Mestrado em Música (EMAC)
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Item O hinário Novo Cântico em duas igrejas presbiterianas em Goiânia - GO: uso litúrgico, permanências e renovações(Universidade Federal de Goiás, 2018-08-24) Lima, Tirza Sodré Almeida; Clímaco, Magda de Miranda; http://lattes.cnpq.br/3267761359411377; Clímaco, Magda de Miranda; Borges, Maria Helena Jayme; Guimarães, Fernanda Albernaz do Nascimento; Cunha, Estércio MarquezThis work has as object of study the Presbyterian hymnal New Song and its use in two Presbyterian Churches in Goiânia / GO, the First Presbyterian Church of Goiânia and the Presbyterian Church Graça e Vida. It was sought to investigate its practice and liturgical use in these churches, one founded in 1935 and another in 2009, trying to understand how this song happens and the circumstances of permanence and renewal with them involved. The methodological path that he invested in a bibliographical and documentary survey, an analysis of iconographic, sound and audiovisual sources, besides the in loco observation carried out in the two Churches, the analysis of the structure of the New Hymnbook and some selected hymns that integrate it, made it possible to prove the presumption that elements of renewal interact in a constant way with a careful cultivation of tradition. This is especially the case in the younger Church, which does not have the same structural conditions and the same workforce as the first one, including musical training and performance. When Freire (1994) states that music, like other languages, does not reduce itself to a determinate universe of meanings, it is capable of incorporating current meanings in interaction with latencies and residues of meanings (re-significances). Representations were evidenced, linked to this circumstance, revealing the identity processes related to each one of the Churches observed when dealing with this multi-time condensation, in addition to pointing to a residual strong linked to indoctrination and evangelization.Item O violão nas escolas de música goianienses: processos identitários e interações culturais sob o foco do representacional(Universidade Federal de Goiás, 2019-09-30) Fonseca, Renan Ribeiro; Clímaco, Magda de Miranda; http://lattes.cnpq.br/3267761359411377; Clímaco, Magda de Miranda; Souza, Ana Guiomar Rêgo; Guimarães, Fernanda Albernaz do Nascimento; Nunes, Jordão HortaThis research aimed to identify the guitar-related representations that circulate in four selected schools in the city of Goiânia - the Holanda Escola de Música, the Instituto Gustav Ritter, the Instituto Federal de Goiás (IFG), and the Escola de Música e Artes Cênicas of UFG, a private school, a state school and two federal ones - that have invested in the teaching of the instrument in the city, perceived not only as fields of production at musical education, but also as a locus of practice and interaction between groups related with the music of different cultural dimensions, that is, different fields of musical production. To reach this objective, firstly, it was invested in theorical foundation in authors who have been disserting about forging representations of identity processes, such as Chartier (2002) and Hall (2014), aiming at a basis for the focus of some representations related to the historical trajectory of the guitar in Brazilian society as well as in Goiania’s society. In a second moment, we sought to know the initiatives and formulations of the first institutions of music education, first conservatories and Brazilian universities, and, in this context, the representations that circulated around to the guitar, which led to the need for the instrument to be released of the historical prejudice, the stigma, the marginalization that prevented him from acting there, which only happened more recently, with the creation of guitar courses in the academies of the country. Already in a third moment, from the foundation in Bourdieu (2003), which discussed about fields of cultural production, where the different cultural capitals, economic capital and symbolic capital intersect in processes of constant interaction and conflict, evidencing struggles of representations, the results of the analysis, interpretation, comparison and intersection of data collected through the field research and interviews conducted in the selected schools were recorded. This circumstance made it possible to identify representations that pointed to the peculiarities of guitar teaching and the repertoires adopted in each of these institutions, always observed both in their relationship with the cultural interactions effected, with the struggles of existing representations that take place in a