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Navegando Mestrado em Música (EMAC) por Por Orientador "Clímaco, Magda de Miranda"
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Item Música e youtube no cenário brasileiro atual: um enfoque de suas implicações com a indústria cultural(Universidade Federal de Goiás, 2016-05-06) Carvalho Júnior, Luiz Espíndola de; Clímaco, Magda de Miranda; http://lattes.cnpq.br/3267761359411377; Clímaco, Magda de Miranda; Guimarães, Fernanda Albernaz do Nascimento; Cunha, Estércio MarquezThis research intended to identify the musical genres that represent the four most accessible songs on Brazilian Youtube site in the period 2012-2015 , in view of their stylistic peculiarities , creation processes , production, circulation and reception with them involved , searching clarify to what extent are concerned with the mechanisms of the cultural industry and the corporate structure of the youtube site .The analysis and interpretation of musical works and videos that used the representational as a tool (CHARTIER, 2002; MOSCOVICI, 2003), with the hearing and observing "open" the object and use the three levels of analysis proposed by Ferrara (1984) allowed a foundation and methodological approach for the symbolic interaction.By the way, the search for related quantitative data to the results offered by YouTube Rewind Brazil in four years observed , identified that there is a supremacy of the ‘sertanejo universitário’ gender in three of the four songs observed in the ranking, the only song ranked first not was framed in this genre was classified as ‘carioca´s funk’ .In this context the analysis and interpretation could be still observed elements that coincide with practices related to cultural industry, which also pointed to market demands aimed at potential consumers of profiles for implications of this process with the Filter Bubble mentioned by Pariser (2012) that show the interference of technological advances in cyberspace musical movement.Harvey (2005) , Benjamin (2009) and Bauman (2009) has made it possible to realize this process from another angle , the inevitability of their interaction with the historical social setting and cultural postmodern , with the new sensorium mass that identifies their experiences daily with the result of the processes of creation, production, and circulation of the researched musical work .Item A obra vocal de estércio Marquez Cunha: especificidades da música e memória musical no cenário goianiense(Universidade Federal de Goiás, 2012-06-20) Carvalho, Leonardo Victtor de; Clímaco, Magda de Miranda; http://lattes.cnpq.br/3267761359411377; Clímaco, Magda de Miranda; Mello, Maria T. Ferraz Negrão de; Souza, Ana Guiomar RêgoThis study aimed to verify how the construction of the specifics of music in the classical dimension of goianiense society, as well as the possible interactions of this construction with other cultural dimensions, from analysis and interpretation of a case study: three works selected vocal repertoire from goiano composer Estércio Marquez Cunha, members of the CD "Lento Acalanto" 1999. The crossing of the concrete object with the four basic processes of music - creating, receiving, production and circulation - with emphasis on the first two, based on the conception that elects, by a bias, the "autonomy of the work" and, secondly, "work as symbolic structure”, two “constructions" that were the basis of the different times that the Western Society instituted in its historical trajectory, gave greater scope for research, allowing the focus on" form "and, concomitantly, the symbolic implications of this "form" the social fabric. The systematization of this initiative required the achievement of interdisciplinary work in three stages, starting with the conceptual approach of the specifics of the music, its basic processes and processes-historical paradigm, followed by the case study on the composer Estércio Marquez Cunha, and his work interaction with the goianiense music scene and finally the musical analysis of selected works. Achieving these steps and retro-analysis of the entire process allow us to affirm that the specifics of music could be observed in part from this case study. Estércio Cunha's work is really restricted to the field of classical music production in Goiânia. There has met the specific circumstances related to creative processes and reception, has circulated, above all, from the composer's connection with academic institutions, especially the Escola de Música e Artes Cênicas from UFG, which has circulated social representations. In this context, based on these representations, has become a force in terms of symbolic capital, capable of showing works and practices that incorporate the habitus that circulates in this specific field of music production. On the other hand, has established itself as economic capital, and has not shown a meaningful dialogue with other fields of music production. The analysis and interpretations that were the basis of the basic processes focused approach proved efficient when crossing formalist analysis and symbolic.