EMAC - Escola de Música e Artes Cênicas

URI Permanente desta comunidade

http://200.137.215.59/tede/handle/tde/122

Navegar

Agora exibindo 1 - 20 de 238

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.
Momentos brasileiros para piano a quatro mãos
(Universidade Federal de Goiás, 2004-04-29) CARNEIRO, Gyovana de Castro; OLIVEIRA, Glacy Antunes de; http://lattes.cnpq.br/8416271201818890
This research focus on the repertoire for four-hand piano in Brazil, presenting a musicograph research of pieces composed between 1890 and 2000. This paper also analyses five important moments of this repertoire, between 1950 and 1990, by choosing representative works by composers Edino Krieger, Cláudio Santoro, Ricardo Tacuchian, Henrique de Curitiba and Osvaldo Lacerda. This work concludes that the chosen repertoire, for its relevance and artistic qualitites, is representative of Brazilian musical creation.
O gesto como princípio formador em composições eletroacústicas
(Universidade Federal de Goiás, 2007-03-22) DIGNART, Maria Cristina; ALMEIDA, Anselmo Guerra de; http://lattes.cnpq.br/2322584898095049
In the context of electroacoustic music production, specially in the acousmatic version, the human gesture will not develop its primordial role - the utilized material, in this case, is obtained no longer exclusively by the physical action of an agent who produces it. In this tendency, the musical discourse is constructed by sounds and noises that no longer are obligatorily proceeding from determined musical instrument played by a performer, but created and processed in studio. Based on such premises, this present work has the intent of pointing possibilities of applications of the use of the gesture as a structural principle in the electroacoustic musical creation, through the compositions Trajetórias, Metagestos and Entre Planos. Three gestural approaches are used in the creation process. The first mentioned piece is the acousmatic work Trajetórias, where the use of the electroacoustic gesture is applied in its pure form, without explicit relations with instrumental gestures. Another approach is the also acousmatic piece Metagestos, where the creation of gestures used as material is done based on gestural instrumental models. The third case is the mixed piece for cello and electroacoustic sounds Entre Planos where, inside of the same musical context, the instrumental gestures interact with the electroacoustic gestures. With such compositional experiences, we believe that the use of gestures as structural principle may be a strategy, front to the new sound possibilities that in many times may relate with the lived musical experience of the listener, who may already possesses in his perceptual repertoire a range of sound motions that will be re-interpreted in electroacoustic context, being perhaps possible to provide a certain indirect familiarity with such motions.
Arranjos de música regional do sertão caipira e sua inserção no repertório de coros amadores
(Universidade Federal de Goiás, 2007-03-29) SOBOLL, Renate Stephanes; DIAS, ângelo de Oliveira; Dias, Ângelo de Oliveira
This article proposes a reflection about the repertoire sung by amateur choirs, focusing on the process of elaboration of vocal arrangements based upon Brazilian regional music, especially country-hick songs (música caipira). The songs discussed here and their arrangements unfold a very particular thematic world, that of the music from one of Brazil s various country-side cultural/geographic areas: the sertão caipira (hick country side). This repertoire becomes both artistic and educational, since through the investigation, edition and performance of the arrangements it is possible, at once, to make music and preserve the social and cultural traditions of a place or community. Through the application of the compositional techniques discussed here, conductors and their amateur vocal groups will be able to enjoy an attractive repertoire, easy to prepare and quite appreciated by the public, despite its apparent simplicity when still on the page.
