Programa de Pós-graduação em Música

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12 Improvisos para violão de Theodoro Nogueira: aspectos composicionais e idiomatismo técnico violonístico
(Universidade Federal de Goiás, 2018-03-28) Fujiyama, Laís Domingues; Meirinhos, Eduardo; http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4799419Z0; Meirinhos, Eduardo; Costa, Carlos Henrique Coutinho Rodrigues; Antunes, Gilson Uehara Gimenes; Pereira, Marcelo Fernandes
The present work deals with the discussion of the compositional aspects and technical idiomaticism of the 12 IMPROVISOS for guitar solo by Theodoro Nogueira. The dissertation is divided into three parts: the first one consists of a brief biography of the composer, which included the biographical’s recollection data (visit to the Zequinha de Abreu Museum, where the composer's Collection is at), interviews with guitarists Gilson Antunes and Geraldo Ribeiro (who recorded this cycle) and with the son of the composer João Antonio Nogueira. The second part consists on the compositional analysis processes of the improvisations, in confrontation with the nationalistic aesthetic influence and with the critics of other guitarists. We use the writings of the authors Schoenberg (2011) and White (1976) as the theoretical foundation for this aspect. In the third chapter, we intended to show the idiomatic aspects in his music writing. As a reference for our discussion about compositional and instrumental idiomaticism we consulted the writings of Tullio (2005), Kreutz (2014), Scarduelli (2007), Pereira (2012), Battistuzzo (2009) and Vasconcelos (2002). Some of our results have shown that, besides belonging to Brazilian nationalist aesthetics, Theodore Nogueira presents compositional peculiarities that put him in a position of visibility and academic interest in relation to his work for guitar, in addition to the technical level required for the performance of his parts is hard. The idiomatic suggestions for 12 Improvisos enhance the compositional aspects described in the previous chapter.
Abordagens técnico-interpretativas sobre a velocidade ao piano: um estudo de caso de obras selecionadas do classicismo e impressionismo
(Universidade Federal de Goiás, 2019-09-30) Medeiros, Hugo Martins; Costa, Carlos Henrique Coutinho Rodrigues; http://lattes.cnpq.br/5091807553556414; Costa, Carlos Henrique Coutinho Rodrigues; Rosa, Robervaldo Linhares; Cunha, Estércio Marquez
This research consists of a study on piano velocity, presenting approaches of various artists and theorists of the area. It aims to investigate interpretative technical strategies that make it possible to perform high-speed passages on the piano, within the classical and impressionist styles. For this, firstly, through a bibliographic and documentary research, we based the approach of the speed by the modes of technical interpretation, the physical approach of movements and the preparation of the repertoire in each of the two styles. A representative piece from each of the aforementioned styles was selected as an experimental part of the research: Duport KV 573 Theme and Variations on a Mozart Minute and Debussy's Estampes. We then discuss stylistic features within the historical context in which they are inserted. We conclude with a self-report of the preparation of the pieces discussing about different strategies for the speed range. The investigation of the object led us to conclude that the range of the velocity in the piano is related to a series of factors, the main ones being: the interpretative view, the stylistic knowledge, the maturation of the motor, the approach of the piece during the preparation period, the mastery of musical language and the previous background of the pianist.