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 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 pagode de viola de Tião Carreiro: configurações estilísticas, importância e influências no universo da música violeirística brasileira(Universidade Federal de Goiás, 2013-06-20) Malaquias, Denis Rilk; Clímaco, Magda de Miranda; http://lattes.cnpq.br/3267761359411377; Clímaco, Magda de Miranda; Pinto, Ivan Vilela; Guimarães, Fernanda Albernaz do NascimentoThis research aims to study the genre pagode of viola of musician Tião Carreiro, approached from of the processes of cultural interaction which is resulting and their stylistic peculiarities, aiming to investigate the importance and influences exerted on the scenario of violeirística Brazilian music. For both analyzes were carried out of works and violeirísticas performances of Tião Carreiro and musicians who have excelled in three different cuts time after him, seeking to evidence the dialogue of these musicians with their work and performance, assess the characteristics of contextual style (the genre), living with characteristics of individual style (resulting from updates from genre effected for them) according reflections of Bakhtin (2003). In the course of the research it was possible to show that musicians of various musical facets, especially related to country music and music violeirística, in a general way, revere the work of Tião Carreiro, and that pagode of viola has influenced generations of viola players.Item O choro e suas interações com a banda do corpo de bombeiros do Rio de Janeiro: uma via de mão dupla nas décadas de 1870 a 1940(Universidade Federal de Goiás, 2017-07-17) Nolasco Junior, Sebastião; Clímaco, Magda de Miranda; http://lattes.cnpq.br/3267761359411377; Clímaco , Magda de Miranda; Rosa, Robervaldo Linhares; Pinto, Marshal Gaioso; Guimarães, Fernanda Albernaz do NascimentoThis study aimed to research the interactions of the choro with the Banda do Corpo de Bombeiros do Rio de Janeiro (BCBRJ), conducted by Anacleto de Medeiros and Albertino Pimentel in the late nineteenth and early twentieth centuries (1870s to 1940s), observed through the legacies left for the history of the genre. Aiming to investigate the stylistic peculiarities of the choro practiced during the period cited above and considering its relation with the arrangements and other peculiarities of the music performed by the BCBRJ, we sought to explore four categories of interactions that occurred with the choro and the BCBRJ. The approach of the first category verified that there was an intense traffic of musicians from the BCBRJ to the choro environment, and vice versa; the focus of the second one evidenced the circularity of the repertoire that was interpreted by the BCBRJ and the choro groups, revealing that part of it was composed by the chorões members of the band; the third category revealed that the circularity also happened through the appropriation by the choro groups of wind instruments, strong characteristic of the band; as for the fourth category, it dealt with the confluences of stylistic aspects that permeated the compositions and arrangements executed by the BCBRJ and the choro groups, through the analysis of selected works from their repertoires for this purpose. The result achieved with the approach of these four categories confirmed that there were interactions configured as a two-way street between the two musical formations, important for the consolidation of the choro as a proper musical genre. On the other hand, we always tried to emphasize that such interactions came from the reformed sociocultural scenario in Rio de Janeiro, which sought to become modern, where different cultural dimensions marked their spaces, symbolically demonstrating struggles of forging representations of identity processes. The practice of the music through this two-way street integrated this context, marking the identity space and the circulation of chorões and band members in the scenario and period in question.Item O rock alternativo em Goiânia e processos identitários(Universidade Federal de Goiás, 2016-06-10) Rocha, Pedro Henrique Bernardi; Clímaco, Magda de Miranda; http://lattes.cnpq.br/3267761359411377; Clímaco, Magda de Miranda; Albernaz, Fernanda; Alencar, Maria Amélia Garcia de; Borges, Maria Helena JaimeThis work had as its objective the investigation of processes of style and performance in the most current alternative rock from Goiânia (the last five years) from a case study related to the music of three selected bands from the city, considering their aesthetic choices, artistic positioning and, after all, their practices, aiming for processes of identity implicated with this musical genre in the city. The methodological trajectory which made possible to reach the predicted goal, seeking methods and theories that privileged the symbolic, which gives support to the representational, consisted of analysis and interpretation of music scores, transcriptions and musical performances, always related to analysis and interpretation also from CDs, DVDs, the observation of photographies and live shows, lyrics, data collected in the