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Disertación/Tesis

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2024
Disertaciones
1
  • DAVID DA SILVA SOUZA
  • “SANTOS FOOTBALL MUSIC” BY GILBERTO MENDES: An adaptation to new sound tools and performance auto-ethnography

  • Líder : ANDRE LUIZ MUNIZ OLIVEIRA
  • MIEMBROS DE LA BANCA :
  • ANTONIO EDUARDO SANTOS
  • ANDRE LUIZ MUNIZ OLIVEIRA
  • JOANA CUNHA DE HOLANDA
  • Data: 27-feb-2024


  • Resumen Espectáculo
  • The purpose of this research is to present an analysis of the work Santos Football Music by Brazilian composer Gilberto Mendes (1922 - 2016), in addition to an auto-ethnographic narrative about the preparation of the work and the paths used from the conductor's perspective. The methodology of this work involves searching and researching bibliographic material about the composer and his work, as well as interviews with personalities linked to the composer. A narrative will be made of my experience as conductor of the group, which was used for the final execution of the researched work. This document is separated into four parts, the first chapter will cover the composer's biography, his compositional methods with the use of scenic and electro-acoustic elements. The second chapter will provide a detailed analysis of the work Santos Football Music. In the third we will find an autoethnographic description of the work carried out, and finally in the fourth chapter questions related to the conducting of the work.

2
  • JULIO CESAR ANSELMO POSSETTE
  • ANALYSIS OF PEDAGOGICAL MODELS OF ONLINE CELLO COURSES

  • Líder : FABIO SOREN PRESGRAVE
  • MIEMBROS DE LA BANCA :
  • FABIO SOREN PRESGRAVE
  • RUCKER BEZERRA DE QUEIROZ
  • MARTA MACEDO BRIETZKE
  • Data: 28-feb-2024


  • Resumen Espectáculo
  • This dissertation explores the creation and application of pedagogical models in online cello courses, serving as a practical and theoretical guide for the development of distance learning course initiatives. The research emphasizes the importance of pedagogical models that achieve effectiveness beyond mere knowledge transmission, fostering collaboration, engagement, and critical reflection within a course. It addresses methodological diversity and the adoption of Digital Technologies of Information and Communication as crucial elements for the construction and selection of engaging and effective distance learning cello courses. Personalization of learning and progressive skill development are identified as fundamental to meet individual student needs, providing a rich and adaptable educational experience. This work serves as a valuable resource in designing online cello courses, offering insights to enhance both the teaching and learning experience.

3
  • JUAN IGNACIO FERRERAS
  • APPROACHES TO STYLE AND INTERPRETATION IN THE PERFORMANCE OF THE PIECE "[CELLO]" BY TOMÁS CABADO

  • Líder : FABIO SOREN PRESGRAVE
  • MIEMBROS DE LA BANCA :
  • FABIO SOREN PRESGRAVE
  • RUCKER BEZERRA DE QUEIROZ
  • TERESA CRISTINA RODRIGUES SILVA
  • Data: 23-mar-2024


  • Resumen Espectáculo
  • The aim of this work is to present reflections, and study and performance strategies on the piece “[cello]” (2021) by Tomás Cabado. The methodology used, typical of artistic research according to Robin Nelson and Henk Borgdorff, proposes a theoretical and conceptual framework for thinking about the performance of this piece, and we have enriched these reflections with conversations with the composer himself. The dissertation presents ways of approaching the piece that could be useful for other contemporary cello repertoires. Some of the researcher/performer's reflections are also presented, based on theory, philosophy and poetry, to consider how the study and interpretation of this work and similar repertoires allow us to focus on time, the details, and silence, seeking new experiences and relationships around these three concepts.

4
  • ANDRÉ EUGÊNIO DE QUEIROZ FILHO
  • Adeus, adeus for Cello and Piano by Walter SmetakA rediscovery

  • Líder : FABIO SOREN PRESGRAVE
  • MIEMBROS DE LA BANCA :
  • FABIO SOREN PRESGRAVE
  • ANDRE LUIZ MUNIZ OLIVEIRA
  • ALFREDO JACINTO DE BARROS
  • Data: 23-mar-2024


  • Resumen Espectáculo
  • This master’s research presents a study of the work Adeus, adeus, for cello and piano, composed by Walter Smetak in 1948, in memory of Mahatma Gandhi. The main goal of this work is to relate the aesthetic and structural aspects of the piece to the socio-historical and cultural context in which it was composed, with no intention of helping the performer in the process of interpreting the piece. To do so, the text addresses Walter Smetak’s artistic career, the socio-political and cultural circumstances in the city of Salvador -BA, the influence of the composer’s artistic production on the arts in general, the interconnection of the aesthetic purpose with the Eastern world and Hindu philosophy. The steps of the methodological procedure were: 1st – the collection of scores and literature involving the production of the Bahia Composers Group; 2nd – interviews with cellist Marcos Roriz, who debuted the work Adeus, adeus; and with composer Gereba Barreto; 3rd – edition of the score in digital format, for study, analysis and dissemination; 4th – analysis of the work and the conceptual, theoretical and technical correlations used by the composer, based on a procedure of intertextuality and idiosyncrasies. The results proposed in this research show that artistic productions are subordinated to different creative purposes, and it is necessary to re-establish the integration of artistic concepts, since the individuation of areas of knowledge into specialties is interfering in the identification of different creative processes and consequently in the interpretative choices corresponding to the structures in a musical work.

5
  • ISAAC DE SOUZA SANTOS
  • "REFLEXÕES PARA FAGOTE" SOLO BY AGAMENON DE MORAIS JR.: A
    TECHNICAL STUDY ABOUT THE MULTIPHONICS USED IN THE
    COLLABORATION.
  • Líder : AMANDY BANDEIRA DE ARAUJO
  • MIEMBROS DE LA BANCA :
  • AMANDY BANDEIRA DE ARAUJO
  • LUCIANE APARECIDA CARDASSI
  • VALDIR CAIRES DE SOUZA
  • Data: 11-abr-2024


  • Resumen Espectáculo
  • This research deals with the use of multiphonics in the work Reflexões for solo bassoon by the composer Agamenon de Morais Junior, based on an approach to preparation for performance. Considering that there are few pieces that contemplate the study of extended bassoon techniques during a collaborative composition and the desire to change this reality. Thus, the objective of the research was to record the process of choosing multiphonics, as well as the learning and performance procedures on the bassoon. The precepts involving the use of multiphonics are based on Bartolozzi (1967), Souza (2016), Gallois (2008), Oliveira (2013), and Penazzi (1971). As a result of this work, a cycle of compositions for solo bassoon was obtained, exploring extended techniques; a suggestion for categorizing multiphonics, a proposal for studies to master multiphonics and, finally, the audiovisual record of the study of the work and the premiere of the piece.

2023
Disertaciones
1
  • ANDERSON DO NASCIMENTO SILVA
  • The sociocultural dimension of musical performance: an ethnographic case study with the Jacques Klein Municipal Band of Aracati (CE)

  • Líder : MARIO ANDRE WANDERLEY OLIVEIRA
  • MIEMBROS DE LA BANCA :
  • AGOSTINHO JORGE DE LIMA
  • JOSÉ ROBSON MAIA DE ALMEIDA
  • MARIO ANDRE WANDERLEY OLIVEIRA
  • Data: 26-ene-2023


  • Resumen Espectáculo
  • Knowing the universe of music bands is essential for a music educator in view of the perception of the multiple contexts of activity that this professional can be inserted in today. Understanding this need, this qualitative research seeks to understand how the band Jacques Klein from the city of Aracati (CE) develops its musical performance in the city, incorporating elements and aspects of tradition and modernity in its socio-musical and educational performance. Methodologically, an ethnographic case study was carried out, which made it possible to gather important information from different data collection techniques, which enabled a deeper understanding of the studied object. In the data construction process, observations, semi-structured interviews and questionnaires with some musicians, the maestro and some citizens of the city were used. The theoretical bases used for data analysis revolved around the concepts of performance and local music from Bauman (1975), Béhague (1984), Berger and Luckmann (1991), Geertz (1973, 2008), Goffman (1990), Seeger (2004, 2008, 2015) and Reily (2021). From the constructed and analyzed data, I found that the band Jacques Klein is currently a cultural equipment maintained by the city hall that offers a musical service to institutions and social groups in the city and its districts; that the band's musical performances are built from a network of relationships between conductors, musicians and city citizens according to the types of event; that the band's performances are diverse and that is why the repertoire undergoes continuous modifications; that the conductor is a fundamental agent in the processes of selection, manipulation and definition of the repertoire, but that he is directly influenced by the people who organize a certain event during the choice of songs; that the band's repertoire has undergone processes of historical and dynamic incorporation in the past and at present and that the musicians have ways of thinking and performing certain songs in the repertoire whose playing is built from their musical conceptions that are not included in the score .

2
  • ANDERSON JARDEL BEZERRA DA SILVA
  • GILBERTO CABRAL: WORKS CATALOGING, EDITING AND AN APPROACH TO THE TECHNICAL STUDIES OF THE WORKS COLORIDO, SAPOS, SUITE DO RIO GRANDE DO NORTE, MARACATCHATCHU AND SAPECA.

  • Líder : RANILSON BEZERRA DE FARIAS
  • MIEMBROS DE LA BANCA :
  • ALEXANDRE MAGNO E SILVA FERREIRA
  • MARCOS FLAVIO AGUIAR
  • RANILSON BEZERRA DE FARIAS
  • Data: 08-feb-2023


  • Resumen Espectáculo
  • This research started from a survey of works by composer Gilberto Cabral, which resulted in a collection and listing of 26 pieces for trombone in various instrumental formations, which contribute to the diversification and expansion of the trombone repertoire. From this universe, 5 pieces were chosen that represent the total set of work due to their stylistic characteristics. This procedure aimed to identify sections of difficult technical and interpretive execution and from them we proposed studies for the acquisition of skills that allow the performer to perform satisfactorily the works studied. We also make it clear that the study suggestions are based on existing methods for trombone. The works chosen were: Colorido (suite), Sapos, Rio Grande do Norte Suite, Maracatatchu and Sapeca. We also present a biography of the composer that reports from his musical initiation in the state of Pernambuco to his performance in the artistic environment of Rio Grande do Norte, showing his importance and influence in relation to future generations of instrumentalists. Rhythmic and melodic aspects related to the popular manifestations of Rio Grande do Norte were presented through the works, and to discuss them we used several authors as a theoretical reference, among them Cascudo (1984), Costa (2011), Alves (1999). We emphasize the importance of the works for the trombone repertoire and the need to know each one better, since they are based on a language of genres and rhythms of Brazilian popular manifestations, some of which are little known by the general public because they are specific to our region. During the initial survey of the works, we noticed that many of them were already in Finale and Encore format and others in a physical state were already deteriorating, so we proceeded with scanning them in PDF to facilitate access to these materials, in addition to contributing to its preservation.

     

3
  • IVO BEZERRA DE SOUSA JUNIOR
  • Methodological Proposal for Studying the Preparation of the Soloist Instrumentalist with
    the Aid of a Virtual Orchestra: A Case Study of the Study of Excerpts from the Concerto for Two
    Guitars and Orchestra by Manoel Nascimento

  • Líder : EZEQUIAS OLIVEIRA LIRA
  • MIEMBROS DE LA BANCA :
  • EZEQUIAS OLIVEIRA LIRA
  • ALEXANDRE VIRGINELLI MAIORINO
  • CLEISSON DE CASTRO MELO
  • Data: 10-mar-2023


  • Resumen Espectáculo
  • This research intends to create a methodology study that can help solo musicians in
    the performance preparation of orchestral works. The difficulties that many soloists face in
    gaining access to an orchestra to rehearse or study are notable. Some of these difficulties
    are the simultaneity of time and schedules among musicians, a place for rehearsals,
    transportation of larger instruments, and remuneration for musicians. Based on this, we
    thought of a suggestion to help soloists in their studies. To alleviate this problem, we propose
    a methodology that allows soloists to study musical excerpts accompanied by a virtual
    orchestra. To demonstrate how this methodological process proceeds, we used three
    extracts extracted from the first concert movement, plus the MIDI protocol in computer
    synthesis, sequencing software, virtual instrument software, score editing software,
    electronic devices such as audio interface, and studio audio monitors. In addition, the
    research will show the main points to establish a virtual orchestra with a similar sound to a
    real orchestra. In our search, we did not find anyone who has proposed something that fills
    the problems caused by the absence of an orchestra. With this research, we emphasize the
    sound relevance for soloists to study the passages accompanied by a virtual orchestra and
    how such practice is a crucial synthetic requirement for a better understanding of the work as
    one.

4
  • JOSÉ DE ANCHIETA RODRIGUES MENEZES JUNIOR
  • THE SEVEN-STRING GUITAR AND THE POTIGUAR CHORO: AN ACCOMPANIMENT OVERVIEW IN CHORO CHORO

  • Líder : EZEQUIAS OLIVEIRA LIRA
  • MIEMBROS DE LA BANCA :
  • THOMAS GEORGE CARACAS GARCIA
  • EZEQUIAS OLIVEIRA LIRA
  • JULIO CESAR DE MELO COLABARDINI
  • Data: 15-mar-2023


  • Resumen Espectáculo
  • The present work seeks to present choros from Potiguar where there is the presence of the seven-string guitar, either in its nature of accompaniment or creating melodies, counterpointing the main melody, improvisation, obligation basses, inversion, ornaments and also, giving its contribution, as soloist in lower strings, also aims to highlight the compositions and composers of choro, the seven-string guitarists, influences of the seven-string guitar and regional who recorded choros potiguares in the state of Rio Grande do Norte. The potiguar choro consists of a range of composers, many are still anonymous, others already established. In this work, some compositions that mix these composers were chosen, they are potiguar choros where there is the presence of the seven-string guitar and its use in the use of counterpoints in relation to the main melody, aiming and providing the evolution of the guitarist musician in the absorption of the language of the seven-string guitar in choro. Borges in his dissertation, states that the seven-string guitar, through an oral tradition, contributed to the aspects of improvisation predominant in choro (BORGES, 1). However, orality makes it difficult to accurately analyze compositions and aspects related to style, melodies and musical form, which are often lost due to the lack of a defined counterpoint writing. Thus, we emphasize the importance of written records so that you have a better understanding of musical knowledge on the seven-string guitar. It is concluded that the production of this work is of paramount importance, because in addition to praising some potiguar composers, it also extols the Brazilian seven-string guitar, for this, it is based on the repertoire, composers, guitarists and interpreters who recorded choros in the state of Rio Grande do Norte.

5
  • JASON DESIDERIO BEZERRA
  • “OI ABRE A RODA TINDOLELÊ”: WHAT CHILDREN TELL ABOUT MUSIC CLASSES AT BASIC EDUCATION SCHOOL IN PANDEMIC TIMES

     

  • Líder : TAMAR GENZ GAULKE
  • MIEMBROS DE LA BANCA :
  • CAROLINA CHAVES GOMES
  • MARIA DA CONCEICAO FERRER BOTELHO SGADARI PASSEGGI
  • TAMAR GENZ GAULKE
  • Data: 31-mar-2023


  • Resumen Espectáculo
  • This work aims to investigate how children from a public childhood education school in Parnamirim/RN narrate their experiences with music teaching during the Covid-19 pandemic, attributing meaning to these experiences. It emphasizes the possible contributions that protagonism in childhood can bring to the formation of curricula, practices and professional performance. The investigation took the children's narratives about the experiences with the music class at school from the (auto)biographical perspective, as a research instrument, object of study and training. Considering the reflexivity of children with music classes in regular schools, we used the Conversation Wheel as a data collection instrument, it is believed that such an approach presents itself as an adequate way to learn about experiences with music classes in the scenario pandemic. We partially present the process of re-signification of children with the music class, with the school and with the pandemic. This study is expected to foster an important field of research and training for the area of music education.

6
  • TARCÍSIO PAULO DA COSTA
  • ARRANGEMENTS FOR SOLO PIANO OF WORKS BY LUIZINHO DUARTE: interviews, strategies and examples

  • Líder : DURVAL DA NOBREGA CESETTI
  • MIEMBROS DE LA BANCA :
  • DURVAL DA NOBREGA CESETTI
  • MARCELO MATEUS DE OLIVEIRA
  • NAN QI
  • Data: 01-abr-2023


  • Resumen Espectáculo
  • The main focus of this work is the creation of an arrangement for solo piano. Having as general objective to identify procedures used in the creation of these. For this purpose, the following specific objectives were defined: conceptualize arrangements, understand the creative process of pianists, prepare three arrangements of pieces by composer Luizinho Duarte and describe the procedures used to create the arrangements. Approaching this theme is justified because the understanding and description of these procedures can guide others who want to dedicate themselves to this activity, increasing the collection of pieces arranged for solo piano, directly or indirectly impacting the interested community. The present study consists of an action-research, with a qualitative treatment of the data, which includes a bibliographic study on the theme and interviews with six Brazilian pianists with great visibility in the current scenario: André Mehmari, Hercules Gomes, Gilson Peranzzetta, Salomão Soares , Thiago Almeida and Uaná Barreto. As a result, three arrangements were created, and their creative process was documented and described. It is hoped that this work can inspire others who deal with this theme, as well as instigate a deep reflection about the creativity involved in the artistic process.

7
  • ANDRE ALBIERGIO DE LIMA COUTO
  • ARMORIAL CONCERTO FOR VIOLIN AND ORCHESTRA BY ALFREDO BARROS: A PERFORMER-COMPOSER COLLABORATION FROM THE GENESIS TO THE PREMIERE.

  • Líder : RUCKER BEZERRA DE QUEIROZ
  • MIEMBROS DE LA BANCA :
  • GERMAN ENRIQUE GRAS
  • ANDRE LUIZ MUNIZ OLIVEIRA
  • RUCKER BEZERRA DE QUEIROZ
  • Data: 09-abr-2023


  • Resumen Espectáculo
  • This research has as its main objective to register the process of composition, preparation and performance of a new concerto for violin and orchestra in collaboration with the composer Alfredo Barros (1966). The research methodology foresees: (1) Literature review; (2) Performer-composer collaborations, especially through video calls, phone calls, emails, and text messages; (3) Preparation of the debut. The composer must rehearse and conduct the work at its premiere, all rehearsals shall be recorded in audio and video for recording in order to help understanding the reasons of the possible changes and improvements that may still happen between the beginning of the rehearsals until the date of the world premiere; (4) Premiere of the concerto with audiovisual recording; (5) Editing of the final version of the work. The final work brings a detailed account of the entire process of construction of the work from the genesis to the premiere, containing the manuscripts of the work and an edited version with fingerings and arcades proposed by the interpreter. At the end, it is expected to deliver an unpublished work for violin and orchestra in ARMORIAL aesthetic with its audio and video recording that will be made available free of charge to the public.

8
  • NÁGILA LEMOS BATISTA
  • Possibilities of Collective String Teaching in Brazil: A study with (auto)biographical narratives of instrument teachers

  • Líder : TAMAR GENZ GAULKE
  • MIEMBROS DE LA BANCA :
  • NILCEIA PROTÁSIO
  • TAMAR GENZ GAULKE
  • TARCISIO GOMES FILHO
  • Data: 19-abr-2023


  • Resumen Espectáculo
  • This work presents the results of a descriptive research, through the analysis of biographies, with the objective of understanding how collective teaching of bowed strings has occurred in Brazil in four regions, describing some aspects of the subject of study, through a theoretical review , involving the subject, analyzing and comparing the information. Through a bibliographic survey, documentary research and interviews, it can be concluded that the collective teaching of bowed strings today in Brazil is still configured as a form of teaching, adopted by several teachers, who mostly had their musical training in some instrument. of rubbed ropes, but that they never had specialized training to work with this form of teaching and that knowledge was given from experiences of their professional daily life. The work contains interviews, with a pre-elaborated script and carried out with five teachers from the regions, north, south, center-west and two from the northeast region of Brazil, who today work with collective teaching of frictioned strings and promotes inquiries about how different teachers work their practices with groups of collective teaching of frictioned ropes. After the bibliographic survey and data collection, it was possible to visualize in a more complete way how the musical groups that work with collective teaching of strings work as a way of teaching. It was possible to realize that we still do not have a single methodology and uniform teaching practices, each group has different shapes, sizes, and even the use of varied teaching methods. We were able to find out if there is an urgent need for didactic preparation so that people who work or want to work with this form of teaching, train themselves for this job.

9
  • KADJA MARLUAN DA SILVA NASCIMENTO
  • ASSESSMENT IN MUSIC IN BASIC EDUCATION: A study with music teachers from schools in the Metropolitan Region of Natal/RN

  • Líder : TAMAR GENZ GAULKE
  • MIEMBROS DE LA BANCA :
  • LEONARDO BORNE
  • MARIO ANDRE WANDERLEY OLIVEIRA
  • TAMAR GENZ GAULKE
  • Data: 20-abr-2023


  • Resumen Espectáculo
  • This research arises from the need for analysis and discussion about the evaluation process in Music Education, having as a research environment basic school in the Metropolitan Region of Natal (RMN), in Rio Grande do Norte. It is understood here that evaluating is part of everyday school life and is intrinsically associated with the teaching-learning process. Given its importance within the educational process, it is essential to think about the role of evaluation in Music Education. Considering such potential, the present work seeks to mobilize reflections to understand how the evaluation process happens within music education in basic education. Among the objectives, we seek to investigate concepts, instruments and methodologies used in evaluative practices in music education, by public and private teachers. To carry out analyses, reflections, conceptions and data collection, the creation and monitoring of a Focus Group (BACKES et al, 201; GATTI, 2005; SOUZA, 2020), consisting of six teachers, was taken as an integral part of the methodology. The work presents perspectives and reflections on the evaluation process of the teacher's practice from experiences shared in the Focus Group, as well as discourses found in documents that guide Basic Education in Brazil. As support for the reflections, the theoretical and conceptual apparatus about the concepts around evaluation was found in the scientific literature, which will be based on SWANWICK (2003), BORNE; BELTRÁN (2017), KRAEMER (2005), SANT' ANA (2014), ROLDÃO e FERRO (2015), MENEZES (2010), ANDRE (1996), LUCKESI (2011), PERRENOUD (1999), among others. The aim of this research is to present assessment as a procedure that allows monitoring students in their limits, advances and difficulties throughout the process of developing their skills and competences.

10
  • FELISBERTO JULIÃO
  • Music teaching at the State Teacher Education Institute in Marrere, Nampula province

  • Líder : LUIS RICARDO SILVA QUEIROZ
  • MIEMBROS DE LA BANCA :
  • FÁBIO HENRIQUE RIBEIRO
  • LUIS RICARDO SILVA QUEIROZ
  • MARIO ANDRE WANDERLEY OLIVEIRA
  • Data: 12-jun-2023


  • Resumen Espectáculo
  • This work aims to understand the general dimensions that characterize the teaching of music in K-12 education in Mozambique, as well as to identify, from this broader panorama, which the teaching knowledge of music that is applied in music teaching, at the Instituto de Formação de Professores de Marrere, city of Nampula-Mozambique. To achieve this objective, a survey was carried out with the following specific objectives: to understand the general dimensions that underlie music teaching in basic education in Mozambique; identify and analyze which professional knowledge supports the performance of these professors in the Institute's space; identify the didactic methodological strategies applied by teachers in music teaching at the Marrere Teacher Training Institute and learn about the narratives of music teachers at the Marrere Teacher Training Institute. Through a qualitative approach, the research, can be characterized as a "case study". The theoretical framework of the work is based on studies on teaching knowledge proposed by Shulman (2004), Tardif (2014), and Araújo (2016), and other studies in the area of Education and Music Education that address this theme. We used the questionnaire survey as data production instruments, applied to one (1) teacher trainer and five trainees, all from the IFPM. direct observation, semi-structured interviews, documentary research, and bibliographical studies. In the context of the interview data, treatment was preceded by content analysis in order to highlight the indicators that allow inferences about reality other than that of the message. The results demonstrate that the Music teacher's teaching knowledge was constituted throughout his educational-musical trajectory, both through pre-professional experiences lived as a former student of secondary professional music training, as it was noted that it is added to the trajectory professional lived in different social spheres, among them, in musical projects at ECA and IFPM, which are pre-professional experiences lived by the teacher; in the medium professional formation of music as a source of professional expertise for the teacher; the Degree in Cultural Management as sources of knowledge in professional training. Another aspect is related to the quality of teacher training in Mozambique, which is still deficient.

11
  • EDSON ZEFERINO MENEZES
  • A STUDY OF THE MOTOR LEARNING OF THE HORN PLAYER: RELATIONSHIP BETWEEN TRAINING AND SLEEP

  • Líder : RADEGUNDIS ARANHA TAVARES FEITOSA
  • MIEMBROS DE LA BANCA :
  • RADEGUNDIS ARANHA TAVARES FEITOSA
  • RINALDO DE MELO FONSECA
  • WALESKA SCARME BELTRAMI
  • Data: 13-jun-2023


  • Resumen Espectáculo
  • Despite innate talent, musical competence depends on specific training. For most musicians, auditory perception, instrumental motor skills, and musical cognition only develop after a significant investment of time, in addition to physical and mental effort. This inversion is believed to result in modifications of the neural circuits associated with music learning. Recent studies suggest that sleep is essential for the consolidation of new learning. However, no study has evaluated the relevance of sleep in the formation of implicit memory, for example, associated with the performance of a musical instrument. Thus, this research seeks to assess the contribution of sleep to musical learning, in this case the French horn, at two different times. First, we will use a specific technical-interpretive training protocol for horn players. The exercises will be performed by two groups of volunteers, one who will perform the musical training before bedtime (night sleep) and another who will do it in the morning (after waking up). The musical performance will be quantified over three weeks of training, with a duration of approximately 15 minutes per day for the study, evaluating the following attributes: Sound, Tuning, Articulation, Fingering and Rhythm. The methodology of this research is configured by performing the following steps: (1) the review of the literature that relates music and neuroscience, musical training, and sleep was consolidated as the first methodological stage; (2) composition of specific exercises to study and analyze the technical processes of horn players during musical training and relate them to the different responses of the instrumentalist; (3) data collection using the ASR Recorder audio acquisition application in Waveform Audio File Format (WAV); and (4) analysis of the data obtained. We believe that this research will contribute to the understanding of the importance of sleep for musical learning. We hope that our results can contribute to the development of studies on musical training methodologies, with advantages for musical performance, as well as enriching the interdisciplinary field between music and neurosciences.

12
  • BRUNO ZAMBONINI SOARES
  • The trumpet in popular brazilian music: possibilities of adapting exercises from
    the Arban method for the development of the performance of brazilian rhythms on the trumpet.
  • Líder : RADEGUNDIS ARANHA TAVARES FEITOSA
  • MIEMBROS DE LA BANCA :
  • FLAVIO GABRIEL PARRO DA SILVA
  • MAICO VIEGAS LOPES
  • RADEGUNDIS ARANHA TAVARES FEITOSA
  • Data: 23-jun-2023


  • Resumen Espectáculo
  • The main objective of this research is to propose an adaptation of selected Etudes from Arban’s
    complete method for trumpet for the development of the performance of Brazilian rhythms on the
    trumpet. The methodology used to develop this research was characterized by a qualitative approach.
    To collect the necessary data to understand the research scenario and to develop the proposed work,
    bibliographical and documentary research and interviews with some of the main professors and
    prominent trumpeters of the Brazilian musical scene of concert and popular music were used. For the
    theoretical basis, a discussion was held in order to present definitions for understanding the universe of
    Brazilian popular music as well as its relationship with the trumpet. The adapted Arban’s exercises
    were adapted to develop the performance of Maxixe, Polka-Choro, Frevo de Rua and Baião, always
    meeting the technical-mechanical conditions of the trumpet such as tessiture, articulation and sound
    emission. As a final result of the research, it was found that through these foundations it was possible
    to adapt exercises that could help trumpeters who wish to learn and practice Brazilian popular music.
13
  • THIAGO CAMARGO ROJO SILVA
  • MUSIC IN ODD METERS: The adaptation process of the  Brazilian rhythms to odd meters by "Nenê"

  • Líder : CLEBER DA SILVEIRA CAMPOS
  • MIEMBROS DE LA BANCA :
  • CLEBER DA SILVEIRA CAMPOS
  • DANIEL MARCONDES GOHN
  • LUCAS BAPTISTA CASACIO
  • Data: 26-jun-2023


  • Resumen Espectáculo
  • This research aims to investigate the process of adaptation and execution of Brazilian rhythms in odd
    meters, more specifically in samba and frevo, present in the creative process of drummer Nenê.
    Realcino Lima Filho, known as “Nenê”, is a musician of great prestige. Close to his 60-year career,
    Nenê has an outstanding curriculum and musical experience in the field of Brazilian instrumental
    music. We intend to present features in Nenê's performance that distinguish him among other
    drummers, raising the hypothesis that the musician develops his performance based on a rhythmic cell
    internalized by him, on which he manifests his creative expression on the drums. As a final cut of this
    research, we present Nenê's entire authorial discography in odd meters, from which we selected seven
    works to discuss, namely: “O Contorno da Cidade” (3/4); “Sete na Praça (7/4)”; “Cinco Muito” (5/4);
    “Itiberê” album Ogã (7/8); “Sete Fôlegos” (7/8); “Dark Square” (3/4) and “Itiberê” album Primavera
    (7/8). From a methodological point of view, we divided this research into three chapters, namely: 1)
    Nenê's relationship with the odd meters; 2) Analysis of selected works; and 3) Recitals
    Experimentation workshops. Which are structured on three sources of data: 1) transcriptions of
    musical materials performed by Nenê; 2) analysis of these materials, based on the organization
    undertaken by (DIAS, 2020) in “Cinco Muito”, which organizes its analysis from the insertion of a
    table with the structure of the music and a sonogram with the graphic image of waves, in which
    highlights the passage to be discussed during that analysis; and 3) data from other surveys and semi
    structured interviews. We would like to express our satisfaction at registering Nenê's musical
    transcriptions, reflections and testimonials in the academic field, contributing to the growth of research
    involving the drums.
14
  • GILVAN PEREIRA DA SILVA
  • Preparation for the performance of a work written for sextet: suite for tuba by composer marcelo vilor

  • Líder : RADEGUNDIS ARANHA TAVARES FEITOSA
  • MIEMBROS DE LA BANCA :
  • ALEXANDRE MAGNO E SILVA FERREIRA
  • FERNANDO DIEGO RODRIGUES DOS SANTOS
  • MARCOS ARAGAO FONTOURA
  • RANILSON BEZERRA DE FARIAS
  • Data: 29-jun-2023


  • Resumen Espectáculo
  • The main focus of this research work is to present the interpretative preparation of the work “Suíte para Tuba” by the composer from Paraíba, Marcelo de Araújo Vilor, which was written especially for this master's degree. It was structured from Brazilian musical rhythms and genres that permeate the compositional universe of this musician who has been standing out in our musical scene through his writing for brass instruments. We are exposing here a form of collective interpretation based on the musical work of Sexteto Potiguar, a brass quintet plus percussion that is a permanent group of the UFRN School of Music. This interpretative work has as its starting point the individual study of the group's instrumentalists, showing a little of their daily technical preparation, which will affect in a very effective way the final result of their performance. Starting from the individualized personal study, the ensemble proceeds through its rehearsals, promoting quite democratic discussions, where it works on passages considered difficult within the play. Then, the group's musicians choose the best way to interpret them, always according to their vision and experience. These procedures, which are carried out systematically and depart from the individual to the collective, reveal the sound identity of the group that has been standing out for a long time through its interpretive work of Brazilian musical genres, notably the Northeastern ones. This dissertation also has a historical part that addresses issues related to brass instruments, showing a little of their performance from the Middle Ages to the 19th century, when the tuba, pistons and rotors were invented, events that changed to always the context and the technical possibilities that involve these instruments. We also approach issues related to the emergence of the "brass quintet" formation, showing some national and international groups that from this configuration became famous and left a great contribution to our area. In addition, we consider it important to weave more detailed information about the composer Marcelo Vilor and the Sexteto Potiguar, showing a little of their stories through their paths within the musical environment, as they already stand out through an established and consolidated partnership for a long time. In this way, we leave as a final product of this research, in addition to the dissertation itself, a recording of the work, which is configured as the sound result of this work, which intends to transmit to the readers the musical identity of the Sexteto Potiguar.

