Programa de Pós-graduação em Música

URI Permanente desta comunidade

http://200.137.215.59/tede/handle/tde/291

Navegar

Agora exibindo 1 - 20 de 172

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 de
This 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.
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 Costa
This 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.
Preparação para a performance de Assobio a Jato de Heitor Villa-Lobos
(Universidade Federal de Goiás, 2015-09-29) Aguiar, Natália Bueno de Oliveira; Raymundo, Sônia Marta Rodrigues; http://lattes.cnpq.br/5646455244693371; Raymundo, Sônia Marta Rodrigues; Furtado, Luis Carlos Vasconcelos; Freire, Ricardo José Dourado
The final product presented consists of two complementary parts: PART A (Recitals) and PART B: (Scientific Article). The program of the first recital includes two works by Heitor Villa-Lobos (Bachianas Brasileiras nº 6 e Choros nº 2), two pieces for flute and piano (F. D. R. Kuhlau e E. Burton), a solo piece by C. Debussy and a work for flute and guitar (L. Liebermann). The recital program includes the work The Jet Whistle by Heitor Villa-Lobos, the piece discussed in the article, besides two works with piano accompaniment (J. S. Bach and F. Poulenc) and a solo piece by O. Lacerda. The article discusses the compositional and musical performance preparation aspects of The Jet Whistle for flute and cello by Heitor Villa-Lobos. The main goal was to discuss the general characteristics of the composition in order to elaborate a consistent interpretation of the work but also approaching the elaboration of the performance itself. The text is organized as follows: 1) bibliography revision relating the composer production and chamber music for flute; 2) discussion about general and instrumental technique required by the analyzed work and concepts involved in its musical interpretation. 3) Interpretative suggestions for the work and a performance preparation routine. Finally, considering The Jet Whistle a late composition in Villa-Lobos catalog, it contains synthesized characteristics of his production for flute yet preserving a very close affinity to his previous worksfor the instrument, therefore expanding the prospects for various interpretations of this work.
O processo de transcrição para dois violões da Passacaglia e Fuga BWV 582 de Johann S. Bach
(Universidade Federal de Goiás, 2014-03-27) Almeida, Cosme Luis de; Aguiar, Werner; http://lattes.cnpq.br/6899356660881342; Aguiar, Werner; Gloeden, Edelton; Unes, Wolney
This work is the result of the process of transcribing the Passacaglia and Fugue BWV 582 by Johann S. Bach for the formation of two guitars from the procedures found in the transcript of his Concerto in G Major BWV 592 and transcription for harpsichord (BWV 592a). In addition to the procedures presented by Bach, we use data from transcriptions for piano of the Passacaglia and Fugue BWV 582. For these analyzes other works were chosen of Fritz Malata (1882-1949), Eugen d' Albert (1864-1932), Josef Weiss (1864-1945) and Georgy Catoire (1861-1926). The choice of these works analyzed is justified by using restriction characteristics of instrumental possibilities. The work consists of a presentation of our philosophical about the poetics of musical transcription precepts, plus some historical aspects that explain the use of the act of musical transcription over time, a view of transcriptional procedures used by Bach in the transcription of his work, a presentation of procedures employed by other transcribers and ultimately the exposure of the procedures used in transcription for two guitars of the Passacaglia and Fugue BWV 582.