cultural production field, regarding its relation to the representations that were evidenced in the study of the historical trajectory of the instrument, whose residues still act in the city of Goiânia.Item A musicoterapia no tratamento de adolescentes automutiladores(Universidade Federal de Goiás, 2019-09-27) Oliveira, Mário Henrique Borges de; Zanini, Claudia Regina de Oliveira; http://lattes.cnpq.br/8042694592747539; Cunha, Rosemyriam Ribeiro dos Santos; Guimarães, Fernanda Albernaz do Nascimento; Zanini, Claudia Regina de OliveiraThe spread of the practice of self-mutilation in social networks presents us with a problem that has been concerned with specialists in mental health and education, who have organized lectures and events on the subject. This increase in the prevalence of self-mutilation behavior has already been considered by psychiatrists as an “epidemic” of self-inflicted punishment for young people with emotional or psychological distress. Teachers and health professionals draw attention about the ignorance of parents and / or guardians who often do not understand the self-injurious behavior of their children. Given this, arises the opportunity of this research. This is a quasi-experimental, before and after, mixed-method study that sought to investigate the possible contributions of music therapy in the treatment of a group of self-using adolescents admitted to the Children's Psychosocial Care Center (CAPSi). For quantitative data collection, the Barrat Impulsivity Scale version 11 (Barrat Impulsivity Scale - BIS-11) and the Functional Assessment of Self-Mutilation Scale (FASM) were used. The visits (music therapy interventions) were conducted in a closed group of up to ten participants, over a period of three months, weekly, lasting between 50 and 60 minutes. During the meetings the musical experiences of musical re-creation, musical hearing and musical composition were used. Results showed a decrease in self-mutilation behaviors as well as a decrease in impulsivity. The experiences of recreation and hearing effectively contributed to the described result, while the composition experience contributed to the regulation, structuring, expression, communication and resignification of feelings and emotions, as well as to interpersonal interaction through identification. We consider that the study was of significant relevance in consolidating Music Therapy in adolescent mental health care, since it made it possible to better understand the phenomenon of self-mutilation and its facets in this population.Item “Transversal do tempo”: uma investigação acerca do gesto cênico de Elis Regina no espetáculo apresentado em Lisboa (1978)(Universidade Federal de Goiás, 2019-10-31) Cuellar, Davi Coutinho Evangelista Johns; Souza, Ana Guiomar Rego; http://lattes.cnpq.br/5810153792986725; Souza, Ana Guiomar Rego; Cruvinel, Flávia Maria; Capel, Heloísa Selma Fernandes; Rosa, Robervaldo LinharesThe context of the Military Dictatorship (1964-1985) generated several cultural movements in Brazil setting precedents for many artists to resist the system imposed on Brazilian society. The period that refers to the opening of the regime (1977-1985) was composed of several changes and it was at this juncture that the “Transversal do Tempo” show (1978) was born. Elis Regina's “Transversal do Tempo” tour ran across several Brazilian cities and also featured international shows, including the presentation at the Villaret Theater in Lisbon, available on various internet sites today. In this regard, the aim of this research was to carry out a phenomenological analysis of the scenic gesture of Elis Regina in the “Transversal do Tempo” show performed at the Villaret Theater in Lisbon (1978) and for this endeavor I was based basically on the thought of the philosopher Mikhail Bakhtin and his conception of the genres of discourse, in Lawrence Ferrara's methodological proposal (1984) about the use of phenomenology as a tool for performing musical analysis in his article Phenomenology as a Tool for Musical Analysis and in three biographical narratives built around the life and work of Elis Regina: Furacão Elis (ECHEVERRIA, 2012), Elis – Uma Biografia Musical (FARIA, 2015) e Elis Regina – Nada Será Como Antes (MARIA, 2015). This dissertation was conceived, structured and divided into three parts (chapters). In the first chapter I discussed the notions of units of language, utterance, text, discourse, movement and scenic gesture. In the second chapter I crossed biographical aspects of Elis Regina with the historical context that was lived in Brazil, especially during the Military Dictatorship (1964-1985). And in the third chapter I performed the analysis of five