A obra para violão de Pedro Cameron: características idiomáticas e estilísticas
(Universidade Federal de Goiás, 2007-04-30) Perotto, Leonardo Luigi; Meirinhos, Eduardo; http://lattes.cnpq.br/0771092244377551; Meirinhos, Eduardo; http://lattes.cnpq.br/0771092244377551; Aguiar, Werner; Fraga, Orlando
The proposal of this research is to investigate the process of creation of the Brazilian composer Pedro Cameron, mainly through the survey and analysis of his work, pointing out specific stylistic characteristics, his perception of the classical guitar idiomatism, and its influence on compositional solutions. In the beginning of the twentieth century, there was a significant growth in the number of works written for the classical guitar by composers of diverse musical backgrounds. These works consolidated a more reorganization both in the writing and the idiomatic absorption of the instrument. The musical works for classical guitar by Pedro Cameron is part of this context, creating an important investigative link for the Brazilian contemporary repertoire. The first part of this master thesis contextualizes this moment, presenting information about the classical guitar in Brazil and the world, and a brief biography of the composer. The second part presents an analytical inquiry of some Cameron's pieces, encompassing the period between the decade of 1970 and the present days. The theoretical framework is based on authors such as Spencer & Temko (1988), Hanslick (1992), Dudeque (1996), Schoenberg (1996), Oliveira (1998), Menezes (2002) e Zuben (2004). The last part evaluates the procedures of the composer through what was observed in the analyses, presenting compositional solutions and techniques he creatively used to incorporate significant elements of the classical guitar idiomatism, influencing the process of writing and his compositional style.
GESAMTKUNSTWERK, UM ENCONTRO COM VÊNUS
(Universidade Federal de Goiás, 2008-09-18) PEREIRA, Sylmara Cintra; NORONHA, Marcio Pizarro; http://lattes.cnpq.br/2875707762585409
The perspective adopted in this research, tells about the most general interartistics relations, and specially, the relations between music and image, sound and visual through movie productions. First, the fictionalized historical biography, permits the following of cliché of correlations between sound and image. Second, the cinematography offers other potentialities, as the film as creation of world, in a strong rupture with the traditional audiovisual articulation. In this biography, investigates the art conception that is in Wagner s Work, and especially we ll see a bibliographic theme of a full art [Gesamtkunstwerk]. In this domain, has an approach comprehension of romantic roots as well a reintegration of thinking around classics the heritage ideas of Greece in XIX. We search, demonstrate an importance and representativeness of Richard Wagner in German Romancism and the present interartistic relation between sound and image in Wagner s Work.
A PRESENÇA DE JEAN FRANÇOIS DOULIEZ NA MÚSICA EM GOIÁS
(Universidade Federal de Goiás, 2008-11-07) BITTENCOURT, Márcia Terezinha Brunatto; OLIVEIRA, Glacy Antunes de; http://lattes.cnpq.br/8416271201818890
This thesis focuses on the life trajectory of the Belgian conductor Jean François Douliez, specifically the period in which he lived in Goiania, where, identifying himself with the cultural and musical needs, he served in a competent and multifaceted way, as an educator, arranger, composer, conductor and interpreter. Based on documents obtained in public and private collections and through interviews, the actions of the conductor in the musical area of the capital of Goias are reconstructed, since the first time that teaching music in Goiania was institutionalized in Goiás State School of Fine Arts - EGBA of which derived the Goias State Conservatory of Music and later the Goias State Federal University Conservatory of Music, current Goias State Federal University School of Music and Performing Arts - Escola de Música e Artes Cênicas da UFG. The conclusion shows the conductor Jean François Douliez as cultural stimulator and developer of one of the cultural identities of the capital of Goias State, proves his fundamental influence in the construction of musical identity of Goiania and his contribution towards the insertion and consolidation of Music in Goias and Goias State Federal University
A flauta doce em um processo de musicalização na terceira idade
(Universidade Federal de Goiás, 2008-12-04) BUENO, Meygla Rezende; BORGES, Maria Helena Jayme; BORGES, M. H. J.