A MÚSICA EVANGÉLICA DO MOVIMENTO PENTECOSTAL EM GOIÂNIA COMO FENÔMENO CONTEMPORÂNEO
(Universidade Federal de Goiás, 2010-03-31) ALMEIDA, Elza Oliveira de Souza; UNES, Wolney Alfredo Arruda; http://lattes.cnpq.br/3175091460062435
This research aims to promote reflection on the distortion of the gospel music of the Pentecostal movement in Goiania. For this purpose, will discuss the interaction between music and Radio Paz FM 89.5, considering the impact of globalization and, more specifically, the cultural industry in the expansion of the musical style known today as gospel. This study also examines the integration and the similarity of the Gospel song with the music called pop, that is developed out of religious grounds, pointing out similarities in the instrumentation, arrangements, musical, performances, radio broadcasting, television and public reception. The systematization of the research occurs in three chapters, each one makes a specific approach, based on the methods of critical by Imbert: historic and sociologist as well as the considerations of Guy Debord, in relation to the show. The observation with regard to Radio Paz FM 89.5 lasted twenty months. The theoretical framework was constructed from the results of responses obtained in interviews. The first chapter is focused on the historical field, addressing the development of religious music in the Old and New Testament Bible, the establishment of the Church in the Middle Ages and the religious reforms according to Grout Palisca, Collins Price and Stamps. The second chapter explores the Gospel, from its origins to the present time based on the reflections of Friendland, Baggio, Muggiati and Calado. The first part of the third chapter discusses the musicality of religion in Brazil and in Goiás , more specifically the history of Pentecostalism and the musical development of this segment supported by the authors of the social sphere: Mariano, Freston and Weber. Achieving the goals of this research, the second part presents Radio Paz FM 89.5, relating to the current context, called postmodern, based on various researchers - Featherstone, Lyotard, Harvey and others - within the globalization process, including the issue of globalization, the spectacle and consumption. Conclude that Gospel music is the great current phenomenon. You can ensure that this research represents only the beginning of the study of this phenomenon that tends to arouse more and more the interest of religious communities, evangelical or not.
Circulação musical via internet e suas implicações: formação do repertório musical homogeneizado e personalizado sobre a distribuição dos sites Deezer e Last.fm
(Universidade Federal de Goiás, 2016-05-03) Alves, Lorena Ferreira; Guimarães, Fernanda Albernaz do Nascimento; http://lattes.cnpq.br/3197196510078601; Guimarães, Fernanda Albernaz do Nascimento; Clímaco, Magda de Miranda; Santos, Goiamérico Felicio Carneiro dos
This research discusses the current musical movement via internet and its implications for the formation of the musical repertoire of Internet users. For this purpose, authors are addressed who argue about the distribution of information acted upon by the media and their sociocultural derivations during the XX and XXI centuries. With the advent of personalization of reports developed by search engines that remain increasingly present on the Internet, the concept of information democratization of cyberspace has been rethought; the internet no longer operates on a full flow of information, becoming, thus, a media that offer an individualized experience of browsing the internet. Consequently, it is questioned what effect the personalized information reflects on the contemporary social order. The aim of this study is to investigate how the current distribution of phonograms by musical entertainment in vogue proceeds in the network. To understand how the musical mediation of music services occurs, as well as analyze how it affects the formation of the musical repertoire of users, two musical entertainment services were selected, Deezer and Last.fm, and four fictitious users (MPB, Pop , Rock and Country) navigated the websites getting data from personalized and homogenized music distribution. The results show that service users receive related and unrelated musical offerings to their musical preferences. It is considered that the personalized and homogenized formation of musical repertoire of users of Deezer and Last.fm services reflects contemporary social features like the dynamic between mass/tribes, hedonism and presenteeism. The main source that drives the current musical circulation, which is included in this informational capitalism model in cyberspace, is the surveillance of navigation information from users.
Desafio XIV para trompete e piano de Marlos Nobre: uma abordagem interpretativa
(Universidade Federal de Goiás, 2013-04-26) Amaral, Gerson Frances do; Cardoso, Antonio Marcos; http://lattes.cnpq.br/0664807145882810; Cardoso, Antonio Marcos Souza; Ronqui, Paulo Adriano; Costa, Carlos Henrique; Duarte, Mabio Rocha
This work suggests interpretative possibilities to the trumpet part of the piece “Challenge XIV” for Trumpet and Piano (or Strings) Opus 31 14 bis. The choice of this piece was made due to its relevance of a repertoire of Brazilian music for trumpet and also for its originality on interpretation and performance. This research was developed from a revision of a directed bibliography and also from an analisys of the performance elements: articulation, dynamics, tempo and phrasing.