songs (considering the categories: textual aspects, harmony, musical instruments and scenic gesture) contained in the show Transversal do Tempo presented at the Villaret Theater in Lisbon (1978): Fascinação, Sinal Fechado, Transversal do Tempo, Romaria and Cartomante.Item Musicoterapia receptiva com a mesa lira no período de desintoxicação em dependentes químicos: estudo randomizado controlado(Universidade Federal de Goiás, 2019-10-22) Teixeira, Andressa Toledo; Lopes, Eduardo José Tavares; http://lattes.cnpq.br/8741046422288585; Silva, Tereza Raquel de Melo Alcântara; http://lattes.cnpq.br/5899812854673658; Silva, Tereza Raquel de Melo Alcântara; Ribeiro, Mayara Kelly; Monteiro, Adriano ClaroDuring the process of abstinence from chemical dependence, the user presents some common symptoms to any type of drug, such as anxiety, depression, hypomania / mania. In most cases, treatment is drug-associated with non-drug therapies. The receptive experience is a technique of music therapy and vibroacoustic therapy through Mesa Lira (ML) is one of the modalities of receptive music therapy used in the treatment of physical and emotional illness. Objective: To investigate whether Receptive Music Therapy with mesa lira can reduce drug addiction anxiety levels in an internment regime detox program, by comparing two distinct protocols for music therapy intervention. Methodology: Controlled randomized clinical trial in male and female drug users from 18-year-old on an average hospitalization period of 28 days at the Detoxification Program at Casa de Eurípedes institution, in Goiânia, Goiás, Brazil, with four groups, two intervention (GMT-A: five sessions of music therapy (MT) on consecutive days; GMT-B: five sessions of music therapy on alternate days) and two controls (GCA and GCB). The groups participants were submitted to a sociodemographic questionnaire, Drug Temptation Scale (ESTUD), Drug Abstinence Self-efficacy Scale (EAAD), Trait Anxiety Inventory and Status Anxiety Inventory to assess Anxiety Level (IDATE). Specifically to the participants of the music therapy groups, a scale of relaxation level (NR) subjective rating on Mesa Lira, Body Vibration Perception, Music Therapeutic Questionnaire (QMT) and Subjective Impression of the Subject (ISS) were applied. Results and Discussion: 40 subjects were included, 20 (19 men and 1 woman) for stage “A” and 20 (19 men and 1 woman) for stage B. Mean age: GMT-A (38.0), GC-A (32.2), GMT-B (43.6) and GC-B (41.4). In the intragroup evaluation, comparing pre and post MT sessions, both groups presented results with statistical significance for IDATE-E in the fourth session for GMT-A (ρ = 0.064) and in the third session of MT (ρ = 0.012), NR presented significance levels for all sessions in both groups. Intergroup evaluation points to better results for GMT-B. The evaluation between intervention groups and their respective controls shows significant results for GMT-A (ESTUD ρ = 0.056 and EAAD ρ = 0.038). Reports from intervention group participants (ISS) confirm the quantitative findings. Regarding the aspect of treatment dropout / internment period, this was lower among participants in the intervention groups. Conclusion: Music therapy, as a complementary treatment, worked to improve anxiety symptoms, decrease the temptation to use the drug and strengthen during abstinence. The results are relevant, as they reflected in the patient's better adherence to the treatment as a whole, since dropout is a problem for this clientele. We hope this study can contribute to the strengthening of music therapy as a complementary treatment of choice for this complex area. We suggest that further research be conducted with music therapy in chemical dependence, aiming to expand knowledge and, with this, strategies for treatment and prevention of drug abusive use.Item O timbre e a relação música-texto na construção da performance nos 4 poemas de Manuel Bandeira para canto e piano, de Almeida Prado (1943-2010)(Universidade Federal de Goiás, 2019-09-30) Oliveira, Rosedalia Carlos de; Álvares, Marília; http://lattes.cnpq.br/3901199002213479; Rosa, Robervaldo Linhares; http://lattes.cnpq.br/4091646172062516; Rosa, Robervaldo Linhares; Álvares, Marília; Costa, Carlos Henrique; Cunha, Estércio MarquezThe present work is a proposal of the interpretation for the cycle 4 Poems by Manuel Bandeira, for voice and piano, by the Brazilian composer Almeida Prado. The timbre and the music-text relationship are the main conductors in the construction of the performance. The collaborative analysis between the interpretative experimentation understanding of the musical text (score), poems, the language of the composer Almeida Prado and the poet Manuel