices of fingerings (left and right hands) as well as details of the processes of edition and transcription of the scores. In the third part, I present the reports of supervised practices carried out during the Master's degree. In the last session, I insert the final products, that is, the scores, which I make available to the guitar community and interested parties in general, thus disseminating part of the work of the Caribeanas composer

The present work consists of a self-investigation about my technical and artistic improvement as a flute player and flute teacher and is divided into three parts. The first part — Memorial — aims to describe and reflect on my processes of discovery in the study of the transverse flute, based on the experiences i had during my contact with the Post-Graduation Program in Music of the Federal University of Bahia and the orientations of the Professor Lucas Robatto. It is based on the methodological tools of autoethnography and artistic research, taking into account different aspects inherent in my learning process; namely, fundamental technical procedures involved in performing the flute (posture, breathing, sound production, flexibility, etc.), feelings that permeate this process, the influence of self-efficacy levels and self-regulation in my study, and the search for autonomy in the face of clash between technical and artistic aspects in the control of the instrument. The second part — Academic Article — concerns the theoretical approaches related to musical learning and its practical implications in instrumental performance, functioning as a theoretical complement to some issues raised empirically in the memorial. Finally, the third part — Reports — concerns the registration of technical-scientific products, teaching activities and artistic-cultural production that were the result of supervised practices of the Masters.

This work of final conclusion of the Professional Master aims at the artistic investigation of the project GRITO - Canção, Piano and Voice, through the elaboration of the show/performance called GRITO, in voice and piano format in self-accompaniment, where I, as an artist, am at the same time, creator and interpreter. All the repertoire selected for the show is authorial. The songs went through some stages of elaboration, from the initial drafts of the text of the lyrics and melody to the moment of introducing the harmony and accompaniment of the piano and final arrangement for the show. Besides the show composed by ten songs, this research is composed by a memorial where I tell my musical trajectory since the beginning until the professional master's degree and an article where I analyze the creative process of the song Ventre, one of the songs that integrate the show.

The following work has as its objective to present and describe the research proccess and the results ocasioned from the Masters course taken in PPGPROM - Program of Professional Post Graduation in Music, from the Federal University of Bahia. There are, recorded in it, a memorial, an article and a Mini Doc (youtube) about the performance of professional musicians in events. In the memorial, the steps on building the works as well as the masters student's formative path are described, the theme choice being justified. Both the article and the Mini Doc (product) present an analysis of the musician's performance in the event industry in Salvador-BA as well as their possibilities and difficulties analyzed in interviews and depositions provided by professionals in that area. The results verify that this market welcomes and allows professional musicians to develop their professional talents, so that they are able to perform in various ways, achieving promising results; they also make evident the need for musician's wider self investment in themes like entrepreneurship, in order to expand their space for performing in the job market.

The present work aims to reflect about how the research about deliberate practice developed during the professional master’s degree at the Universidade Federal da Bahia (UFBA) contributed in an effective way with the optimization of the author’s performance. Nowadays, the increasing requirements to fill positions in professional orchestras and symphonic bands are demanding technical excellence from the instrument players. In this context, it is necessary that they use practice strategies that aim high performance levels more efficiently. This work contains a Descriptive Memorial where the author reports his experiences lived during the professional master’s course, a scientific article (Appendix A) and reports of the professionaloriented practices.

This document is comprised of the final work presented to UFBA´s Professional Graduate Program in Music and its main objective is the writing of a book with exercises and compositions that address Metric Modulation for drummers. Initially, a Memorial will be presented in which a summary of the author's musical history will be demonstrated, in order to emphasize the path taken during the course. Then, an academic article will be shared which exemplifies the differences between Metric Modulation, Superimposed Rhythms and Odd Groups, as presented in textbooks designed for teaching the drumset. Furthermore, the research result will be shared in a play-along book and CD format, with the descriptions and scores of five unpublished compositions. On the CD there will be tracks of each composition with and without drums. Finally, the practice reports will be exposed.