Adolescente e Canto - definição de repertório e técnica vocal adequados à fase de mudança vocal
(Universidade Federal de Goiás, 2011-04-28) MENDONÇA, Rita de Cássia; JARDIM, ângela Barra da Veiga; http://lattes.cnpq.br/4694582781438780
There is a great demand in Brazil for research that have, as the main object of study, the adolescent voice during the stage of vocal change. In regard to the study of the voice of these youngsters, whether solo or in choirs, what we observe is the use of pedagogical practices more appropriate for mature adult s voices. The voice teacher, as well as the conductor, must have knowledge about the predictable and successive stages of vocal development which young people go through at the time of the transition from childhood to adulthood. In addition to these stages, it is necessary to understand the emotional, physiological and sociological issues, as well as the cognitive abilities of the adolescents. With such knowledge, the teacher and the conductor may help with the development of the voices of their students / singers based on the principles of vocal and emotional health. The improper handling of these voices during the process of maturing can cause vocal and psychological problems that may be irreversible. In light of contemporary theories about the adolescent and the vocal study, this study aims to define a repertoire and vocal technique exercises that will work as an appropriate program to be sung by the adolescent voice in phase of change. This program will be applied at the Instrument Technical Course of the Federal Institute of the Education Science and Technology of Goiás, where the students, at this stage, may answer to the aspirations for a consistent training in order to become professional singers and, at the same time, attending to the working world, combined with the vocal and emotional health of the adolescents.
Agrupamento de notas: aplicação do conceito interpretativo na obra estudo para trompete em Dó, de Camargo Guarnieri
(Universidade Federal de Goiás, 2017-04-01) Moura Junior, Nivaldo Camargo de; Cardoso, Antônio Marcos Souza; http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4256260T1; Cardoso, Antônio Marcos Souza; Costa, Carlos Henrique Coutinho Rodrigues; Lopes, Maico Viegas
Abstract: The present research was developed through the application of the Group of Notes, concept presented by James Morgan Thurmond (1991) in the book: Note Grouping: A Method for Achieving Expression and Style in Musical Performance, being used as tool for interpretative suggestion in the work Estudo Para Trompete em Dó, by the Brazilian composer Camargo Guarnieri. Initially a bibliographical survey was carried out on the research and repertoire productions related to the interpretive practices for solo trumpet in Brazil, as well as a historical and methodological linkage of musical expressiveness, approaching the pedagogy of musical expressiveness, the grouping of notes and finally the application of this concept as an interpretative suggestion in specific sections of the work, object of study researched.
Análise musicoterapêutica da experiência de composição musical: interfaces com o psicodrama
(Universidade Federal de Goiás, 2014-03-28) Ribeiro, Mayara Kelly Alves; Alcântara-Silva, Tereza Raquel de M.; Teixeira, Célia Maria Ferreira da Silva; http://lattes.cnpq.br/3118169145780440; Teixeira, Célia Maria Ferreira da Silva; Alcântara - Silva, Tereza Raquel de M.; Gattino, Gustavo Schulz; Peres, Vannuzia Leal Andrade; Zanini, Claudia Regina de O.
The present study aimed to investigate whether the psychodramatic theory can broaden the understanding of the client’s expression through the musical composition experience during the music therapeutic process regarding the phase of music therapeutic analysis. A qualitative research was proposed involving two case studies which allowed a better practical understanding of the investigated theme. Data collection was performed in three phases: recruitment of research participants, initial interview, and music-therapeutic process. Two individual music therapeutic processes were carried out, in which the participants had 11 and 16 sessions with the researcher. During the sessions, the following musical experiences in music therapy were used: improvisation, receptive, re-creative, and composition, as well as psychodrama techniques adapted to music therapy. The results demonstrated that the initial goals were achieved and it was also possible to broaden not only the understanding of the music therapeutic analysis phase in the interfaces with psychodrama, but of the whole process as well. Moreover, some recommendations were established regarding the use of the musical composition experience, as well as its variations, among which the following can be mentioned: the need that the music therapist be attentive to the musical complexity of the experience to be used; the importance of the fact that the client has already tried the other musical experiences before performing the musical composition; the relevance of the music therapeutic analysis observing the proximity and repetition of the notes, the cadence, the rhythm, the song lyrics, and the involvement of the client in music-making. Finally, further studies on music therapeutic analysis should be developed having the psychodramatic theory as their foundation, since the analysis phase was benefited by the articulation between music therapy and psychodrama.