15
  • ROBSON OLIVEIRA DE LIMA
  • THE CONSTRUCTION OF THE WORK'S PERFORMANCE “PIÈCE POUR QUENTIN”, BY GEORGES BARBOTEU

  • Líder : RADEGUNDIS ARANHA TAVARES FEITOSA
  • MIEMBROS DE LA BANCA :
  • RADEGUNDIS ARANHA TAVARES FEITOSA
  • RANILSON BEZERRA DE FARIAS
  • RINALDO DE MELO FONSECA
  • Data: 30-jun-2023


  • Resumen Espectáculo
  • This research is a study on the interpretation of French music from the 19th century. XX for horn, focused on the possibilities of interpretation and construction of the performance of the piece, Piece Pour Quentin, by the composer Georges Barboteu. The research also makes us understand the motivation and characteristics brought by Barboteu to the “new French horn school”, as well as elements and methodology that favor the implementation of this new way of playing the horn in France and later the unification of the European way. how to touch. In order to carry out this research, a qualitative methodology was used, with emphasis on bibliographical and documental research and an interview with the horn player to which the work Piece Pour Quentin was dedicated. Related to the construction of the performance of the work, several works by the composer were researched, among them what we consider the greatest source of research for the interpretation of his repertoire and contemporary composers, which are his methods "Etudes Classiques Pour Cor" and " Vingt Études Concertantes Pour Cor”. This research was possible thanks to the extensive material left by the researched composer, and thanks to the large number of students who were formed by Barboteu. Interviews given by Barboteu to major magazines, filmed interviews and especially the interview of the author of the research with Michel Cantin, the horn player to which Piece Pour Quentin was dedicated, were decisive elements in the collection of tools that demonstrate the important participation of Georges Barboteu in the transition from old french horn school, to the new school. It is also possible to perceive in the speech of all his former students, the affection and, above all, the care and good humor, with which Barboteu gave him with the teaching of the horn and in the construction of the musical and moral identity of his students. As a result of the research, we have that Barboteu was a decisive figure in the transition to the new concept of the French horn school and that in order to interpret the French repertoire for this instrument, something more is needed than good technique, during the research on the construction of the Piece Pour Quentin performance, it was possible to verify that the main way of thinking about the interpretation of this repertoire is to have in-depth musical background, experience in the musical environment, excellent technique, intimacy with your instrument. And only then will we have the main thing in building a performance for this repertoire, which is good taste. Just like in the French language, which values words that sound “beautiful” together with others in the formation of a sentence, music interpreters also think that whatever tools there are for musical and world knowledge that can add to the beauty in the music will be welcome.

16
  • EDUARDO CABRERA NALI
  • Variations on the Tresillo: Subdivisions applied to the drum set through Rhythmic Superimposition and Tempo Modulation

  • Líder : CLEBER DA SILVEIRA CAMPOS
  • MIEMBROS DE LA BANCA :
  • CESAR TRALDI
  • CLEBER DA SILVEIRA CAMPOS
  • JONATAS MANZOLLI
  • Data: 06-jul-2023


  • Resumen Espectáculo
  • Inspired by the rhythmic modulations that occur in the music of Vijay Iyer and Tigran Hamasyam, a procedure was elaborated for the analysis and application of the modulation associated with the alteration of the subdivisions of the notes of a clave, mainly through rhythmic superimposition. This procedure is called Modulation through the alteration of the Clave Subdivisios (MASC). The main objective of this research is to apply the MASC to the tresillo (a clave present in both African and American music) in the context of baião, in order to obtain and analyze alternative rhythmic variations to those traditionally known. The methodology is based on a bibliographic review on the subject, with an emphasis on approaching concepts that are little used in Western musical conception, such as those used in the analysis of African rhythms. Together with the deepening of studies on rhythmic superimposition, temporal modulation and analogue transformation, this set of concepts served as the basis for the elaboration of the MASC. From it, the songs “Mystic Brew”, “Pt1 Collapse” and “Pt2 Alternative Universe” were analyzed. Then, with the aim of applying the MASC to the tresillo in the context of baião, two recordings were made: “O Ovo”, by Hermeto Pascoal, and “Asa Branca”, by Luiz Gonzaga. The analysis of these songs showed that the application of the MASC, although based on the idea of tuplets in order to facilitate its execution, generates results that are closer to a polyrhythm. In theory, the subdivision of the clave notes into tuplets should present differences in the duration of the subdivisions (better discussed in chapter 4). On the other hand, the polyrhythm must generate differences in the synchronization with the clave notes. In order to find out if these differences are within the limit of human perception, that is, between 50 and 100 ms (London, 2004), a mathematical model is proposed. That shows the theoretical values of the time intervals in the modulations applied to the tresillo, both by tuplets and polyrhythms. Finally, the differences between the measured values in the execution of the modulations and those calculated with the theoretical models were compared. The results show that the differences in duration of the tuplet applied to the notes of the clave, measured at 180 bpm for the 2+2+1 modulation and 90 bpm for the 4+4+3 and 5+5+4 modulations, are below the limits of human perception. It was also confirmed that the application of the MASC on the tresillo results in subdivisions with smaller differences in relation to the polyrhythmic model than in relation to the tuplet model.

17
  • GABRIELA DE MORAES BONAFÉ
  • THE BODY MOVEMENT IN THE PREPARATION AND MUSICAL PERFORMANCE OF AMARAL VIEIRA'S "SETE PEÇAS PARA PIANO" FROM THE PERSPECTIVE OF RUDOLF LABAN'S CHOREOLOGICAL STUDIES

  • Líder : JOANA CUNHA DE HOLANDA
  • MIEMBROS DE LA BANCA :
  • JOANA CUNHA DE HOLANDA
  • JOSE HENRIQUE MARTINS
  • JUSSARA RODRIGUES FERNANDINO
  • Data: 14-jul-2023


  • Resumen Espectáculo
  • This dissertation presents an interface between music and body movement aiming at the preparation for musical performance. Based on the observation that sensorial experience can broaden the senses and perceptions, this research seeks to investigate the possibilities of working with the body as the main character in making music, providing self-knowledge about the possibilities of controlling the body and the space, and inserting them in the musical multidirectionality. Having as theoretical basis Rudolf Laban's movement studies (1978), more specifically the movement factors present in choreology and the effort actions, the body exploration under the Labanian perspective were applied to the work Sete Peças para Piano, Op. 169, by Amaral Vieira, in a qualitative autoethnographic research. The performer's reflections about the process were to recognize herself as an embodied and sensitive subject, the artistic process provided transformations in the conception of the work as well as changes in musical and sensorial aspects, the development of active listening, body relaxation, clarity of musical intentions and interpretive freedom.

18
  • RAIMUNDO RANIERI SANTOS DE MEDEIROS
  • FANTASIA FOR ALTO SAXOPHONE AND MARIMBA: analytical and technical-interpretive approaches from the perspectives of the composer and two performers

  • Líder : RANILSON BEZERRA DE FARIAS
  • MIEMBROS DE LA BANCA :
  • MARIO ANDRE WANDERLEY OLIVEIRA
  • RANILSON BEZERRA DE FARIAS
  • VADIM DA COSTA ARSKY FILHO
  • Data: 20-jul-2023


  • Resumen Espectáculo
  • This work deals with analytical and technical-interpretative procedures regarding Fantasia for Alto Saxophone and Marimba by composer Anderson Pessoa, extracted from a structural analysis focused on performance, perspective of the composer and two performers. When considering Anderson Pessoa's remarkable prominence in the area of composition, we identified the absence of academic works about him that would expose his great contribution and importance in the area. Parallel to the fact that the number of academic studies that address questions about interpretation in works for saxophone and chamber music is still small, we were driven to contribute to the increase of academic studies that highlight interpretive aspects and value current composers who cooperate to enrich the repertoire. saxophone scholar in Brazil. The research is part of a qualitative approach and is divided into four parts: the first, a reflection was made on analyzes focused on performance, and its importance and approach in the work in question. The second was a semi-structured interview with Anderson Pessoa, in order to collect biographical data about his musical background, career as a teacher, his life as a composer and arranger, as well as a small list of his works. In the third, in general, questions were addressed regarding the structure of the work, considering its rhythmic and thematic connections, compositional elements, and the inspirations that based the composer on its creation. The last part was based on presenting interpretative suggestions according to the experience and knowledge of two interpreters, Paulo Roberto da Silva and Raimundo Ranieri, author of this work –, based on the execution difficulties found in predetermined passages. We believe that the practical aspects addressed here will help the interpreter to achieve a more conscious performance about the studied work.

19
  • ADSON DE SOUZA BARBOSA
  • ZECA TORRES, A COMPOSER FROM ACRE: POLITICAL AND SOCIAL CONTEXT, MEMORY AND ARRANGEMENTS FOR SOLO GUITAR

  • Líder : EZEQUIAS OLIVEIRA LIRA
  • MIEMBROS DE LA BANCA :
  • LEONARDO VIEIRA FEICHAS
  • EZEQUIAS OLIVEIRA LIRA
  • TIAGO DE QUADROS MAIA CARVALHO
  • Data: 21-ago-2023


  • Resumen Espectáculo
  • This research reports the structuring process of four arrangements for guitar by the composer from Acre, José da Costa Torres, also called Zeca Torres. However, for a more in-depth development of this research, other themes were linked, making the arrangement process a biographical, historiographical research with notes on musical memory. In the theoretical basis of the arrangements, we used Almada (2000), Guest (1996), as well as works and academic research, from which we can better understand the universe of a musical arrangement. The themes linked to the formation of the State of Acre, as well as the cities of Xapuri and Rio Branco, in addition to other authors, rely on the writings of Bezerra (2018), Costa (2010), among others. For the author´s biography, we used the work of Nazaré (1998) containing information about the composer and news from newspapers available in Hemeroteca Digital Brasileira. In the notes on musical memory, we rely mainly on the work of Assman (2011), who seeks to demonstrate the places of memory and how they relate to the social environment.

20
  • LUCAS BONFIM LIMA
  • The Music Band of Natal Air Force Base: A Study on the Perspective of Military Musicians Regarding Their Training and Performance Paths.

     

  • Líder : MARIO ANDRE WANDERLEY OLIVEIRA
  • MIEMBROS DE LA BANCA :
  • MARIO ANDRE WANDERLEY OLIVEIRA
  • MARTA MACEDO BRIETZKE
  • TIAGO DE QUADROS MAIA CARVALHO
  • Data: 29-sep-2023


  • Resumen Espectáculo
  • This research aimed to investigate the perspective of military musicians from the Music Band of the Natal Air Base (BANT) regarding their training and performance trajectories. The study sought to understand the contexts in which these musicians have performed within and outside the military environment, the motivations that led them to pursue a military career, as well as their professional perspectives. The methodology used consisted of a qualitative approach, employing questionnaires as a qualitative data collection instrument. Seventeen members of BANT were included in the study. The obtained results revealed diverse motivations that led musicians to join the military, including aspects such as the opportunity to work with music, financial stability, employment prospects, family influence, and the desire to serve their country. These motivations reflect the different aspirations and individual goals of the musicians, combining their interest in musical activities with the benefits offered by a military career. A significant variety of musical experiences outside the military environment were identified among the military musicians, including performances in symphony orchestras, chamber groups, churches, bands of various musical styles, social events, and special appearances. These experiences highlight the versatility and musical ability of the participants, demonstrating their capacity to perform in different contexts and with diverse genres and musical expressions. Regarding the length of military service, it was observed that the majority of participants had a long-standing trajectory, with most of them serving for more than 10 years in the military career. This demonstrates significant experience on the part of these musicians in serving the Armed Forces and contributing to the Band. With regard to gender representation, a male predominance was found in BANT, with only one female musician in the participating group of the research. This predominance aligns with the generally male composition of the Armed Forces but also indicates the need to expand opportunities for women in bands. This research can contribute to the understanding of the training and performance trajectories of military musicians, highlighting the diversity of experiences and motivations that characterize their careers. Furthermore, it can pave the way for future studies exploring the relationship between musical training and performance, militarism, and society.

21
  • FERNANDA DE MOURA ESTEVÃO PEROBA
  • GROUP PIANO TEACHING IN UNDERGRADUATE MUSIC COURSES: A STUDY ABOUT THE TEACHER’S KNOWLEDGE

  • Líder : TAMAR GENZ GAULKE
  • MIEMBROS DE LA BANCA :
  • CLAUDIA FERNANDA DELTREGIA
  • NAIR APARECIDA RODRIGUES PIRES
  • TAMAR GENZ GAULKE
  • Data: 16-nov-2023


  • Resumen Espectáculo
  • This research aims at understanding how teachers’ knowledge is constructed in the context of group piano teaching in undergraduate courses in the northeast of Brazil. This is a multi-case study (YIN, 2001; TRIVIÑOS, 1987) with four teachers which used a self-administered questionnaire and a semistructured interview as instruments for data collection. The work brings two literature reviews: one is of Brazilian research that addresses group piano teaching in higher education, resulting in a table organized by categories, and the other results from a survey with articles on the knowledge of teaching in music education. The theoretical path is being built from the studies of Lee Shulman (1986; 1987) and Donald Schon, bringing concepts such as Knowledge Base and Epistemology of Practice to structure the analysis of the interviews. The mapping carried out found 22 public institutions of higher education: 19 of them offer one or more academic subjects in the group piano teaching format. This version of the text also presents the first case and some topics that will be discussed in the analysis chapter which is still under construction.

22
  • WILHIAN ROBSON WERLE
  • TROMBONES IN QUARANTINE: A study on the various pedagogical approaches used throughout the two
    years of the course-
  • Líder : ALEXANDRE MAGNO E SILVA FERREIRA
  • MIEMBROS DE LA BANCA :
  • ALEXANDRE MAGNO E SILVA FERREIRA
  • FERNANDO DIEGO RODRIGUES DOS SANTOS
  • MARCOS FLAVIO AGUIAR
  • Data: 11-dic-2023


  • Resumen Espectáculo
  • The present work investigates the study routines presented during the course "Trombones in
    Quarantine" held between April 2020 and November 2021, with the participation of several
    national and international trombonists. It aims to analyze the routines provided by teachers,
    understand which fundamentals are studied, which pedagogical methods can be used and
    which schools may have exerted greater influence on these studies. To this end,
    bibliographic research is presented about the schools that influenced the teaching of the
    trombone in Brazil, pedagogical approaches applied to the teaching of brass instruments, as
    well as the definitions and concepts of the fundamentals identified in the analysis of the study
    routines. In addition, interviews were conducted with teachers who participated in the course
    and studied in the mentioned schools or had direct contact with teachers of these schools, as
    well as teachers who provided their study routines and teachers who led the studies without
    the use of material to understand how they think in the elaboration and study of these
    routines. Finally, we report the author's perception of his experience as a student of the
    course "Trombones in Quarantine" and the practical application of the items researched.
23
  • TASSIO LUAN ANSELMO DE LIMA
  • INTERTEXTUALITY IN THE THREE PIANO SATIRES BY JOSÉ ALBERTO KAPLAN

  • Líder : JOANA CUNHA DE HOLANDA
  • MIEMBROS DE LA BANCA :
  • JOANA CUNHA DE HOLANDA
  • MARIA JOSÉ BERNARDES DI CAVALCANTI
  • TARCISIO GOMES FILHO
  • Data: 19-dic-2023


  • Resumen Espectáculo
  • The study proposes the analysis of José Alberto Kaplan's Three Satires for Piano, with an emphasis on the intertextuality present in the work, given the importance of understanding the underlying creative processes in its construction. The discussion is guided by authors such as Klein (2005), Kaplan (2006), Fonseca (2005), Gomes (1985), and Hatten (1985). Characterized as documentary research, this work adopts an analytical-comparative approach. The investigative process involves the search for association terms through sheet music and listening to multimedia files, analyzing heterogeneous musical aspects peculiar to the works, such as folklore and cultural heritage. The works of composers referenced in the satires, such as Dmitri Shostakovich, Igor Stravinsky, Sergei Prokofiev, and Francisco Mignone, are also investigated, resulting in polkas, waltzes, and marches. The research aims to explore analytically the connections of musical intertexts, references to stylistic and aesthetic contrasts used by the composer, in order to contribute to the enrichment of interpretation. The analysis resulted in the identification of reference works for each movement of the Three Satires for Piano (SCHOSTA-POLKA-KOVICH, ValStravinskysa da Esquina, and MarPROchaKOFIEV), and in the extraction of intertextual elements of meaning, such as melodic, harmonic, and timbral texture passages. Thus, by highlighting these interrelationships, it is expected to enhance the performance and understanding of the work. 

24
  • VICTOR HUGO ALMEIDA GOMES
  • The conductor and the Audio Recording: A case study on the recorded performance of the Song Cycle “My Eye See You” by Stephen Lounsbrough.

  • Líder : ANDRE LUIZ MUNIZ OLIVEIRA
  • MIEMBROS DE LA BANCA :
  • ALFREDO JACINTO DE BARROS
  • ANDRE LUIZ MUNIZ OLIVEIRA
  • TICIANO MACIEL DAMORE
  • Data: 23-dic-2023


  • Resumen Espectáculo
  • The present research consists of a case study in the field of audio recording. The study focuses on the recording process of the work "My Eyes See You" (2014) by Stephen Lounsbrough from the perspective of the conductor.  It is a song cycle for bass-baritone and chamber orchestra that premiered in 2015 at the Banco do Nordeste Cultural Center in Juazeiro do Norte (CE) under the direction of the conductor Victor Almeida, graduate student, researcher and writer of this text. A guest orchestra performed the cycle at the Onofre Lopes Auditorium in Natal. The performance was led by the same conductor, and the baritone soloist was Lailson Toscano. The recording of the final product of the performance created the opportunity to comprehend and report the process of the work’s interpretation. Going through the analysis of the score with a performative purpose until the day of capture itself, ending in post-production. This last step was not performed by the researcher-conductor but required opinions and important information for equalization, for example. During the reading of the work, there is an overview of the issues related to prominent conductors and their relationship with orchestral recording. In addition, an explanation of the research methodology, the type of musical analysis, and the most common ways of capturing orchestral sound. Furthermore, information about the composer, the text and the parts of the analysis is needed to explain how the method is applied and what its link is with the execution of the work. After that, there is the application of this in the practice of interpretation and, finally, the final considerations.

2022
Disertaciones
1
  • LAIANY RODRIGUES DE SOUSA
  • Musical learning and the daily life of childhood: a research in the Curso de Iniciação Artística da EMUFRN – CIART.

  • Líder : TAMAR GENZ GAULKE
  • MIEMBROS DE LA BANCA :
  • ANGELITA MARIA VANDER BROOCK SCHULTZ
  • MARIO ANDRE WANDERLEY OLIVEIRA
  • TAMAR GENZ GAULKE
  • Data: 10-ene-2022


  • Resumen Espectáculo
  • This research aimed to understand the main influences of everyday elements in the musical learning of students in a 1st year (afternoon) class of the Artistic Initiation Course at the UFRN Music School (CIART). This is a musical initiation course for children from 6 to 9 years old. Classes are taught by monitors (students of the Degree in Music at UFRN). To achieve the proposed objective, we sought to understand the children's cultural contexts; understand how their daily lives are outlined; identify the everyday elements that children brought to the music class; and identify the relationships they build between the musical content and elements worked in the classroom and their daily lives. The research was carried out during a semester with children aged 6 and 7 years old, students of the 1st year (afternoon) class of CIART. This study refers to authors from Sociology, Sociology of Childhood, History, Philosophy and Education, such as Heller (2000), Freire (1996), Sarmento (2003), Gomes (2008), Ariès (2011) and Giddens (2012). The research was developed as an ethnographic case study (MARTUCCI, 2001; MOREIRA, 2002; ANDRÉ, 2005). As for the production and collection of data, these consisted of documentary research, participant observation, production of a field diary, semi-structured interviews in a conversation wheel format and production of drawings with the children, in addition to semi-structured interviews with parents/guardians by the children in the class. Photographs and audio and video recordings were also produced. From the data analysis, it was possible to notice that the children related the contents worked on in music classes to elements of their daily lives outside the classroom. In this way, musical elements were transformed into different things. In addition, they brought their media references and prior knowledge to the music class. In contact with symbols, instruments, sounds and music, memories of objects and facts already known or experienced were raised. In this dialogic movement, the children built their musical learning. When faced with the musical elements and the contents of the classes, they established a connection with their daily experiences, giving new meaning to them and building new knowledge. It was also possible to observe how the children's routine influences the quality of their musical learning. It is considered that this work has relevance for an understanding of the relationship between children's daily lives and practices in music education, bringing reflections on the importance of the music teacher's perspective on the act of listening to children and incorporating their knowledge of life. to the pedagogical process. By identifying the everyday elements that children bring to the classroom and understanding how these aspects influence their musical learning, it is possible to reflect on the teaching-learning process and, based on that, conduct it in a more efficient and appropriate way. to the musical learning of these children. It is also considered that this work can collaborate with the group involved in the research, in order to support the construction of an educational process that is increasingly coherent and meaningful.

2
  • LEONARDO ARAUJO DA SILVA
  • A CRITICAL EDITION OF THE ARMORIAL COMPOSITIONS FORRÓ DE SALU AND LAMENTO DO SÃO FRANCISCO FOR FLUTE AND PIFAUS BY EGILDO VIEIRA (1947-2015)

  • Líder : RUCKER BEZERRA DE QUEIROZ
  • MIEMBROS DE LA BANCA :
  • ROBERTO STEPHESON ANCHIETA MACHADO
  • ALEXANDRE JOHNSON DOS ANJOS
  • EZEQUIAS OLIVEIRA LIRA
  • RUCKER BEZERRA DE QUEIROZ
  • Data: 30-ene-2022


  • Resumen Espectáculo
  • The proposed work aims to present a critical edition of the score of the armorial compositions Lamento do São Francisco (2003) and Forró de Salú (2003) for transverse flute and fife by the composer Egildo Vieira (1947-2015). The study reinterprets the works, highlighting the technical-interpretative aspects, through the idiomatic nature of the fife in Forró de Salú and the ornaments executed on the transverse flute in the first and second movements of the Lamento do São Francisco suite. The research describes the composer, expression, giving technical-interpretative suggestions of articulations, phonetic rudiments and typical ornaments of northeastern music edited in the score, as well as a phonographic recording of the works. The study was divided into three phases: preparation that established the investigation for the construction of the musical conception; experimentation of the ornaments and articulations that they established through the suggestion of construction of the interpretation and the edition of the works with the idiomatic aspects of the composer. In addition to a phonographic record with two arrangements based on the Armorial Music aesthetic and on the timbristic experimentation of the instruments: fife, flute-transversal, northeastern viola, bass guitar and percussion. The theoretical foundation is based on the critical edition of the score (FIGUEIREDO, 2004); soundscape in the study of the acoustic field (SCHAFER, 1997); fife as a social meaning (VELHA, 2009); technical-interpretative aspects (SILVA, 2014); aspects of northeastern music (QUEIROZ, 2014); popular poetics (SANTOS, 2009); regionalism and the articulation in the transverse flute (BENCK, 2004); aesthetics and the history of the Armorial Movement (AMARAL, 2013); interpretation of Armorial music (BEZERRA, 2014); musical interpretation in general (ABDO, 2005); interpretation and execution (WINTER; SIVEIRA, 2006); genus Baião (TINHORÃO, 2013); Arab influences on Brazilian folklore (SOLER, 1995); trimbristic adaptations (ALOAN, 2008).

3
  • AUCIRAN ROQUE DA SILVA
  • THE EUPHONIUM AND POPULAR MUSIC: FORMATIVE POSSIBILITIES THROUGH A MEDIUM TO ADVANCED METHOD OF MELODIC STUDIES BASED ON PERNAMBUCO GENRES AND RHYTHMS

  • Líder : RANILSON BEZERRA DE FARIAS
  • MIEMBROS DE LA BANCA :
  • ALEXANDRE MAGNO E SILVA FERREIRA
  • GERMANNA FRANCA DA CUNHA
  • MARCOS FLAVIO AGUIAR
  • RANILSON BEZERRA DE FARIAS
  • Data: 14-feb-2022


  • Resumen Espectáculo
  • This research aims to propose an alternative for the teaching and performance of euphonium through a method containing ten melodic studies of medium level based on Pernambuco rhythms and genres. For this, a bibliographical and historiographical survey about the euphonium was necessary, going through its history in bands in Brazil, as well as its participation in the development of popular brazilian music. We carried out a survey of the most used methods and books for teaching euphonium, inside and outside the country, in order to obtain a parameter for developing the studies that will be the final product of our research. We also conducted an interview with some teachers of brass instruments who work in higher education courses in some universities in the northeast, in order to seek methodological support for the preparation of the textbook. The research is exploratory and descriptive, as in addition to describing the data collected, we will use them to propose, based on the research problem, an alternative in the pedagogical universe of the euphonium.

4
  • JOSÉ UÉLITO TERTO DE SOUZA FILHO
  • THE FORMATION OF GUITARISTS IN SOBRAL-CE

  • Líder : TIAGO DE QUADROS MAIA CARVALHO
  • MIEMBROS DE LA BANCA :
  • TIAGO DE QUADROS MAIA CARVALHO
  • ANA CRISTINA GAMA DOS SANTOS TOURINHO
  • MARCELO MATEUS DE OLIVEIRA
  • Data: 30-mar-2022


  • Resumen Espectáculo
  • This research is a multiple case study carried out with five guitarists in Sobral-CE. The main objective is to understand the processes that mark the formation in multiple contexts of professional and semi-professional guitarists. In this sense, it strives to assimilate the musical training of guitarists Juca Viana, Janilson Braga, Reginaldo Fialho, Luizito Miguel and Almir Martins, guitarists who collaborated in this research. To this end, qualitative interviews, simple observations and documentary research are used as data construction techniques. The theoretical foundation is based on Ferry (1997), Virginio (2009) and García (2005), who deepen the concept of “training”. The guidelines suggested by Green (2002), Kraemer (1995) and Arroyo (2000) present contemporary perspectives in the field of Music Education regarding the multiple contexts in which music teaching and learning practices materialize. The contribution provided by Green (2002) contributed to reflect on the musician's learning processes, and this framework is complemented by Trilla's vision of holistic and synergistic education (et al., 2008). The design adopted was the qualitative approach, which allowed the understanding of each guitarist as a specific being within their practices. Thus, the musicians' experiences are seen in the light of dialogicity and transversality. To this end, Discursive Textual Analysis (ATD) was used as a lens to deal with the constructed data (interviews). The partial data point out that the formation of guitarists is enhanced by the transitivity existing in the formative paths, that is, the multiple sources of information as well as the different contexts of performance of the musicians are configured as contributing aspects to the musical formation of each guitarist.

5
  • RAIANE SILMARA NASCIMENTO DE SOUZA
  • Training of students from the EMUFRN music Licensing course in connection with the Som Azul project

  • Líder : TIAGO DE QUADROS MAIA CARVALHO
  • MIEMBROS DE LA BANCA :
  • TAMAR GENZ GAULKE
  • TIAGO DE QUADROS MAIA CARVALHO
  • VALÉRIA PERES ASNIS
  • Data: 08-abr-2022


  • Resumen Espectáculo
  • In this research, the aim is to develop a case study in order to understand the training of student monitors of the Music Degree course working in the Som Azul extension project, offered by the Braille Musicography and Inclusion Support Sector (SEMBRAIN), located at School of Music at the Federal University of Rio Grande do Norte – EMUFRN. The project makes room for Undergraduate Music students to practice the knowledge obtained during the training process, or even develop new skills from a direct relationship with the sector. From this perspective, we can consider that the project becomes a preparatory stage for the possible challenges that monitors may face in the basic education network. In this way, this research seeks to understand how the formation of students in the Music Degree course at UFRN takes place, based on their performance in the Special Music Education project Som Azul. The methodology adopted for this work will be the descriptive case study within a qualitative approach, as it is understood that such an approach would enable a broader view of the researched context. It is expected, in this way, to further motivate further discussions related to the inclusion and training of music teachers, who are capable of providing significant experiences in the lives of students with disabilities.

6
  • MAURICIO ESLABÃO DA FONSECA
  • INCLUSION IN HIGHER EDUCATION IN MUSIC: A study with visually impaired
    undergraduates at EMUFRN

  • Líder : TIAGO DE QUADROS MAIA CARVALHO
  • MIEMBROS DE LA BANCA :
  • BRASILENA GOTTSCHALL PINTO TRINDADE
  • FRANCISCO RICARDO LINS VIEIRA DE MELO
  • TIAGO DE QUADROS MAIA CARVALHO
  • Data: 29-abr-2022


  • Resumen Espectáculo
  • This research is centered on the processes of inclusion of people with visual impairment in higher
    education in the music sub-area. From this perspective, the general objective was to investigate the
    process of inclusion of students with visual impairment in the Licentiate Degree in Music at the Escola
    de Música da Universidade Federal do Rio Grande do Norte (EMUFRN). In this sense, this work is
    supported by authors who deal with inclusion in higher education (MELO 2013; TRAQUEIA, 2015;
    MARÇAL, 2013), and also by authors who address the inclusion of people with visual impairment in
    higher education in music (MELO, 2010; SILVA, 2013), also contemplating discussions that correlate
    these areas with emergency remote teaching (MOREIRA et al., 2020; APPENZELLER et al., 2020;
    MOCELIN and MACHADO, 2020; SCHNEIDER and SCHNEIDER 2020). The methodology used in
    this work was based on a qualitative research approach, using the case study as a method. As
    instruments of data construction, I used semi-structured interviews with two target audiences, students
    with visual impairments from the Music Degree Course and professionals who coordinate the Setor de
    Musicografia Braille e Apoio à Inclusão (SEMBRAIN), in order to understand how the inclusion
    process of these students in higher education in music at EMUFRN. As partial results obtained, I
    realize that, despite having few students with visual impairment in the course, their perceptions about
    inclusion vary from very optimistic to very critical. Finally, I believe that this work can contribute to
    the inclusion of people with visual impairments to happen in a significant way, based on the paradigms
    raised by this study at the Federal University of Rio Grande do Norte – UFRN.

7
  • VICTOR PRADO CAVALCANTI FERREIRA
  • Possibilities for the development of improvisation identity in the French
    horn

  • Líder : RADEGUNDIS ARANHA TAVARES FEITOSA
  • MIEMBROS DE LA BANCA :
  • AMANDY BANDEIRA DE ARAUJO
  • CELSO JOSÉ RODRIGUES BENEDITO
  • RADEGUNDIS ARANHA TAVARES FEITOSA
  • Data: 08-may-2022


  • Resumen Espectáculo
  • This research is aimed at technical-interpretive possibilities for the development of an improvisatory
    identity on the horn. When one thinks of popular music, jazz, bossa nova among other musical genres
    and instruments linked to these genres, horn, certainly not part of such imagery. This research
    objective and not only address the theme with relation to identity but trace the subject of french horn
    and improvisation that I see is present in various academic researches of national and international
    scope. Through analyzes of improvised solos by well-established horn players, we will analyze and
    discuss the questions of improvisatory identity from a general perspective, not that I respect the
    musical discourse and overstuff, about the french horn, no sense of in playing the horn as a free
    instrument. Of whichever moor and holder of an identity of its own that is for the traditional.
    Furthermore, we emphasize that this research serves as an object of study and inspiration for all horn
    players who wish to enter different musical spaces and experience new artistic paths.