This research, of a qualitative paradigm, discusses the process of musical initiation of senior citizens, discussing some methodological proceedings which can be used as a means to provide a better condition of life for the elderly. For the development of the research, the recorder was chosen as instrument of early musical instruction. In the process of repertoire selection, with the intention of guaranteeing pleasure in the musical activity, pieces were chosen contemplating the taste, age and everyday life of the individuals envolved in the research. The research had as a theoretical basis the works of the authors Dalcroze, Orff, Kodály, Willems, Garmendia (1981), Swanwick (2003), Sekeff (2007), Rodrigues (2003), and Zanini (2003), among others. Based on a bibliographical research about musical education, old age, subjective well-being and the social image of these people, it was possible to observe the relation between music and elderly people, verifying how the former can act in the human being and help in successful aging. The data, collected through weekly observations/classes of a duration of one hour which extended over a period of ten months were analyzed in the light of the phenomenological and the existential method. The individuals musical notions were compared at the beginning and at the end of the observations/classes. With the comparison done, the result shows that the elderly were able to assimilate the content provided throughout the research. A questionnaire (for the verification of the elderly s profile) was applied, as well as the evaluations and statements of the individuals, a group of fifteen elderly people, members of the Association of the Elderly of Brazil/Goiânia. It was noticed, after the analysis of the data, that music supports successful aging, because it contributes to better socialization, communication, creativity, and motor coordination of the elderly.
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/4694582781438780
This 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.
ARTES INTEGRADAS: características das práticas desenvolvidas em escolas de Goiânia
(Universidade Federal de Goiás, 2009-03-27) FARIA, Aline Folly; NASCIMENTO, Fernanda Albernaz do; http://lattes.cnpq.br/3197196510078601; CAMPOS, Denise álvares; http://lattes.cnpq.br/5224194761703249
The present research aims at describing the integration process among the artistic languages taking place in some schools in Goiânia. They are: Centro de Ensino e Pesquisa Aplicado à Educação Cepae/UFG (regular school), Centro Livre de Artes CLA (public school for the teaching of Arts) and Mvsika! Centro de Estudos (private school for the teaching of Arts). Thus the main theme in this work is the integrated arts. The option for such an approach is not based on a devaluation of the musical education or any other specific area of the artistic education. The work seeks a contextualization of education through art that takes into account the current needs and changes influenced by globalization and the efficiency of the information which has made the individual more demanding and thirsty for something creative and different. This integration can happen in many ways, which have been described as pluridisciplinarity, interdisciplinarity, and transdisciplinarity. Some principles, defended by specialists, can help to understand each of these integration forms and, in this work, give support to the description and analysis of the integrative processes. This study seeks to describe and to analyze the practices that involve this integrative methodology in three schools of Goiânia, presenting three case studies. In each of them, the specific characteristics and the coherence level between the concepts and the practice of the educators stand out. From the theoretical reference of this research, it is possible to distinguish the presence of principles that classifies the practices as integrative and that help to define the integration form proposed. These practices are described considering, also, the situation of the integrative experiences in other places around Brazil. To do so, contact with educators (ANPPOM, ABEM, FAEB) that work with integrated artistic languages was attempted. Although only a few answers were received, the information obtained help for a better understanding of the data collected in the schools of Goiania. Considering the description of the reality of each school, relations between the information obtained through observation and the questionnaire are established, which brings a broader view of each process. Finally, the specificity of each practice is focused, as well as the common aspects of all of them, of what brings them together or draws them apart from the theoretical reference of this work and the practices described by educators of other parts of Brazil.