So much research remains to be done on Brazilian guitar music to preserve its history and works. This project’s contribution is a catalogue of the compositions of Geraldo Ribeiro, an accomplished and internationally acclaimed guitarist whose work remains in great part unpublished or unknown to the public and even to many guitar players. His elaborate and often complex composing techniques, which follow universal themes, are detailed and recorded in the catalogue. I included an outline of his life and career achievements, his transcriptions and his most important concerts, including the recital at the São Paulo Municipal Theater, to this day a subject of conversation in the métier. There is also a timeline with the dates of each composition. To create a definite, worthy of the effort physical catalogue, I studied and drew references from several methods and similar catalogues. Therefore, this work introduces some of the catalogues that I studied and analyzed, in the form of a bibliographical review in connection with the object of study. The final text includes an introductory letter by Sergio Assad, a short biography of the composer, a chapter I called “A story for History”, an analysis of catalogues and other topics of research work. The main part of this project is the physical catalogue itself, which is presented separately and a brief history of my work on this material. 

The present work aims to elaborate a method and analyze its contributions for the horn teaching with emphasis on the use of Brazilian country songs music in the music band of the Military Police State High School- Jardim Guanabara Unit, Goiânia Brazil. The method has ten lessons, divided into ten series, whose theme is Brazilian country songs. This musical genre can be used in two ways: first as attraction and in second place as mediation in horn teaching.The results showed significant effects, considering these songs are an important part of the life and background of the students and maintain their permanence in the instrument learning.

In the literature, there is considerable research related to the teaching of music in bands, mainly focused on beginners, but little has been discussed about the continuation of their progression process. For this reason, this research has learning process of musical formation of trumpet players in bands. It was, thus, sought to discover which methods teachers and conductors of three bands, from countryside towns of Minas Gerais state, normally use in initial classes. After this is the most used material. From this, a selection of pieces of music based on the contents that the students technical progress. As a final result, the main outcome of this study is a book intermediate level. This book was applied in the trumpet classes of the band the classes, the students provided feedback about the new material, so that new adjustments considered their opinion in order to prepare a book that realistically contribute in the process of trumpet learning due to the musical recognition of their melodies throughout the execution of the exercises, and also because this musical genre contains rhythmic cells that are often repeated, collaborating to the memorization of the new content provided to students.

This is the Conclusion´s Work of the Music Professional Master's course of the UFBA’s School of Music, which was taken from July 2016 to February 2018. The main part of this process is the solo project in electronic music, Infusão. There will be also a description of the author’s participation in the band Baiana System. With Infusão, several performances and some releases were made during the period: the residences Pulso and Drift, the performances "Concerto for Onironautas" at the IC Festival, the New Festival Frequencies and the Festival Day of Music and the publication and release of the single "UnderchU" and from the album / zine Inter, in partnership with the artist Lia Cunha. The reflection about each of these events, as well as the description of the instruments setup, and, especially, the way it is played made possible to understand the author’s creative process that involves three stages: the creation of sound materials, the improvisation with these materials – putting together as open compositions - and the recording and editing of these compositions. This last step is not an end, it is rather, part of the creative process, since the editing process generates new materials (or new ways of relating to materials), modifying the first and second stages in a cycle where the composition is always transformed with time. The work includes: a memorial, an article, reports related to the practical activities of the master's degree and an appendix with images of the actions and publications taken during the process.

The following memorial try to describe the author’s final paper trajectory in the class, both artistic and theoretical aspects, reporting the live experiences to arrive to the draft’s product. The academic paper has as theme the power’s relations between composer and performer in the classical music context, where the performer defines the term “microrelations” and approaches the power’s dynamics between the studied functions through the conceptual view arising from philosophers like Foucault and Bourdieu, thus seeking, explaining these relations, bring out actions that support an ethic that has as objective balance the power between composer and performer in whole sociological context in which the music – specifically classical music – acts, so that afford make a healthy ambient for the music practice.