8
  • LUANDREY CÉLIO SILVA DA COSTA
  • COLLECTIVE TEACHING OF METAL INSTRUMENTS: A proposal for basic studies based on the reality of the Free Course on Metals at the D’alva Stella Music School

  • Líder : RANILSON BEZERRA DE FARIAS
  • MIEMBROS DE LA BANCA :
  • LEANDRO LIBARDI SERAFIM
  • LELIO ALVES
  • MARIO ANDRE WANDERLEY OLIVEIRA
  • RANILSON BEZERRA DE FARIAS
  • Data: 23-may-2022


  • Resumen Espectáculo
  • This work aims to develop a proposal for collective teaching aimed at basic studies for metal instruments from prepositions from the context of the Free Course on Metals at the D'alva Stella Nogueira Freire School of Music/UERN and the experience of teachers who work with the collective teaching of metals in different spaces. In order to achieve the proposed objectives for these studies, in this work we will apply a questionnaire to five professors from different educational institutions who work with the collective practice of metals. Our purpose is to understand which aspects are fundamental for a good development of the student in collective classes for metal instruments, and with that to have a better direction in the elaboration of exercises for basic studies. Thus, with the crossing of data, we will have a more refined view in relation to the exploration of the teaching process in the investigated field and a broader understanding of people's behavior and conceptions in different contexts. Considering that basic studies are of fundamental importance for the development of the instrumentalist, we aim through this research to generate materials that help teachers who work with this practice.

9
  • WESLEI LEÔNIDAS DA SILVA
  • The construction of the performance of the work Fantasia Sul América para Trompa solo of Claudio Santoro

  • Líder : RADEGUNDIS ARANHA TAVARES FEITOSA
  • MIEMBROS DE LA BANCA :
  • LUCCA ZAMBONINI SOARES
  • RADEGUNDIS ARANHA TAVARES FEITOSA
  • RINALDO DE MELO FONSECA
  • Data: 14-jun-2022


  • Resumen Espectáculo
  • This research is a study on possibilities and strategies for the preparation of the piece “Fantasia Sul América para Trompa solo” (1983), of the composer Claudio Franco de Sá Santoro (1919-1989), in view of the technical, interpretative difficulties and their characteristics. In carrying out this work, a qualitative methodology was used, with an emphasis on bibliographic and documentary research, these being grouped and analyzed. For the theoretical foundation, it was necessary to understand the universe of music research as well as its subareas and horn research. For the preparation of the performance of “Fantasia Sul América para Trompa solo”, the following musical elements were approached, aiming at the development of the horn technique: sonority, flexibility, articulation, extension and resistance. As a result of the research, it was found that through these fundamentals it was possible to create a routine with studies that will serve as a proposal for horn players who wish to study “Fantasia Sul América para Trompa solo”.

10
  • BRUNO LOPES DEMARQUE
  • Extended Techniques Applied to the horn’s Performance: Technical- Interpretative Challenges in Nautilus pour Cor by Salvador Torré

  • Líder : RADEGUNDIS ARANHA TAVARES FEITOSA
  • MIEMBROS DE LA BANCA :
  • JAQUELINE DE PAULA THEORO
  • RADEGUNDIS ARANHA TAVARES FEITOSA
  • RINALDO DE MELO FONSECA
  • Data: 21-jun-2022


  • Resumen Espectáculo
  • This qualitative research, of a performative nature, which uses bibliographic and experimental objects, proposes to identify the main extended techniques used in Nautilus pour Cor (1986), by the composer Salvador Torré, and to propose didactic suggestions, through a bibliographical review about extended techniques, which aim to optimize the development of musical performance, and to elucidate the interpretative difficulties of the contemporary musical repertoire for Horn. Therefore, this work aims to contribute for updating the academic curriculum, focused on the interpretive practices of contemporary music performed on the horn, converging specifically on the performance of extended techniques.

11
  • OSIEL LOBO DE MIRANDA
  • THE HISTORY OF THE TEACHING OF THE HORN IN PERNAMBUCO: training possibilities to promote the insertion of the horn in frevo

  • Líder : RADEGUNDIS ARANHA TAVARES FEITOSA
  • MIEMBROS DE LA BANCA :
  • CELSO JOSÉ RODRIGUES BENEDITO
  • RADEGUNDIS ARANHA TAVARES FEITOSA
  • RINALDO DE MELO FONSECA
  • Data: 30-ago-2022


  • Resumen Espectáculo
  • This dissertation aims to show the history of the horn in Pernambuco from 1700 to the present day, contributing to an analysis of the context of teaching and practices at different times. In this context, we will see that the teaching/learning processes, through various formal or informal means, the germination of the frevo genre and its tributaries, transformations and changes of more appropriate musical instruments within a context of modernization. However, to achieve the general and specific objectives, semi-structured interviews were carried out with conductors and composers from the frevo universe, also with Pernambuco horn teachers and also with professional horn players and students. These objectives are intended to know the main methodologies applied in teaching the horn. We tried to investigate which contents are being applied in contemporary times, and to find out if these materials include the frevo genre. A literature review was also carried out, researching works related to the history of the instrument, the music band in Pernambuco, and works related to music education and performance. As for the interviews, it was possible to obtain the results of what was proposed for the present work, such as: the relationship of the horn with the saxhon in the band; the multi-instrumentalist teacher; the relation of the interviewees with the frevístico repertoire. It was still possible to know the whole scenario of the history of the horn in Pernambuco, the types of instruments used at different times and their teaching. It was also known that the teachers were in tune with their opinions about the Subjects used in the formation of the student. All interviewees contributed with valuable information regarding the insertion of the horn in frevo orchestras, performing the three modalities; the street frevo, the block frevo and the salon frevo.

12
  • AVELANGE AMORIM LIMA
  • WRITING POSSIBILITIES AND PERFORMANCE FOR HORN IN DOBRADOS IN MUSIC BANDS

  • Líder : RADEGUNDIS ARANHA TAVARES FEITOSA
  • MIEMBROS DE LA BANCA :
  • CELSO JOSÉ RODRIGUES BENEDITO
  • LUIS RICARDO SILVA QUEIROZ
  • RADEGUNDIS ARANHA TAVARES FEITOSA
  • Data: 23-nov-2022


  • Resumen Espectáculo
  • The present research aims to identify the technical-interpretative possibilities in the writing and performance of the French horn in the dobrado (a Brazilian musical genre) From this perspective, this research is divided into six sections, similar to the parts of the dobrado, namely: introduction; part A; part B; bridge; part C (trio); and final coda. The methodology is based on the bibliographic study, on the structural analysis of the singing, counter-song, center and bass functions of the musical scores, in addition to semi-structured interviews. The core of the research is identified in the three initial sections (music band, French horn and dobrado), so that the theoretical principals is based on authors such as Brum (1980), Carvalho (1994) Adle (2006), Dantas (2015), Campos (2015) and Sotelo (2008), among others. Regarding to the bridge, a consultation was carried out with fifteen student band masters working in the city of Teresina, Piauí, in order to understand the dimensions in which the French horn is similar in the dobrado’s context. It was found that the use of the French horn configures it as a central instrument, with no variation of functions, although there is a clear manifestation of new performance perspectives in this genre, due to the needs of inserting challenges to horn players, regarding the stimulus to studies of the instrument and the permanence in the band. In part C (trio), the methodological form of writing for French horn is proposed, from the identification of the essential functions of center and corner in the proposition of performances, observing the idiomatic and sound aspects of writing, correlated with the other instruments of the music band, from the French horn extension table. As a result of the research, extra French horn parts of dobrados by Batista de Melo, Avante Camaradas, Dois Corações and Barão do Rio Branco are presented, adapted for use with the original arrangements, as a possibility of writing and performing the French horn in the music band.

13
  • IGOR YURI MARQUES DA SILVA VASCONCELLOS SENA
  • Lip vibration in the study of the hornist: Characteristics of the practice of buzzing.

  • Líder : RADEGUNDIS ARANHA TAVARES FEITOSA
  • MIEMBROS DE LA BANCA :
  • RADEGUNDIS ARANHA TAVARES FEITOSA
  • RINALDO DE MELO FONSECA
  • WALESKA SCARME BELTRAMI
  • Data: 25-nov-2022


  • Resumen Espectáculo
  •  Based on bibliographical research, the present work has the objective of clarifying and understanding the problematic that involves the buzzing in the horn teaching, considered essential and relevant by researchers and instrumentalists who are researching about the subject. This research has a qualitative approach and aims to investigate the advantages and disadvantages of this practice and how the buzzing is approached by some teachers of horn in Brazil. For that, it has been conducted semi-structured interviews with four horn teachers where the purpose was to compare ideas and understand the phenomena on this subject. This work is expected to clarify the divergences surrounding the study of the buzzing in the horn and to facilitate the understanding of the benefits of this practice when performed in a moderate and correct manner.

14
  • JÉSSICA MARIA VICENTE ROCHA
  • ELEMENTS TO DEVELOP ARTISTIC CREATIVITY SINCE THE INITIATION IN THE HORN
  • Líder : RADEGUNDIS ARANHA TAVARES FEITOSA
  • MIEMBROS DE LA BANCA :
  • RADEGUNDIS ARANHA TAVARES FEITOSA
  • RINALDO DE MELO FONSECA
  • WALESKA SCARME BELTRAMI
  • Data: 08-dic-2022


  • Resumen Espectáculo
  • This research is a study on possibilities of insertion of creativity from the initiation of the horn player. When starting with the horn, normally students in conservatories and music schools are oriented to learn the technique of the instrument and to read the musical symbols from the first lesson. As a result, the student usually adapts to a learning style where he is conditioned to reproduce exactly what the score requires of him, and his creativity is not stimulated. The work included bibliographic and documentary research and the completion of questionnaires with teachers working in Brazil, as well as an interview with Victor Prado (popular horn player). For the theoretical foundation, it became necessary to understand the universe of research in music and of creativity in the musical field. As a result of the research, it was found that through small exercises and daily practices, it is possible to create a study and learning routine that can make the horn player more creative and uninhibited for their insertion in the job market and the musical world.

15
  • DAYANDERSON TAYRONNE NERES DANTAS
  • The horn in choro: technical-interpretative perspective for the construction of the performance of the work Dayanderson no Choro for horn and band.

  • Líder : RADEGUNDIS ARANHA TAVARES FEITOSA
  • MIEMBROS DE LA BANCA :
  • RADEGUNDIS ARANHA TAVARES FEITOSA
  • RANILSON BEZERRA DE FARIAS
  • RINALDO DE MELO FONSECA
  • Data: 09-dic-2022
    Ata de defesa assinada:


  • Resumen Espectáculo
  • This research has the objective of identifying the main technical-interpretative characteristics and learning possibilities of the work Dayanderson no Choro for horn and band. A qualitative methodology was adopted. The instruments for collect, organize, and analyze the data were used. The research identified the main technical and interpretative difficulties of the work, focusing on the stylistic issues that characterize the performance of this type of repertoire. In the realization of the work the concepts that grounded the research were presented a semi structured interview was conducted with the composer and a simple analysis of the work was made. To prepare the performance of the piece, the following technical aspects were addressed: sonority, articulation, flexibility, and stylistic elements. As a result, the objectives achieved with the research are presented, deliberating the main methodological and technical-interpretative directions for the development of the piece. We consider that this research contributes to the expansion of the horn repertoire in choro, and may be inserted in the catalog of works of the repertoire for horn and band in Brazil. As well as for the academic universe and for those who wish to study technical, interpretative aspects of choro performance, this material serves as a guide to popular music.

16
  • SAMUEL PEREIRA LOPES
  • A Brazilian cello that permeates popular music and the concert hall: The biography of Marcio Eymard Malard's musical career

  • Líder : FABIO SOREN PRESGRAVE
  • MIEMBROS DE LA BANCA :
  • ANDRE LUIZ MUNIZ OLIVEIRA
  • FABIO SOREN PRESGRAVE
  • TERESA CRISTINA RODRIGUES SILVA
  • Data: 14-dic-2022


  • Resumen Espectáculo
  • This research deals with the interactions, convergences and conflicts between the notions and practices of the musical career of cellist and teacher Marcio Eymard Malard, based on bibliographic research, through interviews, videos of concerts and masterclasses, phonographic contents, besides newspaper reviews of his time, concert programs, books and photos. It seeks to investigate the concepts that guided his life as a classical and popular musician and as a teacher, bringing the main events of his career in order to connect his story to the procedures he uses for artistic performance and teaching through the narrative of his life.

17
  • DAIANE SILVA DE ANDRADE
  • The singing cellist: an authoetnographic investigation on the practice of singing and playing simultaneously

  • Líder : FABIO SOREN PRESGRAVE
  • MIEMBROS DE LA BANCA :
  • FABIO SOREN PRESGRAVE
  • JOANA CUNHA DE HOLANDA
  • ANDRE LUIS GIOVANINI MICHELETTI
  • Data: 16-dic-2022


  • Resumen Espectáculo
  • This is an autoethnographic research that aims to study the practice of singing and playing the cello simultaneously, with the main objective of investigating the implications of this practice for the cellist. For this, it was necessary to divide the research into two stages. In the first stage, the process and study strategies adopted were presented, and in the second stage, analysis of the practice and observations of its implications for instrumental practice were carried out. The methodological procedures include interviews with Lui Coimbra, Marcelo Vieira and Natasha Farny, cellists who have experience in singing and playing simultaneously. In addition, two pieces that were selected and studied, being Colóquio by Lindemberg Cardoso and The Last Romantic by Lulu Santos. We hope with this research to facilitate and encourage the cellists' reflection and contact with this type of work.

2021
Disertaciones
1
  • RENATO BARBOSA PINTO
  • ­­­­­­­­­­­­­­­­­­­­­­­­­­­THE HORN ­­­­TEACHING FROM THE MANUSCRIPTS OF THE METHOD FUNCTIONAL TREININGS FOR HORN OF ADALTO SOARES

  • Líder : RADEGUNDIS ARANHA TAVARES FEITOSA
  • MIEMBROS DE LA BANCA :
  • CELSO JOSÉ RODRIGUES BENEDITO
  • RADEGUNDIS ARANHA TAVARES FEITOSA
  • RINALDO DE MELO FONSECA
  • Data: 17-mar-2021


  • Resumen Espectáculo
  • This work aims to contribute to the development of the horn research area. This area, as well as music research in general, has shown significant growth in recent decades, but it still needs to be developed. The present research has as general objective to verify and analyze the main technical and methodological characteristics contemplated by the manuscripts of the didactic material developed by the horn player Adalto Soares, entitled “Functional Training for Horn” (January 2021 version), having as specific objectives: Identify the technical aspects contemplated; Observe how the various horn techniques and theoretical and musical foundations are covered in the analyzed material; Investigate methodological approaches intrinsic to this material; To verify possibilities of approaches based on concepts defined in the investigated literature and to analyze the contents identified from conceptions presented by the author and to relate them with parameters observed in the studied bibliography. The research was constituted from the analysis of the didactic material and presents a qualitative methodological bias, where the methodological nuances used in the conception and in the subsequent development of the material were verified. In addition, the technical issues present in the exercises were addressed and the analysis of such material together with semi-structured interview and classroom observations formed a set of data that, crossed with the theoretical framework, generated the research results. From the interviews and observations, it was possible to perceive how the material is organized and applied by the author, the contents covered, the importance as a reference for the national scenario, in addition to the main didactic characteristics that stand out in the used design.

2
  • ENÉAS ALBUQUERQUE SILVA
  • PRACTICE TECHNIQUES APPLIED IN THE CLARINET PART TO PERFORMANCE OF THE DUO FOR CLARINET AND BASSOON BY GUERRA-PEIXE (1970)

  • Líder : LUCIANA NODA
  • MIEMBROS DE LA BANCA :
  • AMANDY BANDEIRA DE ARAUJO
  • JOEL LUIS DA SILVA BARBOSA
  • LUCIANA NODA
  • PEDRO ALLIPRANDINI
  • Data: 28-abr-2021


  • Resumen Espectáculo
  • This research aim to propose practice techniques to be applied for the development of abilities to performance, in the clarinet part, of the Duo for clarinet and bassoon by Guerra-Peixe (1970a), offering solutions, based on the manuscript, of digitation, breathing and articulation on specific passages. The methodology is divided in five stages: (1) bibliographic research that will seek to understand the esthetic transformations suffered by Guerra-Peixe's (1970a), production during the period from 1950 to 1971; (2) collect and obtainment datum referring the manuscript (GUERRA-PEIXE, 1970a) and of the edition of José Staneck (GUERRA-PEIXE, 1970b); (3) investigation of possibles divergences in specific passages to the Production; (4) definition of the difficulty categories related to digitation, breathing and articulation; (5) proposition of the study strategies, applied in the clarinet part, for performance from Duo for clarinet and bassoon by Guerra-Peixe (1970a) offering solutions, based on the manuscript. The theoretical reference was based the works of Ronkin; Benoit; Burlingame (1999), Campione (2001), Guy (2004) e Araújo (2016). The study strategies mentioned in the theoretical reference for the development of abilities, in the clarinet part, were applied in specific passages selected from Duo for clarinet and bassoon by Guerra-Peixe (1970a) where proved to be effective in their intent.

3
  • FRANCISCO ERNANI DE LIMA BARBOSA
  • THE SOCIO-EDUCATIONAL AND CULTURAL DIMENSION OF MUSIC BANDS: a study based on the performance of the music band in the municipality of Alto Santo (CE)

  • Líder : AGOSTINHO JORGE DE LIMA
  • MIEMBROS DE LA BANCA :
  • AGOSTINHO JORGE DE LIMA
  • JOSÉ ROBSON MAIA DE ALMEIDA
  • MARCO ANTONIO TOLEDO
  • Data: 30-abr-2021


  • Resumen Espectáculo
  • Based on the premise of the cultural and social relevance of music bands, a qualitative research was carried out in order to understand how the cultural and educational dimensions of Dom Pompeu Music Band in the city of Alto Santo (CE), are articulated and affect the process of building cultural citizenship. The methodological basis was the case study in association with ethnographic and ethnomusicological tools. The choice of this method enabled the gathering of a greater number of information, through the use of several techniques of data collection, thus allowing a detailed understanding of the object of study. For the construction of the data, observations and semi-structured interviews with the cultural agents of the city were used mainly. The concepts of social institution, tradition, cultural citizenship, social field and educational and cultural dimensions were taken as theoretical support, from Chauí (1995, 2003), Giddens (1991, 2003), Berger and Berger (1977), Bourdieu (1983, 1989, 2007) and Penna (2010). From the data constructed and analyzed, it was possible to verify that the music band is an institution that contributes to the democratization of access to music and its production, and, thus, to cultural citizenship, by enabling citizens not only to enjoy cultural/musical goods, but that they are active agents of its elaboration, in the local musical production, from the performance of the band. It was also verified the fundamental role of the band's conductor, so that educational, cultural and citizenship actions take place in the city.

    Based on the premise of the cultural and social relevance of music bands, a qualitative research was carried out in order to understand how the cultural and educational dimensions of Dom Pompeu Music Band in the city of Alto Santo (CE), are articulated and affect the process of building cultural citizenship. The methodological basis was the case study in association with ethnographic and ethnomusicological tools. The choice of this method enabled the gathering of a greater number of information, through the use of several techniques of data collection, thus allowing a detailed understanding of the object of study. For the construction of the data, observations and semi-structured interviews with the cultural agents of the city were used mainly. The concepts of social institution, tradition, cultural citizenship, social field and educational and cultural dimensions were taken as theoretical support, from Chauí (1995, 2003), Giddens (1991, 2003), Berger and Berger (1977), Bourdieu (1983, 1989, 2007) and Penna (2010). From the data constructed and analyzed, it was possible to verify that the music band is an institution that contributes to the democratization of access to music and its production, and, thus, to cultural citizenship, by enabling citizens not only to enjoy cultural/musical goods, but that they are active agents of its elaboration, in the local musical production, from the performance of the band. It was also verified the fundamental role of the band's conductor, so that educational, cultural and citizenship actions take place in the city.

4
  • IVSON MARTINS OLIVEIRA DA CONCEIÇÃO
  • Thoughts on corporeality and the cello: an ethnographic account of a journey by Brazilian and Italian public institutions

  • Líder : FABIO SOREN PRESGRAVE
  • MIEMBROS DE LA BANCA :
  • ANDRE LUIS GIOVANINI MICHELETTI
  • ANDRE LUIZ MUNIZ OLIVEIRA
  • FABIO SOREN PRESGRAVE
  • Data: 30-abr-2021


  • Resumen Espectáculo
  • This article focuses on an autoethnographic analysis of my training as a cellist in public educational institutions in Brazil and Italy, and aims to systematize my trajectory, understanding important aspects for my development as an instrumentalist and teacher in addition to assisting cellists with similar life histories to mine. The research was built in two stages: first, an autoethnographic report of my trajectory of cello education was made, pointing to important events that occurred in that period and their respective impacts on my musical practice. Subsequently, a list and analysis of the technical aspects of my construction as an instrumentalist was carried out, where some concepts and exercises of relevant importance in this construction process are presented.

5
  • MAGNO ALTIERI CHAVES DE SOUSA
  • The Drumset at Baião and Frevo: study proposals based on the performance of drummer Luizinho Duarte with Grupo Marimbanda in four music works of the album Tente Descobrir.

  • Líder : CLEBER DA SILVEIRA CAMPOS
  • MIEMBROS DE LA BANCA :
  • LEANDRO BARSALINI
  • LUCAS BAPTISTA CASACIO
  • CLEBER DA SILVEIRA CAMPOS
  • Data: 27-may-2021


  • Resumen Espectáculo
  • This work aims to propose studies for the baião and frevo rhythms applied to the
    drums instrument, based on the performance of the musician Luiz Duarte do
    Nascimento, also known in the artistic field as Luizinho Duarte. For this, four songs
    were chosen and analyzed from the album Tente Descobrir (2005), recorded by the
    group Marimbanda. After analysis, some paths were traced from the performance of
    the musician, being: a brief historical trajectory of the baião and frevo rhythms until
    the insertion of the drums in these two musical genres. In this context, scientific
    works were identified in the academic field on the performance of Brazilian drummers
    in dialogue with the didactic materials found, which bring the baião and frevo rhythms
    applied to the drums. As a result of this research, from the performance elements
    identified in the peculiarities of execution of the baião and frevo rhythms by Luizinho
    Duarte, five studies are proposed for each of these musical genres applied to the
    drums, in addition to rhythmic patterns for the instrument.

6
  • SÍLVIA PATRÍCIA CALIXTO DE LIRA SANT' ANA
  • New Paths for Drums Performance Mediated by Technological Interfaces

  • Líder : CLEBER DA SILVEIRA CAMPOS
  • MIEMBROS DE LA BANCA :
  • CESAR TRALDI
  • CLEBER DA SILVEIRA CAMPOS
  • JONATAS MANZOLLI
  • Data: 28-may-2021


  • Resumen Espectáculo
  • In a context which technology is increasingly used in the world of music, it is necessary to discuss, understand and apply this possibility to musical interpretive practices. From the second half of the twentieth century, the computer began to be increasingly used as part of the set up of instrumentalists within musical performances. Electronic sounds could be synthesized and added together with the sounds of the acoustic instruments, in deferred or real time. In parallel, synthesizers and digital instruments continued to be developed. In this research, it was noted that few studies were carried out in the academic field related to the use of the drums and technological mediation. In this scenario, only the master’s dissertation by Ferreira (2017) was found, in which he presents pieces with interatction between the drums and electronic devices, however the focus of this work is not this, but rather to explore the drums timbrically through several possibilities, not necessarily being electronic. Therefore, this, work becomes a pioneer in the academic field, since its objective is to analyze the development of the performance of five works of mixed electroacoustic music directed to the drums using prerecorded sounds or a cellphone application from the perspective of the interpreter in their preparation. The methodology of this work was based on the choice of the repertoire and its respective interpretation. Through the experimentation workshops, we explore the various possibilities related to this theme in the construction of performances of contemporary music. Thus, the studied and presented works were: Post-Lightened, Gravidade Zero, Buttonwood, Quatro Voltas ao Início and Maracá: para tape, instrumentos de percussão e uma bateria compartilhada. The analysis took place from the audio and video records of the rehearsals and performances of the works. Among the results, the creation of grooves for the drum duo and the use of cell phone with electronics in real time stand out as particularly significant. The need for a greater technical and interpretive refinement to be applied to each of the interpreted works was also discussed. More specifically, we reflected on the analytical observation of musical gestures and the musician's posture in an environment with more attributions and perceptions that go beyond playing his or her instrument. Therefore, a reflection on technical-interpretive aspects, as well as their performances contributed for a research that delves into the use of drums with technological interfaces for the creation of new sound material.

7
  • RADAN SOARES DA COSTA
  • ANALYTICAL  AND TECHNICAL-INTERPRETATIVE APPROACHES IN SONATA FOR TROMPETE AND PIANO OF CLAUDIO SANTORO 

  • Líder : RANILSON BEZERRA DE FARIAS
  • MIEMBROS DE LA BANCA :
  • AYRTON MUZEL BENCK FILHO
  • MARCOS ARAGAO FONTOURA
  • RADEGUNDIS ARANHA TAVARES FEITOSA
  • RANILSON BEZERRA DE FARIAS
  • Data: 31-may-2021


  • Resumen Espectáculo
  • In this work, analytical procedures are presented that aim to assist the interpreter, providing him with possibilities of resolution about interpretative issues found during the preparation process of the Sonata For Trumpet and Piano by Claudio Santoro, as well as the 'translation' of the explicit and implicit elements in the score that are revealed through signs, namely: articulations, dynamics, movements and phrasing. Initially, a survey of works and a bibliographic review was carried out regarding the use of analysis aimed at interpretation. Following the research procedure, we chose the process of applying the analysis script prepared by John Rink presented in the article Analysis and (or?) Performance, as well as the concept described in the work of Nicholas COOK (2006), where the author proposes the vision of the score as “Script” instead of “text”, to be used in that work. In this process, the following aspects were addressed: forms, motifs and melodic elements, dynamics and the realization of a rhythmic reduction of all movements. At the end of this study, we obtained data generated from the analysis carried out, with the aim of using it to suggest alternatives for coherent and conscious interpretation and execution, hoping that these will contribute to future performance of the work.

8
  • RICARDO FÉLIX DE MORAIS
  • BRAZILIAN MUSIC FOR SOLO TROMBONE FROM THE 20TH AND 21ST CENTURY: AN AUTOETHNOGRAPHIC APPROACH TO THE PREPARATION OF MUSIC FANTASIA SUL AMERICA (1983), SERRA DE TREMITAÇÃO (2013) AND 3 MOMENTS FOR SOLO TROMBONE (2017).

  • Líder : RANILSON BEZERRA DE FARIAS
  • MIEMBROS DE LA BANCA :
  • ALEXANDRE MAGNO E SILVA FERREIRA
  • MARCOS FLAVIO AGUIAR
  • RANILSON BEZERRA DE FARIAS
  • Data: 01-jul-2021


  • Resumen Espectáculo
  • This research investigates the preparatory process of the music Fantasia Sul América (1983), Serra de Tremitação (2013) and 3 Moments for Trombone Solo (2017). From the method of autoethnography, we discuss about the main strategies of study applied to overcome 11 main technical-interpretative difficulties encountered during the process. The work is divided into 7 development chapters, which present (1) introduction, (2) a catalog of music from the Brazilian repertoire for solo trombone of the 20th and 21st centuries, (3) the criteria of selected for the choice of the selected repertoire and the main technical-interpretative difficulties emerging from it, (4) a discussion of the routine and study strategies applied to the trombone built from a literature review and the speaks of 15 professional trombonists interviewed, (5) study strategy for overcoming the difficulties listed in chapters 3, suggested by the interviewees, (6) a discussion about the preparatory process of the selected repertoire and (7) the final considerations.

9
  • ROGÉRIO PEREIRA VICENTE

  • The technical-interpretive aspects of the preparation of a recital through the practice of doubling on the bass, tenor and alto trombones

  • Líder : RANILSON BEZERRA DE FARIAS
  • MIEMBROS DE LA BANCA :
  • ALEXANDRE MAGNO E SILVA FERREIRA
  • MARCOS FLAVIO AGUIAR
  • RANILSON BEZERRA DE FARIAS
  • Data: 03-jul-2021


  • Resumen Espectáculo

  • The present work investigates the technical-interpretive aspects of the preparation of a recital through the practice of doubling on the bass, tenor and alto trombones. The aim is to seek to understand the study strategies that allow the musician to perform a recital with works by Brazilian composers of the 20th and 21st century in the three trombones from the preparation and execution of the works Criação nº 2 (bass trombone), Três estudos para trombone tenor, Música para trombone nº 4 (alto trombone) and Música para trombones e Percussão (bass, tenor and alto trombones). The text presents the organology of the three trombones as well as a brief historical contextualization (FONSECA, 2008; GUION, 2010; HERBERT, 1997). Then we bring considerations about the daily routine of studies in the bass, tenor and alto trombones (LEITE, 2015; ROCHA, 2016; SANTOS, 2017) and the possibilities of studying the instrument using the Social Cognitive Theory idealized by Albert Bandura (BANDURA, 1978 apud CAVALCANTI, 2009) and Deliberate Practice (ERICSSON et al., 1993). Right after we present a contextualization about the researches about trombone in Brazil and works that refer to the practice of doubling in a direct or indirect way, as well as we discuss this practice through the experience of interviewed trombonists (PIERCE, 2002; REIS, 2016). Finally, we bring the experience of preparing the recital through the proposition of strategies that served to resolve sections that presented technical difficulties in the works chosen for the recital.

10
  • MARIA DA CONCEIÇÃO SILVA
  • TECHNICAL-INTERPRETATIVE ASPECTS OF THE HORN PRACTICE FROM THE STUDY OF THE MILINDÔ WORK FOR THE HORN AND PIANO OF THE PITOMBEIRA LIDUINO COMPOSITOR

  • Líder : RADEGUNDIS ARANHA TAVARES FEITOSA
  • MIEMBROS DE LA BANCA :
  • CELSO JOSÉ RODRIGUES BENEDITO
  • RADEGUNDIS ARANHA TAVARES FEITOSA
  • WALESKA SCARME BELTRAMI
  • Data: 04-jul-2021


  • Resumen Espectáculo
  • This research is a study on the possibilities and possible methodological strategies for the preparation of the work Milindô (2019) for the horn of the composer Liduino Pitombeira (1962), given the technical and interpretative difficulties and their characteristics. This repertoire is in the process of being included in academic music recitals. This research aimed to conduct a study and describe the possibilities and possible methodological strategies for the preparation of the repertoire for horn by Liduino Pitombeira; the resources applicable to the development of a music performance for horn in the face of technical and interpretative difficulties and their characteristics. Considering the number and diversity of works with the composer's horn, a work was written for this work, the work was entitled “Milindô”. and was written for French horn and piano and dedicated to the author of this work. In order to carry out this work, it was necessary to understand the universe of music research as well as its sub-areas. To carry out this work, we chose to use the qualitative methodology. Among the research tools used in this work, we can mention bibliographic and documentary research. A semi-structured interview was conducted with the studied composer in order to get to know the piece from the composer's point of view. It was possible to identify and point out technical-interpretive perspectives for learning and developing the work performance.

