-
CARLOS MARIO GOMEZ MEJIA
-
BUILDING KNOWLEDGE ABOUT MUSIC AND DECOLONIALITY IN BRAZIL
-
Date: Dec 22, 2023
-
Time: 10:00
-
Show Summary
-
This work addresses the decolonial discussion in Brazil, in the area of music during the 21st century. In the first chapter I present a literature review on what I understand by decoloniality, to later delve deeper into the relationship between (de)coloniality and music (second and third chapters). In the fourth chapter, I present the results of a bibliographical survey that mapped 123 academic texts related to music, Brazil and decoloniality. The results point to: (1) an epistemological variety in the analyzed texts (which goes beyond the contributions of the Modernity/Coloniality group); (2) a relationship between academic production on decoloniality and approaches to popular music; (3) a significant part of the analyses presented in these works was limited to the lyrics of the song, leaving aside sound-related aspects; (4) the abundance of works in the field challenges one of the most common criticisms within decolonial works, namely, that of a lack of ethnographic analyses based on the field and with specific guidelines (RESTREPO and ROJAS, 2010); (5) Within the thematic areas covered we find musical education, decolonial feminism, Indigenous music, Afro-diasporic music, an approach from the human sciences and ethnomusicology, as well as from contemporary and/or experimental music; (6) there is a dialogue with other countries and regions in the production of knowledge (in terms of research themes and authors), showing that the decolonial discussion in Brazil is not closed in on itself; (7) we found multiple texts (especially within musical education) that diagnose the problem of coloniality and propose paths, however, attempts to implement specific changes are still at an early stage. Starting from the idea that decoloniality is not a metaphor and must be accompanied by actions (TUCK and YANG, 2012), in chapter five I present a discussion (based on bibliographic and documentary research) of the work developed within the Amazon Center for Music Research (NAP) by myself and other researchers. The objective of this chapter is to develop a conceptual framework for decolonial ubimus.
|
-
ESTEVAO GOMES CONSTANTINO DA SILVA
-
STUDY STRATEGIES FOR PREPARING A TRUMPET RECITAL
-
Advisor : AYRTON MUZEL BENCK FILHO
-
Date: Dec 21, 2023
-
Time: 08:00
-
Show Summary
-
This work sought to understand how strategies are applied in the performance of an academic trumpet recital, considering the demands required by the Postgraduate music program at Federal University of Paraiba. The specific objectives consisted of a re-reading and categorization of study strategies present in trumpet literature; proposal for a strategy implementation plan; description and analysis of the application of these strategies in preparing the performance of a recital mentioned in the research. The methodology used was qualitative research, which consisted of descriptive-exploratory action research using Thiollent (2011), Barros (2008), Leite (2015) as a methodological reference. The theoretical basis was conceived through the definition of the terms involved in the investigation and the literature review on study strategies. Inherent to musical performance, the work seeks to dialogue with different areas of knowledge: planning instrumental performance, musical education, instrument teaching, music psychology and metacognition, using references such as Hallam (1998), Williamon and Valentine (2000), Barry and Hallam (2002), Gabrielsson (2003), Williamon (2004), Shook (2015), Araújo (2010), Loubriel (2010), Alves (2013), Quintério (2017), Vicente (2021). The research was divided into three moments: bibliographic research; formulation of the study strategy plan; application of the proposed plan; research results and final considerations. It is expected that this work will contribute to the field of musical performance with subsidies that encourage new studies regarding how to practice the trumpet, as well as helping to create new strategies to develop the autonomy of young trumpet students, teachers and performers. , with tools that help in the preparation of instrumental performance.
|
-
FELIPE FERNANDES DA SILVA
-
METHODOLOGICAL STRATEGIES FOR CHILDREN'S MUSIC CLASSES AT THE ANTHENOR NAVARRO STATE SCHOOL OF MUSIC
-
Advisor : FABIO HENRIQUE GOMES RIBEIRO
-
Date: Dec 20, 2023
-
Time: 17:30
-
Show Summary
-
This work presents and discusses the results of research into the teaching of children's musicalization at the Anthenor Navarro State School of Music (EEMAN), in João Pessoa, Paraíba. The objective of the research was to understand concepts, content and teaching methodologies that characterize children's music classes at EEMAN. For this, a case study was conducted with a class of children aged 3 and 4, led by two teachers. The main data collection instruments were bibliographical research, documentary research, observation and semi-structured interviews. To analyze the information, data triangulation was carried out, articulating the information produced in the field with the conceptual and empirical perspectives of the bibliography. The main results indicate that the concepts, contents and methodologies are articulated in the construction of a pedagogical process that is guided by perspectives of construction and development of routines, sensitivity in relation to students' demands and promotion of affection as a fundamental pedagogical aspect for interactions. Among the challenges encountered, those related to controlling the time of activities and various interactions present in the school context stand out, but the flexible and adaptable approaches presented by teachers are also evident. In this sense, the interpretations point to the conception of a pedagogical space that is being consolidated in the Persoense and Paraíba context for children's musicalization, standing out for its pedagogical systematization, with a flexible approach, adapted and centered on children's needs.
|
-
QUEZIA PRISCILA DE BARROS SILVA AMORIM
-
MUSICAL CREATIVITIES AND THEIR PRACTICAL MANIFESTATIONS IN A CONTEXT OF SOCIAL VULNERABILITY
-
Date: Dec 20, 2023
-
Time: 08:00
-
Show Summary
-
This thesis is the result of a qualitative investigation in the field of Music Education that aimed
to understand the development of musical creativity and its practical manifestations in a context
of social vulnerability. The verification instrument used was the Workshop of Musical
Creativities (WMC), which was developed through the construction of bibliographic,
epistemological, and methodological bridges contained in this work. These constructions point
towards the understanding of the importance of the connection between the themes of musical
creativity and social vulnerability, based on the assumption that there is no true democratization
of the musical experience without a creative engagement. In order to substantiate aspects related
to this connection, I make use of the conjunction between Pierre Bourdieu's notions of social
field habitus and Serge Moscovici's social representations, aiming to relate the "why" of the
"how" in the theoretical assumptions and practical actions developed in the WMC, including
the analysis of my own habitus as a teacher-researcher. To construct methodological bridges, I
adopt a reflexive perspective that seeks to mobilize techniques considered relevant to the object
of study, admitting, in this specific case, the approach of the socially critical modality of
political action research to educational action research.
|
-
HUGO LEONARDO DOS SANTOS CARDOSO
-
RABECANDO E BRINCANDO COM O BOMBARDINO: an analysis of the bombardino in Brazilian music based on two musical works
-
Date: Dec 18, 2023
-
Time: 15:00
-
Show Summary
-
This work presents and discusses the results of a master's degree research carried out between August 2021 and November 2023, which focused on the presence of bombardino in Brazilian music. From an ethnomusicological perspective, the research sought to understand the main characteristics of Brazilian music present in the works Rabecando, by Fernando Deddos, and Brincando com o Bombardino, by Edmael Santos. The specific objectives were: to identify the main works for bombardino known among instrumentalists; understand the profiles and insertion of instrumentalists in bombardino practice contexts; understand the structural dimensions of two works selected among the best known; and understand composers' conceptions of their works. To achieve the objectives, field research was developed with a qualitative approach, combining documentary, bibliographical, interview and questionnaire sources. The analyzes and interpretations were carried out based on the articulation of information produced within the field of ethnomusicology and related areas. The results of the questionnaires, applied to musicians, teachers and students involved in the Associação Eufônios e Tubas do Brasil (ETB), helped to identify two widely mentioned works and composers, Rabecando, by Fernando Deddos, and Brincando com o Bombardino, by Edmael Santos. The composers' statements made it possible to understand their inspirations when composing their works and discuss their perceptions about Brazilianness and the role of the bombardino in Brazilian music. These dialogues provided a deeper understanding of the different compositional approaches for the bombardino, providing a deeper insight into the Brazilian repertoire for this instrument.
|
-
RAQUEL AVELLAR COUTINHO
-
Biocentric Musical Education in higher education in music: guidelines for a new praxial philosophy for holistic musical development.