This document includes the final work presented to the Professional Postgraduate Program in Music of UFBA and seeks to reveal the production process of the EP Reina, my first solo work. For this, it brings reflections on the means and stimuli by which it was generated, addressing aspects of both a more material and pragmatic order, as well as existential and subjective aspects. Initially, I present a guided memorial, in short story format, which will approach some processes and issues triggered during the Master’s research through metaphors. Following, an article that deals with the creative atmosphere in the artistic production and the reports of the guided practices developed during the course will be presented. Finally, the EP is attached accompanied by an appendix with the technical file and some specific notes.

The Sociedade Filarmônica 25 de Março (March 25th Philharmonic Society), established in 1868, is the oldest band still active in the state of Bahia. The present work is the report of my experience as a teacher in the reorganization of the Society’s school and music band. It describes my personal trajectory from early musical studies, along with the college activities in the School of Music at UFBA, until my return to the city of Feira de Santana to work with the philharmonic. The text presents: a brief history of the origins of the city of Feira de Santana and the culture of music bands before the Sociedade Filarmônica 25 de Março, a history of the philharmonic since its foundation, its socio-cultural importance, its decline period, until its restoration with the establishment of the School of Music Maestro Estevam Moura in 2014. Within this subject, the work talks also about the young people’s educational process, their exchange experiences with veteran and professional musicians, the music band as a symbolic value, and how the performances may have contributed to the active musician’s profile in the course of the Sociedade Filarmônica 25 de Março’s restoration.

The research here reported had the objective of discussing aspects inherent to the initiation, didactic material and repertoire of the trombone bass. As a methodology, we carried out a bibliographical review and also a survey with two Brazilian university trombone teachers. At the end of the research we observed that the initiation in the trombone bass in Brazil is usually performed with musicians who already have initiation in the tenor trombone and we also verified that the main methods and repertoire used by the two teachers studied. With the bibliographical review we verified that there is great lack of research on the trombone bass in Brazil.

This document is the Work of Conclusion of a Professional Master Course in Music in the Area of Creation and Interpretation, whose research aims to promote reflection and seek ways to improve my performance as a flutist, soloist and accompanist in the context of popular Brazilian music, considering that improvisation, with Brazilian accent, is an essential language in this question. I also have as specific objectives, to acquire and apply in the author's work the new knowledge, resources and abilities provided by the research, in addition to sharing reflections and experiences with flute students, professionals and students of music in general. In addition to the Memorial, in this work are contained other items from this research, are: the article "Reflections on the importance of Brazilian popular music (instrumental and song) and improvisation in the formation of the flutist"; the final product that is a CD containing eight compositions, being four tracks from the album Vento Leste and four recorded in the final phase of the master's degree; transcripts of interviews with the renowned flutists of this area: Andrea Ernest Dias, Léa Freire, Eduardo Neves, Mauro Senise and Teco Cardoso; and the Professional Practices reports.

This work is a result of the author’s professional and academic experiences in the period of two years during the professional mastership in music. Contains four parts. The first part is a memoir about the author’s professional life, beginning the time of studies in the music school, continuing the period of music college and the very professional trajectory, and finally, as a conclusion, the current time including graduation and the experiences that were obtained by the author during that whole period. The second part presents the product developed, which is a violin recital whose repertoire is based on the pieces of Russian composers and representatives of the Russian violin School, as well as a brief description of its preparatory process. The third part includes an academic article in which an author raises the specific subjects of violin technique applying her experience as a symphony orchestra musician in order to help the young musicians in their adaptation to the professional demands. The last part presents the reports of supervised practices with details of the activities carried out.