11
  • PRISCILA MATOS FERREIRA GOMES
  • NORTHEAST IN THE CONCERT ROOM: Interactions between composer and co-performer in the production of three arrangements for piano and cello

  • Líder : DURVAL DA NOBREGA CESETTI
  • MIEMBROS DE LA BANCA :
  • ANDERSON DE SOUSA MARIANO
  • DURVAL DA NOBREGA CESETTI
  • NAN QI
  • Data: 06-ago-2021


  • Resumen Espectáculo
  • This research’s main objective is to investigate the collaborative process between the composer and the performer in three arrangements of pieces for cello and piano that I composed in 2018, present in the CD “Nordeste Sangue e Coração”, released in May 2019: “Do Coco ao Coco”, “Nordeste Sangue e Coração” and “Cigano”. In this text, I contextualize my object of study, historicizing my career as a musician, especially as a composer, as well as the process of composing the pieces in question, highlighting their structural, stylistic and formal aspects. I also highlight the process of team collaboration through transcriptions of the rehearsals’ recordings, in order to identify possible elements that relate to the cello and piano in music from the Northeastern region of Brazil, as well as to verify the process of team collaboration in the construction and execution of the musical arrangements, and how to bring innovative elements to the language of Northeastern music for cello and piano. After a bibliographic research, the pieces’ transcription and analysis, recording of the rehearsals and, afterwards, studio recordings of the pieces, a final result is reached, demonstrating in which way the interaction between composer and performer can bring new elements to the language of Brazilian Northeastern music performed on cello and piano.

12
  • JOAO MARIA SIMPLICIO FERREIRA
  • Título Inglês: MUSICAL PRODUCTION FOR TRUMPET IN RIO GRANDE DO NORTE: cataloging for interpretative suggestions of chosen works

  • Líder : RANILSON BEZERRA DE FARIAS
  • MIEMBROS DE LA BANCA :
  • MARCOS ARAGAO FONTOURA
  • RADEGUNDIS ARANHA TAVARES FEITOSA
  • RANILSON BEZERRA DE FARIAS
  • Data: 13-ago-2021


  • Resumen Espectáculo
  • It has been observed that not disclosing composers in an adequate way, especially the national ones and the lack of an appropriate organization of their works, can cause the loss of the musical material produced by them, besides consigning them to oblivion. Thus, in order to preserve the material collected during our research, we organized it in the form of a catalog. In the present dissertation, we present the results of a study whose general goal was to produce a thematic catalog, which took shape from a total of twelve works collected during the research and that were provided by the authors themselves. Of these, we chose three for a deeper study, and proceeding with our investigative procedures, we studied them structurally and made from them interpretive suggestions aiming to bring to the readers of this work biographical details about the composers and especially the compositional particularities contained in their works. We emphasize here that the works were selected according to the personal and professional characteristics of the composers, and represent significantly all the compositional material surveyed in this dissertation, giving us a dimension of all the works gathered here. This set of pieces written specifically for trumpet showed us an important clipping of our musical history related to this instrument in the state of Rio Grande do Norte, showing us important data that will be preserved here and can be a starting point for future research.

13
  • ANGELA MARIA BEZERRA DO NASCIMENTO
  • POEMS AND MUSIC: A PREPARATION FOR THE INTERPRETATION OF THE QUATRO SONETOS EM LÍNGUA PORTUGUESA FOR CANTO AND PIANO BY DANILO GUANAIS

  • Líder : JOANA CUNHA DE HOLANDA
  • MIEMBROS DE LA BANCA :
  • ANDRE LUIZ MUNIZ OLIVEIRA
  • JOANA CUNHA DE HOLANDA
  • LENINE ALVES DOS SANTOS
  • Data: 20-ago-2021


  • Resumen Espectáculo
  • This work presents the preparation for the interpretation of the Quatro Sonetos em Língua Portuguesa (2018) for Canto e Piano by Danilo Guanais (1965). To this end, it places the work in the context of the composer's production and his affinity with the Armorial Movement (Nóbrega, 2000). The literary study of the poems is supported by studies by Berardinelli (2020), Cabral; Guaranha (2015), Lima (2007), Flores (2014) and Deífilo (1983). The relationship between text and music guides the interpretation with the support of the study by Stein and Spillman (1996) and La Rue (1989). This discussion is presented in the light of the aesthetics of the Quatro Sonetos em Língua Portuguesa (2018).

14
  • AJA DEVI DASI SOARES ABREU DE GOES
  • DAMODARA: Na Action Research in a kindergarten class with Vedic Music/Culture

  • Líder : TAMAR GENZ GAULKE
  • MIEMBROS DE LA BANCA :
  • TAMAR GENZ GAULKE
  • MARIO ANDRE WANDERLEY OLIVEIRA
  • CRISTIANE MARIA GALDINO DE ALMEIDA
  • Data: 23-ago-2021


  • Resumen Espectáculo
  • This work had as general objective as publications of Vedic music in early childhood education in elementary school. With the specific objectives acquired: we understand how the process of music education takes place in an intercultural perspective; sense of need for intercultural musical learning of the studied group; identify which elements of Vedic culture best relate to the context in question; and perceive how understandings and reflections developed by children from the intercultural musical context with the Vedic culture. The visions of culture, music and music education of John Blacking, Luiz Ricardo Queiroz and Maura Penna and the understanding of Vedic culture by A. C. Baktivedanta Swami Prabhupada and Hridayananda Das Goswami constituted my theoretical framework. The Action Research was developed at the Childhood Education Nucleus / Application College of the Federal University of Rio Grande do Norte (NEI / CAp - UFRN) in the city of Natal-RN. In view of the research objectives for the obtained class, it was Class 4 A of Early Childhood Education, the last year of this stage of education. Data were collected from audios, logbook, image and video recordings and semi-structured interviews. The results signaled four main focuses: The Concept and the Prejudice; Distinct Cultures, Affixed Values; Here and now; and From Imaginary to Concrete. In this perspective, this research contributes so that the area of music education can expand its proposals within an intercultural perspective

15
  • CALEBE ALVES TEIXEIRA
  • The Formation of the Cellist Interpreter Based on Online Teaching and Learning
  • Líder : FABIO SOREN PRESGRAVE
  • MIEMBROS DE LA BANCA :
  • FABIO SOREN PRESGRAVE
  • FRANCINE KEMMER CERNEV
  • JULIO CESAR DE MELO COLABARDINI
  • Data: 30-ago-2021


  • Resumen Espectáculo
  • This research focuses on cello e-learning. Online music teaching is already taking place at renowned institutions in foreign countries in a synchronous way. In Brazil, despite having some pioneering research institutions and branches in this format, we noticed with the COVID-19 pandemic a need to understand asynchronous and hybrid processes in a systematic way for musical formation. As a methodological procedure, a three-month cello course was held with twenty students from different states in Brazil and Peru. The development of the students was observed during the planning of hybrid cello classes, and throughout the period we observed a maturation in autonomy in individual study. During the course, questionnaires developed in order to collect student's reports before and after the course experience. The data were analyzed based on the responses of the questionnaires together with the teacher's evaluation during the class period and demonstrated technical progress in the students in addition to the creation of new musical ties. We also collected and analyzed data from the cello class at the Music Festival at Home (FIMUCA) conducted online by UFRN in July 2020. Mediated music education virtually presents challenges, however it is a tool that allows the inclusion of students and musicians in locations far from teaching centers.

16
  • MARCELO JOSÉ DE ALMEIDA DAS VIRGENS
  • The learning of the french horn through Arnold Jacobs’ pedagogical memories.

  • Líder : RADEGUNDIS ARANHA TAVARES FEITOSA
  • MIEMBROS DE LA BANCA :
  • ALEXANDRE MAGNO E SILVA FERREIRA
  • RADEGUNDIS ARANHA TAVARES FEITOSA
  • RINALDO DE MELO FONSECA
  • Data: 26-oct-2021


  • Resumen Espectáculo
  • Bearing in mind the need for teaching materials capable of developing horn players with a mentality focused primarily on making music, using technique as a tool in order to transmit a musical discourse of excellence, this research entitled " The learning of the french horn through Arnold Jacobs’ pedagogical memories”, aims to present perspectives for the insertion of methodological aspects of the pedagogical approach of this artist, in the teaching of the French horn in Brazil. Therefore, it is necessary to identify the methodological aspects contemplated in the various means of recording the work of Arnold Jacobs; analysis from the literature, influences, approaches and methodologies used in the teaching of the French horn; define the main methodological aspects of Jacobs' approach, considering the characteristics of the tradition of teaching in Brazil from the analyzed literature. Then, basic practice research is carried out, with a descriptive and exploratory objective, with a qualitative approach and execution with bibliographic and documentary procedures. Therefore, it appears that it is possible to include methodological aspects of Arnold Jacobs' pedagogical approach in the teaching of the French horn in Brazil.

17
  • MARIA SUELLEN MAGALHÃES
  • The Horn player in the 21st century: Methodological perspectives for versatile education.

  • Líder : RADEGUNDIS ARANHA TAVARES FEITOSA
  • MIEMBROS DE LA BANCA :
  • MARIO ANDRE WANDERLEY OLIVEIRA
  • RADEGUNDIS ARANHA TAVARES FEITOSA
  • WALESKA SCARME BELTRAMI
  • Data: 04-nov-2021


  • Resumen Espectáculo
  • The horn player's education over the years has largely emphasized his performance in groups such as orchestras and symphonic bands, but the musical scene has undergone series of transformations in recent decades, as well as the horn player's work. Think about the practices established in spaces of reflection, such as universities, and about the expected and constructed possibilities of education, can be of great help to understand the education processes of horn players and their correspondence with the possible flexibility of performance that the current market has. Therefore, through the reflections of Bartz (2018); Beltrami (2011); Bomfim (2017); Brito (2019); Coutinho (2014); Feitosa (2013; 2016); Harvey (2008); Lima (2018); Menger (2005); Oliveira and Piccinini (2011); Picioneri (2006); Requião (2008); Segnini (2011); and others; semi-structured interviews and bibliographical and documental research, this research intends to identify in which ways the construction of a diversified practice in the formation of horn players in bachelor's degree courses in Brazilian universities can be approached, considering the possibilities of professional performance. Relating the results obtained, it was possible to see how the awareness of the need for diversification and versatility is present in the context of flexible work, and some notes were made in order to think about the practices' system and register. Diversification and versatility are proposed as a way to have reflective horn players, capable of making conscious artistic choices, whatever is their role and performance space.

18
  • CLÁUDIA ROBERTA DE OLIVEIRA CUNHA
  •  Songs for voice and piano by José Henrique Lins: Subsidies for performance

  • Líder : DURVAL DA NOBREGA CESETTI
  • MIEMBROS DE LA BANCA :
  • ANDRE LUIZ MUNIZ OLIVEIRA
  • DURVAL DA NOBREGA CESETTI
  • LUCIANE APARECIDA CARDASSI
  • Data: 24-nov-2021


  • Resumen Espectáculo
  • The present work deals with the songs for voice and piano composed by José Henrique José Henrique Lins Cabral de Mello (1963-2000). Our approach aims to provide insights for performace through literary and musical analysis of songs. We will also present a biographical trajectory of the composer, the digitization of the handwritten scores and, finally, we will allow the access of the research and the scores made through an electronic site. We believe that our research could make known the composer José Henrique Lins and his work, and also contribute to the expansion of the repertoire of the Brazilian Chamber Song.

19
  • JOAO BATISTA DA SILVA
  • REFLECTIONS ON THE WORK “O CAPRÍPEDE CASTANHO” BY COMPOSER DANILO GUANAIS: new interpretative perspectives for armorial music.

  • Líder : ANDRE LUIZ MUNIZ OLIVEIRA
  • MIEMBROS DE LA BANCA :
  • ANDRE LUIZ MUNIZ OLIVEIRA
  • MARIA CLARA DE ALMEIDA GONZAGA
  • DACIO TAVARES FREITAS GALVÃO
  • Data: 26-nov-2021


  • Resumen Espectáculo
  • This research aims to understand and approach the aesthetic, compositional and stylistic elements of the work "Caprípede Castanho", VII Movement of the III Grande Sinfonia "Ilumiara" by composer Danilo Guanais (1965), in the aesthetic of Armorial Music. The composer also uses characteristic elements of 20th century music such as Polytonality, Serialism, Minimalism, Polyrhythmia and Asymmetry. Musical genres such as Maracatu and Valsa are present in the work, as well as appropriations, rhythmic and melodic manipulations through variations. In the analysis process, stylistic and aesthetic references are searched with possible interlocutions between the work of Guanais and the present compositional elements, characteristic of Armorial Music. Methodological procedures will be based on the literature review, indication, participant observation of the rehearsals and recital of the work “Caprípede Castanho” with the participation of 13 wind and percussion players. The monitoring process will feature a logbook with the aim of observing, describing and analyzing the interpretive practice, in order to incorporate the aesthetic and stylistic aspects of Armorial Music in the interpretation.

20
  • DANILO NOGUEIRA DE MORAIS
  • TEACHING SINGING IN THE MUSICAL THEATER: vocal building strategies for the singing scene.

  • Líder : JEAN JOUBERT FREITAS MENDES
  • MIEMBROS DE LA BANCA :
  • ALEXANDRE DE OLIVEIRA BÁDUE
  • JEAN JOUBERT FREITAS MENDES
  • MARIO ANDRE WANDERLEY OLIVEIRA
  • Data: 30-nov-2021


  • Resumen Espectáculo
  • This dissertation is the result of a research whose main objective was to identify,
    analyze and apply singing teaching strategies in order to contribute to the
    construction of the character's vocal sound for the sung scene in Musical Theater.
    This is a study on vocal technique and the actor's interpretive practices during the
    song. The work is aimed at actors, singing teachers, vocal coaches and researchers
    in the field. After an introductory reflection, it is presented the result of an extensive
    bibliographical research based on authors such as Esteves (2014) and Rubim (2010)
    in relation to the historical context of theater singing, Miller (1986), (1994), (2011),
    Costa e Silva (1998), Fuks (1999), Behlau (2001), Fernandes (2009), Gil and Herbst
    (2016), Silva and Herr (2016) on vocal technique and singing pedagogy, Stanislavski
    (2001), Guberfain (2004), (2011), Brito (2004), Azevedo (2012) about the sound and
    interpretive practices in Musical Theater, among other authors.Next, the
    development of the research in an extension group of Musical Theater at the UFRN
    School of Music is presented, where initially the vocal characteristics and needs of
    students are recognized and later an investigation and discussion on singing
    teaching strategies for o Musical Theater used by recognized professionals in the
    area and active in the national market. Such strategies provide the basis for the
    elaboration and application of an experimental proposal for teaching singing for
    Musical Theater in the studied group, which is reported after. Finally, the evaluations
    made during and at the end of the process are presented, pointing out the identified
    results. The research concludes that when preparing vocally the Musical Theater
    actor, it is important that the teacher teaches the basic techniques of singing,
    applying the speech level singing and developing vocal resources so that the actor
    can express different personalities and emotions through a process of scenic study
    and the actor's own interpretation. During the practice of the song, the text and music
    would be studied, investigating its style and the elements that compose it, proposing
    a vocal sound that better communicates the identified characteristics.

21
  • KELLEN RAISSA BRITO DE PINHO NEVES
  • THE PIANO SONATA OP. 21 BY FÁBIO NEVES: AN ACCOUNT OF A COMPOSER-PERFORMER COLLABORATION BETWEEN A MARRIED COUPLE OF MUSICIANS

  • Líder : DURVAL DA NOBREGA CESETTI
  • MIEMBROS DE LA BANCA :
  • DURVAL DA NOBREGA CESETTI
  • LUCIANE APARECIDA CARDASSI
  • NAN QI
  • Data: 16-dic-2021


  • Resumen Espectáculo
  • This research investigated the collaborative process between composer and interpreter, whose final product resulted in the performance of the Piano Sonata Op. 21 by Fábio Neves, understanding the act of collaboration as a work that starts with the construction of the first compositional gestures, passing through rehearsals and discussions, until the world premiere of the work. Being the composer's wife, the interpreter/researcher has previous collaborated with him, but had not yet documented and systematized her actions; thus, the interest in the theme arose from the need for a systematized study that addresses the practice of composer-performer collaboration, with the intent of better understanding the role of the interpreter in partnership with the composer, the possible working methods, and their practical benefits. For this, the methodology used the analytical autoethnographic method proposed by Leon Anderson (2006), along with literature review, data collection, and pianistic studies. As a result, it is intended that the elaboration of the piece and its performance reflect an open dialogue between the collaborators and that its method may inspire future works of this kind, also contributing to the documentation of the composer's work and to the dissemination of Brazilian contemporary piano music.

22
  • CAIO VINÍCIUS FREIRE DA CUNHA
  • The Fifth String by João Pedro Oliveira: interpretation and performance of a Violin and electronics piece

  • Líder : RUCKER BEZERRA DE QUEIROZ
  • MIEMBROS DE LA BANCA :
  • ANDRE LUIZ MUNIZ OLIVEIRA
  • RUCKER BEZERRA DE QUEIROZ
  • SANDRA KALINA MARTINS CABRAL DE AQUINO
  • Data: 21-dic-2021


  • Resumen Espectáculo
  • This Research discusses and presents a process of the practical-interpretative for an interpretation of the piece The Fifth String by the Portuguese composer João Pedro Oliveira. The musical piece object of this research is for solo violin and electronics (Tape). For this, we use methodological tools such as bibliographic and phonographic review, structured interview with the composer and score analysis for performance planning and preparation. The results of this research are: considerations by the composer about the piece, considerations by the interpreter about the study process - theoretical, practical of the interpretation; and a recording of the performance of the piece. The Research also addresses a historical contextualization contemplating the history of the 20th century music and more specifically electroacoustic music, considerations about the expanded technique in order to deal with the technical aspects present in the The Fifth String, and the composer's considerations about his works.

2020
Disertaciones
1
  • CALÍGIA SOUSA MONTEIRO
  • ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­HUMAN FORMATION THROUGH MUSICAL PRACTICES: a research carried out in the Music on the Outskirts extension project in Natal/RN

  • Líder : VALERIA LAZARO DE CARVALHO
  • MIEMBROS DE LA BANCA :
  • MARIO ANDRE WANDERLEY OLIVEIRA
  • TIAGO DE QUADROS MAIA CARVALHO
  • VALERIA LAZARO DE CARVALHO
  • Data: 06-jul-2020


  • Resumen Espectáculo
  • This research aims to investigate the monitors' conceptions in relation to human formation from music classes in the UFRN Música na Periferia extension project in Natal. Through bibliographic review, we seek to understand the concept of human formation, building a dialogical path analyzing the tenuous line of social projects and university extension projects, mainly directed to musical practices. It is a qualitative research, in which I use documentary research and the case study method, in which it is possible to identify specificities in the field of investigation that may generate discoveries within the theme addressed, ranging from the particular to the general. As a methodological procedure, I use questionnaires and semi-structured interviews, seeking to analyze and substantiate the relationship of musical practices with educational, social and human interactions. Thus, this research reveals the importance of university extension projects to boost the development of communities and enables the perception of the subjectivity of the construction processes of being, which can be stimulated and remodeled according to conceptions instructed through musical practices.

2
  • PÂMELA ARAÚJO DE MOURA MORAIS
  • Specificity of Braille writing applied to the guitar

  • Líder : JEAN JOUBERT FREITAS MENDES
  • MIEMBROS DE LA BANCA :
  • EDDY LINCOLLN FREITAS DE SOUZA
  • EUGENIO LIMA DE SOUZA
  • JEAN JOUBERT FREITAS MENDES
  • Data: 18-ago-2020


  • Resumen Espectáculo
  • The main objective of this research is to propose methodological strategies and adaptations of the Braille score for the guitar, in order to make them accessible to people with visual impairment. To foster this need it became necessary to discuss the process of training the guitarist with visually impaired, as well as the need to prepare the educator to act in the inclusive context and his role as mediator of accessible resources to encourage the autonomy and the protagonism of students with disabilities. To this end, the research was conducted with two participants with blindness of the "Camerata Inclusiva de violões da UFRN".  For this, the investigation will be based on a qualitative approach, using research-action as a methodology for the collection, data analysis and intervention in the empirical field. Thus, it is intended to contribute to the area of music teaching for people with visual impairment, addressing reflections on the use of accessible adapted materials to make the learning process more effective and meaningful for this audience.

3
  • CARLOS HENRIQUE LIMA DE CARVALHO
  • MUSICAL INITIATION THROUGH ACORDEON:

    an investigation into teaching practices in the light of Keith Swanwick's model C (L) A (S) P

  • Líder : TARCISIO GOMES FILHO
  • MIEMBROS DE LA BANCA :
  • Adriana do Nascimento Araújo Mendes
  • TARCISIO GOMES FILHO
  • TIAGO DE QUADROS MAIA CARVALHO
  • Data: 17-sep-2020


  • Resumen Espectáculo
  • This research seeks to investigate the teaching practice of three accordion teachers, graduated in Music – Licenciate in Music Plena - by the Federal University of Rio Grande do Norte (UFRN), more specifically in what refers to musical initiation through the accordion. It intends to understand the educational processes and their possible relation with the ideas of musical educator Keith Swanwick (1937) and the proposal of the model C (L) A (S) P. Therefore, we chose the case study as a methodological procedure, based on documentation, semi-structured interviews and data analysis. As a theoretical foundation, in addition to the principles of Keith Swanwick (2003a; 2003b; 2014), we sought support in the works of Yin (2015),  Gil (2009) among others. In this way, it is hoped to contribute to the expansion of the studies focused on the teaching of accordion and music education, proposing an approximation of the teaching activities of this instrument with the principles of the C (L) A (S) P model of Keith Swanwick.

4
  • LAÍS LUANA SANTOS OLIVEIRA

  • THE INTERPRETATION OF TRÊS CANTOS DE IEMANJÁ FOR VIOLONCELO AND PIANO OF MARLOS NOBLE THROUGH THE LOOK OF AFRO-BRAZILIAN RHYTHMS PRESENT IN THE WORK

  • Líder : FABIO SOREN PRESGRAVE
  • MIEMBROS DE LA BANCA :
  • FABIO SOREN PRESGRAVE
  • TIAGO DE QUADROS MAIA CARVALHO
  • ALBA CHRISTINA BOMFIM SOUZA
  • Data: 28-dic-2020


  • Resumen Espectáculo
  • This research analyzes the technical and interpretative aspects of the work Três Cantos de

    Iemanjá for Cello and Piano by the composer Marlos Nobre (1939), in order to contextualize

    the interpreter in the aspects of Afro-Brazilian music present in this piece. The composer uses

    characteristic elements such as rhythmic cells, melodies, nuances, which relate to percussion

    instruments of Afro-Brazilian music. The rhythms of Maracatu, Coco and genres from Choro

    such as Modinha, Lundu and Habanera are present in the work. The methodological procedure

    consisted of a biographical study of the composer and of works composed by him that have a

    connection with Afro-Brazilian culture. Later, authors such as Carvalho (1998), Silva (2014),

    Costa (2017), who discuss Afro-Brazilian culture, were researched and included. Subsequently,

    experiments were carried out in order to incorporate aspects of Afro-Brazilian music in the

    interpretation besides performances and recordings.

2019
Disertaciones
1
  • ROBERTO WAGNER DE MEDEIROS DAMASCENO
  • ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­Performance and transmission in the Boi Calemba Pintadinho

  • Líder : AGOSTINHO JORGE DE LIMA
  • MIEMBROS DE LA BANCA :
  • AGOSTINHO JORGE DE LIMA
  • JEAN JOUBERT FREITAS MENDES
  • MARIO ANDRE WANDERLEY OLIVEIRA
  • Data: 11-jun-2019


  • Resumen Espectáculo
  • The present work analyzes and discusses the performance and musical transmission in the Boi Calemba Pintadinho of the master Dedé Veríssimo, located in São Gonçalo do Amarante in the state of Rio Grande do Norte. It seeks to bring reflections about the process of musical learning of children who were recently inserted in the group; in addition to the art of the older participants, are being maintained until today through the continuity of oral transmission and thus discussing their experiences. The method used in the research was the field work, and the instruments of data collection were: observations, interviews, audio and video recordings. Some of the authors used in this work were Lima (2008), Gurgel (1981), Queiroz (2005) and Brandão (1983). The data presented in this research verified that the performance and musical transmission are maintained in the group through the inclusion of children in the group, essays and presentations.

2
  • JOHN FIDJA FERREIRA GOMES

  • TRANSFERRING THE BATTERY LANGUAGE FOR THE COMPOSITION PROCESS OF THREE AUTHORS

  • Líder : ALEXANDRE RECHE E SILVA
  • MIEMBROS DE LA BANCA :
  • ALEXANDRE RECHE E SILVA
  • CESAR TRALDI
  • MARCUS ANDRE VARELA VASCONCELOS
  • Data: 19-jun-2019


  • Resumen Espectáculo
  • This paper presentes the journey of the author on musical composition up to the
    engagement on the Post Graduation course of Music on a Mastering degree, directed
    to compositional techniques grounded on Silva (2010). The purpose of this paper is to
    investigate possible applications of the idiomatic transference of drums to composition,
    based on the resources given by the Schillinger System of Musical Composition. It
    uses the Composition Model of Silva (2010), proposing the accompaniment of the
    compositional proccess. It presents the Idiomatic Transference technique as a strategy
    to the investment on the compositional proccess. It demonstrates the application of the
    transference model of drum carachteristics to the composition grounded on Fedaghi
    (2012), Barreto (2005), Smith (2012), Shenon and Weaver (1968). It engages on the
    mapping of the idiomatic peculiarities of the drums according to Vasconcelos (2002),
    Túlio (2005), Silva and Porto (2018). It proposes the presentation of the Idiomatic
    Transference Model from the transference and flow of informations on the composition
    based on the information transference model of Shanon and Weaver (1948) and
    Fedaghi’s data flow (2012). It identifies the idiomatism as a resource applied on drums
    and the composition through the Idiomatic Transference Model. It presents the
    compositional memorial of the pieces Octopus I, Em ações e Octopus II. It comments
    the results obtained and the possibilities on the proceding of the research.

3
  • ROBERTO CLEMENTE RAMOS LOPEZ
  • OSUFPB IN FOCUS: STUDY OF MUSICIANS 'PERCEPTION IN RELATION WITH THE INTERPRETATION OF THE DIVERTIMENTO FOR STRINGS OF BÉLA BARTÓK IN FOUR DISTRIBUTIONS FOR THE STRINGS SECTION

  • Líder : ANDRE LUIZ MUNIZ OLIVEIRA
  • MIEMBROS DE LA BANCA :
  • ANDRE LUIZ MUNIZ OLIVEIRA
  • ALEXANDRE VIRGINELLI MAIORINO
  • ALFREDO JACINTO DE BARROS
  • Data: 08-jul-2019


  • Resumen Espectáculo
  • The following research aims to study the musical and sensorial perception of the musicians of the Symphony Orchestra of the Federal University of Paraíba (OSUFPB) through the musical interpretation of four previously chosen fragments of the Divertimento for String Orchestra Sz.113, BB.118 (1939) of the Hungarian composer Béla Bartók (1881-1945) as in a function of four distributions for the string section (American Distribution, Variant of the American Distribution, European Distribution and Variant of the European Distribution). The method used was the application of a questionnaire containing eight questions based on the following topics: Intonation; Equalization or Equilibrium; Visual contact; Ensemble of music; Hearing the interpretation of colleagues; Comfort playing in a given distribution; Evaluation of the distribution for the work and the Habit of playing in a given distribution. The perception of OSUFPB musicians was captured through the five-point Likert measurement Scale; it is also pointed out that in order to complement the choice of participants it was requested to include comments of their response in order to broaden the scope of the topics in relation to the distributions. Subsequently, the data were tabulated and statistically analyzed using the IBM SPSS Statistics 25 software (Statistical Package for Social Sciences) to obtain the analysis of Frequency and Percentage. In addition, the results obtained through the software were condensed by the sum of the Negative, Neutral and Positive values of the Likert Scale and finally a Percent Comparative Summary was made with our interpretation for each question and the most relevant comments. The results indicate a greater preference for the American Distribution with a downward slope for the other distributions concluding that the preferences are linked directly with the habit of playing in a certain distribution.

4
  • LUCIANO LUAN GOMES PAIVA
  • Musical learning mediated by digital tecnologies, from the perspective complexity: an action research with guitarists of the UFRN extension course

  • Líder : JEAN JOUBERT FREITAS MENDES
  • MIEMBROS DE LA BANCA :
  • JEAN JOUBERT FREITAS MENDES
  • FRANCINE KEMMER CERNEV
  • JUCIANE ARALDI BELTRAME
  • Data: 24-jul-2019


  • Resumen Espectáculo
  • With the advancement of cybernetics, more and more, digital technologies have been participating in the daily activities of people, including learning. Information on the most varied subjects of different areas of knowledge is available on the Internet and the Music field has been appearing as a field of research for knowledge construction. Electric guitar has been one of the most sought-after instruments for learning because of its popularity and modernity embedded since its inception, causing many learners to seek their learning from diverse sources of information, primarily sources of music learning mediated by digital technologies. The text is based on several theorists, who deal with the themes addressed in the work, among them I highlight: Morin (1999, 2000, 2003, 2015), Cernev (2013, 2015, 2016, 2018), Pequini (2016), Engel ), Beltrame (2014, 2016, 2017) and Vanzela (2016a, 2016b, 2018). In this sense, this research has as main objective to investigate, from the perspective of complexity, the musical learning mediated by digital technologies of guitarists of the UFRN extension course. In order to reach the main objective of this work, perpass for specific objectives that will serve as a guide to research, such as: 1-To know the musical trajectory of CIGE guitarists; 2-Identify what digital technologies are being used by guitarists to learn music; 3-Knowing how these technologies are being used by guitarists to structure their learning networks; 4-To understand how the guitarists configure their sources of learning in the construction of the musical knowledge; and 5-Describe how guitarists evaluate the use of digital technologies within the Extension Course. As a methodological process, I used a qualitative approach appropriating the Research-action method. For the construction of the research data I used as instruments: a semi-structured interview and a brief questionnaire via whatsapp, which was applied with five CIGE guitarists. Guitarists have shown throughout the research that they use various sources of learning to learn and configure in ways different from each learning but that have preferences in their sources. These preferences can be changed if the new technological sources give rise to other aspects in the musical learning, as well as from the construction of new knowledge, which in practice happens frequently. The construction of musical knowledge is a practice that changes depending on its sources and who organizes them, joining and separating, putting forward and bringing back, as well as embracing new formats in their learning network. This network of learning is the complexity in musical learning and what structures this network are the links between the different sources, which can be modified, amplified, separated, but always organized systemically in the process of knowledge construction. Digital technologies expand the possibilities for capturing information and modify the structures that are paired (the networks), because these resources alter the human cognitive, and in this way, allow the development of structures and dimensions different from the previous ones. Thus, digital technologies cause impacts and connections, breaks and reconciliations, departures and overlaps, permanent and instantaneous structural metamorphoses in the cognitive structure of the construction of musical knowledge.

5
  • AIRTON FERNANDES GUIMARAES FILHO
  • A JUREMA ENCANTADA FOR CONTRABAIXO SOLO DE DANILO GUANIAS: Collaborative Work Considerations
  • Líder : FABIO SOREN PRESGRAVE
  • MIEMBROS DE LA BANCA :
  • ALEXANDRE SILVA ROSA
  • FABIO SOREN PRESGRAVE
  • MARIO ANDRE WANDERLEY OLIVEIRA
  • Data: 11-oct-2019


  • Resumen Espectáculo
  • This work deals with the collaborative work between composer / performer in the piece Jurema Encantada for double bass solo, by composer Danilo Guanais. We try to present the musical language, created from the collaborative work. The aspects that we consider original in the construction of the piece are based on the fact that we do not find equivalents in the traditional double bass repertoire. For this, the whole collaborative process that resulted in the musical and idiomatic construction of Jurema Encantada in its three movements I (The Marriage) II (The Rapture) and III (The War), as well as the respective audios, will be presented. that one can have a greater understanding of the musical aspects of the piece. The theoretical basis is based on the studies made by Queiroz (2002), Lima (2014), Holschuh (2017) and Ventura (2007), on the armorial movement and its influence on the work of Guanais. The bibliography on the collaborative work is based on Bórem (1998), Lobo (2016) Borges (2017), Brandino, (2012), Ray (2010) and Domenici (2011). It is intended at the end of this work, to provide an edition of the score, to present a proposal of original musical language for the double bass, built from the collaborative work, as well as a public recital for the premiere of the work.