study of the social, historical and cultural scenarios in focus and through oral reports collected in interviews granted by the social actors implicated with the object of study. Through those processes it was possible to verify the evidence of an alternative rock from Goiânia, more specifically related to the stoner rock variation, showing voluminous sound density, very close stylistically to American/English rock, ideologically distanced form national variations in its relation with the cultural industry and with the cultivation of elements from the national and local culture. By interacting with a traditional scenario from Goiânia, implicated as well with representational disputes between tradition and modernity, the alternative rock from the city has showed meaningful traces of a positioning of resistance before the hegemony of representations related to country music, to the relation of this music with residues from the past oligarchical culture from Goiás and with the most radical mechanisms of the cultural industry. It has revealed processes of identity, therefore, one of the vectors of an identity of Goiânia in constant construction.Item Inovação e tradição nas baixarias do choro de Rogério Caetano: pós-modernidade e diálogo com Dino Sete Cordas e Raphael Rabello(Universidade Federal de Goiás, 2017-12-19) Silva Neto, João Fernandes da; Clímaco, Magda de Miranda; http://lattes.cnpq.br/3267761359411377; Clímaco, Magda de Miranda; Cunha, Estércio Marquez; Souza, Ana Guiomar Rêgo; Rosa, Robervaldo LinharesThis research had as scope to investigate the peculiarities of the elaboration and execution of the baixaria (bass lines) of seven-string guitar in the interpretation of the Choro by Rogério Caetano, aiming to identify how it interacted with the marked diversity that characterizes postmodernity and with the elements of the tradition, here represented by the work of Dino Sete Cordas and Raphael Rabelo, and, in this context, the innovations that he brought to the history of the genre in Brazil. Three works by Rogério Caetano – Amigos, Um chorinho em Cochabamba and Rogerinho no sete – as well as three recordings of the music Noites Cariocas – composed by Jacob do Bandolim – interpreted, respectively, by Rogério Caetano, Dino Sete Cordas, and Raphael Rabello, were selected for analysis, interpretation, and comparison. The methodological trajectory prioritized: bibliographical survey; documentary survey (musical scores); exploration of oral sources (semi- structured interviews), auditory and audio-visual sources; investment in the transcription of baixarias of choro music carried out by the researcher; analysis, interpretation and comparison of the baixarias performed by each of the three mentioned musicians. Finally, it was possible to consider that Rogério Caetano, despite all the mastery of the traditional elements (in the context of the baixaria of Choro), represented here by the work of Dino Sete Cordas and Raphael Rabello, used a lot of melodic material from other musical genres like the jazz, the blues, Latin American music, evidencing that it brought great innovations to the choro genre. We state that this musician achieved this when he established profound dialogues with the diversity characteristic of the postmodern scenario with which he interacted. In what it concerns to the seven-string guitar universe, still having in sight the other two mentioned musicians, he showed that he is able to represent a third school of the seven-string guitar in Brazil.Item Três estudos de concerto para violão de Radamés Gnattali peculiaridades estilísticas e suas implicações com processos de circularidade cultural(Universidade Federal de Goiás, 2014-04-25) Silva, Valdemar Alves; Clímaco, Magda de Miranda; http://lattes.cnpq.br/3267761359411377; Clímaco, Magda de Miranda; Guimarães, Fernanda Albernaz do Nascimento; Cunha, Estércio MarquezThis research aimed to investigate the technical characteristics/stylistic involved with the Three Studies of Concert for guitar the songwriter gaucho Radamés Gnattali, in its interaction with the processes of circularity and cultural hybridization. Tried to reach, especially, to the peculiarities of the work of this composer, related to the inseparability between stylistic characteristics /idiomatismo/Technical/cultural interaction, emphasizing always transit that has been established between the specificities of different fields of musical production (Bourdieu, 2003). Chartier (1990), Hall (2005), Bourdieu (2003) and Canclini offered (2003), allowed for a theoretical foundation that took on important representational reference, referring to the possibilities raised by practical knowledge and daily involved with identitary processes, that is the objective and becomes evident in verbal formulations, practices and cultural works. This reasoning pointed as the methodological approach, in addition to the bibliographic research, referring to the removal of scenarios sociohistorical and cultural and the elements of the path of life and musical Gnattali, the analysis and interpretation of works that integrate the Three Studies of Concert