-
Date: Dec 18, 2023
-
Time: 09:00
-
Show Summary
-
Biocentric Music Education is a new praxial philosophy within the realm of music education
grounded on the Biocentric Principle, which places life at its core and, when incorporated into
education, seeks holistic human development and an expansion of consciousness. Current
discussions highlight the necessity to (re)acknowledge the 21st-century learner, amidst changes
in human relationships, crises in contemporary civilization, and the damages caused by human
actions on the environment. This prompts a paradigm shift within the context of globalization.
This study aimed to comprehend the guiding principles of a Biocentric Music Education praxis
in higher education, considering the current reality at this educational level in the field of music,
contemporary perspectives on music education, and epistemological foundations of Biocentric
Education. This overarching objective unfolded into the following specific goals: to scrutinize
epistemological and pedagogical dimensions that can guide the development of an educationalmusical praxis centered on Biocentric Education principles; to comprehend the characteristics,
advancements, issues, and challenges of higher education in music contemporary times; to
identify singularities that characterize a Biocentric Music Education praxis, focusing on the
musicians education in higher education; and to establish guidelines for music education based
on the pillars of Biocentric Music Education. The research employed an analytical-reflexivepropositional approach and adopted a qualitative method, using documentary research as the
primary data collection tool. The researchs scope includes higher education, targeting
undergraduate music programs (Bachelor of Music) in ten prominent public universities in
Brazil, two from each region of the country. The analysis of documents was conducted based
on concepts underpinning Biocentric Education. The results revealed disconnected curricula,
both from each other and from their historical context and educational challenges of
contemporaneity, demanding an awareness of the role of music education in shaping individuals
navigating a globally connected and ultra-modern world. It highlighted the necessity of
adopting educational praxes that align with an integrative worldview and place life and human
development at the core.
|
-
EDUARDO HENRIQUE SIMÕES DUARTE
-
Frevo with wings: Convergences in song-frevo based on album (1979)
-
Date: Dec 15, 2023
-
Time: 14:30
-
Show Summary
-
In this study, we propose the analysis of the impacts of the album "Asas da América frevo," produced by the Pernambuco artist Carlos Fernando in 1979 and interpreted by notable MPB (Brazilian Popular Music) artists. We will investigate how this album facilitated the convergence of different aspects of frevo-canção. It is worth noting that this musical work emerged in a context where frevo-canção, once confined to club dances during Carnival, began to attract large crowds in the streets, exemplified by the Galo da Madrugada and the "frevo novo" performed on electric trios in Salvador. Additionally, during the 1970s, there was a gap in phonographic productions of frevo, largely due to the bankruptcy suffered by the Pernambuco phonographic industry - Mocambo/Rozenblit - but also due to stylistic conventions promoted by the "authorities of frevo" in Pernambuco, which, over fifty years, hindered a renewal of the genre and rejected some "outsider" productions. With an album dedicated to frevo but produced in the Southeast by one of the major multinational labels, Epic/CBS, Carlos Fernando needed to win the hearts and minds of Pernambuco, the main phonographic market for the genre. It is also important to highlight that the project's creator wanted frevo to become a nationally circulated musical genre. However, for this to happen, he needed to make sure that frevo-canção created by MPB artists and, especially, by Bahian Tropicalists, engaged in a dialogue with "typically Pernambuco" frevo-canção. In this endeavor, the album's production involved arrangements and performances by two Pernambuco natives: maestro Juarez Araújo - responsible for orchestrations - who, despite having lived in the southeast for decades, had graduated from typical frevo orchestras, and his longtime partner Geraldo Azevedo, responsible for arrangements and the musical foundation. Therefore, Carlos Fernando aimed to break down the barriers between conventions that separated Pernambuco's frevo-canção from the "frevo novo" of Bahia, seeking to converge not only these two main "frevo accents" but also other musical genres. Thus, the objective of our research was to analyze the stylistic convergences in frevo-canção catalyzed by the album "Asas da América" (Vol. 1, 1979).
|
-
XISTO MEDEIROS DE SOUSA
-
The cultural performance of Quinteto da Paraíba: between the musical culture of brazilian Northeast and other musical universes
-
Advisor : LUIS RICARDO SILVA QUEIROZ
-
Date: Dec 15, 2023
-
Time: 14:00
-
Show Summary
-
The general objective of this research was to understand how the performance of
Quinteto da Paraíba puts different musical elements from Northeast culture into dialogue and
interaction with musical aesthetic-sound aspects from other cultural contexts, based on the
Group's solo albums. Methodologically, the research is configured as qualitative, with the
adoption of data collection instruments, bibliographic research, audio-sound-documentary
research, documentary research, and also the participant observation method. The results
indicate that the Quinteto da Paraíba constituted its repertoire and, above all, its performance,
creating a unique sound identity markedly located in the geographic space of the Brazilian
Northeast. The data presented particularities and cultural traits that define the artistic
trajectory of the Quinteto da Paraíba and its interrelationships with the musical culture of the
Northeast, such as the choice of repertoire registered in the inserts of the discs, with the
majority presence of composers from the Northeast; in the motivation for changing the name
of Quinteto Ravel to Quinteto da Paraíba; in the interweaving with the Armorial Movement,
among other facts. Starting from this point of intersection between the trajectory of Quinteto
da Paraíba the cultural recognition of social groups excluded from the great massification
imposed by the media and the need to rescue the identity of a people that increasingly
distances itself from its origin and ethnomusicology, with the research we were able to
understand how the cultural miscegenation was determinant in the artistic performance of
this group.
|
-
XISTO MEDEIROS DE SOUSA
-
The cultural performance of Quinteto da Paraíba: between the musical culture of brazilian Northeast and other musical universes
-
Advisor : LUIS RICARDO SILVA QUEIROZ
-
Date: Dec 15, 2023
-
Time: 14:00
-
Show Summary
-
The general objective of this research was to understand how the performance of
Quinteto da Paraíba puts different musical elements from Northeast culture into dialogue and
interaction with musical aesthetic-sound aspects from other cultural contexts, based on the
Group's solo albums. Methodologically, the research is configured as qualitative, with the
adoption of data collection instruments, bibliographic research, audio-sound-documentary
research, documentary research, and also the participant observation method. The results
indicate that the Quinteto da Paraíba constituted its repertoire and, above all, its performance,
creating a unique sound identity markedly located in the geographic space of the Brazilian
Northeast. The data presented particularities and cultural traits that define the artistic
trajectory of the Quinteto da Paraíba and its interrelationships with the musical culture of the
Northeast, such as the choice of repertoire registered in the inserts of the discs, with the
majority presence of composers from the Northeast; in the motivation for changing the name
of Quinteto Ravel to Quinteto da Paraíba; in the interweaving with the Armorial Movement,
among other facts. Starting from this point of intersection between the trajectory of Quinteto
da Paraíba the cultural recognition of social groups excluded from the great massification
imposed by the media and the need to rescue the identity of a people that increasingly
distances itself from its origin and ethnomusicology, with the research we were able to
understand how the cultural miscegenation was determinant in the artistic performance of
this group.
|
-
PABLO CÉSAR SILVA
-
MODELING IN THE SANTO DAIME RITUAL EXPERIENCE THROUGH VIOLONIST PERFORMANCE: a case study in the Daimista community Céu da Campina in Paraíba.