6
  • BRUNO CAMINHA FARIAS

  • Collective teaching brass instruments: methodological aspects and technical and interpretative from Lyra Tatuí and Lyra Bragança Brass Orchestras

  • Líder : RADEGUNDIS ARANHA TAVARES FEITOSA
  • MIEMBROS DE LA BANCA :
  • ALEXANDRE MAGNO E SILVA FERREIRA
  • RADEGUNDIS ARANHA TAVARES FEITOSA
  • RANILSON BEZERRA DE FARIAS
  • Data: 12-nov-2019


  • Resumen Espectáculo
  • The research presented here is inserted in the threshold between the performance and the musical education, considering important aspects of the musical making itself and the possibilities of collective teaching of the researched situations. In this sense, this research aims to understand the main methodological and technical-interpretative aspects that characterize the formation of instrumentalists from the collective teaching in the Lyra Tatuí and Lyra Bragança Brass Orchestras. This work was developed methodologically based on bibliographic, documentary research and semi-structured interviews with the main actors involved, as well as on-site observation of the researched projects. From the analyzes and reflections made, based on the information collected in the contexts of the Lyra Tatuí and Lyra Bragança Brass Orchestras, it was verified the importance of the technicalinterpretative aspects verified, as they are inserted in the collective practices of other groups for a solid formation and comprehensive, allowing the student a diversified performance in the job market. Among these aspects, it is possible to relate: stretching and physical exercise; breathing and muscle strengthening activities; lip vibration (buzzing); theoretical classes for clarification and consolidation; long note studies; studies with various joints and accents; interval studies; studies of scales and arpeggios in models and various joints; solfeggio and singing activities, and chamber music practices in various formations. It was also possible to present methodological directions related to the students' particularities in choosing the didactic materials and the repertoire; the development of students' musical autonomy; the qualities necessary for the teacher; the methodological characteristics of collective teaching, among other issues that proved fundamental to think and develop practices with the collective teaching of brass instruments. Thus, it is hoped that this research can contribute significantly to the musical practice and the collective teaching of brass instruments

7
  • SILAS ALVES DA SILVEIRA BARRETO

  • HIGHER EDUCATION OF EUFONIA IN UNIVERSITIES FEDERALS OF BRAZIL

  • Líder : RADEGUNDIS ARANHA TAVARES FEITOSA
  • MIEMBROS DE LA BANCA :
  • ALEXANDRE MAGNO E SILVA FERREIRA
  • FERNANDO DIEGO RODRIGUES DOS SANTOS
  • RADEGUNDIS ARANHA TAVARES FEITOSA
  • Data: 12-nov-2019


  • Resumen Espectáculo
  • In this research, entitled The Euphony Teaching at the Higher Level in the Federal
    Universities of Brazil, the research was carried out on the characteristics of euphonium
    teaching, with references to instrumental performance and teaching of the instrument.
    Therefore, this research, aims to understand the teaching process in these federal
    institutions that have the higher level course in this instrument at the present time.
    To achieve the general objective and the specific objectives, four semi-structured
    interviews were conducted with university teachers of the: Federal University of Campina
    Grande (UFCG), Federal University of Paraíba (UFPB), Federal University of Rio de
    Janeiro (UFRJ) and Federal University of Rio Grande do Norte (UFRN) in order to know
    the main methodological characteristics of euphonium teaching and also to analyse the
    course plans of these universities, seeking to identify traditional and non-traditional
    teaching materials in use, as well as to verify the types of repertoire contemplated.
    An exploratory review of the literature was also carried out, focusing on
    performance-related works that depict instrumental practice and deal with the way of
    playing an instrument, as well as works related to Music Education which address
    instrument teaching, deal with related aspects to the way of teaching to play an instrument
    and that may contain other pedagogical questions related to musical instruments. In this
    sense, the theoretical reference seeks to present works that are most related to this
    research, in order to identify peculiarities concerning both the teacher of the instrument
    and the student, and discuss, without going into many details, particularities regarding the
    technical skills necessary to the euphonist institutions.
    In addition to the Theoretical Reference, with the result of the interviews, it was
    possible to know the profile of the teachers interviewed and some aspects that shaped
    their teaching activity, such as: their first contacts with the music; the influences they
    received during their musical life; the first teaching practices in which they were inserted,
    as teachers, as students or even as musicians of groups where they received instructions.
    Such observations about the experiences of the teacher make it possible to obtain the
    result of this research, elucidating the methodological characteristics of what has been
    euphonium teaching in Brazil, especially in the context of higher level Brazilian federal
    universities.

8
  • MARCO RODRIGO CASTRO DA SILVA
  • An interpretative edition of Northeastern Suite n ° 2 of Nonato Luiz
  • Líder : EZEQUIAS OLIVEIRA LIRA
  • MIEMBROS DE LA BANCA :
  • EZEQUIAS OLIVEIRA LIRA
  • JOANA CUNHA DE HOLANDA
  • EDDY LINCOLLN FREITAS DE SOUZA
  • Data: 02-dic-2019


  • Resumen Espectáculo
  • The theme on which this work is based is the oeuvre of the composer and instrumentalist from Ceará, Nonato Luiz, and its specific object of study is the piece called Suíte Nordestina nº 2, constituted by the following movements: I - Serenade, II - Xote and III - Frevo. The research consists of an examination of the composition through an interpretive bias, whose main guiding element is the characteristics of the musical genres with which each movement relates. As the final objective of the investigation conducted here, it is intended to produce an interpretative or practical edition of the studied music, which can lead the musicians interested in the direction of an expressive and coherent interpretation. The study initially presents information about the artist, summarizing his formation and his musical influences. At this moment it gives an overview of his performance as an instrumentalist and composer and discusses his published work. It then enters the discussion about musical editions, musical interpretation, and about the characteristics of the musical genres present in the work under examination. Finally, the inquiry reaches its core, explaining the elements contained in the proposal of execution for each of the movements of the composition. The work is finalized with last considerations on the presented edition and a brief survey of future possibilities of study on the subject.

9
  • JOSÉ WASHINGTON FLORENCIO DA SILVA
  • ANXIETY IN MUSICAL PERFORMANCE: FINDINGS AND PERFORMANCE SIMULATIONS TO REDUCE ITS EFFECTS, AN ANALYSIS THROUGH OF THE EXPERIENCI-AÇÃO WITHIN THE SCOPE OF THE SCHOOL OF MUSIC THE FEDERAL UNIVERSITY OF RIO GRANDE DO NORTE

  • Líder : RANILSON BEZERRA DE FARIAS
  • MIEMBROS DE LA BANCA :
  • RANILSON BEZERRA DE FARIAS
  • CAMILA TORRES MEIRELLES
  • ELIANE LEAO
  • Data: 02-dic-2019


  • Resumen Espectáculo
  • This research addresses the theme anxiety in musical performance. Anxiety is not always a villain, according to Oliveira (2001), it is a normal and necessary reaction of the organism. This reaction leaves the performer on alert with increased attention and may be beneficial for performing a musical performance. For the development of this research, it was defined as General Objective, to investigate the prevalence of anxiety in musical performance and as specific objectives, the investigation of situations, symptoms and the development of performance simulation exercises performed by students of the Federal University School of Music of the Rio Grande do Norte (EMUFRN) in the classroom, as a form of adversity training / coping with anxiety in musical performance and desensitization of its effects. The methodological approach adopted was the Qualitative-Quantitative approach. However, after the completion of Steps 1 and 2, the Expeienci-Ação methodology was adopted for the development of Step-3 of this research. The empirical field consisted of 134 students from EMUFRN's Bachelor and Music Technician Courses. From the application of the questionnaire-1 to the mentioned public, the existence of the researched problem was identified. The methodological procedures used for the development of this research were: accomplishment of the bibliographical survey about the theme; elaboration and application of questionnaires; delimitation of the research universe to the undergraduate class of the discipline ‘Stage preparation and performance’; application of the Seven Skills Study (GREENE, 2001); filming of musical performances and collecting reports from the 25 students participating in the class cited above after classroom performance simulation exercises. The results obtained at the end of this research made it possible to: list the main symptoms; point out anxiety-provoking performance situations among performers; warn about the use of licit or illicit substances; develop adversity training (performance simulations in 03 situations) as a preparation strategy for stage musical performance through Experienci-Ação (stage-3).

10
  • MARCO CÉZAR DE OLIVEIRA BRITO
  • Contributions of the Choro Wheel Experience for the Training of the Toe Ropes Instrumentalist
  • Líder : EZEQUIAS OLIVEIRA LIRA
  • MIEMBROS DE LA BANCA :
  • EDDY LINCOLLN FREITAS DE SOUZA
  • EZEQUIAS OLIVEIRA LIRA
  • TIAGO DE QUADROS MAIA CARVALHO
  • Data: 02-dic-2019


  • Resumen Espectáculo
  • In this article we discuss the contribution of the experience in the Roda de Choro
    for the formation of the instrumentalist strings guitar player. We know that Choro, as a typical
    Brazilian musical instrumental genre, is generally performed in the Roda de Choro (Collective
    Practices). Through qualitative research we aim to identify and understand the important
    aspects of these Wheels based on Oral Transmission, in the learning process to obtain a
    significant performance. In line with our professional teaching practice that uses stringed
    instruments strung in the training and performance of groups in formal education at beginner,
    middle and technical levels, we propose the systematization of some of the didactic
    procedures used in these wheels. The experience of Roda de Choro, experienced by us and the
    renowned interviewees, professional musicians, teachers, composers and performers, led us to
    identify specific characteristics that can be systematized and used in the academic sector as in
    the case of Solo Instrumentalist Collaborator who, when performing the solo, assists
    accompanying musicians in the formation and amplification of the repertoire and
    understanding of the rhythmic-harmonic language of popular music. Among the properties
    inherent to the Roda de Choro we mention the improvisation procedure that is present in
    general in the practical activities of Choro. As a systematization for the didactic study of the
    Choro harmonies, we suggest the work of recognition and memorization of the Harmonic
    Didactic Sequences that we understand as basic, composed by triads and seventh tetrads and
    their forms of chaining of voices in the fingering instruments. The Harmonic Didactic
    Sequences are derived from the tonal language, usually consisting of modulations for the
    neighboring tones and the homonyms of the main tones. In the interpretative study we
    highlight the Instrumental Perception that is the act of listening and playing in sync with the
    consecrated recordings that contribute to the absorption of the various styles and forms of
    execution. In search of a better understanding and the awakening of the harmonic and formal
    analyzes, we suggest the work of transcription of the specific repertoire that contributes to a
    better vision of the structure of the composition.

11
  • JOSÉ WELLIGTON SOUSA DE CASTRO

  • THE JOURNEY OF A COMPOSER: FROM THE BOTTOM-UP TO THE TOP-DOWN

  • Líder : ALEXANDRE RECHE E SILVA
  • MIEMBROS DE LA BANCA :
  • ALEXANDRE RECHE E SILVA
  • ELI-ERI LUIZ DE MOURA
  • MARCUS ANDRE VARELA VASCONCELOS
  • Data: 03-dic-2019


  • Resumen Espectáculo
  • This work presents the development of the author’s compositional practice in the form of composition memorials. The main objective of the work is to report the displacement of the creative making of the author, which was more geared to manipulating materials through techniques for an approach focused on goals and compositional principles. It presents a theoretical foundation organized according to the instances of the model of accompaniment of the compositional process proposed by Silva (2010a), listing the Principles, Goals, Materials and Techniques that gather general elements that were used in the compositions listed in the memorial. It presents the memorials of the works Uirapuru, for recorder quintet, Algoritmico, for brass quintet, Hircus, for cello quintet, Tapioca, for brass quintet, Momentos Eternos, for mixed ensemble, Mandioca, for woodwinds trio e Autóctones, for solo saxophone. The memorials of the works were made based on the Silva's Model, listing the instances of the model as sections that describe the creative path of each work and, finally, concluding comments on each composition.

12
  • SÉRGIO RICARDO SOARES DA SILVA
  • Drums of the Xambá: Rhythmic conceptions and nuances of the Alujá touch for Xangô and applicability to the drumset

  • Líder : CLEBER DA SILVEIRA CAMPOS
  • MIEMBROS DE LA BANCA :
  • CLEBER DA SILVEIRA CAMPOS
  • FRANCISCO DE ASSIS SANTANA MESTRINEL
  • VANILDO MOUSINHO MARINHO
  • Data: 04-dic-2019


  • Resumen Espectáculo
  • This research work has as main objective to analyze the Afro-Brazilian rhythmic hues from the analysis of the touch called Alujá de Xangô, executed by the Xambá Nation, in the city of Olinda-PE. The methodology is basically divided into three concomitant points, namely: 1) bibliographical analysis on candomblé and the respective Afro-Brazilian rhythms, specifically on the Alujá rhythm offered to Xangô; 2) execution and analysis of this rhythm focused on the nuances (similarities and differences) found in different regions and candomblé temples in Brazil; 3) adaptations of the patterns performed by the percussion instruments in the drumset emphasizing the peculiarities extracted from the analyzes. The methodology used was based on the analysis of videos found available in streams platforms as well as the recordings of the performances of this rhythm, carried out during the semistructured interviews with interpreters and researchers linked to Xambá Nation, object of analysis of this work. As an analysis tool, these touches are being transcribed and analyzed under the support of the tools available in the LAPER2ME-Laboratory of Percussion and Performance Mediated by Technological Resources of UFRN. The cross-referencing of these data will make it possible to use such elements as tools for analyzing and executing this Afro-religious touch, making it possible to establish relations (direct and indirect) about the nuances and particularities found in the process of its execution. From there, we will propose adaptations of the rhythmic patterns applying on the drumset, emphasizing the elements that were collected.

13
  • ANTONIO RENATO DE ARAÚJO
  • Sinfonia para violin solo by Caio Facó: Interactions between composer and performer

  • Líder : RUCKER BEZERRA DE QUEIROZ
  • MIEMBROS DE LA BANCA :
  • RUCKER BEZERRA DE QUEIROZ
  • FABIO SOREN PRESGRAVE
  • HERMES CUZZUOL ALVARENGA
  • Data: 09-dic-2019


  • Resumen Espectáculo
  • This work presents an account of the interaction between composer and performer on the
    construction of the interpretation of the work Sinfonia Para Violino Solo by Caio Facó,
    commissioned especially for this research. The proposal for the order was that the
    composition was inspired by the aesthetics of Armorial Music, coupled with the compositional techniques already used by Caio Facó in his compositional process. In the literature review carried out in this research, no papers were found dealing with the compositional trajectory of Caio Facó, with the exception of his graduation work and his master's thesis; so it was decided to dedicate a part of this work to the life and work of the composer. The research

    also has a structural analysis of the Sinfonia, which may facilitate understanding about the
    piece. It also addresses some of the methodological tools used in the research. This
    research will result in an interpretative proposal for the work, built in contact with the
    composer, which can serve as a basis for future interpretations, a detailed edition of the
    score, as well as an audio-visual record.

14
  • MARIANA RODRIGUES DE OLIVEIRA
  • "NO MATTER IF THEY DIE BEFORE ..." OF MARCÍLIO ONOFRE: creation, collaboration and technical-interpretative aspects

  • Líder : RUCKER BEZERRA DE QUEIROZ
  • MIEMBROS DE LA BANCA :
  • RUCKER BEZERRA DE QUEIROZ
  • FABIO SOREN PRESGRAVE
  • HERMES CUZZUOL ALVARENGA
  • Data: 09-dic-2019


  • Resumen Espectáculo
  • The present research aims to offer some reflections on the relationship between composer and performer in music It does not matter if they died before ... for viola, fiddle and string orchestra by the Brazilian composer Marcílio Onofre (1982), and also the elaboration of a proposal for the interpretation of this piece. For this, we carried out a wide bibliographical review, meetings with the composer, besides interviews and the final score edited by the author-interpreter. This research resulted in an interpretative proposal built in direct contact with the composer, a reflection on the participation of this researcher in the process of collaboration with the Composer, an edition with fingering, extended technique methods used for the study of the work and the debut of the piece with audiovisual record The process of collaboration was fundamental for the exchange of knowledge and for the feature of the piece. Where the author and the composer shared experiments in sounds and interpretation.

15
  • ABRAÃO PORTES SALES
  • The study of musical gesture: perspectives for performance from “Inner Word”, de Carl Vine

  • Líder : FABIO SOREN PRESGRAVE
  • MIEMBROS DE LA BANCA :
  • WILLIAM TEIXEIRA DA SILVA
  • FABIO SOREN PRESGRAVE
  • MARIO ANDRE WANDERLEY OLIVEIRA
  • Data: 13-dic-2019


  • Resumen Espectáculo
  • This research presentes a reflection of its author on the concept of musical gesture and its application in many aspects as an important element for bulding a performance after the study and performance of the piece “Inner World”, by Carl Vine, for cello and eletronic sounds. Despite being on the field of performance, this article is not limited to approach the musical gesture on the range of body movements of the interpreter during the performance, but also in the perspective of composition and analises with interpretatives aims.

16
  • MARÍA JOSÉ BELLORIN MONTAÑO

  • STYLE APPROACH FOR SUITE PERFORMANCE FOR CELLO AND PIANO OF ALDEMARO ROMERO

  • Líder : FABIO SOREN PRESGRAVE
  • MIEMBROS DE LA BANCA :
  • FABIO SOREN PRESGRAVE
  • TIAGO DE QUADROS MAIA CARVALHO
  • WILLIAM TEIXEIRA DA SILVA
  • Data: 13-dic-2019


  • Resumen Espectáculo
  • In the first stage of this research the first and second movement of the Suite for cello and
    piano of Aldemaro Romero, denominated Golpe con Fandango and Valse com valses viejos.is
    approached. The research analyzes how aspects of Venezuelan folk music influence the
    performance of the piece. The methodological procedure consisted of a review of the
    literature on the Joropo and the Venezuelan valse and a later reflection on how the knowledge
    of style affects choices about articulation, bowings and contextualization of the performance.
    At a later moment, the performance and recording of the movements were performed, from
    which was appropriated the concepts studied in the theoretical framework.

17
  • ÍTALO SOARES DA SILVA
  • INCLUSIVE MUSIC EDUCATION: MULTICASO STUDIES ON THE TEACHER PRAXIS IN MUSIC IN THE SCHOOL CONTEXT OF RIO GRANDE DO NORTE STATE 

  • Líder : JEAN JOUBERT FREITAS MENDES
  • MIEMBROS DE LA BANCA :
  • JEAN JOUBERT FREITAS MENDES
  • DEBORA REGINA DE PAULA NUNES
  • CRISTIANE MARIA GALDINO DE ALMEIDA
  • Data: 20-dic-2019


  • Resumen Espectáculo
  • "This study was financed in part by the Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - Brasil (CAPES) - Finance Code 001" in which the objective was to understand how music teachers, in different stages of Basic Education, deal with the inclusion of handicaped students in the state of Rio Grande do Norte. The research that supported the dissertation specifically aimed to: I- Identify the foundations that guide the planning of the music teachers that act in Basic Education regarding the inclusion of students with disabilities; II - Know the principles that guide the actions of these teachers in relation to the inclusion of students with disabilities; III- Identify the challenges and strategies of the teachers to deal with the inclusion in Basic Education; and IV – Bring reflections about the evaluation of the teachers in what concerns to their own performance. To discuss how teachers deal with the inclusion of students in Basic Education, I used the case studies or multiple case studies, as well as the qualitative approach (TRIVIÑOS, 1987, BOGDAN; BIKLEN, 1994; BRESLER, 2007) from data collected through techniques and instruments known as the participant observation, field diary and semi-structured interviews. In addition, I performed audio recording through interview recordings, record transcripts, documentary research, as well as a literature review on the theme of music and inclusion in the school context. Thus, the discussions present in this study dialogue with the theoretical framework based mainly on the ideas of Freire (1967; 2005; 2007; 2009); Schön (2000); Pimenta (2010), as well as with authors who deal with different perspectives on the themes of Teacher’s Formation, Music Education, Basic Education, Inclusion, Diversity, Inclusive Education and Special Education. Having this in mind, by directing the gaze to the teaching praxis, it was possible to understand through music, several other forms of inclusion. So, I found that inclusion goes beyond the act of including. For it is also respect. Accepting. Humanizing others as well as yourself. Sensitivity. Affectivity Intelligence. Reflection. Union. Overcoming. Cooperation. Participation. Donating yourself. It is social welfare. It is sharing. It is learning together. It is to prepare yourself. It is transformation. It is capacity for changing. It is a loving act.

18
  • YANAEH VASCONCELOS MOTA
  • One is not born, but rather becomes, a female teacher: a study about gender and sexual diversity on two college cello teachers’ professional development

  • Líder : VALERIA LAZARO DE CARVALHO
  • MIEMBROS DE LA BANCA :
  • LUCIANA MARTA DEL BEN
  • TAMAR GENZ GAULKE
  • VALERIA LAZARO DE CARVALHO
  • Data: 23-dic-2019


  • Resumen Espectáculo
  • This research is inserted in the intersection between the thematic fields as gender and sexual diversity and Music Teacher Professional Development. Its aims to investigate the Teaching Professional Development of two women cello teachers at federal universities in the Northeast region, locating their conceptions about gender and sexual diversity in / for music education. In order to achieve this goal, I listed the following specific objectives for this dissertation: to know the collaborators' music training narratives; to know their professional acting trajectories in music; to identify the relationships that are established between their training narratives and their professional acting trajectories in the area; and to locate their experiences, reflections and teaching conceptions about gender and sexual diversity in / for the formation and performance in music and / or in its teaching. The research is theoretically based on gender propositions by Butler (2003) and Scott (1995; 2010), but has its theoretical path started in sociological studies, based on Bourdieu (2002) propositions related to male domination; Education, based on the discussion about female teachers of Louro (2017) and 2016); and Music Education, based on the understanding and propositions of Green (1997) on musical patriarchy. Methodologically, the work is based on the case study perspective (YIN, 2001). Within the chosen method, I used as techniques for collecting empirical material: narrative and semi-structured interviews conducted in four sessions - two with each collaborator (Simone and Caroline) and document analysis (curriculum
    Lattes, Pedagogical Projects of the Courses and brazilian political-educational legislation). The stages of organization and analysis of the materials collected allow me to indicate that both interviewees have similarities in relation to academic education and personal life, however, show differences in their achievements, professional perspectives and conceptions about gender and sexual diversity in their pedagogical practice: while Simone, who works in a music degree course, reports that, in addition to the instrument classes, she engages politically in university life, proposing actions aimed at empowering women in academia, as well as the discussion about the condition of LGBT people at university.; Caroline, who works in undergraduate baccalaureate and music degree courses, seems to focus on the technical and interpretative aspects of the cello's canonical repertoire and to be absent from discussions and actions that can promote the reception of diverse people in the academy. The analysis of the collected empirical material allows me to glimpse the complexity that lies in the path of female university teachers in the area.

19
  • GABRIEL VASCO DA SILVA
  • Santiago Sabino Carvalho: importance of musical / cultural experience and of daily exercises for performance
  • Líder : FABIO SOREN PRESGRAVE
  • MIEMBROS DE LA BANCA :
  • MERYELLE NOGUEIRA
  • ANDRE LUIS GIOVANINI MICHELETTI
  • FABIO SOREN PRESGRAVE
  • Data: 27-dic-2019


  • Resumen Espectáculo
  • This research deals with the life history of Professor Santiago Sabino Carvalho and his
    teaching and musical experiences around the world. Therefore, the aforementioned research
    will first make an commented analysis about the main experiences and opportunities
    presented to Professor Carvalho, understanding the consequences of the decisions taken that
    reflect directly on the cellist that he is today and will later do an edition of the daily exercises
    (Feuillard , scales, arpeggios, etc.) used by Carvalho, commenting on each exercise and its
    importance in daily study, especially among pre-professional students.

2018
Disertaciones
1
  • MÁXIMO JOSÉ DA COSTA
  • CULTURAL INDUSTRY AND MUSICAL EDUCATION: THE INTER-RELATIONS BETWEEN MASSIVE MIDI MUSIC AND MUSIC TRAINING OF THE DISCIPLINES IN THREE REGULAR EDUCATIONAL SCHOOLS IN THE CITY OF NATAL-RN

  • Líder : JEAN JOUBERT FREITAS MENDES
  • MIEMBROS DE LA BANCA :
  • JEAN JOUBERT FREITAS MENDES
  • ZILMAR RODRIGUES DE SOUZA
  • ELIANE LEAO
  • Data: 19-abr-2018


  • Resumen Espectáculo
  • Here we present research data on musical phenomena that are based on the aegis of the cultural industry. In our analyzes we take into consideration the constant transformations of the appropriation processes and musical transmissions that interact with the mass mediatic musical phenomena correlated with the musical experiences of the students in the disciplines of music of the observed regular teaching. We pondered questions that dealt with the way in which humanity conceived, linked and consumed artistic value in contemporary times based on a musical epistemological locus. We also discuss issues related to value, taste and aesthetics in art in the current relations impregnated by technology and media in music. We correlate these aspects with the choice of the musical repertoire in the contexts of teaching and learning in three schools in the city of Natal-RN. We also seek to critically reflect - in a general way - the role and influence of mass media music in the pedagogical practices of students and in their human formations in basic education. 

2
  • CAIO HIGOR MORAIS ARAUJO
  • CULTURAL ACTION AND MUSICAL EDUCATION AT SCHOOL
  • Líder : VALERIA LAZARO DE CARVALHO
  • MIEMBROS DE LA BANCA :
  • AGOSTINHO JORGE DE LIMA
  • ELIANE LEAO
  • VALERIA LAZARO DE CARVALHO
  • Data: 15-ago-2018


  • Resumen Espectáculo
  • This work presents the results of a research carried out in the context of basic education based on the development of a cultural action, with the purpose of proposing the re - signification of the school institution as a cultural space in society. In this sense, I present theoretical reflections on the multiple meanings of this approach together with practical collaborations carried out by members of the school community (students, teachers and managers). I use as theoretical reference authors that reflect on contemporary music education, such as Margarete Arroyo, Keith Swanwick and Luis R. Queiroz, among others. Regarding human education, I present relevant concepts, values and discussions on the theme of paradigm change in the scientific / academic environment and its repercussion on basic education. For this, I turn to the intellectual production of authors like Edgar Morin, Boaventura S. Santos, Fritjof Capra. As a methodology, I opted for the participant research, analyzing the impact of the cultural action called Potiguar Music in the School (3rd edition) held at the Municipal School Ivonete Maciel elementary school I, in the city of Natal / RN. Twelve musical educators, 14 female teachers, six female teachers of specific disciplines, coordinators and directors participated in the study. In this context, I used as research techniques, participant observation, individual and group interviews, audiovisual records, field diary, bibliographic and documentary research. The results indicate that this cultural action, based on the different contents developed, has an educational approach of a transdisciplinary nature, capable of mobilizing the dialogue between different languages (music, dance, theater, visual arts, literature, sign language). I conclude by defending a conception of school as an active cultural space in society, where it is possible to re-signify the institution and the teaching practice with new connections between the curricular contents and the participation of the school community in cultural actions and transdisciplinary pedagogical projects. Cultural action should make the school a place conducive to dialogue and the exercise of the production, creation and circulation of cultures, reducing unequal access to symbolic goods in society

3
  • MAÍRA SOARES CABRAL
  • Performance and Musical Transmission in Coco of Zambê by Master Geraldo

  • Líder : AGOSTINHO JORGE DE LIMA
  • MIEMBROS DE LA BANCA :
  • AGOSTINHO JORGE DE LIMA
  • JEAN JOUBERT FREITAS MENDES
  • MARIO ANDRE WANDERLEY OLIVEIRA
  • Data: 06-sep-2018


  • Resumen Espectáculo
  • Coco de Zambê is one of the specificities of the coco genus, and, according to research already done, occurs exclusively in the state of Rio Grande do Norte. In Coco of Zambê by Master Geraldo only men can dance or perform the instruments beyond the fact of being formed only by members of the Master's own family.There are currently some researches on this specific type of coconut, such as Cyro Lins (2009) about the Coco de Zambê de Sibaúma, Jaildo Gurgel da Costa (2011) and Teodora Araújo (2006), more specifically the group studied here, but dealing with aspects related to dance (ARAUJO, 2006) and other musical works of the family of Mestre Geraldo (COSTA, 2011).In our research we observe the context in which the music of Coco de Zambê by Mestre Geraldo is made so that we can also understand its musical practices and realize how these practices and the context itself are affected by the music itself. Another aspect studied was the musical transmission within the group, aiming not only to understand how the processes of transmission of musical aspects per se happen, but more broadly of their cultural values.In this way, it was sought to understand the musical practices occurring within the group from the notions of "music in culture" and "music as culture" (MERRIAN, 1964), in order to understand how the context influences the structuring of music produced by them how to understand if the context itself is not delineated from the music they make. It is hoped, therefore, that this research may contribute to the construction of knowledge about the most comprehensive genus of the coconut, and more specifically, by providing information and analysis on the musical practices of Coco de Zambê by Mestre Geraldo on the maintenance and changes in these practices and the transmission of knowledge as the central axis for these processes.

4
  • WILLIAN APARECIDO CIRIACO DA SILVA
  • THE SIDES OF THE SAME COIN: REGENT VERSUS REGENT-COMPOSER IN THE BALL OF FIRE BIRD OF IGOR STRAVINSKY- A TECHNICAL-INTERPRETATIVE ANALYSIS.

  • Líder : ANDRE LUIZ MUNIZ OLIVEIRA
  • MIEMBROS DE LA BANCA :
  • ALFREDO JACINTO DE BARROS
  • ANDRE LUIZ MUNIZ OLIVEIRA
  • FABIO SOREN PRESGRAVE
  • Data: 01-nov-2018


  • Resumen Espectáculo
  • The present study exposes a discussion about the action of two characters, who propose to the same function and condition of musical direction (maestro), they are: The Regent-Autonomous and the Composer-Regent. In the first part we restrict the historical surveys to the composers (also regents) and regents (autonomous). As objects of study we had the performances recorded in videos of Seiji Ozawa (1935) and Ígor Stravinsky (1882 - 1971), where we have respectively the personification of a case of the, here treated, pseudo dichotomy of the conductor: Regent-Autonomous and ComposerRegent. We have anchored authors such as Farberman (1997), Green (1987), Lago (2002), Rudolf (1969), Rocha (2004) and Scherchen (1989) among others for theoretical and technical questions of orchestral conduction, related to the occupation of the position of direction and conduction of orchestral groups. The analyzes were based on preselected audio / video sections through a separate system of separation and choice of objects and study points, after the choices we use progress and dynamics as parameters. In this process we use as a technological tool to obtain data the free software Sonic Visualiser, which proved very useful when working with orchestral audio, which differs from its original proposal in solo instrument analyzes. Such data were related to the gestural of the characters through the tool PatternCube, of the author Harold Farberman. The final part, from the data obtained, showed differences and similarities between the two views. We observed that non-fidelity to indications of progress and dynamics occur in both cases, but in different ways, which may also be explained by the gestural differences. Among the observations, it was noted that in the case of Stravinsky the apparently inaccurate gestures did not generate great losses to the musical execution due to the musical competence of the group, and that Ozawa, with more defined and active gestures, held a performance closer to the musical text.

5
  • PEDRO ZARQUEU DANTAS NETO
  • ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­TECHNICAL-INTERPRETATIVE ASPECTS OF THE VIOLA IN SERESTA N°3 FOR VIOLA AND PIANO BY LIDUINO PITOMBEIRA.