for guitar. In this context, the analysis and interpretation of scores were performed in interaction with the analysis and interpretation of works recorded on CDs and with data collected in the research literature. Thus, it was possible to confirm the assumption that the works of Radamés Gnatalli Gnattali that integrate Three studies of Concert for guitar, were able to prove the specificity of his work as a composer, a composer who transitioned so fluidic flip by different cultural dimensions; who worked in the most peculiar way a musical language hybrid, indicative of stylistic peculiarities that demonstrate not only his transit cultural, but also their interaction with the sound features, technicians of the instrument.Item Sonoridades do cenário brasileiro pós-moderno e sonoridades tropicalistas: suas relações, diversidade, tempo múltiplo e processos identitários(Universidade Federal de Goiás, 2017-05-29) Teixeira, Davi Ebenezer Ribeiro da Costa; Clímaco, Magda de Miranda; http://lattes.cnpq.br/3267761359411377; Clímaco, Magda de Miranda; Rosa, Robervaldo Linhares; Guimarães, Fernanda Albernaz do Nascimento; Alencar, Maria AméliaThis work aimed to investigate the musical and historical / cultural processes related to the sound diversity present in the production of some musicians who have performed in the last decade of the XX century and in the early decades of the XXI century - consolidated postmodern scenario, aiming to establish musical relations, temporal and cultural relations between this production and the production of musicians that integrated the Tropicália - late years of the 1960s / early 1970s. The accentuated musical diversity presented in six songs studied - four songs circumscribed to the consolidated postmodern scene and two from the Tropicália era -, although inherent in two time cuts, has a character of agglutination, evidences a dialogue between diverse cultural elements, a conviviality of elements of the tradition with global elements, which refers to the concept of hybridism proposed by Canclini and Burke. However, it was also evidenced that the cultural diversity cultivated also had to do with the interaction of songs with Latin America, which made them present a peculiar hybrid differential in relation to the postmodern scenario, a significant cultivation of miscegenation and tradition, rather than just intercultural dialogue and historical quotation. Thus, similarities and differences established between accentuated hybrid processes related to songs from two cuts of different times, led to the perception of contemporary songs characterized by their inherent to consolidated postmodernity and tropicalist songs that, inherentat a very early moment of postmodernity, have not failed to highlight the possibilities posed by the "latency of future time" inherent in the dynamics of "multiple time" that permeates the socio-historical and cultural plot and everything that integrates it, according to Castoriadis and Freire.Item Dias de festa e lutas de representações: música e identidades na Congada e na Festa do Divino de Niquelândia-GO(Universidade Federal de Goiás, 2016-05-30) Vinhal, Felipe Eugênio; Clímaco, Magda de Miranda; http://lattes.cnpq.br/3267761359411377; Clímaco, Magda de Miranda; Souza, Ana Guiomar Rêgo; Capel, Heloisa Selma FernandesThe object of study of this dissertation is the music of two cultural manifestations which happens separately, contrary to what is usual to observe in another regions of the country and the state, in the historic city of Niquelândia, Goiás, the Congada and the Holy Spirit Festival, perceived in the aspects of the battles of representations (CHARTIER, 1990) and the identity processes (HALL, 2006) that forged and had been resignificating them in that social-cultural framework. A qualitative approach was selected, aiming the use of some elements of a Thick Description cited by Geertz (1989) and some elements of the notion of genre of discourse from Bakhtin (2003). The data were collected, analyzed and interpreted considering the contextualization of them, through steps that implicated: a bibliographical, documental and archives survey, field research, interviews with various agents of the festivities, and musical transcriptions, analyses and interpretations. The results revealed that the Holy Spirit Festival and the congada from Niquelândia were built in a historic and current process of encounters and battles of representations among groups from different socio-cultural fields. Meanings and significances were related, so, not only with the festivals, but also with a hybrid musical complex, religious and profane, Afro-Brazilian and European, most considerable representation of the multiple identities that compose the agents of the two festivals studied. Therefore, it was possible to prove that the festivals and the music studied are a result of investment in the city of Niquelândia because they integrate identity processes in this scenario, processes implicated with battles of social representations which forces that these cultural manifestations happen separately, in two different dates and locations.