-
Advisor : MARCELLO MESSINA
-
Date: Dec 13, 2023
-
Time: 13:30
-
Show Summary
-
The present study aims to investigate the musical-ritualistic practice in the
Daimista community Céu da Campina (PB). Group belonging to the religious doctrine of
Santo Daime, which is characterized by its strong relationship with musical performance.
The investigation focuses on musical practice, especially instrumental performance, as
parameters to understand its effectiveness and function within religious ritual. Within the
pillars of analysis will be the guitar performance of musician Clemilson Dantas. In the
context of Ayahuasqueira music, Santo Daime has a musical practice that is performed
live, configuring the performance of the ritual as a result of a dynamic nature, in which
elements are combined that converge into a resultant that is the performance-ritual,
formed a priori by: individuals/performers, ayahuasca tea (daime) and its hymns. To this
end, the approach to performance will be contextualized in the so-called participatory
musical practices that are based on the idea of Flow (TURINO, 2008) and the theory of
morphology of the Open Work (FIEL DA COSTA, 2016; 2018), the latter adapted to the
context performance of the Santo daime based on the assumption that the daimista hymn
is the invariance structure from which the performance in rituals originates.Still as
theoretical assumptions, studies on Situated Knowledge (GROSFOGUEL, 2008),
emic/etic approach (NETTL, 2005) were used, approaches that are justified, among other
aspects, by the researcher's involvement as a member of an Amazonian religion - which
is updated in northeastern territory - and a musician participating in the rituals. The
methodology used was performance-guided ethnography, inspired by Junqueira (2020).
Due to its emphasis on guitar performance, the research inaugurates academic studies on
the topic in an in-depth manner, playing a fundamental role in the deeper understanding
of the intersection between music, ritual and Performance. It offers the opportunity to
uncover details about playing techniques, musical choices and interpretations that may
have gone unnoticed until now. Furthermore, research in this area can also contribute to
the preservation of the Santo Daime musical tradition. By analyzing the nuances of guitar
performance, it is possible to document and understand regional variations, the individual
style of the musician studied and shed light on the understanding of other performances
in a broader context of this musical religion. The objectives include analyzing the
aesthetic and structural elements present in Santo Daime music, revealing how musical
instruments work, understanding their effectiveness relationships and verifying the
presence of the concept of work music, as a parameter of effectiveness in monitoring the
guitar.
|
-
RENATA SIMÕES BORGES DA FONSECA
-
Exu and Music: ruptures, resilience and transgressions at the crossroads of Yerko Tabilo's life
-
Date: Dec 4, 2023
-
Time: 09:00
-
Show Summary
-
The Chilean Yerko Francisco Pinto Tabilo started his violin studies at Escuela
Experimental de Música de La Serena, the first social music project in America
Latin. While studying Bachelor of Music in Santiago, he received an invitation to come
teaching in Paraíba, arriving here in 1979, shortly after the creation of the Department of Music
from the Federal University of Paraíba (UFPB). Having never taught, Yerko was, little by little,
gaining space in this state as a teacher and as a violinist. Today, he is (re)known
nationally and has students and alumni working in the most diverse areas of music, both
in Brazil, as abroad. To build understanding of this trajectory and also of the actions
and thoughts involved in it, I used the tool of ethnography which, in this research, is
being carried out through Yerko's own reports, as well as those of some people who
lived with him. From the knowledge of the history of this teacher and these reports,
it has been possible to perceive that his trajectory was composed of attitudes and thoughts that,
sometimes diverged from the traditional canons established by a behavioral heritage
established by the field of Western classical music. Thus, based on the studies
about decoloniality, the interest of this work is to understand where, how and to what extent the
crossroads in the life of this teacher led him to different paths from the canons of the
of violin teaching-learning in concert music and in which aspects these paths
constituted an influence for the Paraíba violin scene. Within these studies, in addition to
of authors who lead discussions on the topic of decoloniality, such as those linked
to the Modernity/Coloniality Group, I intend to examine Yerko's actions inspired by
Pedagogia das Encruzilhadas by Luiz Rufino, which deals with the various possibilities of
existing paths in any history or trajectory, paths governed by
dynamics and powers of the Orisha Exu, the one who gives movement to life, reigns in all
forms of communication and, due to its ability to act in the gaps of events,
allows the transgression of any system established by the human being. For Rufino, the
crossroads are fields of possibilities and at them we can break or perpetuate the systems
in which we are inserted. Therefore, I think that this work by Rufino fits
perfectly as an explanatory principle of the different types of choices made by Yerko
in its trajectory with the violin teaching-learning system in concert music.
Thus, this work is, above all, the interweaving of thoughts, conceptions and explanations
about what I consider three fundamental forces for the dynamics of the world - music, the Orixá
Exu and the decolonial movement - with the life of Professor Yerko. And to sew this fabric
writing, I started from the understanding that music, being language, movement, exchange,
possibilities, ancestry and diversity is the realm of Exu, who inserts himself as an action
creative and creator of the most diverse ways of feeling and experiencing it. The people who
practices, incorporating it, manifest the strength of the Orisha in their countless practices, faithful or
transgressors of the cultural systems in which they are inserted.
|
-
ANDREZA SIQUEIRA GAMA
-
GROUP TEACHING OF VIOLIN FROM THE PERSPECTIVE OF DIFFERENTIATED PEDAGOGY: Theoretical and practical concepts from the UFPB extension course
-
Date: Nov 27, 2023
-
Time: 09:00
-
Show Summary
-
Historically, the Group Teaching of Musical Instruments (GTMI) has been practiced in Brazil based on the simultaneous teaching approach, which consists of leveling content and activities through a common denominator. Thus, the group is understood as a single organism that develops homogeneously through simultaneous activities carried out by the students. However, a literature review over the last decade on GTMI in Brazil and Portugal has shown that this methodology can have different approaches in the practical context, and this is directly linked to the organization of the groups, the number of students and the objectives in each teaching context. Through a more detailed analysis, we can see that just like any methodology, GTMI has points that need more attention, because its foundations are still based on practices that have lasted for centuries. The reflections being made on the functions of music education need to have repercussions on GTMI, and new ways of thinking about teaching in practice need to be devised. From this perspective, the concept of Differentiated Pedagogy is aimed at teaching that takes into account the student's individuality, even when immersed in a group teaching context. This new concept has been studied in Portugal and has shown positive results in improving students' comprehensive education. The main question of this research is: What relationships can we establish between the group violin teaching practices of the UFPB extension course in music: Children's musicalization through the violin and viola and the principles of Differentiated Pedagogy? To carry out this research, we propose a case study with a qualitative approach of the music extension project of the Department of Music - DEMUS/UFPB, entitled: Children's musicalization through the violin and viola. Through observation of classes and semi-structured interviews. As a result of the analysis, it was possible to identify the use of non-simultaneous approaches in alternation to the simultaneous teaching approach, and thus relate possible characteristics of Differentiated Pedagogy. The conclusion of this research was that the difference in the students' learning pace was noticeable from the very first semester of classes, mainly due to concentration and motor development, which is why the ideal for group teaching is a balance between two parameters, the individual and the group. Finally, the application of the principles of Differentiated Pedagogy in GTMI is immersed in a positive context of innovation, of expanding the frontiers of knowledge in such a way as to move us forward empirically and conceptually.