Programa Frutos da Terra: Um agente divulgador da cultura musical regional
(Universidade Federal de Goiás, 2009-03-30) REIS, Martha Antonia dos Santos; NASCIMENTO, Fernanda Albernaz do; http://lattes.cnpq.br/3197196510078601
This study is the result of observation of the television Fruit of the Earth, regional character, which is being produced in Goiania, twenty-five consecutive years. Achieving the overall goal of making a critical analysis and reflective linking the program and its regional proposal in the context of globalized society Goias, and the implications assigned to this context, they acquired this registration form, in which they are exposed to exploitation and Goias indigenous culture, especially music. Therefore, considerations are made on the regional cultural events that the program airs, including traditional and particularly the music, in the process of globalization, including the issue of cultural hybridity and cultural specificities of identifications in the news. The study is systematic in three chapters, s endo that makes each chapter a specific approach, based on the thought of Edgar Morin, the complexity. A reflection on the program Fruit of the Earth gives up way of thinking fragmented portnato, do not take the object apart from its context. It was observed, and the program Fruit of the Earth for a period of eighteen months, was considered the responses obtained in the interviews, we sought in the theoretical studies by social theorists - Hall, Bauman and Canclini - and researchers in the field music - Ulhôa, Nepomuceno and Pimentel. These agents have cultural enlightening replies to the questions that arise during the research. The procedures are found in each chapter of the research. In the first chapter, the discourse is presented by globalization and its issues. The second is devoted exclusively to country music roots, its origin, the transformation in that song now, considering the result of hybridity and cultural reflection of the identifications of Goias. The third chapter presented in detail, the program. It presents the history of the program, a detailed description of some recordings of that program and a summary of the opinions of the individuals: artists, viewers and program staff. In this chapter the reader is shown the importance of the fruits of the earth for society Goiana, since it proposes the recovery, preservation and indigenous culture of Goiás
O cravo na música de Câmera contemporânea brasileira
(Universidade Federal de Goiás, 2009-03-30) PAVAN, Beatriz Carneiro; RAYMUNDO, Sonia Marta Rodrigues; http://lattes.cnpq.br/5646455244693371
This work discusses the role of the harpsichord in Brazilian contemporary music particularly in chamber music. After a brief contextualization of harpsichord in Brazilian chamber music, the work develops in five main parts, namely: part 1 a description of the harpsichord since its origins in the monochord of Pythagoras until the models constructed in present time; part 2 the harpsichord s mechanism is presented in such a way as to elucidate the instrument performance possibilities; part 3 an analysis of idiomatic aspects of the instrument and their influence in interpretative and compositional decisions; part 4 the available repertoire and the process used to organize it including Brazilian solo and chamber music for the instrument. The works are organized by composer, date and medium; part 5 - analytical comments of selected works to be presented in the masters recital. The comments combine Jan La Rue s view with the idiomatic aspects discussed in the part 3 of this paper. The commentaries consider both compositional and performance possibilities. Aspects analyzed include form, instrumentation, level of difficulty, dynamics indication, registration, metric, fingering, use of expanded technique, performance notes and ad-libitum passages (or random elements). As a conclusion, it was possible to organize several Brazilian works for harpsichord in various compositional styles
Conteúdos programáticos para formação em curso técnico de performance pianística: Conservatório Estadual De Música Cora Pavan Capparelli
(Universidade Federal de Goiás, 2009-03-31) GONÇALVES, Shirley Cristina; LABOISSIERE, Marilia Vargas Paes Barreto; http://lattes.cnpq.br/4078687034986938
This research work has a relation with the theme of the pianistic teaching programs. Its focus is the dissatisfaction and conflicts produced between teachers and students in the piano learning process. According to the situation, this investigation is directed to the study of none correspondence between scheduled subjects required at the Cora Pavan Capparelli state music school s piano technical course (located in Uberlândia MG) and student s reality that are put in this teaching program. With intention of ponder such conflicts, the research objective is analyze subject and historic, social, cultural configurations of graduate program in pianistic performance of this institution, beside investigate built experiences by some former students. The discussion topics focus constitution of the first European music schools and, under its influence, the rise of the first Brazilian music school; draw the creation way of Minas Gerais state music schools and, above, the creation and enclosing over Minas Gerais state of Uberlândia s Music School; and still, organize in systems and details information existent inside Uberlândia s Music School pianistic teaching program. Theory discussion molten and statements gathered from institution s former students, we can analyze the existent relation of force and facing inside the music school responsible by clang, mainly, the opposition: scholar music versus popular music. Some commentaries and suggestions are also showed referent changing actions necessities and possibilities to the pianistic teaching in this music school. The research consolidates basics affirmatives of pianistic teaching performance about student s musical life multiplicity that are put into it, showing why this teaching must have like standard a dialogue between subjects broached and ethnic, cultural, social diversity of the people who support it