This Memorial, presented to the Professional Post-graduate Program of the School of Music of the Federal University of Bahia, was elaborated with the objective of remaking the academic and professional path of the author as a review of the stages that formed this path. In this sense, it had as general objective to present a history of the important moments for the academic and professional development of the author. Specific objectives were: 1) to describe the period from the initial steps of the study of music to the entrance to the Federal University of Bahia (UFBA); 2) to report the academic and professional experience during the courses of Education and Graduation in Instrument (Piano) and Music at UFBA; 3) to analyze the research and study process in the Professional Post-graduate Program in Music at UFBA (PPGPROM), presenting two products: the Academic Article "Proposal of Activities for Cognitive-Musical Development of Children 10 to 12 Years: Musical Skills developed in group at the piano" and a "Book with Practical Activities for the Teaching of Group Piano". The present Memorial of biographical character was based on Waizbort (1998) and Passeggi (2008).

The present work is the result of an artistic research that had as objective the theoreticalpractical study of the style of improvisation of Jazz saxophonist Zoot Sims. Using as main study tool the production of transcriptions of improvised solos and the consequent analysis and musical execution of them it was possible to perceive interpretative characteristics of the soloist, to analyze his melodic choices in relation to harmony, to develop my technical proficiency and to absorb nuances of his phrasing. During the process of editing the scores of transcribed solos, it was clear the possibility of bring them together in a transcript album titled "Zoot Sims, Transcribed Solos". In this way, this book can become a further study tool for instrumentalists, saxophonists, who seek to understand a little more about the universe of jazz improvisation, through the improvised solos of this saxophonist. At the end of the transcript album there is an attachment containing patterns from Zoot Sims, as another tool for analysis and study. The inclusion of the article 'The process of transcribing improvised solos from audio', which deals with different ways of transcribing and the use of the transcriptions, complements this work.

The folds are considered by interpreters and composers as the genre of greatest tradition in Brazilian music bands, however they are little explored with respect to the technique and interpretation of the same ones. This final conclusion paper presents a descriptive memorial that contains a brief account of my musical trajectory so far, and activities carried out during the Professional Master's course. It also contains an article titled Folded: Main Excerpts for Trombone and its technical difficulties, in which were presented data referring to the research and a summary of the history of the folded. The final product with the folded sections selected through the survey statistics and the reports of all the guided professional practices carried out during the course.

This research presents a panorama of the required activities from the Masters in Professional Music course in the area of Musical Creation / Interpretation, subcategory Professional Musicians Diploma, belonging to the post-graduate program in Professional Music (PPGPROM) of the Federal University of Bahia (UFBA), under the tutelage of Prof. Dr. Joel Barbosa.The first part begins with a descriptive memorial which is a brief synthesis of my musical career from childhood and young adulthood; including my experience with bands, orchestras, professional competitions; up to the present moment as a university teacher, orchestral soloist, and my return to formal academic study in the present post graduate program. After this, the article presents its central points, including the objectives of a research project about the use of Brazilian woods in creating clarinets, especially the Aroeira do sertão wood, the reasons for its choice - which reaffirm the history of the clarinet from its birth – and the wide variety of woods chosen for their characteristics and usability. Finally, I present my final product which, beginning with the initial proposal to construct clarinets, was transformed into an ergonometric study of keys through a system constructed to facilitate fingering for the instrumentalist. This research presents reflections on the possibilities for fabricating wood winds and Brazilian technology’s excellent contributions.