|
-
EMMANUEL WILSON DE CARVALHO
-
CUSSY DE ALMEIDA NETO: his influence as violinist and composer in Northeastern Concert Music
-
Date: Sep 28, 2023
-
Time: 15:30
-
Show Summary
-
Thisresearchproposesto preserve thememoryofthemusiccontributionsfromCussy de Almeida Neto, whoisviolinistandcomposer. It willtalkabouthiscareer as a violinist, hisinfluenceonnortheasternconcertmusic, andhisartisticlegacy as a performer andcomposeronBrazilianmusic in thesecondhalfofthe 20th century. For this, follow some importantspecificobjectives: toidentifytheobjectivesthatinspired Almeida createthe Armorial Orchestra; topresenthisinfluence as a violinistandcomposer; tooutlinethe musical aestheticscreated in NortheasternConcert Music anddeveloped in the Armorial Orchestra. Thisresearchispresented in threeparts: first, an overview ofallresearch material, thentheorganizationofthetextsandworks, andfinallythewrittenpresentationofthe result. In ordertoachievetheresearchobjectivesofthiswork, whichis a documentaryandbibliographicalstudy, thesearchwasmade in theauthor'spersonalcollection, thediscographyofthe Armorial Orchestra andthe Orange Group. Bibliographicalsources, scientificjournalsanddatabaseswerealsoconsulted. WeconsiderCussy de Almeida Neto a great musical influence. In Pernambuco, hebroughttogetherthemostimportantcomposersoftheNortheastandtogethertheyproducedthefirstconcertmusicwith a Northeasternaesthetic for the Armorial Orchestra.
|
-
CARLOS GIOVANO CUNHA MENDONÇA
-
PROCESS OF CONSTRUCTION AND MOBILIZATION OF TEACHING KNOWLEDGE: A STUDY WITH INSTRUMENT TEACHERS OF A DEGREE IN MUSIC
-
Date: Jul 31, 2023
-
Time: 15:00
-
Show Summary
-
This work aimed to understand, from the speeches of instrument teachers of a degree in music, the knowledge constructed and mobilized in the teaching of musical instruments in this context. The specific objectives that helped us to reach the general objective were: 1) Characterize the degree in music in which the professors work; 2) Analyze the formation of knowledge along the trajectories of formation and professional performance of teachers; 3) Identify the teachers' conceptions regarding instrumental training in the Degree in Music; 4) Analyze the knowledge mobilized in instrument classes. We adopted works dealing with teaching knowledge as a reference (TARDIF, 2014; GAUTHIER et al., 1998; PIMENTA, 1999; SHULMAN, 1986; 1987. In our methodology, we adopted a qualitative approach as a research strategy, combined with narrative interviews to compose the data and Bardin's content analysis (1977) as a technique for analyzing the collected data. We were able to conclude that the knowledge of professors who work in the teaching degree are related to their training and professional careers and that their conceptions are also influenced by their trajectory. In addition, research plays an important role in the teacher's pedagogical training, when carried out in dialogue with pedagogical practice. There are also certain types of knowledge that emerge from practice, such as those related to: understanding the limits and possibilities based on knowledge of the students' profile, that is, aspects related to musical experiences, preferences, etc.; the need to adapt the pedagogical process to the students, that is, adapt what is required according to the students' profile; build the educational process together with the student, that is, aspects linked to practice that seek, in some way, to include the student in the discipline; shared learning, that is, the construction of a favorable space for the exchange of ideas between students and between students and teachers; to know the difficulties of the students; the pedagogical work on students' difficulties, or what teachers do to promote the overcoming of students' difficulties; knowing how to learn to know how to teach, which is about thinking about other ways of studying that can be useful in graduation; the work of developing pedagogical skills and abilities in students, which deals with an intentional aspect of professional development for students in instrumental practice disciplines; and the evaluation according to the process, which implies a temporal follow-up in the development of the students' knowledge, as well as the adaptation of the evaluation according to the student. Such points are related to knowledge from experience, curriculum, pedagogical/professional/science of education, disciplinary knowledge, knowledge of pedagogical tradition, knowledge of students and their characteristics, knowledge of contexts, knowledge of educational purposes. From the trajectories we identified that such knowledge is temporal, not static and social.
|
-
MARIA JOSÉ DOS SANTOS
-
INTERPRETER-COMPOSER COLLABORATION IN THE COMPOSITION OF THREE STUDIES FOR OBOE SOLO
-
Date: Jul 31, 2023
-
Time: 14:30
-
Show Summary
-
Since the beginning of the systematization of oboe learning in the 19th century, several composers have created works whose objective is to collaborate with the technical and interpretative development of oboists through the study of a certain aspect of instrumental technique. Despite containing a significant number of works, the repertoire for oboe by Brazilian composers, for this purpose, is relatively limited. Seeking to mitigate this gap, this artistic research was carried out, of an autoethnographic nature, mediated by the collaborative process with three Brazilian composers, whose main objective was the creation of three studies for solo oboe conceived from the suggestion of interpretive and intertextual elements, proposed by interpreter. These elements were used both as compositional tools and as subsidies for the improvement and development of aspects related to the realization of these studies. Analytical autoethnography led to the description and analysis of collaborative processes based on the assumptions of artistic research, seeking to increase our understanding through active observation of the creative processes and artistic objects of this research. The adopted methodological procedures were developed through the execution of works for oboe by the collaborating composers, for a greater approximation with their compositional languages and a consistent interaction with the composers during the process of creation and execution of the studies, continuously seeking a compromise between the aesthetic conceptions of the composers and the idiomatic, pedagogical and interpretative aspects proposed by the oboist. We consider that the collaborative process was effective, as it contributed to the expansion of the oboe repertoire, with three new works by Brazilian composers: Estudo Brasileiro para Oboé Solo, by Uaná Barreto; PARÁBOLA - Study for solo oboe, by Rodrigo Lima; Waldeinsamkeit - for solo oboe, by Helder Oliveira. These studies can be used both as teaching tools and as works for musical performances, thanks to the effective communication between the performer and the composers throughout the research, significantly impacting the composition of the studies, as well as the construction of the interpretation of these new works.
|
-
CAIO FIORI BERTAZZOLI
-
The Samba Batucada in Córdoba, Argentina
-
Date: Jul 31, 2023
-
Time: 13:30
-
Show Summary
-
This work presents and discusses the results from a research with the samba batucada ensembles that are present in Córdoba, Argentina, arising from the case study of three groups from the region: Batería Cadencia Cordobesa, Acadêmicos de Manos de Fuego and Escola de Samba União da Serra. With a focus on percussion and considering contextual aspects, the research seeks to understand the musical practices of the groups samba batucada, a popular manifestation that is not traditionally from the region. The research is methodologically supported by field research, aided by the researchers previous nine years experience in the country. The field research included the recording of audiovisual material, pre existing recordings from the groups and interviews that were held on field with each groups respective leader and other persons that participate in the context. The analysis and interpretations are based on the ethnomusicological field and related areas of study, fundamentally the studies related to samba batucada musical practices. The results show that the groups work within a shared cultural context but with specificities and appropriations and reinterpretations of the sambas musical elements that are unique to each one. Such interpretations are part of a process that involves a transcultural interaction between the subjects of the cultural and social cordobes context and the batucada samba universe.
|
-
ROSANGELA SOUZA DA SILVA
-
TEACHING PRACTICE AND DIGITAL TECHNOLOGIES: RELATIONSHIPS OF MUSIC TEACHERS WITH VIDEO PRODUCTION
-
Advisor : JUCIANE ARALDI BELTRAME
-
Date: Jul 31, 2023
-
Time: 09:00
-
Show Summary
-
The way music teachers relate to digital technologies can bring significant contributions to
their teaching practice today. Therefore, this research starts from the following question: how
is the relationship between music teachers and digital technologies in their teaching practices?