Pixinguinha e Dino Sete Cordas: reflexões sobre a improvisação no choro
(Universidade Federal de Goiás, 2009-04-27) GEUS, José Reis de; FERNANDES, Adriana; http://lattes.cnpq.br/4049068003650520
Choro consists of a musical movement expressing the popular culture of Rio de Janeiro city, originated around 1870, connected with a gradual process of brazilianization that is, an interpretation style of playing European genres with large use of syncope, played for dance. Choro turned into a musical genre on the first decades of the 20th century, until the Radio Era (here understood as the 1930-45 period), based on an instrumental formation called conjunto regional . Among many groups, there was the Regional de Benedito Lacerda (Lacerda´s Group), which had as its integrants, Pixinguinha and Dino Sete Cordas, the focus of this work. Through the transcription and analysis of the recordings played by Lacerda´s Group in the album entitled Benedicto Lacerda e Pixinguinha (released in 1966 with recordings made between 1946-1951) it was possible to verify the melodic lines and performance style of Pixinguinha´s saxophone and his influence on the seven-string-guitar player Dino Sete Cordas in the album entitled Choros Imortais (1964), recorded by Altamiro Carrilho with Regional do Canhoto (Canhoto´s Group). Pixinguinha s performance on the recordings was based on pre-established improvisations possibly due to recording limitations. Dino Sete Cordas was very close to Pixinguinha and also had him as a model. Because of this contact, among other factors, Dino Sete Cordas came up with a characteristic interpretation style, and individual performance concept and a performance school which influenced countless musicians and contributed for a systematization of seven-strings-guitar´s study
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.
O Lugar Da Música Uma Análise Do Processo Criativo Sob a Perspectiva Do Receptor
(Universidade Federal de Goiás, 2010-03-11) RODRIGUES, Rosana Araújo; UNES, Wolney Alfredo Arruda; http://lattes.cnpq.br/3175091460062435
This study aims the analysis of the productive process in music considering the optics of the receiver. This analysis focuses on the history of the occidental music guided by the aesthetic theory of the perception, its conclusions and projections in the musical field. It is the analysis of the relationship between the receiver and the formal space where the music takes place in the actual and metaphoric sense in the contingencies and circumstances that surround the act of surfacing. The objective is the search of an up to date vision about the musical reception beyond the simple sensorial perception. In the process, there is a discussion about the places of music production and reception, the concepts of perception, musical linguistics, and its ways of been learned. Also, there is a debate about the process of musical structure considering the perspective and aesthetical linked to the soundscape and acoustic.
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.
Contribuição da musicoterapia no fortalecimento da subjetividade de adolescentes participantes de um projeto social
(Universidade Federal de Goiás, 2010-03-26) SANTOS, Hermes Soares dos; ZANINI, Claudia Regina de Oliveira; http://lattes.cnpq.br/8042694592747539; TEIXEIRA, Célia Maria Ferreira da Silva; http://lattes.cnpq.br/3118169145780440
Adolescence is a phenomenon known by society as a period of crisis, complex and problematic, with ambiguity. Such characteristics are considered to be intrinsic at this period of life. Historic psychology itself, comprehend the adolescent as a historic person: A person influenced by the relationship that he stablishes in certain space and time as any other human being. Therefore, his subjectiveness isn t limited through universal concepts. As from this comprehension about the adolescence, we made this current research with a group of seven adolescents, four male and three female, within a music therapy environment (setting) at a social fundation located in periphery of Goiânia city. At this environment (setting), were used technics such as, improvisation, hearing, recreation and musical compositions. Another playful activities involving reverberant musical elements were used as well. For these activities, were used Cds, musical instruments, recorders, K7 and sound machine. The main goal of this research was to investigate how Music Therapy can contribute with the strengthening of the subjectivity of these adolescents. The researcher has focused into the construction of feelings from the interaction of these adolescents during the process and contents expressed at the last interviews. We used Music Therapy, Historic Social Psycology and Adolescence knowledges as a grounding theory. The methodology orientation of the research is qualitative. During the meetings we noticed that behaviours such as: act, think and feel expressed through the musical activities of the participator, came out from existing senses. One of these senses came out from the term aborrecente , present at the final composition of the group. The adolescents gave to this term the following meaning: Those who aren t children neither adolescents. So, the conclusion is that, Music Therapy contributes to the strength of the subjectivity of these adolescents.