Anatomofisiologia dos mecanismos voluntários e involuntários na didática vocal: uma abordagem multidisciplinar na criação de vocalizes e exercícios no canto
(Universidade Federal de Goiás, 2015-12-04) Cruz, Cleuber Pereira da; Leão, Eliane; http://lattes.cnpq.br/9925619017259931; Leão, Eliane; Costa, Carlos Henrique Coutinho Rodrigues; Vieira, Edna Aparecida Costa
This research comes to detailing the operation of voluntary and involuntary phonic mechanisms and processes, with the theoretical basis of Boone & McFarlane’s studies (1994); discussions of the interrelationships with other disciplines, aimed at enhancing the teaching of singing; and the investigation of ways of how to stimulate the creativity of the teacher in adapting and creating vocalizes and exercises, that these are only suggestions for the teaching area. Resulted from the reading, reflection and composition of a Corpus of Texts (BAUER and GASKELL, 2003, p. 496), which allowed elaborate justifications for each exercise and presented vocalize. Having chosen the set of texts that constitute this study the data used, it is expected that the analysis of five proposed exercises and vocalizes, promote the extension of discussions on the Teaching of Singing, with a view to improvement of vocal preparation singer. It should be noted, in conclusion, that there is a need for more publications and descriptions of teaching methodologies in this area.
Ansiedade na preparação da performance no ensino de instrumentos de banda
(Universidade Federal de Goiás, 2015-03-31) Sousa, Aurélio Nogueira de; Raymundo, Sonia Marta Rodrigues; http://lattes.cnpq.br/5646455244693371; Raymundo, Sonia Marta Rodrigues; Barbosa, Joel; Cardoso, Antônio Marcos Souza
The present text approaches the performance preparation process of the students in the music bands from Goiânia, particularly the impact that anxiety can cause in this process. Since the mid-twentieth century the studies about the preparation for a musical performance with support in other fields such as psychology and neuroscience have intensified. In the reality of the bands, some studies observe that students and teachers need to deal with problems of a psychological nature that interfere in many ways in the teaching-learning process. With the intent of contributing to the advance of these studies, this work aims mainly at detecting what is the impact caused by anxiety in the performance preparation process of the students in the music bands from Goiânia. The methodology has been divided in two main stages. The first was a literature revision about the collective teaching of band instruments and about the musicalization process in the music bands in Brazil. The second was a field research in which the K-MPAI inventory was applied and a specific consultation about performance practice in the music bands from Goiânia has taken place. As the main result of this stage of the research, it was possible to conclude that t level of anxiety in the process of preparation for performance in the students in the 3 music bands investigated from the city of Goiânia is moderate. However, it was detected that some individuals present high levels of anxiety associated with pain, with the lack of information about music psychology as well as unawareness about body maintenance in the musical practice, what indicates that younger musicians are in the need for prevention actions.
Appassionata para violão solo de Ronaldo Miranda: o tratamento octatônico e as constâncias musicais brasileiras
(Universidade Federal de Goiás, 2010-04-25) VIEIRA, Márlou Peruzzolo; MEIRINHOS, Eduardo; http://lattes.cnpq.br/0771092244377551
This research discusses some constitutive elements of the Appassionata for solo guitar written by Ronaldo Miranda. Characteristics concerning the Appassionata's two themes are analyzed pointing out the techiqnues of the twentieth century music in oppostion to Brazilian music features. Regarding the first theme, it is discussed aspects of the octatonic treatment, verifying the insertion of melodic and harmonic resources derived from the otctatonic scale in the context of neotonal language. About the second theme, it is discussed aspects related to the Brazilian musical constancies through the analysis of harmonic, polyphonic, rhythmic and melodic structures.