Thus, I seek as a general objective: understand the teaching practice of music teachers who
work at the State School of Music Anthenor Navarro (EEMAN) highlighting the role of
videos productions in the context of their practices. As specific objectives: to understand the
relationship between music teachers and digital technologies through video productions in
their teaching practices; identify the learning and reflections from the recordings and video
productions of didactic content; and understand the challenges and learning that emerge from
sharing videos on social media by teachers. In this sense, I conducted a research with a
qualitative approach, with the focus group carried out in the remote format, as the main data
collection procedure. Accordingly, the research participants are four music teachers working
at the State School of Music Anthenor Navarro (EEMAN). Therefore, the main authors used
for the basis of the research according to the research themes on Digital Technologies in the
teaching practices of music teachers: Barros, Beltrame and Marques (2023), Bezerra (2023),
and Garcia (2023); digital recording technologies: Gohn (2008), Martins (2017) and Alves
(2020); and audiovisual productions and Digital Platforms, Silva (2020), Marques (2021). In
this way, the dialogue of digital technologies with the teachers' teaching practice reflected in
the students' experience, resulted in different experiences and from all video production, there
was learning. Hence, this work is relevant because it presents a reflection from the perspective
of teachers regarding the specificities and productions in videos that occur in musical and
teaching practice, making a dialogue between the music produced and consumed.
|
-
MARIA ALICE PONTES DE CARVALHO
-
Female Protagonisms in Music from Paraíba: a look at the trajectory of three women musicians
-
Date: Jul 28, 2023
-
Time: 15:00
-
Show Summary
-
This research brings as central question the trajectories of three women musicians, Nathalia Bellar, Sandra Belê and Glaucia Lima, acting in the city of João Pessoa, from their female protagonism in music from Paraíba, dialoguing with feminist theories, the field of Music and Gender, Ethnomusicology and related areas. In this perspective, this study brings a brief history of women in Brazil, highlighting the paths and struggles of women for the conquest of rights and spaces in society. Subsequently, it makes an overview of the field of Music and Gender, as well as the history of women in music, in order to analyze and discuss the trajectories and protagonism of three women musicians from Paraiba, from the theoretical referential. Furthermore, it brings general data about the quantity of women musicians in João Pessoa, and proposes to discuss measures to confront sexism expanding the debate to think about possibilities of female empowerment in music, aiming for protagonism, as well as to expand the presence of women in the various musical spaces.
|
-
JOSE AGOSTINHO DA FONSECA JUNIOR
-
Extended techniques on the oboe: studies and propositions of facilitating processes for interpretive practice
-
Date: Jul 28, 2023
-
Time: 14:30
-
Show Summary
-
The search for new sounds as an expressive resource has been present in music for centuries. Such demand drives composers and instrumentalists to explore new sounds for their compositions and interpretations, among these: the extended techniques. The present work intends to promote the study of these techniques for oboists through facilitating processes, decoding and systematizing the elements necessary for their execution. Initially, we conceptualize, contextualize and describe the extended techniques and their development in the oboe repertoire. Through literature review and autoethnography, facilitating processes were proposed for performing five extended techniques on the oboe: multiphonic, harmonic, frulato, double trinato and glissando. The selected techniques were the result of a documental research carried out in international competitions. The facilitating processes were developed from the perspective of self-efficacy, seeking strategies that emphasize self-perception for the reflexive development of the necessary skills for learning and improving the oboe's extended techniques. As part of the methodology, arrangements of Brazilian nursery rhymes were prepared using the extended techniques to exemplify the expressive potential of these sound resources in the construction of a musical performance. It is believed that the facilitative processes can provide an opportunity for a gradual access to the extended techniques, expanding the expressive possibilities of the oboists, as well as contributing to the improvement of their technical and interpretive skills.
|
-
THIAGO COSTA DE SOUZA
-
Bumba-Meu-Boi from Maranhão: na ethnomusicological reflection about musical sustainability
-
Date: Jul 27, 2023
-
Time: 15:00
-
Show Summary
-
The context of this work seeks to present a study on musical practices in Brazilian culture from the perspective of musical sustainability. To delimit the object of study, research was carried out on the trajectory of the Bumba-meu-boi group from Maracanã from the beginning of the 21st century. The focus of this study is based on the sustainable aspects that helped to maintain this group throughout this period. Therefore, the main objective of this work is to understand the historical trajectory of Bumba-meu-boi de Maracanã over the last twenty-five years, seeking to understand, from studies on musical sustainability, what are the important points for the maintenance of its own existence. Musical sustainability (see BENDRUPS end SCHIPPERS, 2015. COOLEY, 2019. TITON, 2013, 2019a, 2020) recognizes that sociocultural, environmental, political and economic changes are inevitable and seeks to manage these changes to ensure the integrity and continuity of musical manifestations in the future According to Titon (2009b), discussions and actions around musical sustainability should be guided by ecological principles and not economic ones. Tansley (1935) points, out that the ecosystem perspective has as its principle the observation of a complex organism interacting with broader physical factors that form the environment or biome to which it belongs. At this point we cannot separate the organism from the environment. Given this, Schippers (2015, p.137) proposes to think of music as a musical ecosystem. That is, "The whole system, including not only a specific musical genre, but also the complex of factors that define the genesis, development and sustainability of the surrounding musical culture in the broadest sense". Therefore, in this research, nine concepts were worked on in search of a contextual, holistic and multiscale vision to guide the analysis process of this musical manifestation. Methodologically, this is a qualitative research of a basic nature that uses, as a technical means, the method of historical procedure structured through bibliographical and documentary research combined with ethnographic procedures such as participant observation and interviews. The results obtained show us that the Boi de Maracanã is maintained through: the faith and the syncretic aspects in which popular Catholicism coexists and the enchantry of the tambor de mina, in search of the survival of the human being as part of an ancestral symbolic universe; The community census and belonging to a ritualistic cycle that gives meaning to life; of ancestry and continuity from the Afro-indigenous cosmovision; of its resilient power of self to restructure and dialogue with the public and private sector, in search of financial survival, of constant learning, which react to the disturbances in the contemporary world, such as in the period of social isolation; of the associativism of individuals and the use of their abilities in search of the satisfaction of the community. Therefore, understanding the sustainable paths from an ecosystem perspective throughout this historical period is important to understand the process of continuity of the Boi de Maracanã and its state at the present time. In this sense, being together making music is one of the crossroads at which the various dimensions are connected in the physical, philosophical, religious and transcendental sense.
|
-
RUDÁ BARRETO VIEIRA
-
Focal dystonia in acoustic guitarists: a routine of excesses
-
Date: Jul 26, 2023
-
Time: 09:00
-
Show Summary
-
This study aims to discuss focal dystonia and its relationship with instrumental practice based on a case study involving three violinists who have completed their higher education. The work is the result of a qualitative research that, based on a multiple case study, sought to achieve a deep understanding of a delimited situation and the meanings for those involved. Semistructured interviews were conducted as the data collection instrument to comprehend the individuals' trajectories and formative contexts, analyzing them as part of a set of meanings and circumstances in which these students are immersed. For the analysis process, we rely on the writings of Joaquín Farias and Ruth Chiles, researchers who provide perspectives that go beyond instrumental practice, understanding that focal dystonia is not solely a result of technical and mechanical excesses in instrumental practice. From the achieved results, it becomes evident that the onset of focal dystonia is intrinsically linked to a complex social and cultural conjuncture that permeates curricular structures and, consequently, influences the teaching and learning process of the instrument. This conjuncture encompasses factors such as competitive pressures in the job market, deeply rooted paradigms of excellence and virtuosity, lack of body awareness, absence of discussions on occupational health and musician's wellbeing, among other elements. These negative influences can lead to careless practice that disregards physical and mental limits, contributing to the onset of focal dystonia. Therefore, there is a need to reconsider and reformulate this model, seeking a more inclusive, healthy, and comprehensive approach to value the holistic development of music students. In light of this, this study provides a solid foundation for future research in the field of health and music education, highlighting the importance of investigating the interactions among the body, musical practice, and sociocultural context. An in-depth understanding of focal dystonia as a multidimensional manifestation enables the formulation of more comprehensive and effective preventive and therapeutic approaches.