Musicoterapia como campo do representacional: educadores sociais e a produção de corpos sonoros e subjetividades
(Universidade Federal de Goiás, 2010-03-30) VALENTIN, Fernanda; CLÍMACO, Magda de Miranda; http://lattes.cnpq.br/3267761359411377; SÁ, Leomara Craveiro de; http://lattes.cnpq.br/2647704768201448
When taking knowledge of the existence of institutions of internment for adolescent authors of infracionais acts, appeared the interest in knowing them and investigating the reality of the social educators who act there. In a generalized manner, it is noticed that these professionals are citizens diverse anxiogenic situations e, on the other hand, is not given the had attention to the personal dimension of the same ones. Ahead of this, one perceived that the potential of the Music Therapy could contribute in the social education context, since this therapeutical one privileges the interaction between body, sound and music. Thus, the present study it had as objective generality to investigate as the Music Therapy can contribute in the production of sonorous bodies and subjectivities of social educators who act in centers of internment and attendance for adolescent authors of infracionais acts, aiming at to identify the music therapeutics experiences as field of the representational. One is about a qualitative research, with characteristic to interdisciplinary, having as referential theoretician workmanships of the areas of Social Education, Social Psychology, Cultural History, Music, Music Therapy and, still, the Theories of the Social Representations evidenced mainly in the thoughts of Moscovici and Chartier. The field research was carried through next to two groups formed for social educators of two units of internment, both located in the city of Goiânia. It was possible, to the end of the research, to verify that the participant educators had tried a rescue of its proper sounds, the creation of new noises and subjectivities, and a corporeity connected to different the sensible ones and the proper life. When taking knowledge of the existence of institutions of internment for adolescent authors of infracionais acts, appeared the interest in knowing them and investigating the reality of the social educators who act there. In a generalized manner, it is noticed that these professionals are citizens diverse anxiogenic situations e, on the other hand, is not given the had attention to the personal dimension of the same ones. Ahead of this, one perceived that the potential of the Music Therapy could contribute in the social education context, since this therapeutical one privileges the interaction between body, sound and music. Thus, the present study it had as objective generality to investigate as the Music Therapy can contribute in the production of sonorous bodies and subjectivities of social educators who act in centers of internment and attendance for adolescent authors of infracionais acts, aiming at to identify the music therapeutics experiences as field of the representational. One is about a qualitative research, with characteristic to interdisciplinary, having as referential theoretician workmanships of the areas of Social Education, Social Psychology, Cultural History, Music, Music Therapy and, still, the Theories of the Social Representations evidenced mainly in the thoughts of Moscovici and Chartier. The field research was carried through next to two groups formed for social educators of two units of internment, both located in the city of Goiânia. It was possible, to the end of the research, to verify that the participant educators had tried a rescue of its proper sounds, the creation of new noises and subjectivities, and a corporeity connected to different the sensible ones and the proper life.

Navegar

Navegando EMAC - Escola de Música e Artes Cênicas por Data de Publicação

Resultados por página

Opções de Ordenação