A mulher compositora e o violão na década de 1970: vertentes analíticas e contextualização histórico-estilística
(Universidade Federal de Goiás, 2017-03-30) Amaral, Mayara; Meirinhos, Eduardo; http://lattes.cnpq.br/0771092244377551; Meirinhos, Eduardo; http://lattes.cnpq.br/0771092244377551; Antunes, Gilson; Cardoso, Antonio Marcos
The present work aims to analyze and present a brief biographical account and the work of Brazilian women composers, with an analysis of the works made in the 1970s. As secondary objectives we search for the contribution to the national repertoire, in the sense of giving visibility to works not much known and played, and to highlight the participation of women in the scenario of Brazilian musical composition, turning the attention to the production of guitar music. To find the works, various search engines were used, such as: catalogs of works, books, as well as interviews conducted during the research. The composers found here are: Lina Pires de Campos, Adelaide Pereira da Silva, Eunice Katunda, Esther Scliar and Maria Helena da Costa. Of the diverse works found, we selected only one piece of each composer, representing their languages and stylistic aspects. The main reference used for the analysis was the book by John White (1976), The Analysis of Music. We also include the precepts of Schoenberg (1996) and Kostka (1999). The results found were some stylistic similarity between some works analyzed here, as well as features that dialogue with the stylistic aspects of the analyzed period.
O gesto musical na interpretação de três obras para trombone de Estércio Marquez Cunha
(Universidade Federal de Goiás, 2015-07-06) Ângelo, Jackes Douglas Nunes; Mello, Carlos Eduardo Vianna de; http://lattes.cnpq.br/0134613809884885; Cardoso, Antônio Marcos Souza; http://lattes.cnpq.br/0664807145882810; Cardoso, Antônio Marcos Souza; Mello, Carlos Eduardo Vianna de; Raymundo, Sônia Marta Rodrigues; Cunha, Estércio Marquez
This article is result from combination of interpretive practice, bibliographic study into musical gesture, analysis of the interpreted musical works, and reporting my experience as interpreter. Is made here a gesture study in musical performance and its possible potential to optimize the interpretative communication between performer and pubic. For this, we used three music pieces for trombone by composer Estércio Marquez Cunha. Backed in bibliographical searches as well as in my experience report into the preparation and interpretation of the musical works, this research describes the relationship between performance and musical gesture. From the interpretative analysis, it was found multiple instances in which musical gesture, coupled with body movement, likely to influence the interpreter expressiveness, interfering therefore directly at the moment of performance.
“A Vida Pela Flor” para clarineta e banda de Joaquim Antônio Langsdorf Naegele: uma proposta interpretativa
(Universidade Federal de Goiás, 2013-04-25) Araújo, Daniel Souza de; Machado, Johnson Joanesburg Anchieta; http://lattes.cnpq.br/8248159445693866; Machado, Johnson Joanesburg Anchieta; Barbosa, Joel Luís da Silva; Costa, Carlos Henrique Coutinho Rodrigues
This work is a proposed interpretative work for clarinet and Brazilian music band concert entitled "A Vida pela Flor" written by the conductor and composer Antônio Joaquim Langsdorf Naegele. Naegele had three of his compositions published by FUNARTE. The music "A Vida pela Flor" is atypical for making use of a fantasy within the context of repertoire for band. Its structure is divided into: Introduction, 1st theme with two variations, 2nd theme with five variations and codetta, differing from the simple structure of most works focused for band, like march, polkas, mazurkas, waltzes, among others. "A Vida pela Flor" stands out for its virtuosity, if taken into account that at the time was run by an instrument with fewer technical resources (Müller System - 13 keys), a remarkable fact. The piece has simple sentences, but with great richness of technique: scales, arpeggios, leaps between different registers of the clarinet, and variation of articulation. Such sentences, or fragments of them, are comparable to those found in the exercises in the "Complete Method for Clarinet" by Elenore Hyacinthe Klosé (1808-1880) which makes us believe that divulging this work will enrich the clarinet repertoire. Knowing that this work is not well divulged among teachers, composers and clarinetists, this study may arise interest to demonstrate the cultural richness that it may bring to our context.