|
-
SAMMA MASCARENHAS DE MENDONÇA
-
LEMI AND TEACHER TRAINING: TRAJECTORIES AND EXPERIENCES OF MUSIC GRADUATES AT UFPB
-
Date: Jul 25, 2023
-
Time: 13:30
-
Show Summary
-
A study group was created in 2010 called "UFPB Children's Music Education Group" at the Federal University of Paraíba (UFPB). From the actions and studies carried out by this group, the Laboratory of Children's Music Education (LEMI) operated actively until 2020. The LEMI create a space in which students of the degree course in music would have the opportunity to dedicate themselves to teaching aimed at early childhood children, promoting classes of music and functioning, therefore, as a laboratory school. The laboratory provided diverse experiences related to teaching music in early childhood and music education in general, in addition to addressing the practice of collaborative teaching, since classes were planned and discussed with the participation of the most experienced teachers and the participating students, teachers in training. Some projects and many undergraduate students went through LEMI, which has become, over the years, a reference for early childhood music education in the city of João Pessoa. Therefore, this research addresses LEMI as a space for training music teachers in early childhood, analyzing how this extension project contributed to the training experience of music graduates who participated in it, focusing on the teaching knowledge involved in this process based on the work of Maurice Tardif, Teaching Knowledge and Professional Training, used as a theoretical reference. The methodology adopted was the life story (musical), with data collection through narrative interviews with ten subjects. As a general objective, the research sought to understand how participation in LEMI/UFPB influenced the training course of music educators who work in João Pessoa. It also has specific objectives: Contextualize the LEMI in the historical and institutional scope of the UFPB and the developments until the year 2023; analyze the spaces, paths of training, and musical performance of undergraduate students, before they enter into LEMI; identify the motivations and expectations that led to the choice to be part of the Laboratory; analyze the effects of participation in LEMI on the professional and personal training of teachers who passed through it and its reflections on their subsequent pedagogical practice. The analysis of the participants' reports showed how LEMI, as an extension project, influenced the training of these professors licensed by the UFPB, providing the development of experiential knowledge (according to Tardif) and knowledge of pedagogical action (in terms of Gauthier et al.). We conclude that LEMI acted to reduce the distance between practice and theory in teacher training and enabled specific area of early childhood music education through the extension project the curriculum of the Major in Music Education is not able to cover all the particularities of the possible fields of activity of the music educator , and even generated a job market in this specific area in the city of João Pessoa.
|
-
MICAS ORLANDO SILAMBO
-
.
-
Date: Jul 24, 2023
-
Time: 14:00
-
Show Summary
-
The reconstruction of mbira music in Mozambique (Maputo), once stigmatized in African
societies, has been asserting itself since the beginning of the 21st century due to various
movements and personalities. This thesis seeks to understand the practicalities and strategies
applied to the reinvention and maintenance of vachayi va timbira in Maputo (Mozambique),
as well as their inter-relationship with integrated musical arts. The research was based on an
ethnographic research, consolidated in fieldwork that, between 2019 and 2022, provided an
interaction with the vachayi va timbira. In this context, people train themselves through active
and reflective listening, trial and mistake, gestures and sound, collaborative work, especially
by looking, listening, feeling, imitating, and repeating patiently. The collecting of these
processes was possible thanks to the dialogue of references from the Gestual, Oral and
Practical Empirical Field, as well as the theoretical bases, from African Musicology,
Ethnomusicology, History, Anthropology, and Music Education. The results indicate that
mbira music is a repository of information for the re-education of the African people in their
names, languages, dances, songs, musical instruments, religions, environment, heritage of
struggle, unity and capabilities, making this people take its past as a field of constructive
achievements for humanity. Being open to people, processes, strategies and characteristics of
mbira music means developing democratic emancipatory practices that go beyond the music
itself, inter-relating it with society, culture, language, creativity, innovation, and more.
|
-
FRANCISCO ORNIUDO FERNANDES FILHO
-
[R]existing: the performance of the Vintena Brasileira
-
Date: Jul 24, 2023
-
Time: 09:00
-
Show Summary
-
This work investigates the performance of Vintena Brasileira, an orchestra conducted by André Marques, a pianist, composer, and arranger from São Paulo, Brazil. The orchestra emerged from Brazilian rhythms workshops initiated in 2003. Vintena Brasileira is based, as described on its official website, on the principles of Música Universal, as conceived by Hermeto Pascoal. This term is employed by the musician in an attempt to describe his musical system, which was developed through an intense rehearsal regime between 1981 and 1993 in the Jabour neighborhood, located on the outskirts of Rio de Janeiro. The practices developed there established an artistic-pedagogical environment referred to in the literature as Escola Jabour, from which André Marques and, consequently, Vintena Brasileira are recognized as offshoots by specialized literature. Motivated by my previous participation in the group between 2017 and 2018 and the ensuing human interactions and relationships, this study aims to comprehend the main connections between the concept of Música Universal from Escola Jabour and the creative, transmission, and musical performance processes of Vintena Brasileira. In order to construct a comprehensive understanding of the proposed theme, this study is grounded in the field of performance studies from an ethnomusicological perspective. In this regard, I propose reflections that extend beyond the musical fact itself, encompassing individuals within their contexts, interactions, conceptions, audience, time, space, and other relevant aspects to attain a holistic and contextual comprehension of the group. To achieve the intended objectives, the methodological outline of this study encompasses bibliographic research, documental research, and semi-structured interviews. The analyses and interpretations were developed by integrating theoretical perspectives from musical performance studies, the empirical and reflective perspectives derived from specific literature on Hermeto Pascoal's Música Universal, and the empirical dimensions generated during the research process. The findings point to a performance that is characterized as a result of lived experiences in social-interactional processes, which are reflected in the sonic-structural and contextual elements of the orchestra, interwoven with concepts, techniques, and procedures of Música Universal, encompassing dimensions of intuition, orality, improvisation, and collectivity. Consequently, new interactions and experiences are generated through the products and ramifications of this performance.
|
-
MARCELO MORENO DA SILVA
-
Universality and regionalism in the work of José Siqueira: constructing a critical and a performance edition for the II Sonata for Cello and Piano
-
Date: Jun 30, 2023
-
Time: 16:00
-
Show Summary
-
This research presents an analysis focused on performance, based on references of Brazilian cultural expressions from the Northeast of Brazil present in the II Sonata for Cello and Piano by the composer José Siqueira, from Paraíba. At the same time that we propose the elaboration of a Critical Edition as well as Performance Edition of the Sonata, we use notions from the Trimodal System (SIQUEIRA, 1981a) developed by the composer himself. Thus, we found tools to identify patterns that helped to propose solutions for eventual inconsistencies in the handwritten copies, the main primary documental sources for this work. We point out that these primary sources concern the composer's manuscript as well as fair copy prepared by F. Paes de Oliveira. Together, they proved to be indispensable tools to the author's compositional understanding. As a way of proposing interpretative possibilities for the Sonata, we held a discussion about concepts about Timing applied in the performance of the work based on the study of Matthay (1913), Cone (1968), Epstein (1995), Aquino and Aquino (2021). In order to investigate Siqueira's cellistic and regionalist language, juxtaposed with his compositional universality, the research seeks to identify possible influences absorbed by Siqueira through the artists with whom he lived and were related to. It is in this context that we identify supposed traits of the British composer Benjamin Britten in the elaboration of this work. In this way, parallel to the composer-performer relationship between Britten and the Russian cellist Mstislav Rostropovich, Siqueira also dedicated this Sonata to the cellist. By investigating a Brittenian language and/or aspects in the Sonata, this study also intends to understand Rostropovich's influence to the 20th century cello repertoire to investigate whether the ties between Siqueira and Rostropovich are only in the dedication of the score or in the composition itself.