  • Líder : RUCKER BEZERRA DE QUEIROZ
  • MIEMBROS DE LA BANCA :
  • RUCKER BEZERRA DE QUEIROZ
  • DURVAL DA NOBREGA CESETTI
  • REGIANE HIROMI YAMAGUCHI
  • Data: 04-dic-2018


  • Resumen Espectáculo
  • The present work intends to expose the technico-intepretative aspects of the viola in Seresta n ° 3 For Viola and Piano by Liduino Pitombeira. Observing the applicability of the techniques that can be inserted in the execution of the work, developing strategies of reading and technical study of the piece from practical studies, serving as a subsidy for violists interested in their studies. Having as methodology the theoretical reference necessary to the development of the dissertation and semi-structured interview to be performed with the composer. Finally, this project can be justified as one more collaboration to the repertoire of the viola in the music of Brazilian chamber, that has been emphasizing more and more and gaining space in the concert halls of Brazil and the world outside. And so it would be another opportunity to publicize the works of Liduino Pitombeira, one of the renowned contemporary Brazilian music composers

6
  • MICAS ORLANDO SILAMBO
  • Natural strategies in musical training development: A research about the Nyunganyunga Mbira.
  • Líder : ZILMAR RODRIGUES DE SOUZA
  • MIEMBROS DE LA BANCA :
  • MARIO ANDRE WANDERLEY OLIVEIRA
  • TIAGO DE QUADROS MAIA CARVALHO
  • ZILMAR RODRIGUES DE SOUZA
  • Data: 05-dic-2018


  • Resumen Espectáculo
  • This dissertation is a result of a study about the integration of natural strategies in learning and teaching music for future professional musical training development.  The goal of the research, which was conducted in the Postgraduation Music Program at Federal University of Rio Grande do Norte, was to investigate the implementation of didactics resources in the training development of Mbira Nyunganyunga, an African musical traditional instrument, using basis of native processes which highlights its musical practices in a workshop that involved graduate students from EMFURN. Considering that cultural context, this dissertation exposes, discusses, analyses and reflects upon individuals, processes, situations, experiences, knowledge, and so on, which configure the musical training development of students in Mbira musical context. This dissertation is supported by a epistemological perspectives scope of distinguished areas: ethnomusicology, cultural anthropology, music education and other areas. The retrospective technique supported the methodological procedure and made it possible to conduct an intensive reflection about experiences and knowledges experienced in Mbira music context since 2008 at Mukhambira and Wakambira projects. This research is supported by studies done by an American ethnomusicologist, Paul Berliner (1978). His research consists of a seven year study about music and traditions of the Shona people of Zimbabwe which led to many other research topics including the learning and teaching methods of Mbira music and how the symbolism related to the players. On this perspective, this study has the following investigations basis:  bibliography research,  covering different areas of study; documental research to study several papers which include pictures observation and audiovisual material, Mbira methods and experiences; diagnostic questionnaire which aimed to construct data about the context and groups where the learning of Mbira takes place in Mozambique, to collect methods documented for the training, to recognize the recent situations about its diffusion and adherence at the communities and schools, in order to identify the major intervenient in its transmission and training development, to recognize the repertory used in its training development at school and out of school, and also describing the rate or level of motivation in learning this instrument. This technique (diagnostic questionnaire) helped also  to better recognize the profile,  personal information and participants musical preferences; participative observation to experience activities and collet information portrayed on  the research diary; semi-structured interviews, aiming to understand the participant’s perceptions and suggestions about the didactic material proposed; triangular analysis of the singularities obtained to enlarge the interpretation, maintenance,  modification, review and evaluation of didactic material proposed for Mbira music training development. The methodological procedure proposed and experienced in this qualitative research induced the inclusion of integral action research. The results of this research has shown singularities of human and musical training development, through fundamental elements and experiences which demonstrated that Mbira music procedures have a shape and structure in music performance and is understood as a social action with significant consequences of other styles of cultural activities. The application of those idiosyncratic and idiomatic musical experiences, shared and transmitted into Mbira music context, besides the maintenance of music existence and its dynamical, it minimizes cultural shockss which has been verified in academies, allowing the school to become permeated to cultural plurality and enlarging transforming references to consolidate and diversificate in the pedagogies of training development required in contemporary music education.

7
  • JOSÉ DA SILVA FONTES JUNIOR
  • ILHA DE MÚSICA: A PERSPECTIVE ON MUSICAL EDUCATION IN NGOS

  • Líder : VALERIA LAZARO DE CARVALHO
  • MIEMBROS DE LA BANCA :
  • VALERIA LAZARO DE CARVALHO
  • ANTONIO DIAS NASCIMENTO
  • MARIO ANDRE WANDERLEY OLIVEIRA
  • Data: 10-dic-2018


  • Resumen Espectáculo
  • The present research aims to identify and understand the formative-musical dimensions that guide the educational actions of the NGO Ilha de Música, located in the Redinha neighborhood, in the community of Africa, in the Northern Zone of Natal - RN. Through the bibliographical review, we sought to understand the role of music education in these contexts and, thus, to construct a dialogical path capable of embracing the idiosyncrasies inherent in social projects that use music as a means of social insertion. It is configured as a qualitative research, which through the case study modality seeks to substantiate the relations between music education, music and education. It considers music as a phenomenon that, being used for educational purposes, needs to attend to the meanings of each context. Seeking to understand the origin and purpose of the socio-musical work that the Ilha de Música performs, the study presents a contextualization of the NGO, in which aspects related to the infrastructure and quality of life in the African community are discussed. In this sense, through field observations and interviews, the pedagogical conceptions and practices adopted in the institution were revealed. The results show, in addition to the synchronicity between the interviewees, a teaching of music committed to intuition, with theoretical knowledge and creativity, as well as, reveal that ethics, socialization, diversity, orality in music broadcasts, meanings of musical practices and commitment to the development of autonomy were formative characteristics that presented themselves in a more evident way.

8
  • PEDRO AUGUSTO DA SILVA
  • ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­Concertino N.1 for trombone and string orchestra by composer Fernando Deddos: technical-interpretative and pedagogical perspectives

  • Líder : RADEGUNDIS ARANHA TAVARES FEITOSA
  • MIEMBROS DE LA BANCA :
  • ALEXANDRE MAGNO E SILVA FERREIRA
  • RADEGUNDIS ARANHA TAVARES FEITOSA
  • RANILSON BEZERRA DE FARIAS
  • Data: 10-dic-2018


  • Resumen Espectáculo
  • In the construction of a musical performance, several procedures are used in function of the interpretative creation of a work, especially the instrumental practice plans are used by students, teachers and professional musicians to develop their musical performance. Faced with the instrumental practice in terms of the construction of musical performance in the instrument and the diversity of procedures that constitute the elaboration of musical interpretation, there is a need for understanding and effectiveness of the planning used for the process that contributes directly to the performance result. In this direction, it is proposed in this work to understand the processes of construction of musical performance in the Trombone on the Concertino N.1 for Trombone and String Orchestra of the composer Fernando Deddos. In this sense, the Brazilian scientific production on the instrument in question will be consulted, and the more general literatures in the scope of instrument performance and teaching will be used in a complementary way. For the development of this study, will be part of the research meetings with the composer aiming at the fomentation of informative data about the piece studied and technical-interpretative analysis of the work by the author of this research, seeking to understand the main features of the work, enabling interpretive possibilities and challenges for the trombonist interpreter, as well as semi-structured interviews with interpreter in which the work was dedicated and the composer of the work. It is expected with this research to broaden the discourse about the work studied, as well as to foment ideas to build a technical-interpretative and pedagogical knowledge regarding the musical performance in the trombone from the work studied. For the area of music in general, I understand that the accomplishment of this work is relevant because little has been discussed in Brazil about contemporary Brazilian music written for Trombone, as well as on the processes of learning and construction of the musical performance in the trombone of a work specific.

9
  • ROBSON GOMES DA SILVA
  • Works for horn composed by COMPOMUS / UFPB members: technical-interpretative characteristic and pedagogical direction

  • Líder : RADEGUNDIS ARANHA TAVARES FEITOSA
  • MIEMBROS DE LA BANCA :
  • RADEGUNDIS ARANHA TAVARES FEITOSA
  • RANILSON BEZERRA DE FARIAS
  • RINALDO DE MELO FONSECA
  • Data: 11-dic-2018


  • Resumen Espectáculo
  • This research is inserted in the scope of the instrumental practice and the Teaching of the Instrument. Despite the recent growth of interpretive practices as a field of study, the number of works is still small if we consider especially orchestra instruments such as the horn, object of study of this work in Brazil. In this direction, this dissertation has as general objective to identify technical-interpretative characteristics and to point out pedagogical directions in works for horn composed by members of the Laboratory of Musical Composition - COMPOMUS, with emphasis on the composers Marcílio Onofre and J. Orlando Alves. The specific objectives are: to identify written works for the horn by said composers; select the main works composed by the mentioned composers highlighting those that more technically explore the instrument; to identify interpretative characteristics of the main works written for the instrument by these composers; from the technical-interpretative characteristics of the works present pedagogical perspectives; to relate the interpreted characteristics of the studied pieces with the teaching of the current instrument; identify the main Brazilian compositions for the instrument in the 21st century. Through bibliographic research, documentary, questionnaires and semi-structured interviews with the composers of the works, information was collected that will be fundamental for the development of the research. I hope from this work to contribute to the technical-interpretative development and to point out directions for the teaching of the horn directed to this type of repertoire, as well as to stimulate new interpreters to research about the instrument in this context of contemporary music.

10
  • ANDRÉ RODRIGUES DE LIMA DA CUNHA
  • THE TROMPA AND A POPULAR BRAZILIAN MUSIC IN THE MUSIC SCHOOL OF THE FEDERAL UNIVERSITY OF RIO GRANDE DO NORTE

  • Líder : RADEGUNDIS ARANHA TAVARES FEITOSA
  • MIEMBROS DE LA BANCA :
  • RADEGUNDIS ARANHA TAVARES FEITOSA
  • RANILSON BEZERRA DE FARIAS
  • RINALDO DE MELO FONSECA
  • Data: 11-dic-2018


  • Resumen Espectáculo
  • Studies on instrumental practice and teaching have been much discussed in recent years. Considering this reality, it is observed the application of the new approaches of teaching entering more and more the academic scope. This reality is visible in popular music, which in turn has been gaining space in this context and being evidenced in the horn. Considering this reality, this dissertation presents the effectiveness of popular music as a new formation to the students of the Bachelor's degree course in the Federal University of Rio Grande do Norte. The main objective of this work is to discuss the popular Brazilian music in the baccalaureate course and to point out the perspectives and direction of this teaching. The methodology included bibliographical research, documentary research, questionnaires, interviews with the students and the teacher in charge, as well as empirical experiences from the teacher's performance. In the context studied, it was possible to observe that popular music is worked effectively, although there are no specific materials, and the aspects are worked from materials adapted from other instruments, also counting on the experience of the teacher interviewed. It is clear from the information collected that this new approach is a possibility to expand the interpretive, professional and formative range.

11
  • ALEXANDRE DOS SANTOS
  • INTERPRETATIVE ASPECTS OF DANILO GUANAIS’S CONCERT FOR BASSOON AND ORCHESTRA

  • Líder : DURVAL DA NOBREGA CESETTI
  • MIEMBROS DE LA BANCA :
  • DURVAL DA NOBREGA CESETTI
  • NAN QI
  • REGIANE HIROMI YAMAGUCHI
  • Data: 12-dic-2018


  • Resumen Espectáculo
  • This study aims objective to investigate interpretative aspects of Danilo Guanais’s concert for bassoon and orchestra that are important for the performance of the work. Through the analysis of the composer’s techniques and procedures as well as the implicit information found in the musical text, we will seek to provide subsidies to support interpretative decisions that will be suggested for the bassoon parts. Danilo Guanais is currently one of the major composers from Rio Grande do Norte, with compositions such as "Missa" and "Paixão segundo Alcaçus" having reached prominence in the national and international music scene. His production includes works for guitar, orchestra, choir, theater and chamber music. In a good part of his compositions, the composer uses a methodology that combines modern compositional procedures with rhythmic, melodic and harmonic elements related to armorial music. Methodologically, this study is divided into two parts: the firs part includes an interview was made with the composer, a bibliographical survey and the selection and cataloging of the interpretative aspects to be studied. In the second part, an analysis of the work was carried out in order to elaborate interpretative suggestions for the bassoon parts. This investigation involves interpretative aspects to the bassoon so it can aid new interpretations in the construction of its performances of this work, as well as of other similar works.

12
  • KAIO CÉSAR FREITAS MORAIS
  • 7 JOYCE SONGS OP.54 OF COMPOSER KAROL SZYMANOWSKI: MUSIC-TEXT RELATION AS A TOOL FOR CONSTRUCTION OF PERFORMANCE

  • Líder : DURVAL DA NOBREGA CESETTI
  • MIEMBROS DE LA BANCA :
  • DURVAL DA NOBREGA CESETTI
  • MARIA NAZARÉ ROCHA DE ALMEIDA
  • REGIANE HIROMI YAMAGUCHI
  • Data: 12-dic-2018


  • Resumen Espectáculo
  • This work aims to use study strategies focused mainly on the relationship between text and music for the construction of the interpretative performance of the song cycle 7 Joyce Songs Op. 54 by Karol Szymanowski (1882-1937), written by the poet James Joyce (1882 -1941) taken from his book Music Chamber. The strategies were divided into two distinct parts, those of a textual nature, focused on the interpretation of the text and its relation to music, which can help both pianists and singers, and refer to a considerable part of the interpretation of the work, and the strategies of vocal technical aim, to identify the difficulties, plan exercises to overcome these difficulties and finally evaluate the results found during the work. Data collection was done through a study journal, audio recordings and a public performance. The results obtained with the use of the strategies were satisfactory.

13
  • FABRICIO FERREIRA DA SILVA
  • ­STUDY STRATEGIES FOR THE ORCHESTRA SOLOIST APPLIED IN THE CONSTRUCTION OF PERFORMANCE OF THE CONCERT FOR GUITAR  AND ORCHESTRA DE RICARDO TACUCHIAN

  • Líder : EZEQUIAS OLIVEIRA LIRA
  • MIEMBROS DE LA BANCA :
  • EDDY LINCOLLN FREITAS DE SOUZA
  • EZEQUIAS OLIVEIRA LIRA
  • RADEGUNDIS ARANHA TAVARES FEITOSA
  • Data: 12-dic-2018


  • Resumen Espectáculo
  • This work has as objective to present the planning and strategies of studies applied in the construction of the performance of the concert for acoustic guitar and orchestra by composer Ricardo Tacuchian (1939). This concert for acoustic guitar and orchestra was ordered by the Brazilian guitarist Turibio Santos (1943) to whom the composer dedicated it in 2008. The results of this research were acquire through the following methodologies: the artistic practice of the researcher/interpreter, in which this is in the line of artistic research identified by Zamboni (2001), and López Cano (1966). The works of Chaffin and Pascual-Leone (2001) that are used as theoretical references that help in the construction and development of strategies, to uniting with the researcher's artistic practice. The planning and preparation of the performance for the acoustic guitar and orchestra from Tacuchian was divided in three steps: PREPARATION, REHEARSAL and CONCERT and ASSESSMENT. The tools used for data collection consisted of a daily study, bibliographic research and interviews. As a result of this research was built the performace of the concert for guitar and orchestra of  Ricardo Tacuchian.

14
  • RAPHAELL MOTA ALVES
  • A Study of Idiomatism in the Thiago Colombo’s Fantasia-Sonata Dell’Immigrazione

  • Líder : EZEQUIAS OLIVEIRA LIRA
  • MIEMBROS DE LA BANCA :
  • EDDY LINCOLLN FREITAS DE SOUZA
  • EZEQUIAS OLIVEIRA LIRA
  • RADEGUNDIS ARANHA TAVARES FEITOSA
  • Data: 12-dic-2018


  • Resumen Espectáculo
  • This work studies, through the Fantasia-Sonata Dell'Immigrazione (2014), by the Brazilian composer Thiago Colombo de Freitas (n.1981), a way of associating the idiomatic identification to the process of creation of the performance, taking into account the fact that the more one knows about a work, the more tools and more authority the musician possesses to make his or her performance choices. In order to achieve this objective, some methodological choices were used, such as an interview with the composer himself, in order to obtain data that would initially complement and confirm some assumptions, such as the reference to Italian culture in the whole process of designing the work in question. In addition, it was adopted for the idiomatic identification, the reference delimitation of Nascimento (2013). It was possible to verify that the expectations related to the use of references to the Italian culture (directly linked to one of the types of idioms here approached) were correct, and the composer was used of the most varied ways of evoking it in its composition. A fact that, in some cases, was determinant in the process of the performative choices. It is hoped that the ideas developed here will have a contribution role in the academic and musical space, serving as a theoretical reference for future works and also for the guidance of any musician interested in the work used here as an object of research

15
  • ALEXANDRE HENRIQUE DE SIQUEIRA
  • ­FIVE PIECES FOR GUITAR OF AMARO SIQUEIRA: CRITICAL EDITIONS FROM MANUSCRIPTS

  • Líder : EZEQUIAS OLIVEIRA LIRA
  • MIEMBROS DE LA BANCA :
  • EDDY LINCOLLN FREITAS DE SOUZA
  • EZEQUIAS OLIVEIRA LIRA
  • ZILMAR RODRIGUES DE SOUZA
  • Data: 13-dic-2018


  • Resumen Espectáculo
  • This research aims to perform Critical Editions of five pieces for guitar by Amaro Carvalho de Siqueira: Devaneios nº 1, Confidência, Valsa de Esquina nº 1, Valsa de Esquina nº 2 and Prelúdio nº 5 from the comparison between manuscripts, autographs and phonograms. The proposal consists of an introduction, with the motivations that led to this research followed by the biography of the composer, in which the first data are presented. Subsequently, the subsidies for the theoretical basis of the dissertation are developed, through which it was possible to reflect on the directions to the questions related to the musical editions, as well as to the interpretative questions of the pieces. Reflections on handwritten sources and possible changes in the editions are discussed, discussing the probable reasons for the choices and delimiting the results in order to arrive at the critical editions of the composer's works, also considering the information of existing phonograms. Once this analysis methodology was established, the editing model to be adopted for the formatting of the pieces in the scores was defined, with Ricciardi (2015) as a theoretical reference. The Critical Editing process of each piece, from the manuscripts, passed Review and / or Correction, by Comments and / or Analysis and Partial Conclusions; in this order. Also, as a consequence of the process, in the Final Conclusions, there are some technical-interpretative possibilities for the five songs analyzed in order to amplify the information regarding the performance of each one

16
  • JOSÉ WELLINGTON BORGES ARAÚJO JÚNIOR
  • The Learning Process of the Work Sandy´s Portrait by Sergio Assad      

  • Líder : EZEQUIAS OLIVEIRA LIRA
  • MIEMBROS DE LA BANCA :
  • CLEBER DA SILVEIRA CAMPOS
  • EDDY LINCOLLN FREITAS DE SOUZA
  • EZEQUIAS OLIVEIRA LIRA
  • Data: 13-dic-2018


  • Resumen Espectáculo
  • The present work deals with the learning process of the work Sandy’s Portrait for solo guitar by the composer Sergio Assad (1952-), starting from empirical research with focus on the study strategies used to help in dealing with technical-interpretative problems. The preparation of the performance was substantiated through the artistic practice of the researcher/interpreter whose registration was accomplished in a study diary, a primary tool for data collection. The main authors who guided the theoretical reference of this work were Contreras (1998), Fernandez (2001), Johnston (2002), , Willamon (2004), Barros (2008), Araújo (2010), Kaminsky (2012) and Meirinhos (2016). Musical examples from pieces of the score were elaborated. The methodology of the research was carried out in three moments. Initially, it was performed a bibliographical review of papers related to empirical research and the performance, as well as to the learning processes of works for the guitar. In the second moment, it was performed a compilation of strategies utilized during the learning process of the piece of work and development of a study plan. The third moment concerns the learning process in practice, pointing out important aspects of the technical-interpretative analysis, as well as the applications of study strategies for performance development of Sandy’s Portrait. The results show that the applied strategies were effective, given that they significantly improved the quality of study practice, culminating in a satisfactory performance during the master’s course recital. The strategies presented in this study contributed to a greater focus, motivation and organization in relation to the study of the instrument.

17
  • RODOLPHO CAVALCANTI BORGES
  • ASPECTS OF THE PROCESS OF COLLABORATION COMPOSER-INTERPRETER IN THE COMPOSITION AND INTERPRETATION OF THE WORK ESPELHOS DAS (IN)TOLERÂNCIAS FOR CELLO SOLO AND GROUP OF CELLOS

  • Líder : FABIO SOREN PRESGRAVE
  • MIEMBROS DE LA BANCA :
  • FABIO SOREN PRESGRAVE
  • CLEBER DA SILVEIRA CAMPOS
  • TERESA CRISTINA RODRIGUES SILVA
  • Data: 14-dic-2018


  • Resumen Espectáculo
  • This research deals with the collaborative process between composer / interpreter in the composition and interpretation of the work "Espelhos das (In)tolerâncias” of the composer Marcílio Onofre, commissioned by Rodolpho Borges. We will deal here with the problematic related to some peculiar aspects of the work such as, for example, the different scordatures, the use of the multiphonics and the tonlos. This work approaches and analyzes the construction of the piece as a whole, not only in the solo cello part, but in the totality of the voices composing the piece, in this way it highlights the main points where the collaboration actually takes place and its purpose is to demonstrate the dynamics of this process, where and when the interpret assists in the construction of the piece, suggesting and proposing feasible solutions, sharing his technical instrumental knowledge and allowing the composer all the technical field in the creation of the piece for the cello. As a methodological procedure, authors such as L. Cardassi (2016), C. Domenici (2011) and F. Borém (1998), who deal with the composer-interpreter relation were studied at a first moment, and six interviews and meetings between the composer and the interpreter, as well as rehearsals, recordings and public performances of the piece. At the finish of this process, we conclude that this partnership provides different technical and musical possibilities for composers and performers.

18
  • FELIPE DA SILVA MASCOLI
  • COMPARATIVE STUDY OF THE PERCEPTION OF THE PUBLIC BETWEEN THE MEMORIZED PERFORMANCE AND WITH SCORE OF THE PIECE DESDOBRAMENTOS OF ROGÉRIO COSTA

  • Líder : FABIO SOREN PRESGRAVE
  • MIEMBROS DE LA BANCA :
  • FABIO SOREN PRESGRAVE
  • CLEBER DA SILVEIRA CAMPOS
  • TERESA CRISTINA RODRIGUES SILVA
  • Data: 14-dic-2018


  • Resumen Espectáculo
  • This research investigates the public's perception of two types of performances of a contemporary music. The investigation takes place through the study of the influence of the piece Desdobramentos of Rogério Costa under the participants, once played by heart and another with the aid of the score. The objective was to determine if there were significant differences between the two. The approach first presents the peculiarities of performances played with and without the aid of the score, theoretically, based on the literature. Later, I make explanations about the piece and process of my preparation, study and analysis of the work, strategies regarding the process of memorization, theoretical references and experiments. The investigation was done through studies, reports and
    questionnaires applied after the interpretation of the piece. The experiments carried out were aimed at collecting the opinions of cello students from UFRN's technical, undergraduate and master's degree, as well as students from the project “Fraternidade sem Fronteiras” and a UFMS student, regarding the two versions. Participants had as their main role to evaluate the presentations, evidencing possible particularities of each one, through questionnaires with objective and dissertative questions. Through the data collected through the experiments it was possible to determine the effect of the two versions of the piece and which of the two methods used makes the performance more effective, that is, that has a greater positive impact on the public perception.

19
  • EDSON LUÍS CARVALHO PORTO
  • ­CREATIVE CRITERIA: ELABORATION OF COPYRIGHT BASED ON COMPOSITION PRINCIPLES

  • Líder : ALEXANDRE RECHE E SILVA
  • MIEMBROS DE LA BANCA :
  • ALEXANDRE RECHE E SILVA
  • ALFREDO JACINTO DE BARROS
  • MARCUS ANDRE VARELA VASCONCELOS
  • Data: 18-dic-2018


  • Resumen Espectáculo
  • This work presents the result of the personal reflection of the author on his compositional practice. It presents the Model of accompaniment of the compositional process of Silva (2007, 2010). Proposes the composition of musical works from the definition of the instance principles of this Model. It presents the compositional motto used in the elaborated works: principle of analogy, principle of parsimony and the principle of resignification. The general objective of this work was to compose and then report the observed compositional processes. It presents the memorabilia of the works Zabumleiromático, Sereno and Imos, respectively, for solo guitar and blow quartet (clarinet Bb, alto sax Eb, tenor sax Bb and tuba Eb), elaborated through the Model, which through its instances led us an effective way for the analyzes, reflections and the reports that culminated in the effective confection of the memorials.

20
  • GLEISON COSTA DOS SANTOS
  • ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­THE TRAINING OF MUSIC RESEARCHERS: concepts and experiences of Master's students in two case studies of the Graduate Programs in Music at UFRN and UFPB

  • Líder : JEAN JOUBERT FREITAS MENDES
  • MIEMBROS DE LA BANCA :
  • JEAN JOUBERT FREITAS MENDES
  • CAROLINA CHAVES GOMES
  • LUCIANA MARTA DEL BEN
  • Data: 19-dic-2018


  • Resumen Espectáculo
  • The theme of this research is centered on the training of the music researcher, from the universe of the post-graduation stricto sensu (Master and Doctorate levels) in Brazil. In this approach, the objective of the work was to understand and reflect on how the process of the training of researchers is born out of the formative experiences of Masters students of the Post-Graduation Programs in Music of UFRN and UFPB. This dissertation was theoretically guided by authors who discuss the researcher's training and post-graduation programs. The main authors researched in this dissertation were Severino (2009; 2012) and Trejo Léon (2017). The choice of Severino is based on the premise that the knowledge and formation produced by new researchers in the postgraduate course happens through a collective course subject. The choice of Trejo Léon was for dealing with academic and research training with graduates of Master's degree programs in music (specifically music education), as subjects involved in a scientific community. The methodology used in this dissertation was the qualitative approach of research and as method the case study. I used the online questionnaire as a data construction tool, via Google Docs, in the first stage, and a semistructured interview in the second stage of the investigative process. The objective was the deepening of the knowledge about the subject of the training of the music researcher. I also conducted research via the use of documentaries. Thus, the subjects participating in this research were Master’s students of the PPGMUS / UFRN and PPGM / UFPB. As a result, I can show that the training as a researcher in music is diverse and needs to take into account a series of elements important for such training. In this sense, I highlight some aspects that were manifested from the analyses, for example, curiosity, knowledge, theoretical deepening on a certain subject, academic reading and writing, as well as the change of posture and continuity with studies in a post-doctorate degree. I conclude that this is a diverse training and can be seen and constructed from various aspects, ranging from technical and theoretical elements, to reaching maturity as a human having been something provided by the Master’s course. From this, I reflect that studying the researcher's training in music is a necessity of the area, including as a way to understand and create formative strategies that can contemplate the desires of researcher apprentices in contemporary music.

21
  • LIANA MONTEIRO DE ARAÚJO
  • Musical learning mediated by autistic mother-child interaction

  • Líder : JEAN JOUBERT FREITAS MENDES
  • MIEMBROS DE LA BANCA :
  • DEBORA REGINA DE PAULA NUNES
  • JEAN JOUBERT FREITAS MENDES
  • VIVIANE DOS SANTOS LOURO
  • Data: 19-dic-2018


  • Resumen Espectáculo
  • The present study is in the field of special music education, it recognizes musical learning as an inclusive axis for people with disabilities, and gives emphasis on autism spectrum disorder (ASD) or autism. The research aims to understand how the music learning process mediated by the interaction of mother- autistic child occurs. The method used is the case study in a qualitative approach, since it is understood that this method is adequate to interpret a given context in its singularity and complexity. The methodological design includes the application of a pre-survey questionnaire, class observations and semi-structured interview with selected dyads. Two criteria were used to analyze the data: the analysis of image in motion and the content analysis. Focusing on musical learning, we adapted and applied a musical learning assessment scale (AAM) in two different moments of the research: baseline (initial phase) and guided post-intervention; through of all the results presented in the AAM (Musical Learning Assessment) scales, and the results related to maternal mediation levels in three specific musical activities, it was possible to highlight which activities had greater learning gains, shown after a guided mediation. Thus, we stress the importance of musical learning with family, the promotion of more musical learning spaces with these peculiarities, with reflections, theories and, above all, musical practices on the subject in focus, amplifying the knowledge regarding the musical education of the person with autism.

22
  • THIAGO SOUSA SILVEIRA
  • STRATEGIES FOR DEVELOPMENT OF EMBOUCHURE, TECHNIQUE AND PREPARATION OF THE TRUMPET PLAYING PERFORMANCE: an autobiographical study considering the use of the fixed orthodontic appliance

  • Líder : RANILSON BEZERRA DE FARIAS
  • MIEMBROS DE LA BANCA :
  • AYRTON MUZEL BENCK FILHO
  • RADEGUNDIS ARANHA TAVARES FEITOSA
  • RANILSON BEZERRA DE FARIAS
  • Data: 19-dic-2018


  • Resumen Espectáculo
  • The present work deals with an autobiographical study in which an interdisciplinary relationship between the Performance / Instrumental Pedagogy and the Health Sciences is exposed, in this case, Dentistry. Observing the use of the fixed orthodontic appliance in this practice, it is evident some basic problems related to the functioning of the muscles of the face, which being directly in contact with the mechanisms of this orthodontic appliance, end up hampering the work done by the embouchure, as well as the use of the technique in the performance of the trumpet player. By looking at the best understanding of this conjuncture, this research is divided into three chapters, covering the following themes: The embouchure of the trumpet player: a review of pedagogical and orthodontic aspects concerning; An autobiographical account of the processes of adaptation and development of the trumpet embouchure at the expense of the use of the fixed orthodontic appliance; An analytical and evaluative approach of technical-instrumental and musical performance during the undergraduate recital. With this, it is presented the influences that the use of the fixed orthodontic appliance could interfere to the development of the embouchure, technique and performance preparation of the trumpet player in question, besides the methodological alternatives found to deal with this circumstance.

23
  • JÚLIO CÉSAR DE LIMA
  • The composer in each one: investigating the process of a collective composition at a music workshop at Tecesol in Natal / RN

  • Líder : VALERIA LAZARO DE CARVALHO
  • MIEMBROS DE LA BANCA :
  • VALERIA LAZARO DE CARVALHO
  • AMÉLIA MARTINS DIAS SANTA ROSA
  • MARIO ANDRE WANDERLEY OLIVEIRA
  • Data: 20-dic-2018


  • Resumen Espectáculo
  • The present research had the objective to investigate the process of a collective composition in a music workshop in Tecesol (Territory of education, culture and solidarity economy) in Natal / RN as a way to boost the creativity in the individuals participating and to bring the possibility of a musical teaching more pleasurable and humanized. The authors who based and guided the perceptions and reflections about the process of this investigation were (NACHMANOVICTH, 1993; SCHAFER, 1992 and KOELLREUTTER, 1997). Through the chosen research method, the action research was proposed, during three months, a music workshop permeated by a new pedagogical-musical perspective through the guitar and singing, besides the body and the exploration of new sound sources . I used it as tools for data construction, questionnaires, videos and photos, and participant observation. The data analysis was qualitative considering three well defined categories: Creativity; Creative locks; and Motivation. As for the contributions of the work, I believe that this pedagogical perspective of learning an instrument (guitar) intertwined with the incentive to creativity and creative practices in classes with composition, presents itself as a positive perspective and a very useful tool for the epistemological field of musical education. The creative process and the incentive to the creative practices that culminated in the construction of a collective composition, allowed that the participants could move from the condition of "receivers of music", to "producers of music" besides allowing an improvement in the question of the autonomy and the protagonism in their lives. In this sense, the creative motivation experienced and worked all the time in the workshop, through musical composition, can possibly be a vehicle that facilitates a musical education that is more accessible, democratic and directed to the people, who do not intend to become professional, but they love music, and they just want to play an instrument and sing a song, without necessarily becoming professional musicians. The work with improvisation, compositional games with guitar, with the body and the assembly work of the composition allowed the students to experience the adventure of a collective musical learning, which proved to be a positive factor for generating disinhibition and impelling them to learning, strengthening, even, the social bonds between them that during the process became friendly.