Bandeira, brings resources for reflections on the importance that the timbre assumes in the 20th and 21st centuries, especially, in the interpretation of the contemporary Brazilian art song.Item Oficina integrada: uma abordagem na formação da criança pela arte(Universidade Federal de Goiás, 2019-09-18) Oliveira, Juliana Motta; Guimarães, Fernanda Albernaz do Nascimento; http://lattes.cnpq.br/3197196510078601; Zanini, Claudia Regina de Oliveira; Campos, Gilka Martins de Castro; Guimarães, Fernanda Albernaz do NascimentoIt is observed a different behavior between people who had contact with art in early childhood and those who were not exposed to art, because people who received artistic training in childhood are more culturally sensitive, reflective and critical. The aim of this research is to show the human formation, interpersonal and social relations, based on child development, through the course of Integrated Workshop that demonstrates the process of integration of Arts, integral formation, meeting the challenges of postmodernity. The research was carried out at the Integrated Workshop of the Free Arts Center, a public school in the city of Goiânia, seeking to answer questions raised in the research proposal about its operation and relevance, regarding Interdisciplinarity, always focusing on art, as form of learning and identity. The theoretical basis was based on studies aimed at human formation and field research was conducted by observing the classes, interviews with students, current teachers and also with teachers who participated in the founding of the Integrated Workshop. The influence of art on the development of children is considered, forming them for life and developing values of friendship, respect, identity and culture. We highlight the importance of the Integrated Workshop and the Centro Livre de Artes Institution in the Goiás scenario.Item 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 MarquezThis 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.Item A dinâmica em quatro obras de Matheus Bitondi para trompete solista: uma abordagem técnico-pedagógica(Universidade Federal de Goiás, 2019-08-02) Stahl Junior, Mauro; Cardoso, Antonio Marcos Souza; http://lattes.cnpq.br/0664807145882810; Cardoso, Antonio Marcos Souza; Raymundo, Sonia Marta Rodrigues; Ronqui, Paulo AdrianoThis paper proposes a technical-pedagogic approach on the music dynamics played on the trumpet by using four pieces by the Brazilian composer Matheus Bitondi for solo trumpet in chamber music - duet setting. The research, study and practice of music expression tools can aid on the performance of a piece. The present compositions were selected through a bibliographical research finding excerpts where dynamic changes occur. Later, trumpet exercises from published trumpet methods were suggested in addition to other exercises created and adapted by the author. The discussed dynamic variations were classified and the excerpts were recorded and made available through QR code enabling the reader to listen and see the recording’s sound wave patterns. In addition to the proposals and recordings this research presents a historical content on the music dynamics for trumpet in the Portuguese language, a synthesis of the research done on the topic and provides the score for the four works by Bitondi.Item O impacto de ações musicais na formação de plateia no contexto da escola estadual Euclydes Figueiredo: palestras, oficina, recital e concerto didático(Universidade Federal de Goiás, 2019-09-30) Aguiar, Geam Gonçalves; Leão, Eliane; http://lattes.cnpq.br/9925619017259931; Leão, Eliane; Zanini, Cláudia Regina de Oliveira; Vieira, Edna Aparecida CostaThis research, about audience formation in music, was developed at the general Euclydes Figueiredo State High School, Parauapebas-PA-Brazil. It has been as its main objective 'to investigate the impacts of audience formation musical actions to develop and / or to stimulate the habit of contemplative (immersive) listening among subjects in this school community. The literature review made a theoretical incursion on the processes of musical enjoyment and on the enjoyer of the musical work (public or audience), in a historical-conceptual perspective anchored in contributions from sociology, philosophy, musicology, cultural studies, music education. and music psychology. This is a research of quantitative and qualitative approach, which has used the 'Experienci-Action' method (COSTA and LEÃO, 2013) characterized by the appreciation of the students' musical experiences and the active role of the teacher towards teaching-learning process. As a data collection instrument, we adopted the com questionnaires with open, closed and