Aprendizado musical e referenciais doutrinários: a construção da performance em um coro religioso
(Universidade Federal de Goiás, 2011-03-28) SILVA, Bianca Almeida e; DIAS, ângelo de Oliveira; Dias, Ângelo de Oliveira
A aprendizagem musical e as contribuições sociais nas bandas de música: um estudo com duas bandas escolares
(Universidade Federal de Goiás, 2014-03-31) Silva, Francinaldo Rodrigues da Silva; Campos, Nilceia Protásio; http://lattes.cnpq.br/9035006977831813; Campos, Nilcéia Protásio; Silva, Lélio Eduardo Alves; Cardoso, Antonio Marcos
The bands are an important area of musical learning. There are many perspectives of education involved in them: instrumental teaching in group and individual, musical theory lessons, music theory, martialness and discipline. The brass bands have an active participation in Brazilian communities. They play in public ceremonies, civic and military parades, religious festival, and many others different events. Taking Part of a band gives to the members a kind of learning that goes beyound playing an instrument. With a view to these bands particularities this study was developed by taking two martial bands of the city of Aparecida de Goiania/GO, in order to inquire how the bands contribute to the musical and social process of the students whom participate. The research includes both qualitative and quantitative datas. In order to obtain meaniful results toarch, the study was achieved by literature review, direct observation of theoretical lessons, rehearsals and select bands performances. It was applied questionnaires to these groups of students who take part in these bands. And for teachers, teachers’ aides, group manager of the institutions in which the bands belongs to were performed semistructured interviews. In answer to the questionnaires and interviews were collected datas which support the objectives of this research.
Apresentação, discussão e realização de três técnicas estendidas na obra Solus, para trompete desacompanhado, de Stanley Friedman
(Universidade Federal de Goiás, 2019-09-23) Nascimento, Vinícius Côrtes do; Cardoso, Antônio Marcos Souza; http://lattes.cnpq.br/0664807145882810; Cardoso, Antônio Marcos Souza; Rosa, Robervaldo Linhares; Lopes, Maico Viegas
Stanley Friedman's Solus composition, composed in 1975, is inserted in the repertoire of the 20th century solo trumpet, the piece is divided into four movements, Introduction, Furtively, Scherzando and Waltz and Fanfarre. In the work is remarkable a timbre expansion and new forms of sound production, result of the development of new unusual instrumental techniques compared to the traditional repertoire, thus, denominated like extended techniques, because they expand the interpretative possibilities from the twentieth century. During the present work, we selected three extended techniques, to present, discuss and perform their interpretations, Slide Glissandi, Vocalization and Open Tubing Technique. They were proposed because they minimally contemplate the works of the current repertoire of the instrument and aren’t discussed and used in contemporary books and methods, besides addressing aspects inherent to the problematization, as a consideration of the importance of research in musical performance, the complexity of musical interpretation and the diversity of concepts about the extended technique in general and its particularities in the trumpet.
Arranjos de música popular brasileira no contexto modal: a construção da linha do contrabaixo
(Universidade Federal de Goiás, 2018-03-28) Maia, Claudio Marcelo Bezerra; Raymundo, Sonia Marta Rodrigues; http://lattes.cnpq.br/5646455244693371; Cardoso, Antônio Marcos Souza; Cunha, Estercio Marquez
The present has as object the arrangements of brazilian popular music in the modal context, particularly the bass line. The general objective is to discuss the construction of the double bass line in the development of arrangements for brazilian popular music in the modal context in order to offer greater freedom of creation/performance to the bassist. To this end, is organized into three main parts: 1) Literature review: discussion of references in printed and audiovisual material on double bass and MPB, especially those involving performance and modalism, available in portuguese language; 2) Selection and discussion of the material reviewed: two songs from the repertoire of MPB, which present the modalism and will serve as object to the arrangements; 3) Preparation of double bass lines in the modal context to be taken into account in arrangements.