|
-
DAYSE CHRISTINA GOMES DA SILVA MENDES
-
Teaching and learning self-regulation promotion in an educational approach in the Music Teacher Education Program of the Federal University of Pernambuco
-
Date: Jun 30, 2023
-
Time: 14:00
-
Show Summary
-
The mainobjectiveofthisinvestigationwastopropose, analyzeandunderstandthe curricular integrationof self-regulationoflearning in instrumental training in aneducationalaction in thedegreecourse in music, whosespecificobjectiveswere: Understandingthe self-regulationofstudentsatthebeginning, duringandattheendofeducationalaction; Understandthe self-regulatoryprocessdevelopedbyparticipants as learnersandteachers; Understandthestrategiesand self-regulatoryskillsdevelopedbytheparticipants; Understandthe dialogues thatoccurred in thepedagogicalactionbetweenthe self-regulationoflearningand instrumental training practices in theelectivecomponentspecialtopics in musicdegreecourse in music; Indicatecontributionsof self-regulatedlearningtotheinitial training ofmusicteachers; Indicatetheimplicationsof self-regulationof musical learning for theinitial training ofmusicteachers. The constructionprocessofthetheoretical framework consistedofthreethematicbranches, namely: Self-regulationof musical learning, Collective musical instrumentteaching/Group piano teachingandInitial Music Teacher Training. Weused as guidingmodelstounderstandthephenomenon, themodelofcyclic self-regulatoryphases, thetriadicreciprocityandthe dual role ofthe self-regulatedteacher. Through a qualitative approach, wedevelopedanactionresearch. The interventiontookplacethroughtheelective curricular component MU690 Specialtopics in music, in themusicdepartmentofthe Federal Universityof Pernambuco (UFPE) fromFebruaryto May 2022. Sixundergraduatestudents, the professor andtheresearcherparticipated in theresearch. Afterfollowingallthenecessary procedures for enteringthefield, westartedthepedagogicalactionwiththeFreeandInformedConsentTermsignedbyall. The data collectioninstrumentswere: questionnaires, semi-structured interviews and online and face-to-face classes recorded in audio. Tounravelhowthe self-regulatoryprocessoccurred, weanalyzedthe data accordingtothesixdimensionsof self-regulation in musiclearning, namely: motive, method, time, behavior, physicaland social environment. Wefoundthat in ordertopromotedidacticsituations in theteachingoftheinstrumentfromthe perspective ofthe ARA, it isnecessary for thestudenttoact in a dual role, thatofreflectivelearnerandteacher. The resultsrevealedthatstudentsusedeffectivestrategiesandskillstolearnandteach in the individual andcollectivecontextof a musical instrument, categorizedrespectivelyaccordingtothestagesofstrategies for instrumental practice, namely: Planning andpreparation, executive, evaluative, andmetastrategies, preparationstrategies for publicpresentationandaccordingtothe four stagesofdevelopmentof self-regulatoryskillssuch as, for example, theabilityto set goals, use specificstrategies, integrateeruditeand popular approaches in teachingtheinstrumentand self-assessmentofthe self-regulatoryprocess. The findingsalsohadimplications for teachingandmusiceducation. Weconcludethatjust as thepresentresearchprovedtobeeffective in thecontextofhighereducation, it becomesrelevantthat it beapplied in multiplecontextsof Music Education.
|
-
LUIZ FERNANDO NAVARRO COSTA
-
Music and Visual Impairment: an online guitar teaching and learning proposal for the blind.
-
Date: Jun 19, 2023
-
Time: 14:00
-
Show Summary
-
By acting remotely, online education has become an alternative for the education of those who live far from educational centers and for individuals with limited mobility, such as the visually impaired. The present research implements and evaluates an online guitar teaching proposal for an audience with total blindness. The goal is to understand the processes, possibilities, and challenges involved in this initiative. The motivation for this research developed in the Graduate Program in Music (PPGM) at the Federal University of Paraíba (UFPB) arose from a personal experience in teaching guitar to a blind female student. The methodology used was action research. The process of pedagogical intervention consisted of an online guitar course for blind people held in two phases: the first with ten Weekly individual lessons, thus, from October to December 2020. The second phase, which started in March and ended in June 2021, incorporated a monthly collective lesson, totaling fourteen individual and four collective lessons. Both phases had the same participants: five blind students from different undergraduate courses at UFPB. Three students were beginners and two already had experience with the guitar. The Online Guitar Course for the Blind (CVOC), offered by UFPB's extension program, focused on the practice of popular guitar and did not make use of Braille musicography. The platform chosen for the synchronous classes was Google Meet, accessed by the students by means of a smartphone. For asynchronous interactions and sharing of files and links, WhatsApp and Youtube were used. Several tutorials in video format were prepared specifically for the course, related to the contents to be worked on. The results of the action research pointed to the effectiveness of online guitar teaching for the blind. Although difficulties arose due to the slow internet, occasionally compromising a good follow-up of the student's activities, it was found to be possible with satisfactory technological resources and appropriate methodology to teach, in the online modality, popular guitar for blind people. The students used the digital technologies without any problems, being quite independent in the access to the platforms, as well as in the synchronous and asynchronous communications. Guitar learning was based mainly on tactile memory and listening, but the methodology in the course also made use of alternative conventions and systems for teaching rhythm, chords, and how to use pictures in songs harmonization. The beginners learned how to accompany the songs and Brazilian rhythms planned for the pedagogical intervention. For the experienced students, the course was an opportunity to recycle their guitar knowledge and to get to know new accessibility systems for practicing the popular guitar. The interactions were motivating for the students, and were also a comfort to face the difficult days of the Covid-19 pandemic, as well as fostering collaborative learning. Although online guitar teaching is currently restricted mostly to those who can see, the CVOC was a unique experience that sought to contribute for the equity of this population.
|
-
JULIANA SANTOS REZENDE DE ARAUJO COUTO
-
THE FIRST SONATA FOR VIOLIN AND PIANO BY JOSÉ SIQUEIRA (1949): an analytical and performance study
-
Date: Jun 12, 2023
-
Time: 14:00
-
Show Summary
-
The main objective of this work is to carry out an analytical and performative study, focusing on northeastern musical genres (baião and maracatu), mainly in terms of rhythmic and modal characteristics present in the First Sonata for Violin and Piano (1949), by José Siqueira. In the first chapter we carry out a brief contextualization about the composer José Siqueira and his relationship with northeastern music, in addition to explaining the northeastern musical genres present in the work. Still, we address some theoretical and practical aspects of the trimodal system developed by the composer and briefly expose the classical sonata form to guide the analysis of the work. In the second chapter, we focused on the analytical study of the three movements of the work, analyzing it formally, harmonically/modally, thematically, and rhythmically, using William Caplin's (Classical Form, 1998) and James Hepokoski's works as theoretical references. and Warren Darcy (Elements of Sonata Theory, 2006). Finally, in the last chapter, we approach the performance construction process of the work, in which we selected some excerpts from the three movements, where we brought suggestions of an interpretative nature, in which they were based on the understanding of the style of the northeastern musical elements present in the work. We reviewed the bows, fingerings, dynamics and articulations indicated by the composer, aspects for which we recommend some changes, with the purpose of contributing to a better understanding of the composer's idea.
|
-
MAURO ALBINO MUHERA
-
Choral music in Mozambique: transcription, reworking and interpretation of four Mozambican polyphonic songs for choir.