mixed questions ’, which were applied to two groups of students (PLATEIA and PERFORMER) at the beginning of the research, to diagnose experiences; and at the end of the activities, to verify learning. This research has consisted of four musical actions (interventions), ‘lectures, solo / classical guitar workshop, student recital and guitar didactic concert ́ which allowed to develop musical skills in the listening, analyzing and doing plans. However, the main object of reflection was the musical enjoyment based on sound acuity. The research results pointed to relevant contributions resulting from the application of this experiment, verified in three domains: cultural democratization, musical competence and quality of musical appreciation’. It was found that this proposal of audience formation promoted, among the students, the 'cultural democratization' through the physical (going to the theater / concert hall) and cognitive access (cultural mediation / pedagogical strategies) to the cultural goods of the classical music fields, brazilian and the solo guitar repertoire. There was also the development of students 'musical competence', that is, the readability of musical works that is corroborated by the cultural / musical capital (knowledge) and the habitus (know how to act) of the musical field. Finally, it was found that the musical actions developed favored the 'quality of musical appreciation' of students, which was expressed in the improvement of immersive listening rates (contemplative and polymodal), in the level of experience provided (common and aesthetic) and in broadening students' musical preferences (taste). It was concluded that it can be stated that the musical actions of this proposal of audience formation impacted pedagogically, culturally and socially the subjects who participated in this research.Item 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 ViegasStanley 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.Item Leitura à primeira vista na formação de pianistas profissionais(Universidade Federal de Goiás, 2019-09-29) Araújo, Nillo de Almeida Cunha; Costa, Carlos Henrique Coutinho Rodrigues; http://lattes.cnpq.br/5091807553556414; Costa, Carlos Henrique Coutinho Rodrigues; Spenzieri, Custódia Annunziata; Rosa, Robervaldo LinharesThis research consists of a study of practices, knowledge, skills inherent to pianists working in professional fields where at first sight reading competence is required. Its main objective is to investigate the formation of professional pianists and to understand how the learning process of the knowledge that enabled them to read expressively at first sight, that is, in high performance. For this, firstly through a bibliographic research we define reading at first sight and know the skills involved. In a documentary research we verified in the flowcharts of the Brazilian universities that offer music course as the theme of reading at first sight at the piano is contemplated. To gather data on the formation of selected pianists we conducted an exploratory research through a semi-structured interview. By sampling, we selected eleven Brazilian pianists who stand out on the national scene as excellent performers in first sight reading, of which seven participated in the research. The results indicate that the formation of these pianists has in common the acquisition of competences in an empirical way, also through experimentation, the means of musical coexistence and influences that they had in the initial phase of learning and the opportunity to work. Moreover, within the field of formal study, it was noticed that everyone benefited from the following aspects: how the traditional piano repertoire was approached, the possibility of playing chamber works, the technical-interpretative development and the theoretical knowledge.Item Mestre gamela: trajetória e reflexões sobre uma escola de violão popular(Universidade Federal de Goiás, 2019-09-17) Afiune Júnior, Felício José; Rosa, Robervaldo Linhares; http://lattes.cnpq.br/4091646172062516; Rosa, Robervaldo Linhares; Clímaco, Magda de Miranda; Mello, Thereza Negrão deThis research focuses on documenting historical facts related to Mestre Gamela's trajectory and proposing reflections about his musical conception and guitar teaching method. Sidney Barros (1943-2013), known as Mestre Gamela, was one of the most important guitarists in the Brazilian scene (1971-2013). His performance influenced a generation of musicians and helped to train several renowned instrumentalists in Brazil and abroad, among them: Lula Galvao, Nelson Faria, Genil Castro, Rosa Passos, Reco do Bandolim, Hamilton de Holanda, Gabriel Grossi, Tom Capone, Daniel Santiago, Zélia