Arranjos de música regional do sertão caipira e sua inserção no repertório de coros amadores
(Universidade Federal de Goiás, 2007-03-29) SOBOLL, Renate Stephanes; DIAS, ângelo de Oliveira; Dias, Ângelo de Oliveira
This article proposes a reflection about the repertoire sung by amateur choirs, focusing on the process of elaboration of vocal arrangements based upon Brazilian regional music, especially country-hick songs (música caipira). The songs discussed here and their arrangements unfold a very particular thematic world, that of the music from one of Brazil s various country-side cultural/geographic areas: the sertão caipira (hick country side). This repertoire becomes both artistic and educational, since through the investigation, edition and performance of the arrangements it is possible, at once, to make music and preserve the social and cultural traditions of a place or community. Through the application of the compositional techniques discussed here, conductors and their amateur vocal groups will be able to enjoy an attractive repertoire, easy to prepare and quite appreciated by the public, despite its apparent simplicity when still on the page.
ARTES INTEGRADAS: características das práticas desenvolvidas em escolas de Goiânia
(Universidade Federal de Goiás, 2009-03-27) FARIA, Aline Folly; NASCIMENTO, Fernanda Albernaz do; http://lattes.cnpq.br/3197196510078601; CAMPOS, Denise álvares; http://lattes.cnpq.br/5224194761703249
The present research aims at describing the integration process among the artistic languages taking place in some schools in Goiânia. They are: Centro de Ensino e Pesquisa Aplicado à Educação Cepae/UFG (regular school), Centro Livre de Artes CLA (public school for the teaching of Arts) and Mvsika! Centro de Estudos (private school for the teaching of Arts). Thus the main theme in this work is the integrated arts. The option for such an approach is not based on a devaluation of the musical education or any other specific area of the artistic education. The work seeks a contextualization of education through art that takes into account the current needs and changes influenced by globalization and the efficiency of the information which has made the individual more demanding and thirsty for something creative and different. This integration can happen in many ways, which have been described as pluridisciplinarity, interdisciplinarity, and transdisciplinarity. Some principles, defended by specialists, can help to understand each of these integration forms and, in this work, give support to the description and analysis of the integrative processes. This study seeks to describe and to analyze the practices that involve this integrative methodology in three schools of Goiânia, presenting three case studies. In each of them, the specific characteristics and the coherence level between the concepts and the practice of the educators stand out. From the theoretical reference of this research, it is possible to distinguish the presence of principles that classifies the practices as integrative and that help to define the integration form proposed. These practices are described considering, also, the situation of the integrative experiences in other places around Brazil. To do so, contact with educators (ANPPOM, ABEM, FAEB) that work with integrated artistic languages was attempted. Although only a few answers were received, the information obtained help for a better understanding of the data collected in the schools of Goiania. Considering the description of the reality of each school, relations between the information obtained through observation and the questionnaire are established, which brings a broader view of each process. Finally, the specificity of each practice is focused, as well as the common aspects of all of them, of what brings them together or draws them apart from the theoretical reference of this work and the practices described by educators of other parts of Brazil.
A articulação na obra Charanga Jazz Mambo a partir da influência da música afro-cubana
(Universidade Federal de Goiás, 2013-05-29) Milet, Roberto Wagner; Cardoso, Antônio Marcos Souza; http://lattes.cnpq.br/0664807145882810; Cardoso, Antônio Marcos Souza; Pinto, Marshall Gaioso; Costa, Carlos Henrique Coutinho Rodrigues; Duarte, Mabio Rocha
The present work is a study on the relationship in music for brass quintet and percussion Charanga Jazz Mambo by Pedro Rodrigues Carneiro, focusing on expressive accents, specifically in the diction used by brass players. Based on the analogy developed by Harnoncourt (1998) between the onset of sound and speech, as well as, the historical changes of attitude in relation to composers writing detailed the score, the research points to the development of instrumental technique, exposing the model standard quintet metals, their variations as well as collaboration in the drafting, interpretation and dissemination of the piece contained in this work. As a source of information about the author, still unknown in academia, we present a brief biography of the composer. Expressive elements such as tempo and articulation, are explained in the description of the work, focusing attention on expressive accents, suggesting the phonemes “TA” or “DA” depending on the nature harder or softer, respectively, from the beginning of each note.