24
  • NAYARA FREIRE DE SOUSA SILVA
  • THE MULTI-INSTRUMENTAL MUSIC EDUCATOR: an investigation from the life histories of music teachers in multiple contexts

  • Líder : JEAN JOUBERT FREITAS MENDES
  • MIEMBROS DE LA BANCA :
  • JEAN JOUBERT FREITAS MENDES
  • JUSAMARA VIEIRA DE SOUZA
  • TAMAR GENZ GAULKE
  • Data: 20-dic-2018


  • Resumen Espectáculo
  • This dissertation aims to understand the performance of the multi-instrumentalist teacher by analyzing the life stories of teachers in different contexts. In the scope of this research, this professional is understood as someone who, besides playing several instruments, is also able to perform different tasks related to music, i.e., the ability to conduct, develop musical arrangements and compose in order to give greater meaning to his practice is also part of this concept. The chosen methodology to construct the results were the life stories (JOSSO, 2004; NÓVOA, 1995; ALVES, 2015; SAHAGOFF, 2015; CUNHA, 2009), and the investigation is presented within the qualitative approach (BRESLER, 2000; FREIRE, 2010; OLIVEIRA, 2012). This research had the collaboration of three music teachers who are inserted in different contexts – school of basic education, specialized school and third sector (NGO and Church). Based on semi-structured thematic interviews with open questions, each one narrated his history and his performance as a musical educator who has the multi-instrumentalist characteristics. The theoretical basis of this research is the Intercultural Musical Education (QUEIROZ, 2015b; FIGUEIREDO, 2011; O’FLYNN, 2005; QUEIROZ, 2004), the Intercultural Music Educator (OLIVEIRA, 2003; MATEIRO, 2003; PENNA, 2006; BELLOCHIO, 2003) and the profile of this Multi-Instrumentalist (RAUBER, 2017; PRESSER, 2013). The results found on the profile of this teacher, pointing out aspects about his teaching profile, his diversity of functions, his field of action and the impact of this characteristic for him and his students. The obtained results show the profile of the multi-instrumentalist teacher, pointing out the aspects his teaching profile, his diversity of functions, his acting area and the impact of the multi-instrumental characteristic for him and his students.

2017
Disertaciones
1
  • ANTONIO VINICIUS GOMES DA SILVA
  • Bagatelas d'Alma: Composer and Interpreter, Co-Participants in the Creative Process

  • Líder : RUCKER BEZERRA DE QUEIROZ
  • MIEMBROS DE LA BANCA :
  • ANDRE LUIZ MUNIZ OLIVEIRA
  • RUCKER BEZERRA DE QUEIROZ
  • ULISSES CARVALHO DA SILVA
  • Data: 26-ene-2017


  • Resumen Espectáculo
  • From a newly created duo (viola and double bass) came an insight to bring this musical dialogue to the academic milieu. This work basically addresses the interaction between the composer Samuel Cavalcanti and the performers Vinícius Gomes on bass and Prof. Paulo França (guest violist), and has the purpose of discussing intimate and relational factors of musical creation in direct collaboration with the interpreters in the elaboration of musical ideas. The work Bagatelas d'Alma, for double bass (acoustic and electric) and viola, was specially designed for this work. It is a play idealized in nine movements, many of which are inspired by sayings related to the word soul. It is also intended to include electronic interventions such as: intrauterine and postpartum recordings; As well as electronic bricolages with advertising jingles and overlapping voices, whether from well-known personalities or from the performers themselves. Another additional electronic aspect is the use of amplification effects and real-time interventions such as the use of microphones, pedal and electric bass. The conception - the creative process itself and its peculiarities -, therefore, rather than execution itself, is the central object of the present work: the relation of affection of the interpretative knowledge, of the curiosities of the performer, his inquiries; And the provocations of the composer, his questions, and the discussion that led to a work still in progress (work in progress). For this purpose, compositional and interpretative aspects, bibliographical research, recordings of audio conversations and recordings, as well as theoretical references such as BARTOLOZZI (1982), BORÉM (1998), DOMENICI (2005), RAY (2010) and others were used in the methodology. The final result of the research is to compile in a single document information that offers helpful subsidies to composers and performers for collaborative musical thinking and doing.

2
  • MIDIAM DE SOUZA FERNANDES
  • STUDY SUPERVISED IN MUSIC IN CHILDREN EDUCATION: a study with graduates of the course of Full Degree in Music of UFRN

  • Líder : VALERIA LAZARO DE CARVALHO
  • MIEMBROS DE LA BANCA :
  • VALERIA LAZARO DE CARVALHO
  • CARLA PEREIRA DOS SANTOS
  • ELIANE LEAO
  • Data: 31-mar-2017


  • Resumen Espectáculo
  • This Dissertation aims to analyze the teacher autonomy process built by the musical educator egress in the Full Degree in Music course at UFRN, from the supervised internship. It’s a research with a qualitative base and theory ground based in the dialog with authors like Freire, Pimenta (2012), Contreras (2012) and Zatti (2007). The insertion of the researcher on the field started in the fulfillment of the curricular component of ES at the Full Degree in Music course, offered by the Federal University of Rio Grande do Norte (CLPM/UFRN), in the period of 2014.1, having through this experimentation, acquired some experience with this referred target audience. The experience tested by the researcher in this curricular component awaked the epistemological curiosity about the subject so, about the views of the ingress of herself at PPGMUS/UFRN, the researcher found an opportunity to deepen her knowledge about the theme, and so she directed her investigation for this field, where driven by the importance and the necessity to investigate some inherent points to the act of teaching/learning, understanding that the teacher’s autonomy is one of these points, so the research progress has begun. This search was made with six egresses in the course (CLPM/UFRN) that fulfilled the curricular component referred as Supervised Internship I (in Child Education) in the periods of 2013.1 and 2014.1. From the internship realized in many contextualization of Child Education, it was investigated how the Music Educator teacher autonomy initial process has structured, who made its supervised internship directed to child education in these contexts. This way, the supervised internship is noticed as a practice that provides autonomous posture and reaffirms actions of the pedagogic practice, composing this way a didactic repertoire that favors the action of the intern along with the commitment with the quality of the work that it will develop after its initial formation. As a research technique it was applied an opened quiz about the contextualization between their internships and the locus where the internships were fulfilled, as well as through the analysis of the internship report and the own curricular structure of CLPM/UFRN. The results of the search were given by a content analysis based in grounds of Bardin (2011). Through this investigation, we can know the professional experiences lived by the egresses of the Full Degree in Music course at UFRN, that contribute for building a teacher autonomy from the immersion of these interns in the schools of Child Education, they’re impressions that marked the initial life of these educators. The participants of this research are just graduated young people who are now officially getting into the teaching universe. This search also brings considerations to the child public, with which the egress who participated of this research fulfilled this obligatory curricular component, supervised internship I of music in the Child Education, in these aspects dialogs are outlined with the involved authors in the process of education for the childhood. The outlined dialogs point the child as a social being, as well as outline a brief history about this initial period of life.

3
  • ANA LÚCIA CARNEIRO DE OLIVEIRA
  • Music Teacher Training na experience in the Children's Choir of  UFRN

  • Líder : AMÉLIA MARTINS DIAS SANTA ROSA
  • MIEMBROS DE LA BANCA :
  • AMÉLIA MARTINS DIAS SANTA ROSA
  • ANA LUCIA IARA GABORIN MOREIRA
  • LEILA MIRALVA MARTINS DIAS
  • Data: 20-jun-2017


  • Resumen Espectáculo
  • This research aimed to systematize applicable contents for teacher training in the area of children’s choral conducting in a university extension project involving students of the Undergraduate Music Course of UFRN. In this context, 11 participants integrated the study: 1 regent-researcher, master's degree; 1 assistant conductor and pianist, 1 postgraduate student in music; 7 graduates in music; 1 pianist – student bachelor in music; 1 vocal coach - technical / music singing student. The research also considered the activities developed by the researcher in the disciplines “Oriented Activities II - Voice Teaching Methodology - and Choral Music”, in the Music Licensing Course of UFRN, during the academic semester of 2015.2; As well as experiences in the UFRN Children's Coral Extension Project, in the academic semester of 2016.1. To do so, the work is based on authors such as Figueiredo (1990), Schimiti (2003), Zander (2008), Fonterrada (2008), Loureiro (2010), Grings (2011), Dias (2011), Espiridião (2012), Gois (2015) and Gaborim-Moreira (2015). As a methodological procedure, we carried out an action research (TRIPP, 2005), structured in four phases: planning, action, monitoring and evaluation. Through this procedure, it was possible to elaborate and develop pedagogical and musical activities for the teaching of children's choral conducting, reported by diary description, photographic image records, observations and testimonials of undergraduate students collected through a semi-structured questionnaire. These testimonials support that the activities carried out in the UFRN Children's Coral Extension Project were very significant for the graduates and contributed to the development of their skills and competences as conductors. In light of the results obtained, we believe that this research contributes to broaden the discussions about teacher training in children’s choral conduction.

4
  • ANA PAULA GOMES DE SOUZA
  • ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­SONATA 1980 FOR VIOLIN OF ERNST MAHLE: AN INTERPRETATIVE APPROACH TO CONSTRUCTION OF A PERFORMANCE

  • Líder : RUCKER BEZERRA DE QUEIROZ
  • MIEMBROS DE LA BANCA :
  • RUCKER BEZERRA DE QUEIROZ
  • DURVAL DA NOBREGA CESETTI
  • REGIANE HIROMI YAMAGUCHI
  • Data: 21-jun-2017


  • Resumen Espectáculo
  • The compositional work of Ernst Mahle, german composer, naturalized Brazilian, becomes peculiar by original being turned to pedagogical practice. His compositions were initially created from the search for an accessible repertoire within the technical development of the students of numerous instruments. As a teacher and conductor, being one of the founders of the School of Music of Piracicaba / SP, the present city where he reside, include in his works the elements of brazilian folk music, in parallel with the compositional influences of Bartók, who also use folkloric characteristics in your works. In the period between 1955 and 1980, Mahle composed Sonatas and Sonatinas for violin, of which this article presents the Sonata 1980 in an interpretative approach to construction of a performance, through reflections on contemporary music and contemporary brazilian music. From the contextualisation of the current music, it begins an approach on the construction of the performance and as stages of the execution in the technical, aesthetic and philosophical concepts, as well as a reflection on the practice of the interpretation. The biographical experience with the composer and shared through reports, post-interviews, resulting in a visit to his residence in the city of Piracicaba / SP on November 8, 2015. A maturation of this research development resulted in a performance construction, between technical and interpretative suggestions for a good performance, assisting a reflection on an appreciation of the contemporary repertoire of brazilian violin pieces not yet covered in recitals and concert halls.

5
  • FERNANDO MARTINS DE OLIVEIRA NETO
  • The music and its dimensions in the Catholic Community Shalom - Mission Natal / RN.

  • Líder : JEAN JOUBERT FREITAS MENDES
  • MIEMBROS DE LA BANCA :
  • JEAN JOUBERT FREITAS MENDES
  • ZILMAR RODRIGUES DE SOUZA
  • MARIO ANDRE WANDERLEY OLIVEIRA
  • Data: 22-ago-2017


  • Resumen Espectáculo
  • The academic route helped me to comprehend that school spaces are not the only spaces that provide music education. In the out-of-school spaces, many musical worlds can be discovered and these offer us a rich variety of teaching-learning relationships without the presence of the teacher in this process, since according to Petitat (2011) “education derives from insertion in relations – sometimes at schooling, but most of the time, not schooling”. The Shalom Catholic Community is not intended to promote musical learning, but the close relationship its members have with music is undeniable. Music is at the heart of Shalom spirituality, present in daily life and in the activities that the Community performs (Eucharistic celebration, prayer group meetings and events). In all these activities performed by the Shalom are assigned to the music varied functions and various uses. The present work aims to identify possible teaching-learning relationships and musical transmission in this out-of-school environment. To achieve this goal, I make use of the ethnography of music, seeking, through observation and data collection, to describe the ways in which people make "Shalom music".

6
  • CAMILA LARISSA FIRMINO DE LUNA FURTADO
  • THE USE OF CREATIVITY IN THE PEDAGOGICAL PRACTICE OF MUSIC TEACHERS ACTING IN THE NETWORK OF BASIC EDUCATION OF CHRISTMAS / RN

  • Líder : VALERIA LAZARO DE CARVALHO
  • MIEMBROS DE LA BANCA :
  • CLAUDIA RIBEIRO BELLOCHIO
  • LUIS RICARDO SILVA QUEIROZ
  • VALERIA LAZARO DE CARVALHO
  • Data: 01-dic-2017


  • Resumen Espectáculo
  • The present work had the purpose of investigating and understanding the conceptions and practices that characterizes the pedagogical action of teachers that has the creativity as a process and aim of their musical education proposal in Natal / RN school context. The reflections that guided us are based on authors who deal with aspects related to creativity in general, the creative individual, the creative process (NACHMANOVICTH, 1993; GARDNER, 1996) - including the creative musical process - the motivations involved in this process (REEVE, 2006), and the training and pedagogical performance of the creative teacher (ABRAHÃO, 2015; SCHAFER, 1991). Our concepts, built from the theoretical background, are based on the idea that, to create properly, the individual needs to have control over the elements to be used in creation, as well as the grasp of experiences that support him in the action of generating new products, and knowledge about the creative process, which allows it to persist in the path until it reaches the final product. On the pedagogical-musical question specifically, the ideas the investigation are based upon are those that treat the creativity as a basilar element for the exercise of the profession. The research method chosen was the case study, using as a data collection tool the questionnaire, direct observation and semi-structured interview. Data were analyzed first, in a quantitative and qualitative way, when the answers collected from the questionnaire were analyzed. Afterwards, the qualitative approach was set before in the analysis of the following stages, when the data were organized into three categories: 1. The concepts; 2. The characteristics; and 3. Creative practices. The results present some relevant factors on the creative process of the teacher that allow us to reflect that all have the condition and the possibility of creating, if the knowledge about the creative process is endowed and permitted (NACHMANOVICTH, 1993). Furthermore, the reflections based on the relationship between the theoretical authors' approach and the empirical data collected, drive us to prosecute a concern about the initial formation of musical educators and their subsequent pedagogical performance.

7
  • FRANCISCO CANINDÉ DE MEDEIROS SENA
  • Musical Education Middle Level in Rio Grande do Norte: a study on the internalization of EMUFRN in Florânia /RN

  • Líder : VALERIA LAZARO DE CARVALHO
  • MIEMBROS DE LA BANCA :
  • ELIANE LEAO
  • MARIO ANDRE WANDERLEY OLIVEIRA
  • VALERIA LAZARO DE CARVALHO
  • Data: 01-dic-2017


  • Resumen Espectáculo
  • This work presents a study on the Technical Music Education of Middle Level in Rio Grande do Norte, through the internationalization actions of EMUFRN in Florânia / RN, through the Technical Course in Musical Instrument of the National Program of Access to Technical Education and Employment (PRONATEC). Research also on the musical training acquired by the students participating in the Language and StructuralMusical discipline, offered within the said Program and the impact of this training in the daily life of their lives in the region Seridó norte-rio-grandense. This Program has promoted the diffusion of the musical culture of small communities and artists within the RN, allowing for an expanded recognition of the artistic and cultural value of practices and services. The research method used was Action Research and the instruments of data collection used were the application of questionnaires, interviews and content analysis. Theoretically, a bibliographical research was carried out on the literature related to the technical musical education of medium level, on the process of internalization, on PRONATEC and on the study of language and musical structuring. Among other authors, I highlight Oliveira (2013), Carmona (2017), Thiollent (2011), Espiridão (2002), Manufacturer (2007) and Correia (2011). This study brings as a contribution to the area of music education, new approaches to language teaching and musical structuring, as well as opens paths to other researches in the area of musical training obtained in Programs intended for musical technical education. For the musical education area, this work opens up expectations for new horizons of research, starting from investigations into new possible spaces for musical formation, such as the Philharmonic and the technical middle level courses in Music.

8
  • FLÁVIO DAVINO DE OLIVEIRA
  • AN INTERPRETATIVE APPROACH TO THE THREE STUDIES FOR TROMBONE AND PIANO BY COMPOSER JOSÉ SIQUEIRA.

  • Líder : RUCKER BEZERRA DE QUEIROZ
  • MIEMBROS DE LA BANCA :
  • ALEXANDRE MAGNO E SILVA FERREIRA
  • DURVAL DA NOBREGA CESETTI
  • RUCKER BEZERRA DE QUEIROZ
  • Data: 04-dic-2017


  • Resumen Espectáculo
  • This article offers an interpretive source from the three different studies for trombone and piano of the composer José Siqueira. It has as a goal to help tromboners who want to compreehend the piece as also to mold it in the academic sphere, once the productions from foreign composers are the ones which prevail on the trombone chamber music range in most institutions. The work shows the difficulties on interpretive manners and technical performance with the slide movement, besides bringing several peculiar points, such as the use of the mute, glissando effect and ornaments like trinado and tremolo. The pieces becomes interesting by arising Brazilian music regional aspects — but not only that, by enhancing the work of these national composers. It is worth mentioning the piece is regular on the repertoire of some important musicians, and it is relevant in the plan of courses to either tromboners and co-repeaters of piano. Another factor that should be brought up about the Three studies, is the fact that there are recordings from the project. Thus, there are four method suggestions for the trombone - Bordgoni (1928), Arban (1936), Gillis (1966) and Lafosse (1924) as resources to provide aid on the technical performance of the instrument. The interpretive options must be seen as tools to smooth future performances of the piece, not obligations for the compreehension of the three studies.

9
  • MARCIO BORGES BARBOZA
  • ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ THREE STUDIES FOR TRUMPET AND PIANO OF JOSÉ SIQUEIRA: a technical approach interpretive of the work and its preparation for performance through the use of methods applied to the routine studies of the trumpeter

  • Líder : RANILSON BEZERRA DE FARIAS
  • MIEMBROS DE LA BANCA :
  • AYRTON MUZEL BENCK FILHO
  • RADEGUNDIS ARANHA TAVARES FEITOSA
  • RANILSON BEZERRA DE FARIAS
  • Data: 04-dic-2017


  • Resumen Espectáculo
  • The present dissertation has as object of research the work Three studies for Trumpet and Piano, written by José Siqueira in 1963. It was dedicated to the Brazilian trumpeter Valdomiro Alves and is a composition that by its degree of difficulty and compositional structuration can be considered quite relevant for the trompetístico repertoire. The work presents a very complex structure where the author works the compositional elements derived from the Trimodal and Pentatonic systems systematized by him, besides exploring the technical-interpretative difficulties inherent to the trumpet. Thus, this composition was chosen to be studied and worked, with the intention of revealing some of its interpretative details and technical difficulties, suggesting its possible resolutions. For the future researcher to have a better understanding of this work, we chose to structure it in the following way: in the first chapter, we will bring brief information about the nationalist movement, observing how the studied composer is inserted in this context, also presenting biographical information in order to inform and guide future readers about their achievements and their ideas regarding the nationalist movement; in the second, we will discuss the importance of routine studies for Performer in his preparation for the execution of the work Three Studies for Trumpet and Piano, presenting books of studies (methods) of instrumental technique and interpretation, which will serve as subsidies for the execution of the work; and finally in the third chapter, we will present through tables and figures the structural division of the work and we will also highlight interpretive and technical suggestions through selected musical excerpts with the purpose of suggesting technical and interpretative resolutions for future interpreters of the work.

10
  • MARLON BARROS DE LIMA
  • INTERPRETATIVE ASPECTS AND SUGGESTIONS IN THREE WORKS FOR TROMBONE SOLISTA OF MAESTRO DUDA: Two Dances, Fantasia for Trumpet and Trombone, and Monette Suite.

  • Líder : RANILSON BEZERRA DE FARIAS
  • MIEMBROS DE LA BANCA :
  • ALEXANDRE MAGNO E SILVA FERREIRA
  • GERMANNA FRANCA DA CUNHA
  • RANILSON BEZERRA DE FARIAS
  • Data: 04-dic-2017


  • Resumen Espectáculo
  • The present work deals with interpretative questions about three works for the soloist trombone of Maestro Duda, with the objective of suggesting subsidies that aid in the development of the procedures of preparation and execution of the pieces. The works studied here are: Two Dances (Gizelle and Marquinhos in Frevo), Fantasia for Trumpet and Trombone, and Monette Suite. Among the main features of Maestro Duda's compositional works, we can highlight the use of musical genres of Brazilian culture, however, there are few academic works that deal with questions about the interpretation of this type of music. This fact was what prompted us to carry out an investigation seeking to highlight the main interpretative aspects of the genres used by Maetro Duda. A semi - structured interview was conducted with the composer, aiming to understand the various issues concerning the works and his musical career. In this way, the work is divided into three parts: the first contains information about the composer's musical career, artistic production and updating of the catalog of compositions for formations of metal instruments; the second addresses in general questions about interpretation; and the third part, deals with the musical genres used by the composer, besides containing interpretative suggestions for the trombonist in the works studied.

11
  • MARIANA DE MORAES HOLSCHUH
  • O Caldeirão dos esquecidos by Danilo Guanais:  genesis and performance of a solo violin piece in Armorial stile

  • Líder : RUCKER BEZERRA DE QUEIROZ
  • MIEMBROS DE LA BANCA :
  • FABIO SOREN PRESGRAVE
  • LUCIANA NODA
  • RUCKER BEZERRA DE QUEIROZ
  • Data: 05-dic-2017


  • Resumen Espectáculo
  • This work is a study on the interpretation of O Caldeirão dos esquecidos for solo violin by Danilo Guanais, written in northeastern Brazilian musical style, called Armorial. It also reports on the collaboration between performer and composer during the piece's composition and it´s preparation for performance. Methodological tools as bibliographic and phonographic review, face-to-face meetings, interview and score analysis were used. From this research resulted: an interpretation of the piece, developed in direct contact with the composer, the score edition with bowings and fingerings (attached to this work), the première and a record of the piece. Data analysis on the composer-performer collaboration concluded that the collaborative process was beneficial for both parties. 

12
  • LEANDRO FERNANDES DE OLIVEIRA
  • ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ EXTENDED TECHNIQUES OF CONTEMPORARY MUSIC: THE REGENT AS A MEDIATOR OF THE INTERPRETATIVE PROCESS
  • Líder : ANDRE LUIZ MUNIZ OLIVEIRA
  • MIEMBROS DE LA BANCA :
  • ANDRE LUIZ MUNIZ OLIVEIRA
  • CLEBER DA SILVEIRA CAMPOS
  • MARCO ANTONIO TOLEDO
  • Data: 11-dic-2017


  • Resumen Espectáculo
  • This text presents the experience of a work of performative construction where the conductor acts as mediator in the interpretative process using as a tool the extended techniques of two works: The Four Seasons Portenhas (1969-1971) by Astor Piazzolla (1921-1992) ) and Itinerary of Passage: Verônica Nadir (2008) by Silvio Ferraz (1959). The interpretive approach is developed by the author of this research as conductor of the Funffec String Orchestra (OFC). The social context of OFC includes a social work developed from the year 2013 and counts on the participation of young people between 13 and 22 years old. This project has a technical base guided by the traditional methods in the written, mostly, in century XIX. The aim of the research is to point out the main difficulties encountered in the work of this repertoire in relation to the extended techniques, from this point we seek to explore the possibilities and variables offered and, through dialogue and research, establish a criterion for interpretation. After the work of theoretical and analytical articulation of the work, we established the process of interpretive construction. Thus, elements of the extended techniques were approached, as well as their concepts and applications and the possible sound results. The communication in the essays opened spaces for the opinion of the young musicians in the attempt to establish a process in which their experimentations and conceptions of sonorities could be applied in the process of interpretation of the proposed repertoire.

13
  • PEDRO HENRIQUE MACHADO FREIRE
  • ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ COLLABORATIVE PROCESS IN ARENGARÔA (2017) A PERFORMANCE FOR AMPLIFIED PLASTICS, PERCUSSION AND COMPUTER

  • Líder : CLEBER DA SILVEIRA CAMPOS
  • MIEMBROS DE LA BANCA :
  • ALEXANDRE RECHE E SILVA
  • CESAR TRALDI
  • CLEBER DA SILVEIRA CAMPOS
  • Data: 12-dic-2017


  • Resumen Espectáculo
  • This article discusses practical-interpretative aspects during the process of collaboration between the author (composer-interpreter) and the composer Caio Pierangeli, which resulted in the work Arengarôa (2017). Our work was inspired by the construction of the performance of Microplástic PET (2012) by Matthew Burtner, whose process is also described in this paper.The objective of this article is to describe the techniques developed by the interpreter and applied in plastic materials in percussive performance with technological interaction.The methodology consisted in the collection of discarded plastic objects, followed by an experimentation workshop comprised of three moments: instrument construction; technical-instrumental development; and the creation of computational programming. As a preliminary result of this research, we highlight: the Tororó, an instrument made from plastics objects; the creation of techniques applied to plastics; the choice of the resulting sonorities; plastics amplification strategies; the creation of sound processing and the interaction of electronics in real time. From this, we describe the collaborative process between composer and interpreter in the creation of a computational programming created to expand the sonorities of plastics. This process culminated in the composition of Arengarôa (2017), a work for Toroó, percussion and computer.

     

14
  • CARLOS HENRIQUE DE MORAIS ALVES
  • PERFORMANCE PERCUSSIVA CONTEMPORANEA:Articulaciones entre investigación, gesto escénico, mediación tecnológica y videoarte

  • Líder : CLEBER DA SILVEIRA CAMPOS
  • MIEMBROS DE LA BANCA :
  • CLEBER DA SILVEIRA CAMPOS
  • CESAR TRALDI
  • JONATAS MANZOLLI
  • Data: 14-dic-2017


  • Resumen Espectáculo
  • This work is an artistic research on the creative process in contemporary percussive performance. Through theoretical and practical investigation, we seek to problematize and develop questions about interpretation in a dialogue with: mixed-technique notation, corporality and open-form experimental music, illustrated here by the preparation of two solo percussion pieces: ?Corporel (Vinko Globokar, 1985) for body percussion, and Science Fiction Sceneries (Rafa Diniz, 2017) for percussion, electronics and video. Through research in music performance, we present a way for planning and executing these pieces through artistic research (CANO, CRISTÓBAL, 2014), performance musicology (COOK, 2006, RINK, 2017) and morphology of the open work (COSTA, 2016). From the planning of ?Corporel, we proposed a characterization of the body in a theatrical perspective. The methodology consisted in developing experimentation workshops where we describe the process of planning and the activities oriented by a scene director. In Science Fiction Sceneries, we reproduce the details of the process of collaboration between composer and performer, by developing a performance script. In this work, composed for the dissertation, the focus is on real-time interaction with the video. We show specifically how the mediation between sound and video is created by an interaction algorithm, built and processed by Processing and Supercollider computer programs. The chapter explores interpretative aspects related to the construction of the narrative and its interaction with the concept of video-art (PAIK, 1961). Towards the end, we discuss how the emergence of new sound structures (RIMOLDI, MANZOLLI, 2017) is possible by manipulating symbolic representations between sound, gesture and video. The results presented are adequate for the contingencies of the percussionist musician insofar as they explore new structures and approach problems that transcend the limits of traditional formation. We conclude that the proposed dialogue between scenic gesture and technological mediation not only generates interpretative strategies and solutions, but also promotes continuous thinking about the body in contemporary percussive practice, connection between other artistic languages (theater, dance, cinema), the maintenance and performance of repertoire produced in the late 20th and early 21st centuries, as well as na immersive look into the intense modulation of the contemporary percussion universe.

15
  • JOSE SIMIAO SEVERO
  • INFLUENCE OF CHORO AND JAZZ IN A SET OF WORKS FOR VIOLÃO ONLY OF ANIBAL AUGUSTO SARDINHA, THE BOY

  • Líder : EZEQUIAS OLIVEIRA LIRA
  • MIEMBROS DE LA BANCA :
  • AGOSTINHO JORGE DE LIMA
  • EZEQUIAS OLIVEIRA LIRA
  • LUCIANO CHAGAS LIMA
  • Data: 15-dic-2017


  • Resumen Espectáculo
  • The present work deals with the influence of chor and jazz in a set of works for guitar by Anibal Augusto Sardinha, Garoto (1915-1955), under the rhythmic, harmonic and interpretative aspects. The main objective was to search for choro and jazz characteristics from these parameters. We also present brief discussions about Garoto in the context of the popular Brazilian guitar school, contributions to Brazilian guitar and popular music. The theoretical contribution is based on interviews, studies and analysis of the works, as well as theoretical references that specifically address the cited composer guitarist such as: Antônio e Pereira (1982), Mello (2012), Junqueira (2010), Delneri ), among others. The results confirm the approximation of the work of Garoto with the choro and the jazz where the influence of the rhythmic and harmonic aspects in his work stands out. We conclude that the information presented corroborates the understanding of the composer 's work and the empirical practice of the popular Brazilian guitar player.

16
  • FERNANDO FERREIRA BATISTA
  • REMEMÓRIAS OPUS 79 FOR SOLO GUITAR BY MARLOS NOBRE:a criative process

     

  • Líder : EZEQUIAS OLIVEIRA LIRA
  • MIEMBROS DE LA BANCA :
  • EZEQUIAS OLIVEIRA LIRA
  • LUCIANO CHAGAS LIMA
  • RADEGUNDIS ARANHA TAVARES FEITOSA
  • Data: 15-dic-2017


  • Resumen Espectáculo
  • Opus 79 suite for solo guitar by the composer Marlos Nobre (1939-). Regarding research, the interpreter describes his creative process based on his empirical experience in interpreting the work. In order to provide a foundation for his interpretative ideas, the author made use of an interview with the composer and of the influences of traditional Northeastern music present in the piece. Authors like Andrade (1972, 1989), Alvarenga (1982), Corquer-Nobre (1994), Barancoski (1997), Azevedo (2000), Ferraz (2007), Silva (2007), Cavini (2009) and Anjos (2013), guided our theoretical reference. Musical examples of edited pieces of the score were developed, and use was made of audiovisual examples and a complete audiovisual recording of the piece.

17
  • REGIANE ALVES FERREIRA
  • STUDY STRATEGIES APPLIED TO THE PERFORMANCE OF SIX ÉTUDES OP. 33 BY KAROL SZYMANOWSKI

  • Líder : DURVAL DA NOBREGA CESETTI
  • MIEMBROS DE LA BANCA :
  • DURVAL DA NOBREGA CESETTI
  • TARCISIO GOMES FILHO
  • LUCIANA NODA
  • Data: 18-dic-2017


  • Resumen Espectáculo
  • This article presents the planning and the study strategies applied for the preparation of the first six Études of the Op. 33 of Karol Szymanowski (1882-1937). Considering that the results of this research were obtained through the artistic practice of the researcher/interpreter, this belongs to the line of "artistic research" identified by Benetti (2017). As theoretical references, we selected Johnston (2002) and Williamon (2004), whose works assisted in the process of planning and directing the observation and the strategies. The planning and preparation of the performance of the six Études Op. 33 was divided into three stages: the first focused on solving the most difficult passages, the second was dedicated to the reinforcement of passages in which there were persistent difficulties, and the third aimed for an overall interpretive polish, perfecting the speed and sonority of the passages played. The data collection tools consisted of a study diary and audio records that served for continuous self-assessment. As a result, the methodology for conducting this research proved to be effective and satisfactory, since the public performance of Szymanowski's six Études Op. 33 happened within the established deadline. The eight strategies applied in the practice sessions were flexible and well-chosen, and the methodological tools adopted in the practice sessions were indispensable, providing data forthe construction of this work and subsidies for discussions and reflections about the whole process of planning and preparation of a performance.