Duncan, Cassia Eller, Herbert Viana. Given the peculiarities of his teaching method and the size of his influence, it is considered that the work developed by Mestre Gamela is configured as a guitar school. This research aims to promote the visibility of this important Brazilian guitarist and provide significant empirical data for research on guitar studies and popular music. From information collected in interviews and various sources, this study presents a contextualized narrative of important events related to the musician's education, his professional experiences and his pedagogical performance in Brasilia. Based on an interdisciplinary approach involving assumptions of Phenomenology, Cultural History, Musicology and Musical Analysis, several aspects of Mestre Gamela's performance were investigated. The following procedures were performed: mapping of the material produced by the musician (publications and manuscripts); verification of the characteristics of his conception of music and its teaching; research on what Gamela was doing its activities for; analysis of part of their arrangements. By articulating information about Gamela's trajectory and performance, it was possible to unveil various obscurities about the process of development of her teaching method and to outline a set of practices and technical and stylistic elements that make up her School of popular guitar.Item Retórica do silêncio e o silêncio da retórica: um enfoque sobre os atributos retóricos do silêncio na música de John Cage(Universidade Federal de Goiás, 2018-06-28) Santos, Rodrigo Oliveira dos; Souza, Ana Guiomar Rêgo; http://lattes.cnpq.br/5810153792986725; Souza, Ana Guiomar Rêgo; Clímaco, Magda de Miranda; Almeida, Anselmo Guerra de; Cunha, Estercio MarquezThis work aims to make a study about the ways of Cage to understand silence. Silence was already an usual practice in ancient music. Used in the word-painting technique in Renaissance music, with decorative purposes in relation to the text, in baroque music silence was used in a rhetorical way with the intention of moving the affections and persuading the listener to the emotion, as the figures of silence quite usual in the baroque period. The works of Bartel (1997), Cameron (2005), Gatti (1997), Lucas (2005, 2007, 2016) and Villavicencio (2011) were important points of interlocution in this perspective. The concept of imaginary was an important methodological element for establishing this comparison between silence in Baroque music and contemporary music by John Cage. From understanding the imaginary of Castoriadis (1992) and Durand (1998) we construct an understanding of the singularities as well as the interpretative connections between each of these silences: the rhetorical and intentional of baroque music and those of Cage's acasos and indetermination. In order to understand the silences of John Cage, a contextualization on Zen Buddhism was carried out in the United States at the end of the first half of the twentieth century, starting with Eco (1978), as well as a discussion of ideas of nothingness and emptiness in Zen, based on Heller (2011). Such a discussion is made in order to relate these ideas to concepts and questionings substantial to the understanding of silence in John Cage, such as ideas about nothingness, interpenetration, and the possibility of music, as an opening to the events of sounds to establish communication, and in that sense be rhetorical. Lacan's ideas about the symbolic and emptiness (1995, 2005) served as an element of understanding the limits and possibilities of Cage's silent project.Item Transformações no funk carioca (1980-2017): cenário sócio-histórico e cultural, hibridismos e principais personagens(Universidade Federal de Goiás, 2019-04-26) Arnoldt, Jason Patrick; Rosa, Robervaldo Linhares; http://lattes.cnpq.br/4091646172062516; Rosa, Robervaldo Linhares; Campos, Nilceia da Silveira Protásio; Mello, Maria Therezinha Ferraz Negrão deThis research analyzes the transformations that the funk carioca went through from its beginnings in Brazil, in 1980, until the year 2017. In order to do this, five important pieces from the musical genre and the previously mentioned temporal cut were analyzed, namely: Rap das Aranhas - Cidinho Cambalhota (1989), Feira de Acarí - MC Batata (1990), Cerol na mão – Bonde do Tigrão (2001), Show das Poderosas – Anitta (2013), and Bum Bum Tam Tam – MC Fioti (2017). In addition to the analysis of these songs, the work also seeks to trace a bit of funk history in the country, as well as to point out some of its main actors. The methodologies used in this research were diverse, and included the use of theoretical works from both the humanities and