As Tres danzas concertantes de Leo Brouwer: elementos estruturadores da sua escrita musical
(Universidade Federal de Goiás, 2019-05-30) Strauss, Gabriel Nogueira Batista; Meirinhos, Eduardo; http://lattes.cnpq.br/0771092244377551; Meirinhos, Eduardo; Cruvinel, Flavia Maria; Nunes, Jordão Horta
he present research investigates the first compositional period of Leo Brouwer, the Nationalism. Such a moment is little focused by academics and we understand it as central to understanding Brouwer's musical foundations. After going through the three creative phases of the Maestro, we find, in his initial stage, authentic compositional procedures that perpetuate themselves throughout his compositional trajectory. Thus, this dissertation is intended to investigate such elements and their unfolding along the following two compositional stages. We divide our study into four parts: the first explores the composer's three periods, for a better idiomatic understanding of the brouwerian composition. Later, based on the interview made to the composer, we looked at the first period, where Brouwer emphasized the aural influence of Afro-Cuban ritual music and the spoken Yoruba language - we dedicate two sub-chapters to these respective topics. The third is made by a description and a study of the thematic organization of the Tres Danzas Concertantes, in which we investigate the structuring elements of the work. From this stage of the research we believe to extract the main resources that ground Brouwer’s Nationalism. Finally, a fourth chapter exposes the prospections of the found elements of Tres Danzas Concertantes, in works of the two later compositional moments.
Aspectos da linguagem da improvisação jazzística na bossa nova: duas versões de solo do saxofonista Stan Getz da música desafinado
(Universidade Federal de Goiás, 2019-07-22) Nascimento, Wanderson Felipe Silva do; Lopes, Eduardo; http://lattes.cnpq.br/8741046422288585; Lopes, Eduardo José Tavares; Cardoso, Antônio Marcos Souza; Cunha, Estercio Marquez
In this research we deal with the aspects of the language of jazz improvisation, presented on the construction of Stan Getz's (1927-1991) solos in Bossa Nova. Our main purpose was to investigate and discuss some of the characteristics of his language inside the bossa nova movement, we realized that although it has a growing number of materials regarding to improvisation and the bossa nova movement separately, in the current scene on music research, we have identified a gap referring to the relationship between the two. At first we proceed on a bibliography study involving the history of bossa nova, Getz's biography and some books which deals with essential concepts of jazz and improvisation. Subsequently, based on the study of the first phase, we started a analysis of some of the aspects presented on the Getz's solos in Desafinado, we tried to address those aspects mentioned before. In order to demonstrate, by analyzing the solos, aspects commonly used in the jazz improvisation which when incorporated with of the bossa nova elements could be converted into a improvisation language which someone could call “inside the bossa nova style”, we compared aspects such as arpeggios, patterns, scales, sequences, finalizations and chromaticism, all of them presented on the both versions of Desafinado we compared, the Â Jazz Samba version and the Getz/Gilberto version. We conclude then that those aspects in the way that they were used by Getz in his solos, of the two explored versions, were accepted by bossa nova as well as for the improvisation in its style, however they had to join with some of other elements like rhythm, harmonic and melody from the bossa nova, and also the fact that the musicians in one of the two versions were musicians with great experience with jazz and a few experience with Brazilian music instead of the other version which had musicians with great experience with Brazilian music and a few experience with jazz, so this turned into considerable differences between the two versions.