The present work is structured in four parts: the memorial, which aims to describe the paths traced during the Professional Master's Degree in Music; a paper presented at a congress; the reports of the Supervised Practices carried out throughout the three semesters; and, finally, the final product, the result of the research carried out throughout the Master's Degree, that is, the book "The Music of the Blocos Afro: Training of Music Teachers for the Implementation of Law 10.639/03". The objective is to offer a pedagogical resource for music teachers, centered on the music of the Blocos afro, addressing issues related to Law 10.639/2003, therefore, education for ethnic-racial relations, the importance of the black movement in the fight against racism and the promotion of affirmative action, in addition to presenting some suggestions for activities designed for music classes. I chose the Blocos Afro as the theme of this work due to their musical, social and political representation, in the promotion of affirmative action, in the fight against race and racial discrimination. It is intended for teachers of music of the network and seeks to offer subsidies that can contribute to their continuing education, since in the current context they need to be sensitive to cultural and musical diversity but also active in promoting education for ethnic-racial relations in the classroom. The first chapter presents a brief historical exposition on the emergence and actions of the black movement that culminated in the creation of Law No. 1,390/51, which prohibits racial discrimination, Law 7,716/89, which determines racial equality and, finally, Laws 10,639/03 and 11,645/2008, which make the teaching of African history and culture mandatory, Afro-Brazilian and indigenous. In the second chapter, a reflection was developed on the need to build a decolonized thoughtso that there is a resignation of ethnocentric and hegemonic patterns. In the next chapter, I discuss how the teaching of music, as a language and source of knowledge, can contribute to the construction of ethnicracial relations education. In chapter four, I present the main Blocos Afro of the musical scene of the city of Salvador. In the fifth chapter, I present proposals for musical activities based on the musicality of the Blocos Afro presented, addressing elements linked to their cultural and musical matrices. In the final considerations, the contributions of this work were exposed, the implications for the implementation of Law 10.639/03 for the area of music education. 

COSTA, Marcelo Oliveira. Study of the accordion in the forró “pé de serra” based on the analysis of the performance of the song Feira de Mangaio. 95 sheets. il. Dissertation (Master in Music) – School of Music, Universidade Federal da Bahia (UFBA), Salvador, 2015.

ABSTRACT

This work consists of a written portion, a DVD and also a CD. They were produced with the goal to identify musical elements which are characteristic to play the “forró hill bottom” on accordion. Five recognized accordionists at this music style participated at a survey performing the music “Feira de Mangaio” composed by Sivuca and Gloria Gadelha which was recorded and analyzed within the following criteria provided in Chapter 3: importance of interviews, one kept secret of seven bellows, rhythmic bases for monitoring, typing, chord frame, folding game, on the development of a technique and interaction between two accordions, created “Na Hora do Adeus”. The five accordionists were interviewed to report on their own implementation details as well as their musical background. The written part covers historical aspects of the accordion appearance and its popularization in Brazil. The contribution of Luiz Gonzaga as well as clarification regarding the term “forró” in the etymological sense compared to other understandings assigned to the term. The text also contains an analysis of videotaped performances correlating the themes and subjects that emerged during the interviews. The conclusion of this research shows that although each accordionist has its own musical personality, there are common elements in their performances.

Keywords: Concertina. Execution. Forró “Pé-de-Serra”. Fair Mangaio.

The present work aims to record briefly, by means of this memorial, the trajectory of the music sector plan, with emphasis on my personal performance in the musical sector policy in Bahia. In addition are presented as activities students in Master of the school of music of the UFBA, including those carried out during the search, with the description of the subjects and their work. The work is completed by article titled, "Sector plan: a management proposal for the musical sector of Bahia" as a result of the research carried out. In annex the draft Decree account for approval of Sectoral Plan of music and text of the plan, and the registration forms of Professional-oriented Practices.

The present work is a compilation of activities carried out during the course. of professional master's degree in music in the area of Music Creation / Interpretation having as instrument the Trumpet under the guidance of Prof. Dr. Heinz Schwebel.

This compilation contains the descriptive memorial of the course, an article entitled Audition for trumpet in symphonic orchestra: Survey of material for preparation and ranking of excerpts; Reports of all oriented professional practices performed during the course and an attached pendrive with the audio and video recordings of the results of these practices, which I present as my final course work.

All material raised and placed in this compilation has the function of complying with the requirements for obtaining the title of Master in Music by the Federal University of Bahia.