A escolha do gestual e suas implicações interpretativas aplicadas à regência da obra Psalmus, de João Guilherme Ripper
(Universidade Federal de Goiás, 2014-03-28) Araújo, Katarine de Sousa; Costa, Carlos Henrique Coutinho Rodrigues; http://lattes.cnpq.br/5091807553556414; Costa, Carlos Henrique Coutinho Rodrigues; Pinto, Marshal Gaioso; Dias, Ângelo de Oliveira
This aim of this paper is to study and apply gestures in the interpretation of the symphonic work Psalmus, by João Guilherme Ripper. Zagonel (1992) and Heller (2006), were the references used in defining gesture. To define interpretation, the author consulted Laboissiére (2007), Lima (2006) and Schuller (1997), and for the definition of style and conducting, the author makes reference to Schuller (1997) and Swarowsky (1989). Once the definitions were established, the next step was to choose a representative contemporary work, in this case, the symphonic piece Psalmus (2002), by João Guilherme Ripper, from the Brazilian symphonic literature. The choice of this work was based on the following criteria: it is a contemporary Brazilian 21st Century piece, and while it presents technical and interpretation challenges to the conductor, it is not excessively complex for young musicians. This piece was played by the Orquestra Sinfônica Jovem de Goiás, rehearsed and conducted by the author of this paper. The data collected by this survey were approached and discussed with a view to their qualitative aspects. Musical elements are employed as guide to this study. For that purpose, rehearsals were recorded and the resulting video and audio focused on the conductor. Results point to the challenge of conciliating the conductor’s gestures, as a means to establish and maintain the beat while, at the same time, bringing the work to life. Additionally, an analysis of the results indicates that since this is a contemporary Brazilian work, it also presents a challenge to conducting students and these difficulties must be approached throughout their training.
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 Linhares
This 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.
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 de
This 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.
Habilidades técnico-interpretativas ao fagote para a performance da Ciranda das sete notas (Fantasia para fagote e quinteto de cordas) de Villa-Lobos
(Universidade Federal de Goiás, 2016-03-30) Arruda, Felipe dos Santos; Costa, Carlos Henrique Coutinho Rodrigues; http://lattes.cnpq.br/5091807553556414; Costa, Carlos Henrique Coutinho Rodrigues; Cardoso, Antonio; Koberstein, Gustavo Herman
Heitor Villa-Lobos brings significant new prospects for the bassoonist. Within this context this paper presents an investigation of the technical and interpretative skills necessary to perform the Ciranda das sete notas (Fantasy for bassoon and string quintet) by Villa-Lobos. The musical elements articulation, sound production, embouchure, breathing and fingering are based on the concepts presented by Julius Weissenborn (1887), Ludwig Milde (1950) Fernand Oubradous (1988), Gallois (2009) and the physiologist Fox (2007). The discussions are grounded on the above concepts and personal experience of the author in preparation to perform the Ciranda. Some excerpts were selected which expose mastery of technical skills for interpretation. It was found that there is a wealth of skills demanded in this Brazilian work, which enables the development of music skills equal to traditional foreign repertoire for the bassoon. This research shows the lack of literature, especially in Portuguese, with deep approach to the technical and interpretative elements - articulation, sound, embouchure, breath and fingering - for the bassoon player. In addition, a bassoonist who wants to interpret this work should: have knowledge of the sound characteristics of different regions of the bassoon for decision-making purposes of interpretation; master the skills related to playing legato in large intervals; be able to play staccato and legato throughout the whole extension of the bassoon. During the recital preparation I also noted that the above skills are recurring features present on Villa-Lobos other compositions, which makes the discussions presented here useful for application in the interpretation of other works of the composer.
Improvisação ao contrabaixo acústico com uso de arco na música popular brasileira instrumental (MPBI): estratégias de estudo e performance
(Universidade Federal de Goiás, 2010-03-31) ASSIS, Paulo Dantas de Paiva; RAYMUNDO, Sonia Marta Rodrigues; http://lattes.cnpq.br/5646455244693371
This paper discusses the use of bowing technique in improvisation with the bass in the Brazilian Instrumental Popular Music (MPBI). The main objective is to develop study strategies through a brief literature review on the bowing technique, its application in North American jazz and the characteristics of improvisation in MPBI. Thus, the paper discusses the results and presents them in the form of suggestion implementation. The paper is organized into three parts: 1) Review of literature on the use of the bow on strings instruments, 2) MPBI improvisation and 3) strategies for improvisation study on double bass with the use of bowing technique in MPBI. It can be concluded that the processes involved in improvisation on the double bass with bowing technique in MPBI have some particularities that should be objects of attention and study. Moreover, there are similarities in the use of the bowing technique in Classical Music, particularly the technique preparation. It also follows that the greater the knowledge of the peculiarities of bowing technique in improvisation, preparing technical and stylistic knowledge of the bassist, the performance will be better.