Aspectos idiomáticos em peças brasileiras para violino: de Leopoldo Miguez (1884) a Estércio Marquez (2000)
(Universidade Federal de Goiás, 2012-04-30) Pontes, Luciano Ferreira; Oliveira, Glacy Antunes de; http://lattes.cnpq.br/8416271201818890; Oliveira, Glacy Antunes de; Andrade, Edson Queiroz de; Cunha, Estércio Marquez
This research discuss about idiomatic aspects on Brazilian pieces for the violin written about the end of the XIX century and the beginning of the XX century, which entails pieces written since Leopoldo Miguez (1889) until Estércio Marquez (2000). Through it we tried both to observe and describe the presence of the violin in the panorama of the Brazilian music under the perspective of the circularity, appraising critically the hybrid cultural process that permeates the musical production in Brazil. For this study some facts were considered such as social, cultural and aesthetics related to the selected works. Based on the observation, comparisons and musical analysis focused on the diversity of the aspects of the instrument it was possible to recognize and describe some tendencies important to the compositional handwriting for the violin in Brazil. The bibliography review contextualizes the violin in the Brazilian musical panorama of the colonial period until the beginning of the XXI century. The second part reveals a data collection about the presence of the violin in Brazil, with focus on the romantic period, the nationalism and pos-nationalism until the uncommon sonorities detected after 1960. The third part contains examples of countless characteristics written or not by European composers, revealing the writings representative of the violin since the romantic period in Brazil nowadays. The conclusion points to the presence of the violin permeating the panorama of the Brazilian music with notable European influence in the compositional treatment, especially through the particularities of the French-Belgium School. A great numbers of works were verified, not only in quantity, but also in diversity, composed during the XX century, and despite the nationalistic production also have had presented idiomatic aspects originated from the European, they were identified as having some new bow-strikes considered typically from Brazil, which produces a sound in a different manner in relation to the traditional ones.
Banda Pequi: a formação dos integrantes através da prática de música popular
(Universidade Federal de Goiás, 2018-05-30) Seixas, Jarbas Cavendish; Raymundo, Sonia Marta Rodrigues; http://lattes.cnpq.br/5646455244693371; Raymundo, Sonia Marta Rodrigues; Cardoso, Antonio Marcos Souza; Santos, Antonio Rafael Cardoso dos
The main objective of this study is to discuss the education of musicians who are performers into the popular music field and in the context of the Banda Pequi, a group from EMAC-UFG (Escola de Música e Artes Cênicas da Universidade Federal de Goiás). Banda Pequi exerts musical influence on its members and does it with collective involvement for all participants’ development, by adapting the repertoire and its possibilities within an academic context. In addition, the group disseminates in its professional development practice experiences such as discipline, respect, hierarchy, responsibility, and characteristics essential to the practice of the profession. The adopted methodology involves a theorethical analysis work as a strategy to investigate the theories and processes of the group Banda Pequi. The work is organized in four main parts: 1) Some Brazilian musical groups and their trajectories; 2) Experience reports about the Banda Pequi group; 3) Preparation to music performance with the Banda Pequi group, throught observation of its audiovisual and documental collections. 4) Considerations regarding the necessary content needed in the education of the musician who desires to perform in the context of the group Banda Pequi of the EMAC-UFG.
Bandas de música militares: performance e cultura na cidade de Goiás
(Universidade Federal de Goiás, 2013-09-27) Vieira, Joelson Pontes; Camargo, Robson Corrêa de; http://lattes.cnpq.br/9964594962008164; Pinto, Marshal Gaioso; Clímaco, Magda de Miranda; Camargo, Robson Corrêa de
The present thesis discusses the history of the military wind bands from the City of Goiás during the nineteenth and early twentieth century (1822-1937) and its relationship with the local society. After the analysis of the current literature about the history of Goiás, as well as the official documents regarding military wind bands, the present study make use as its analytical bases the bakhtinian dialogism ant its main characteristics, focused on three points: carnivalization, polyphony and intertextuality. Seeking to contribute for the construction of the cultural and social memory of the former capital of the State of Goiás, the present study, in the fields of musicology and cultural history, allows the recreation of one of the possible narratives about the origins, activities and relationships established by the military wind bands with other musical ensembles and with the local society. These origins, activities and relationships are analyzed based on an interdisciplinary approach, following the principles given by the bakhtinian triadic categorization.

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