-
Date: Apr 28, 2023
-
Time: 10:00
-
Show Summary
-
The general objective of this research was to reflect on the interpretation process of four Mozambican polyphonic songs for equal and mixed choir, a cappella and with accompaniment, transcribed and re-elaborated. The aim was to provide support for conductors interested in expanding the possibilities of choosing the choral repertoire. To achieve this goal, we divided our research into three stages. First, we dedicated ourselves to the theoretical background. For this reason, we analyzed the practices of collective singing and choral singing in Mozambique. Here, we focused on various subjects, including Makwayela, Revolutionaries Songs and the choral movement in Maputo, covering specific groups, such as Majescoral, and events, such as Fest Coros, one of the most important in the country in this category. We also approached the principles that guide the creation and execution of repertoires sung polyphonically, for example, those related to harmony and vocal conduction. In the second stage, we examined four arrangements of Mozambican songs, contemplating the context in which they were written, as well as the rhythmic, melodic, harmonic, and textual elements of each of the pieces. In the third and last part, we reported how preparing and interpreting the repertoire, based on the rehearsals and presentations we performed with the Campina Grande Chamber Choir, highlighting the main points observed throughout this practical experience. The results indicate that, when performing music from different countries, the singers in this study began to have a broader view of musical diversity around the globe. In addition, because we interpreted the selected and arranged repertoire with a Brazilian choir, we realized that, in this process, there was an exchange of knowledge and musical practices between the parties involved, that is, between the researcher and the choir, both coming from different cultures, but which bear many similarities to each other. Finally, we conclude that, when interpreting a repertoire that appropriates the European musical language as a decolonial tool, we expand the possibilities of choirs, conductors, and vocal coaches, who will start to sing music in several languages, including African ones.
|
-
RUTE CAROLINA DA CUNHA BENIGNO
-
Me and my accordion: formative trajectories of six professional accordion players
-
Date: Apr 24, 2023
-
Time: 14:00
-
Show Summary
-
The accordionis a veryimportantinstrument for theNortheasternandBrazilian musical culture, linkedpredominantlyto popular music. It isassociatedwithaesthetictraditionsandspecificlearningpractices. The productionofscientificknowledge in musicis, littlebylittle, coveringthisfieldand it is in thisscenariothatthisresearchislocated. Thisstudyseekstounderstandthetrajectoryof musical formationofaccordion players with a consolidated artistic career. Its specificobjectives are: toanalyzethesituationsandlearning the processes experiencedbyaccordion players, as well as therelationshipsbetweensuch processes; describetechniques, styles, contextsandmeaningspresent in their musical formation; andtoidentifytheaccordion players' conceptionsabouttheirownformativetrajectory. For thisresearch, a qualitative approach wasadopted, usingtheHistoryof Musical Life as methodologyand, as themain data collectiontechnique, thenarrative interview. Sixaccordion players withconsolidatedandrecognized professional performance in theBrazilianNortheastwereinterviewed. The narrative interview wascomplementedby a semi-structured interview basedontheimmanentcontentsofthefirst interview. The studyisbasedonthe Pierre BourdieussociologyandonstudiesonNortheasternculture, learning in musicand, specifically, in popular music. The analysiswasalsodirectedbystudiesabout forró andaccordion. The mainlearningpracticesanalyzedwere: familiarization, playingbyear, imitation, peerlearning, formal studies, transpositionofstudiesfromotherinstrumentsandcreation. As learningcontexts, noninstitutionalonespredominate, withemphasisonthe performance situationitself as a situationthatpromotes, in additionto musical learning, thedevelopmentof professional practicesoftheaccordion player. It isnoticedthat, alongthetrajectories, onelearnsnotonlyto play theaccordion, buttobeanaccordion player. Technicalandaestheticlearning, theincorporationofculture(s) and professional practice are inseparableaspects in thetrajectoryofthesesubjects. The researchcontributestounderstandingthelearningpracticesof professional accordion players and popular musicians in general, andcanaddtobroaderreflectionson popular cultureand art.
|
-
ANDRE VIEIRA SONODA
-
Sound recordings of cultural manifestations in Northeast Brazil subsidized by IPHAN in the 21st century
-
Date: Mar 21, 2023
-
Time: 14:00
-
Show Summary
-
Since the political ascension of Getúlio Vargas to power, in 1930, and during most of
the 20th century, government investment in mechanisms to protect the Brazilian cultural heritage was mainly based on the registration of a material heritage with Eurocentric characteristics, strongly related to the culture of the ruling class. However, at the end of the 20th Century, a new paradigm redirected government intentions, promoting a gradual approach to
contemporary mechanisms for recording and safeguarding intangible cultural heritage. The
latter, more connected to the popular classes, as well as better representative of the ethos and
sociocultural aspects of the Brazilian people. Materialized in the work of the Instituto do
Patrimônio Histórico e Artístico Nacional (IPHAN), this new political context favoured the
increase in the activity of ethnographic sound recordings on popular cultural manifestations
in the Brazilian Northeast in the 21st Century. However, despite the relevance of these phonographic documents for the Nation, no scientific approach to them, in the terms implemented here, seems to have been instituted up to the present moment. Conducted between 2018
and 2022, this research used bibliographic, documental, acoustic and statistical analyses to
assess the characteristics, tendencies and gaps of these ethnographic sound recordings subsidised by IPHAN in the 21st Century. For this, three analytical dimensions were adopted:
physics of sound and auditory acoustics; audio engineering and, finally, ethnographic ethnomusicological parameters. Dimensions that proved to be essential for understanding the
object of study, as well as for the production of unpublished and relevant information for
ethnomusicology and areas in which ethnographic work represents a fundamental procedure.
As results, four points were considered main. First, the apprehension of the characteristics,
tendencies and gaps of the evaluated sound recordings. These aspects reveal important sociocultural contexts related to twenty-six cultural manifestations in the Northeast of Brazil,
which, within the scope of this research, ascended to the status of main objects of analysis.
Secondly, the realization of the need for reflections on ethnographic practices in ethnomusicology. Aspects, including, considered important in all areas of knowledge in which ethnographic work, with emphasis on phonographic records, represents an indispensable procedure. Thirdly, the need for adjustments in government policies to safeguard Brazilian intangible heritage, in the sense of establishing guidelines for the practice of ethnographic sound
recordings, anchored in epistemic-philosophical constructs and conceptions of ethnomusi-cology, anthropology and Brazilian cultural manifestations, as well as legal mechanisms
more suited to the contemporary requirements of safeguarding and disseminating the national cultural heritage. Finally, the viability of using statistical analyses to identify quantitative
data capable of subsidizing relevant qualitative analyses for ethnomusicology was verified.
As conclusions, three points were considered relevant. First, the need for conceptual improvements in the field of ethnomusicology, both in relation to the practice of sound recordings and post-production processes of ethnographic materials and in relation to gender hierarchies, power relations, in addition to contemporary religious and cultural discrimination.
The latter, attacking the rights and freedoms of cultural manifestations, especially in the case
of Indigenous and Afro-Brazilian cultures. Secondly, the need for improvements in public
cultural policies, both within the scope of mechanisms for safeguarding, protecting and disseminating the national cultural heritage and in terms of official technical-operational guidelines, instituted by IPHAN, which can better regulate ethnographic recording activities and
post-production stages of these materials according to ethnomusicological, anthropological
and ethnic precepts typical of Brazilian cultural expressions, especially those qualified as national intangible heritage. It was concluded that the use of statistical analysis in ethnomusicological research can reveal important data, favouring essential qualitative analyses. Although subsidies of this type can approach logics often considered inadequate for the purposes of the human sciences, they seem capable of elucidating aspects and sociocultural contexts that are difficult to identify by purely qualitative methodological options. Finally, the
interpretations instituted here allowed the foundation of the thesis that the sound recordings
of cultural manifestations in the Northeast of Brazil subsidized by IPHAN in the 21st Century reveal the needs for epistemic-conceptual, practical-operational and normative improvements both in public policies to safeguard the national intangible heritage and in ethnomusicology, as well as in field ethnographic processes that include phonographic records. It is
hoped, therefore, that this initiative favours changes in the terms indicated here.
|