the arts, and from cultural history theories (BRESCIANI, 1996; HALL, 2006; VARHAS, 2007), anthropology and analysis (Mayrini, 2005), with the notion of hybridism as the major guide (Canclini, 2005). This research shows that the transformations occurring in the funk are made possible by the context of globalization that has impacted the world especially since 1980 and that currently this style of music is becoming increasingly closer to international pop music.Item 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 MarquezIn 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  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.Item 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 Hortahe 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.Item Reflexões sobre Hekel Tavares e seu cancioneiro(Universidade Federal de Goiás, 2009-03-26) Silva, Samuel Almeida; Jardim, Ângela Barra da Veiga; http://lattes.cnpq.br/4694582781438780This dissertation reflects about the songs of Brazilian composer Hekel Tavares through the perspective of the anthropological theory of culture and the cultural hybridism theory. It works on three fields: the critique about the composer; the proposition of solutions to questions about his life and musical work; the establishment, through three of his songs, of a process of signification based on a semiotic line of reflection. The overall objective is to help the performer in the study of this repertoire. The conclusion of this work sees the songs of Hekel Tavares in conformity with the cultural hybridism theory. This positions his work in a cultural in-between.Item O regente de coro acadêmico e a educação musical no canto coral(Universidade Federal de Goiás, 2019-05-20) Silva, Wdemberg Pereira da; Campos, Nilceia da Silveira Protásio; http://lattes.cnpq.br/9035006977831813; Campos, Nilceia da Silveira Protásio; Castelo, David de Figueiredo Correia; Campos, Gilka Martins de Castro; Rasslan, Manoel CâmaraThe present research proposes to analyze the practices of the conductor of academic choir, recognizing the space of choral singing as a space of musical education. The role of the conductor is complex and requires several skills that go beyond the knowledge of gesture, musical syntax, periodicity and style. It should be noted that many conductors consolidated career have had their vocational training performance-oriented, especially in undergraduate courses. Choral activity, on many levels, arouses in the conductor's musical educator skills. In addition to the vocal technique, which is usually the responsibility of the conductor in various types of vocal ensemble formation, this professional in conducting his essay in an educational way provides the learning of different skills and concepts in the field of musical knowledge. As a methodology, we used bibliographical research and a field research with three regents of academic choirs. The theoretical bases that support this dissertation come from musical education, psychology and choral conducting. The data were analyzed from the following themes: organizational administrative skills and musical technical skills of the regents. It was observed in the field that such skills were widely used by the subjects of the research in favor of the musical growth of the choir singers under his conduction. We believe that this research will contribute to the discussions about the performance of the conductor as a musical educator launching an academic look at this possibility of professional performance. We hope that the description of the teaching practice of these regents can serve as methodological examples for several other professionals who work with choral singing.Item A música sertaneja como uma das vertentes da identidade goiana(Universidade Federal de Goiás, 2010-06-26) Sampaio, Edna Rosane de Souza; Unes, Wolney Alfredo ArrudaThe present research has the objective of studying the sertanejo genre as one of the sources of the identity of the goiano people, considering some transformations and phases of this genre – here called moments. Besides, it was tried, in this study, to explore the influence exerted by factors of impact such as hybridism, cultural industry and globalization in this process of mutation and, sometimes, even of descharacterization of sertanejo music. A critical analysis of the subject made evident that the State of Goiás is not only great consumer of this musical genre, but also has an important role in generation, production and promotion of sertanejo groups. The music of the sertanejo genre here is analysed under a look that considers the post-modern situation and the transmission of a musical cultural identity since the beginning of the State.