Coro cênico: estudo de um processo criador
(Universidade Federal de Goiás, 2003-04-29) Azevedo, Joana Christina Brito de; Leão, Eliane; http://lattes.cnpq.br/9925619017259931; Leão, Eliane; Kayama, Adriana Giarola; Barrenechea, Lúcia Silva
ABSTRACT The experiment herein pertains to the kind research-action founded on Renè Barbier (1996), in which the phenomena of the process are observed and analyzed both phenomenologically and qualitatively. The theme presented, SCENIC CHOIR: STUDY OF A CREATING PROCESS, caters for the need to carry out research and validate the work of a scenic choir. A choir of this kind, the former “Coral da Cidade” (Portuguese for “City’s Choir”) was conducted some time ago, an experience in which the importance of the work on the musical education of the participating subjects was verified, as well as the benefits brought about by the choir. Today, what is intended through this research is to legitimate this former pilot project, assessing the subject’s exposition to this creating process, in which the introduction of the scenic element into choral perfommance is believed to provide a better vocal performance in the final result of the process. In order for this experiment to be carried out, the Scenic Choir of the UFG (Federal University of Goiás), supported by the Pro-Dean’s Office of Extension and Culture (PROEC) and the School of Music and Scenic Arts of the UFG (EMAC/UFG) was created. The methodology used consisted of both pre and post tests by means of data collection, which sought to assess the vocal and perceptive development of the participating subjects. All the rehearsing sessions were videotaped in an attempt to register the experiment, later analyzed by a jury constituted by two observers. The jury watched and analyzed these footages in the search for elements which would ground the argumentation of this research. The findings were also evaluated by means of statistic data, which allowed for the questioning of the validity and efficiency of the applied tests, thus proving a significant change in the performance of the subjects. A justification of the developed actions was sought by resorting to note-taking of the applied didactics during the experiment. Also told during this research was the story of the “Coral da Cidade”, a groundbreaker of the scenic choir movement in Goiânia, so that its important artistic and cultural participation in our city were rightly registered and documented. The documents proving the veracity of the facts which took place, as well as the scores used in this experiment are also available for appreciation. Finally, from this experiment, the Scenic Choir is put forth as a choir mode, which is defined as follows: an interdisciplinary activity between the scene and the voice, carried out in a ludic way, with psychological dimensions aimed at self-realization and better vocal performance.
As canções de Osvaldo Lacerda com textos de Manuel Bandeira
(Universidade Federal de Goiás, 2009-04-27) BARROS, Fernando Passos Cupertino de; DIAS, ângelo de Oliveira; Dias, Ângelo de Oliveira
Cet article soulève des questions concernantes à la chanson d art brésilien, surtout à partir de l analyse des dix mélodies du compositeur brésilien Osvaldo Lacerda, dont les paroles appartiennent au poète Manuel Bandeira. Pour cela, l auteur se sert d une base théorique générale, associée à des éléments touchant le mouvement musical nacionaliste au Brésil. En plus, une liste d exemples complète les observations, surtout ceux qui on trait aux constances retrouvées dans la musique brésilienne. Finalement, il fournit des informations biographiques du dit compositeur, ainsi que l analyse des dix mélodies choisies pour cette étude, selon une méthode d analyse spécialement conçue pour cela. On y trouve également des observations du propre compositeur à l égard des morceaux analysés
Ethnical beat: o ritmo negro da música pop internacional-globalizada. Um estudo de cartografias sonoro-musicais híbridas como memória, agenciamento e performance das identificações afro americanas em contextos diaspóricos
(Universidade Federal de Goiás, 2009-05-25) Barrozo, Maria Regiane da Silva Lopes; Noronha, Márcio Pizarro; http://lattes.cnpq.br/2875707762585409; Noronha, Márcio Pizarro; Nascimento, Fernanda Albernaz do; Simões, Rosa Maria Araújo
Is surprising the challenge of the to question and to have the possibility to answer with music. Of the music to question and other sensibility to answer her. The sound doesn't just belong to the music, the music is not only composed of sounds. The life that sounds receives the care historical of the emotional existence, and this experience receives the musical components as indicators of the intertextual reading. The African diáspora offers the rhythm of the pop music that, for your time, she takes charge of being the habitat of the AfroAmerican memory. The sound memory of the diáspora is interpreted by the rhythmic beat of the pop music, an ethnic beat that is causing black reinventions in the musical performances in global contexts. To approach the pop musical expression as phenomenon of reinvention of the black identity, the memory African cultural scored the black identification in the AfroAmerican musical head offices traveled by the rhythmic transformations of the gospel, blues, jazz, swing, rhythm and blues, soul, freejazz, rock, funk, pop and rap. The social rhythm that accompany those gender it is centralized in the freejazz for the development of the research, from where they follow analyses and comments on the process of construction of the pop beat addressed in a social slope of racial protest and in the musical agency of black domain. The ethnic revival of the decade of 1960 is the scenario for the presented musiciansocial dialogues in way to map responsible relationships for the rhythmic development that consolidated the beat of the pop music as an ethnic beat. The reflection around the pop gender renounces academic precepts and formalist of the European musical tradition to present a possibility of musical analysis where the procedure is given by the content to be received from the object. This way the pop music can be questioned before the suffered social context by the agents of your creation. The followed road is updated by those musical agents, that give us elucidation answers if we look for the music as a resulting art of human negotiations.
Procedimentos composicionais na música de Edu Lobo de 1960 a 1980
(Universidade Federal de Goiás, 2010-03-26) BASTOS, Everson Ribeiro; FERNANDES, Adriana; http://lattes.cnpq.br/4049068003650520
This dissertation approaches the music by Eduardo de Góes Lobo, Edu Lobo (1943 -), from 1960 to 1980. The research identifies the characteristics of these works in context, looking at the compositional phases and considering the influences that built his style. Five compositions were selected, transcribed and analyzed taking into account the importance of the work and the final results reached by Edu Lobo as a composer and arranger. The diversity of procedures found in his works unleashed us from the traps of labeling styles and music genres. A theoretical framework was built around the concepts of identity, hybridism and style, related to his musical career and the elements found in the analysis. In addition, interviews with musicians who worked with Edu Lobo provided additional data to the research. The results show the music hybridisms used by Edu Lobo as a tool for the formation of his style and musical identity, or signature, pointing to the recurring and particular compositional elements in the works under scrutiny.
Coro terapêutico: uma ação do musicoterapeuta visando ao desenvolvimento da criança com síndrome de Down
(Universidade Federal de Goiás, 2014-04-14) Belotti, Tônia Gonzaga; Zanini, Claudia Regina de Oliveira; http://lattes.cnpq.br/8042694592747539; Zanini, Claudia Regina de Oliveira; Cunha, Rosemyriam Ribeiro dos Santos; Campos, Nilcéia da Silveira Protásio
Down syndrome is a genetic abnormality that affects a significant portion of the population. A child with Down syndrome (CDS) has several limitations and difficulties which occur in motor development, cognitive development and communication at different levels, especially with regard to speech. Helping a CDS to win his place in society will stimulate their satisfaction for somehow feeling to be useful, further expanding their coexistence. Children with this syndrome may perform better when those around them recognize that they have limitations, but also potential and abilities. This research deals with the use of Therapeutic Choir with CDS. Had become the main goal is to understand the effects that music therapy, through Therapeutic Choir, can bring in order to improve the performance of a CDS, according to the Theory of Multiple Intelligences proposed by Gardner. This is a qualitative research and it was based on Existential Phenomenology. Data collecting was performed at Down Association of Goiás (ASDOWN). The work was initially conducted with a group of six participants in the beginning and with four children in the end over a four months period, with a weekly frequency and duration of fifty minutes therapy session. Data collecting involved music therapy dossiers, audio and video recordings of cases, descriptive reports, observations of the participants behavior, interviews with those responsible for the CDS and professionals who have worked directly with some children, whether in a therapeutic or education environment. The analysis of all qualitative data was performed with the support of the theoretical review, which included Music Therapy, Therapeutic Choir and Multiple Intelligences. At the end of the music therapy process, it was found an increase of specifics skills in Multiple Intelligences, mainly in the following kinesthetic intelligences-body, linguistic, musical, inter- and intrapersonal, because the through the creative re-experiences, experiments and amenable and additional activities can stimulate the CDS development providing progress in the acquisitions processes.

Navegar

Navegando Programa de Pós-graduação em Música por Por tipo de Acesso "Acesso Aberto"

Resultados por página

Opções de Ordenação