18
  • FELLIPE RAFAEL CARNAUBA TEIXEIRA
  • ­­­­­­­­­­­­­­­­­­­­­­­­­THE INTERPRETATIVE PROCESS IN THE ORCHESTRAL CONDUCTING: A study from Appalachian Spring (1944) by Aaron Copland (1900 – 1990)

  • Líder : ANDRE LUIZ MUNIZ OLIVEIRA
  • MIEMBROS DE LA BANCA :
  • ALFREDO JACINTO DE BARROS
  • ANDRE LUIZ MUNIZ OLIVEIRA
  • RANILSON BEZERRA DE FARIAS
  • Data: 18-dic-2017


  • Resumen Espectáculo
  • The present research aims to report in detail the interpretive process of the conductor, from the perspective of the author of this work, using the work Appalachian Spring (1944) by the American composer Aaron Copland (1900 - 1990). The first chapter, the introduction, presents a study on musical interpretation in general, the objectives, the justification and the methodology; In the second chapter, development of the research, there are three points of study: one on the construction of orchestral sonority on the part of the conductor, as it happens, the steps, difficulties and importance of this process for the musical accomplishment; a study on the musical silences and the importance of their observation for the interpretation of the work; and finally the analysis of the gestural repertoire used by the conductor in the work in question. Still in the development, the work brings the report of experience of the author on how he gave his rehearsals and his perspective until the concert. In the third chapter there is the conclusion of the research. In the annexes will be present the score with the markings of study of the author of the work

19
  • JOSÉ HERIKSON DANTAS DO AMARAL
  • TEACHING KNOWLEDGES IN MUSIC EDUCATION IN MUSIC BANDS: a multicaso study with three conductors in the Upper West Potiguar

  • Líder : VALERIA LAZARO DE CARVALHO
  • MIEMBROS DE LA BANCA :
  • LUIS RICARDO SILVA QUEIROZ
  • MARIO ANDRE WANDERLEY OLIVEIRA
  • VALERIA LAZARO DE CARVALHO
  • Data: 18-dic-2017


  • Resumen Espectáculo
  • The studies about the knowledges that are acquired by the teachers in formation and how these knowledges are articulated in the teaching performance has been configured as a relevant theme in the debates about education in the contemporaneity. In this context, considering the music bands as one of the spaces where articulation of knowledge for the performance and formation of the music teacher, this study presents a research carried out with three conductors, respectively, in three bands from the Potiguar Alto Oeste region, with the objective of knowing and reflecting on what teacher knowledge is present in the practice of these teachers, how they are constituted and how each teacher articulates these knowledge during his pedagogical-musical practice. The studies of Maurice Tardif (2014), Leão e Carvalho (2016), Gauthier (2013), and others, in dialogue with other authors of musical education on the subject, theoretically base the study. The methodology used has a qualitative approach, in which the multicaso study was chosen as the research method. Data were collected through semi-structured interviews and participant observations. Three masters with distinct training profiles were selected, being a bachelor, a licensee and a self-taught, each one of them in one of the bands of music of the Upper West Potiguar. The context of each one of them was described and, from the analysis of the interviews, six (6) categories for analysis were highlighted: musical knowledge; interpersonal relationships; experience with performance of more than one musical instrument; importance of selftaught initiatives; experience in different musical groups; and leadership experience of musical groups. After analyzing the data, the study indicates a reflection on the importance of proposing an initial training that contributes to the training of professionals to act in the context of the bands of music, considering that they are very solid spaces of professional performance and may contribute for a reflection on the knowledge necessary to the music teacher to act in this space of teaching.

2016
Disertaciones
1
  • ALZENY PEREIRA NELO DE FARIAS
  • O ciclo “Slopiewnie” op. 46bis de Karol Szymanowski: Uma abordagem de estudo e performance 

  • Líder : DURVAL DA NOBREGA CESETTI
  • MIEMBROS DE LA BANCA :
  • ANDRE LUIZ MUNIZ OLIVEIRA
  • DURVAL DA NOBREGA CESETTI
  • VLADIMIR ALEXANDRO PEREIRA SILVA
  • Data: 03-mar-2016


  • Resumen Espectáculo
  • Este artigo apresenta uma discussão sobre o ciclo de canções Slopiewnie op. 46bis de Karol Szymanowski, um dos mais importantes compositores poloneses do século XX, cuja obra tem sido cada vez mais difundida por grandes nomes da música erudita. O artigo primeiramente introduz um breve resumo biográfico, para contextualizar Slopiewnie em relação às obras do compositor; em seguida, o artigo fornece uma análise das cancoes e de seus textos, para servir como ferramenta de estudo para futuros intérpretes. Sugestões interpretativas também sao fornecidas, baseadas tanto na experiência de aprendizagem das canções como em referências bibliográficas.

2
  • JOSÉ MAGNALDO DE MOURA ARAÚJO
  • Saberes Docentes na Prática do Professor de Música do Projeto SESC Cidadão

  • Líder : LUIS RICARDO SILVA QUEIROZ
  • MIEMBROS DE LA BANCA :
  • CRISTIANE MARIA GALDINO DE ALMEIDA
  • LUIS RICARDO SILVA QUEIROZ
  • MARIO ANDRE WANDERLEY OLIVEIRA
  • Data: 10-mar-2016


  • Resumen Espectáculo
  • Este trabalho apresenta, discute e analisa como se constituem e de que forma se articulam os saberes docentes de um professor de música atuante no projeto social SESC Cidadão. Para alcançar tal objetivo foi realizada uma pesquisa que teve os seguintes objetivos específicos: verificar aspectos gerais acerca da formação cultural-profissional do professor atuante no SESC Cidadão; compreender de que forma os saberes adquiridos na formação “formal” do professor têm subsidiado sua ação pedagógica no projeto social; identificar e analisar quais os saberes profissionais que alicerçam a atuação desse professor no âmbito do projeto SESC Cidadão. O referencial teórico do trabalho está fundamentado nos estudos sobre saberes docentes propostos por Tardif (2014) e outros estudos da área de educação e educação musical que abordaram tal temática. A metodologia utilizada foi o estudo de caso tendo como principais instrumentos de coleta de dados observação direta, entrevistas semiestruturadas, pesquisa documental e estudos bibliográficos. Os dados foram organizados e analisados qualitativamente com ajuda do software Atlas.ti. Os resultados demonstram que os saberes docentes do professor de música se constituíram ao longo de sua trajetória educativo-musical, tanto por meio de experiências pré- profissionais vividas como ex-aluno de projeto social quanto através de experiências profissionais como professor de música do conservatório e do projeto SESC Cidadão. Além disso, compõe seu leque de saberes sua trajetória formativa, estabelecida principalmente no curso de licenciatura em música e de especialização em musicoterapia. Seus saberes docentes se articulam na prática de diversas formas, desde o modo como lida com as crianças, adolescentes e jovens do projeto social, até as escolhas de como conduzir seu trabalho nas atividades de música

3
  • EVERSON FERREIRA FERNANDES
  • A PEDAGOGIA DE PROJETOS E O ENSINO DE MÚSICA NA EDUCAÇÃO BÁSICA DA CIDADE DE NATAL/RN

  • Líder : VALERIA LAZARO DE CARVALHO
  • MIEMBROS DE LA BANCA :
  • CHRISTIANNE MEDEIROS CAVALCANTE
  • CRISTIANE MARIA GALDINO DE ALMEIDA
  • VALERIA LAZARO DE CARVALHO
  • Data: 11-mar-2016


  • Resumen Espectáculo
  • presente pesquisa investiga autilização da Pedagogia de Projetos como metodologia para ensino de música nas escolas de Educação Básica da cidade de Natal-RN. Tem como principal objetivo analisar de que forma essa metodologia é utilizada nas aulas de música no contexto escolar quais as suas implicações para processo de ensino-aprendizagem musical.  Como objetivos específicos buscou-se: fazer um levantamento para identificar os professores de música na educação básica que declaram utilizar a Pedagogia de Projetos como metodologia para suas aulas; identificar as correspondências entre a teoria da pedagogia de projetos e suas práticas nas aulas de música nas escolas pesquisadas e analisar as contribuições da Pedagogia de Projetos para o desenvolvimento do ensino-aprendizagem de música na escola.As principais bases teóricas adotadas como referência para este trabalho são de autores das áreas da Educação - Boutinet (2002), Hernández (1998; 200), Antunes (2001), Cavalcante (2009) - e da Educação Musical- Penna (2008), Fonterrada (2008), Queiroz (2012), com o intuito de identificar as relações e fundamentar as discussões e possibilidades da associação entre a Pedagogia de Projetos e a atual situação da música como parte do currículo escolar brasileiro. Para a coleta de dados, foram utilizadas estratégias metodológicas mista, de abordagens qualitativa equantitativa que se complementaram para melhor responder as necessidades da pesquisa. Através da aplicação de um questionário, buscou-se identificar quais as escolas professores de música que declaravam trabalhar com Pedagogia de ProjetosApartir desses resultados, foram escolhidas duas escolas, uma escola da rede particular e outra da rede pública para a realização de observação participante, em duas turmas, acompanhando o desenvolvimento de aulas de música baseadas na Pedagogia de Projetos, registrando os dados em diário de campo e gravações de áudio e vídeo. Os resultados desse trabalho evidenciam que a Pedagogia de Projetos é uma metodologia bastante utilizada pelos professores de música de Natal/RN, que contribui para a integração de conteúdos e disciplinas e envolve os alunos nas atividades despertando interesse e contribuindo para o desenvolvimento da educação musical escolar. Porém, foi identificado que muitas das concepções dos professores sobre projetos são confusas, por ambiguidades provenientes da utilização do termo em diversos âmbitos e sob diversas perspectivas teóricas, bem como, pela carência de publicações que abordem o ensino de música através da Pedagogia de Projetos. Espera-se que esse estudo fomente discussões e pesquisas a respeito da Pedagogia de Projetos aplicada ao ensino de música na Educação Básica.

4
  • EDIBERGON VARELA BEZERRA
  • Music and visual impairment: the musical learning processes in Project Hope Alive

  • Líder : JEAN JOUBERT FREITAS MENDES
  • MIEMBROS DE LA BANCA :
  • JEAN JOUBERT FREITAS MENDES
  • LUZIA GUACIRA DOS SANTOS SILVA
  • VILSON ZATTERA
  • Data: 29-mar-2016


  • Resumen Espectáculo
  • The school of music of the Federal University of Rio Grande do Norte-EMUFRN, from 2011, has been developing the musical education to people with visual disabilities, through actions of University extension. To this end, the present research aimed to identify where and how to give the musical learning processes of students with visual impairments in the project hope alive. For better understanding of the universe investigated, the case study and the semistructured interview. For the interview, chose four students of the project hope alive, using as a criterion for selecting two students with blindness and two with low vision. As a result of this research, identified six musical learning processes: music perception, music reading, musical writing, imitation/repetition, memorization and execution/instrumental practice, as well as educational pathways involved in these processes: strategies, activities, motivations, previous knowledge, diversity of activities and cooperation. Therefore, it is important to highlight the need for further investigation on the teaching and learning of music people with visual deficiency, in order to enlarge the possibilities of musical development of these students

5
  • ARTUR PESSOA PORPINO DIAS
  • SPACE, CULTURE AND SUBJECTS: the relationship between music and context in a study with students 
    of basic education.
  • Líder : JEAN JOUBERT FREITAS MENDES
  • MIEMBROS DE LA BANCA :
  • JEAN JOUBERT FREITAS MENDES
  • AGOSTINHO JORGE DE LIMA
  • MARIO ANDRE WANDERLEY OLIVEIRA
  • Data: 19-abr-2016


  • Resumen Espectáculo
  • This essay seeks to contribute to the strengthening of educational and contemporary educational and musical currents that believe in recognition of students as social and cultural beings, holders of subjectivities. From this perspective, I argue that the approach to the students' socio-cultural context and listening to their voices are configured as important contributors to a good pedagogical development. Thus, through a shared experience with young students of a school located in a suburb of Natal / RN, I intend to identify students' conceptions about music and music education and relate them to their(s) context(s). I understand context as a triangle whose vertices - space, culture and subjects - are associated and dynamically configure an atmosphere. To ensure the essay achieve it's goal, I thought of strategies for a panoramic understanding of the school context (according to the vertices space, culture and subjects) strategies for diving in cultural experiences of a sample of students, seeking to emphasize the dialogue with their musical experiences. Thus, I've presented a bibliographical and documentary research about the region of the city and the district which the school belongs. Participant observations of the school life, interviews with the Arts teacher, the principal, and formation of focus groups with two ninth grade classes complemented the methodological strategies. Reflecting on the information collected, I could understand the students and place them in their context(s), revealing aspects such as social problems, perspectives of life, religious choices, musical knowledge, musical contacts at school and beyond, musical preferences, conceptions of music and music education and their expectations of music classes in school. By linking individuals to their context, I present that no student grows into a cultural vacuum. When students are understood by educators as citizens, part of a class, group, culture, significant educational proposals can be designed and implemented

6
  • HEMERSON CARTEGIANNE DE SOUZA MARTINS
  • MUSIC TEACHING PRATICES IN THE CONEXÃO FELIPE CAMARÃO PROJECT

  • Líder : AGOSTINHO JORGE DE LIMA
  • MIEMBROS DE LA BANCA :
  • AGOSTINHO JORGE DE LIMA
  • VALERIA LAZARO DE CARVALHO
  • GIANN MENDES RIBEIRO
  • Data: 18-may-2016


  • Resumen Espectáculo
  • This work is the result of research on the traditional music teaching practices in the context of social design Conexão Felipe Camarão Non-Governmental Organization (NGO) TerrAmar, Natal-RN West Zone. Thus, data are presented on the project location (KISIL, 2002) - concept, social issues of the community, accessibility, descriptions of workshops, local folklore games and other teaching activities in music workshops within that context. The theoretical framework includes the history of music and Music Education, issues of basic education, diversity and music education contexts in social projects and NGOs, as well the popular music education and social practices of music education. In support of authors like Fonterrada (2005); Santiago (2008); Arroyo (1990; 1999; 2000; 2002); Penna (2002; 2008); Bellochio (2003); Beineke (2015), Oliveira (2003; 2006); Del-Bem (2003); Kleber (2006; 2011; 2015); Green (2012) and Souza (2004). Thus, if setting in qualitative research with speculations in the nonformal said fields of teaching practices and informal transmission and exchange of musical knowledge, we chose to work with the construct of a case study where we find the reality of a project deals with masters and play oral tradition, instrument teachers and community students in teaching and learning processes. Here discussions from crossing the data collected in interviews and field observations with a view in the peculiar process of education. We conclude that the repertoires of play is experienced in classrooms in group rehearsals and performances and the teaching process is what matters most for a wide learning of oral tradition cultures. These results bring contributions to the training of teachers in the field of music education, whereas dealing with repertoires of popular cultures involves open spaces to build a procedural learning.

7
  • HUDSON DE SOUSA RIBEIRO
  • Concertino for Clarinet and Orchestra JOSÉ DE LIMA SIQUEIRA Chamber: Interpretative Approach

  • Líder : ANDRE LUIZ MUNIZ OLIVEIRA
  • MIEMBROS DE LA BANCA :
  • ANDRE LUIZ MUNIZ OLIVEIRA
  • RUCKER BEZERRA DE QUEIROZ
  • JOEL LUIS DA SILVA BARBOSA
  • Data: 10-ago-2016


  • Resumen Espectáculo
  • This paper will discuss the Concertino for Clarinet and José Chamber Orchestra of Lima Siqueira (1907-1985) through an interpretative approach. This is a work for clarinet soloist and chamber orchestra, written in 1969 and dedicated to the Brazilian clarinetist José Cardoso Botelho. The aim of this work is study musical characteristics and displaying interpretative possibilities, as well as the author of this research learning narrative and a suggestion of how to play the "Mi b2" with a clarinet 17/18 keys in cadence. The work is divided into: introduction where we discuss the link between the composer and the performer; Chapter 1, where we will bring a literature review and relevant information about the composer; In Chapter 2 we will expose analysis of the piece and information on José Botelho and how he performed this work; Finally, in Chapter 3 we will evidence suggestions on how to overcome the existing technical passages of high complexity.

8
  • GUNNAR MENEZES SILVESTRE
  • ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­Maroquinhas Fru-Fru: Orthodoxy and avant-garde in Brazilian opera of the twentieth century

  • Líder : ANDRE LUIZ MUNIZ OLIVEIRA
  • MIEMBROS DE LA BANCA :
  • ANDRE LUIZ MUNIZ OLIVEIRA
  • MARIA CLARA DE ALMEIDA GONZAGA
  • LUÍS OTÁVIO TEIXEIRA PASSOS
  • Data: 30-sep-2016


  • Resumen Espectáculo
  • This study takes place a data collection from the research developed under the master degree in musical conducting at the Federal University of Rio Grande do Norte - UFRN, a proposal that includes an approach of the camera opera Maroquinhas Fru-Fru, from the composer Ernest Mahle, under the interpretive perspective, considering the compositional characteristics employed by the composer, as well as the specificities that music prints in the tasks of the conductor. The methodological theoretical support It comes from NEVES (1981), KATER (2001), HARTKOPF (2010), and VOLPE's compilation (2012) with the contextualization purpose of Brazilian opera, authors such as SCHERCHEN (1933), RUDOLF (1993), BOWEN (2003) and others in regard to conducting techniques, in addition to addressing some of the aesthetic issues related to gender. The bibliographical research includes a very brief biographical account of the authors of the work (composer and librettist), also includes the current situation of opera in the opera houses of the country in the triennium 2014-2016. The results point to the inedited assembly of this work in northeastern Brazil, in order to give vent to the musical practices of our time, which is revealed as an artistic need to be ingrained in the formation of new musicians and new audiences, and show some of the constancies and inconstancy of an operatic production in the current situation

9
  • ANNE CHARLYENNE SARAIVA CAMPOS
  • SUPERVISED IN TARIFF:Construction of professional identity of teachers licensed in music from EMUFRN

  • Líder : VALERIA LAZARO DE CARVALHO
  • MIEMBROS DE LA BANCA :
  • CARLA PEREIRA DOS SANTOS
  • ELIANE LEAO
  • VALERIA LAZARO DE CARVALHO
  • Data: 25-nov-2016


  • Resumen Espectáculo
  • The Supervised Internship is a question discussed in the field of music education as a powerful tool in teacher training, because of the licensing approach with the professional reality. From this premise, this study aimed to analyze the teaching of professional identity construction process, specifically that graduation of music by UFRN Music School. The methodology was qualitative approach through the case study method. Research techniques, worked with document analysis, questionnaires and semi-structured interviews. The theoretical framework was based on studies of MIZUKAMI, NÓVOA, PIMENTA, supplemented by authors of Music Education as BELLOCHIO, MATEIRO, SOUZA, BUCHMANN, AZEVEDO and TOURINHO, whose research focus on teacher training. The participants were four professors selected from public and private schools in the city of Natal / RN, course graduates Music Degree of EMUFRN formed between the years 2010 and 2014. Data analysis was performed through content analysis addressing issues that refer to a reflection on the model and procedures of supervised internship in EMUFRN. I hope with this work significantly contribute in the building of the music teacher recognizing the Supervised Internship elementary formative space of this process.

10
  • PAULO CESAR BEZERRA VITOR
  • Mazurkas op. 50, 1-4 para piano de K. Szymanowski: Um estudo analítico e interpretativo.

  • Líder : DURVAL DA NOBREGA CESETTI
  • MIEMBROS DE LA BANCA :
  • DURVAL DA NOBREGA CESETTI
  • ANDRE LUIZ MUNIZ OLIVEIRA
  • VLADIMIR ALEXANDRO PEREIRA SILVA
  • Data: 05-dic-2016


  • Resumen Espectáculo
  • This article aims to develop a study of analysis and interpretation of four of the 20 Mazurkas Op. 50 of the Polish composer Karol Szymanowski (1882-1937). The mazurkas Op. 50 were written during the nationalist period of the composer, which began with the publication of Slopiewnie song cycle Op. 46. The research is developed from the work of authors such as Kosakowski (1980) SAMSON (1990) Palmer (1983), CHYLINSKA (1993) Perkins (1996), WIGHTMAN (1999), CHAE (2010), Cesetti (2009), Liu (2012), Cadrin & DOWNES (2015). The work presents a biographical sketch of the composer offering an overview of his work, the peculiarities of the creative period based on the nationalism of his country and a study of the Mazurkas Op.50 No. 1, 2, 3 and 4 in the analytical perspective and interpretive. Article is justified because it is a focused approach to the implementation of the piano repertoire of the twentieth century still not widespread in Brazil, seeking to offer a theoretical and structural basis, helping to meet educational needs and expanding the possibilities in the repertoire of choice for students and teachers piano.

11
  • RUDSON RICELLI LIMA DA SILVA
  • INTERPRETER INTERPRETER-COMPOSER: recording and reflection of the creative process In the conception of the work Quid credas continuum Quid agas­­­­­­­­­­­­­­­­­­­

  • Líder : ANDRE LUIZ MUNIZ OLIVEIRA
  • MIEMBROS DE LA BANCA :
  • ANDRE LUIZ MUNIZ OLIVEIRA
  • RUCKER BEZERRA DE QUEIROZ
  • AYRTON MUZEL BENCK FILHO
  • Data: 07-dic-2016


  • Resumen Espectáculo
  • The present work deals with the report on the interaction interpreter-composer, lined with individual biases - mediated by the interpreter-researcher Rudson Ricelli Lima da Silva - and collectives - of the composer Samuel Cavalcanti Correia with the group Trompetearte of EMUFRN. For this, during the project phase, we idealized the making of a work especially to materialize the interests of the present research, where only the instrumentation to be used was determined. From the pre-project, the trumpet quintet formation was suggested, using the main instruments of the family (in Si¨, Dó, Mi¨, piccolo, and fluguelhorn). The methodology developed for this research was accomplished through the fulfillment of an agenda of meetings previously elaborated, constituted of a series of stages and organized in two phases, where we approach the interaction from the first creative impulses of the composer and his creative resourcefulness. We also present the preparation of excerpts from the work in the course of trial-experiments, as well as the construction of an interpretation and results / consequences from this interaction.

    .

12
  • JOÃO GOMES DA ROCHA
  • Practice in musical workshops more education program: a study in two schools of municipal Natal Network/RN

  • Líder : VALERIA LAZARO DE CARVALHO
  • MIEMBROS DE LA BANCA :
  • VALERIA LAZARO DE CARVALHO
  • CRISTIANE MARIA GALDINO DE ALMEIDA
  • LUIS RICARDO SILVA QUEIROZ
  • Data: 12-dic-2016


  • Resumen Espectáculo
  • The proposal for this work came from research conducted by the Group of Studies and Research in Music (GRUMUS) of the Federal University of Rio Grande do Norte (UFRN) that the check as was the music education in public schools of Natal-RN It found that extracurricular musical practice was quite sharp. Such practices occurred from music workshops More Education Program, which in speech managers meet what determined the law 11,769 / 2008. Some aspects such as program management, pedagogical practice monitors and student learning through music lessons workshops stood out as relevant items for research and were the main focus of this study. In this sense, we try to understand how is the music teaching in the program, and place students, teachers and school in this context. Through a qualitative approach, we used the multi case study as a research technique carried out in two municipal Christmas network schools in order to answer the question: how music lessons that are taught in the More Education Program are placed in context school? For this were used as data collection instruments, structured observations, semi-structured interviews and questionnaires. Works of authors such as Cavaliere (2002; 2007; 2010), Moll (2010; 2012), Penna (2011; 2012; 2013; 2014), among others served as the theoretical basis for the construction of the present study. We conclude that musical practice developed in schools happens as a secondary activity and is directly influenced by the way it is managed program, the pedagogical practice of the monitors and the conception that students have about music lessons. We believe that developed consciously musical practice in the workshops can contribute significantly to the human formation of the students.

13
  • JOSÉ PAULO PEREIRA
  • Technical-interpretative aspects in the Three Tocatas Armorialis of Danilo Guanais: new ways of Armorial Music

  • Líder : EZEQUIAS OLIVEIRA LIRA
  • MIEMBROS DE LA BANCA :
  • ALICE LUMI SATOMI
  • EZEQUIAS OLIVEIRA LIRA
  • RUCKER BEZERRA DE QUEIROZ
  • Data: 13-dic-2016


  • Resumen Espectáculo
  • This paper is a study about the technical-interpretative aspects in “Três Tocatas Armoriais, ” of Danilo Guanais. “Três Tocatas Armoriais” is a work for solo guitar and is divided into three movements: Romance do Boi da Mão de Pau, Poema Negro and O Admirável Vôo do Pavão Misterioso. It was made, according to Guanais, under the updated conception of Armorial Music. In order to understand what is the "updated version of Armorial Music", as the composer says, we tried to present a contextualization of Armorial Music, since its initial production, with the beginnings of the Armorial Movement, until the production of the song by current composers who proposed to compose Armorial Music using elements and procedures of 20th and 21st century music. We also present a brief discussion about the dichotomy of conception established by Ariano Suassuna and Cussy de Almeida, and its contribution, with the duality of thoughts, for the later production of Armorial Music. In methodology it was used an interview with de composer, analysis and study of the work, and some references as Marinho (2010) and Queiroz (2014). The aim of this paper is to show elements that enable the interpreter to perform it as close as possible to the composer's conception. As results we present information about the conception presented by the composer, without in-depth discussion, in which the author affirms to produce his works  from elements that are characterized as an "updated version of Armorial Music.” The materials used for the construction of the work were the literatures that motivated the coposer in the production of the plays; the philosophical elements present in “Três Tocatas Armoriais”, especially in the last movement, O Vôo Admirável do Pavão Misterioso, which suggests the imagery of a machine trying to fly; and an analysis of the melodic material and the application of the pedal note, a characteristic of the music of the guitar players used in Armorial Music.

14
  • LUCAS FERREIRA PICCOLI
  • MUSICAL LEARNING AND INDIVIDUAL PRACTICE: a case study and the outline of a model of personal engagement

  • Líder : EZEQUIAS OLIVEIRA LIRA
  • MIEMBROS DE LA BANCA :
  • EZEQUIAS OLIVEIRA LIRA
  • MARCUS ANDRE VARELA VASCONCELOS
  • CARLA PEREIRA DOS SANTOS
  • Data: 16-dic-2016


  • Resumen Espectáculo
  • This work investigates musical learning in the context of individual practice session, and seeks to elucidate the possibilities of personal engagement by students in their own development processes. The present research started through an exploratory research about the topic, that was intensified in a critical study of conservatory system, deliberate practice and self-regulation of learning concepts, and based on the works of Ericsson, Krampe e Tesch-Romer (1993), Bandura (1989; 1999; 2012) and Zimmerman (1989; 2002). In sequence, it was performed a case study with undergraduate guitar students of UFRN university, that culminated in an analysis of students' practice habits. Since this research has a theoretical and practical approach, the way chosen to illustrate this interaction was the construction of a personal engagement in the individual practice prototype model: the Protomodelo. As results of this research, figures the analysis of students' learning habits, mostly of the behaviors related with studied concepts, as well as the conclusion that personal engagement in musical learning can act in a positive way to minimize some debilities of conservatory system.

15
  • DIEGO RAFAEL DA SILVA PAIXÃO
  • ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­APPROACHES OF STUDY AND PERFORMANCE IN THE PIECE MUTATIONEN II FÜR VIOLONCELLO UND TONBAND BY CLAUDIO SANTORO

  • Líder : FABIO SOREN PRESGRAVE
  • MIEMBROS DE LA BANCA :
  • ANDRE LUIZ MUNIZ OLIVEIRA
  • FABIO SOREN PRESGRAVE
  • TERESA CRISTINA RODRIGUES SILVA
  • Data: 16-dic-2016


  • Resumen Espectáculo
  •           This article aims to study the work Mutationen II für Cello und Tonband, written by the composer Claudio Santoro, translating and understanding the instructions in the cello and tape. In the tape assembly process, the work aims at the development of the same with the current technological tools such as studio recording and the use of audio programs, for example, since access to recorders offered by Claudio Santoro at the time the piece was written became very difficult. Resulting from research we have: phonograph record of the piece, score editing in Portuguese, because currently we only have the manuscript in German, facilitating part of the learning process for potential new interpreters, as well as conducting public performances spreading so the piece, which is one of precursors of the electroacoustic repertoire written for cello.

16
  • ADRIANO RAMOS COELHO
  • A STUDY ON THE MUSICAL PERFORMANCE OF DRUMMER ADELSON SILVA

  • Líder : CLEBER DA SILVEIRA CAMPOS
  • MIEMBROS DE LA BANCA :
  • CLEBER DA SILVEIRA CAMPOS
  • FERNANDO AUGUSTO DE ALMEIDA HASHIMOTO
  • LEONARDO VILACA SALDANHA
  • Data: 16-dic-2016


  • Resumen Espectáculo
  • In this article we examine the trajectory of Adelson Silva, focusing on her performance as a drummer in the orchestras of frevo in Pernambuco, specifically in the Orchestra of Maestro José Menezes, in the Decade of 1980, with the disc Anthology of Frevo; as well as Maestro Spok Spokfrevo Orquestra, in, "between the years 2004 to 2006", with the hard Step of Angel recorded in Studio. Two features will be discussed in the musical behavior applied by musician, found in her performance of permanent way, being seen as a peculiar shape in their practice, and as something that distinguishes it from other drummers in this follow up. The methodological path of this research are based on transcriptions and musical analysis coming from the above discs.

17
  • VALDIER RIBEIRO SANTOS JUNIOR
  • ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­PROCESS FOR THE POPULAR MUSICIAN AND ITS MULTIPLE DIMENSIONS: understandings from the case 
    study with two instrumentalists.
  • Líder : JEAN JOUBERT FREITAS MENDES
  • MIEMBROS DE LA BANCA :
  • JEAN JOUBERT FREITAS MENDES
  • LUIS RICARDO SILVA QUEIROZ
  • MARIO ANDRE WANDERLEY OLIVEIRA
  • Data: 19-dic-2016


  • Resumen Espectáculo
  • The diverse spaces in which the musicians transit in search of their formation are subjects in debate in the actuality. Given this, Music Education, thought as the area that contemplates the study and the processes of training in music, is certainly attentive in perceiving the different environments in which musical learning happens. Focusing on this search, the present work has the objective of deepening the understanding about the formative spaces of popular musicians. In this sense, I propose to understand the musical formation of the instrumentalists Eduardo Taufic and Jubileu Filho, subjects of the research. The work brings a review of literature with the purpose of evidencing the state of knowledge about the theme. The theoretical basis provides a mediation in the debate, pointing out the authors' inferences in constant dialogues with the field. The case study with the qualitative approach is the proposed methodological procedure. In the data collection phase, the electronic questionnaire, the direct observation, the field notebook and the semi-structured interview were used. The organization and, subsequently, the analysis of the data were materialized from the point of view of the discursive textual analysis. The textual construction of the analyzes was objectified from three central points: initial musical formation, musical formation in different spaces and musical formation in contexts of professionalization. In the face of this, the categorization provided an understanding of the various formative spaces in which popular musicians move from their first spontaneous contacts with music to the stage of professional performance. The results obtained reveal the complexity of the training of popular musicians. This training is closely linked to practice in several areas of activity. In this sense, the social environment has proved to be a strong motivating agent, especially for the spontaneous treatment that music has assumed in these spaces. In addition, family, friends, teachers, technological resources, work environment, and essays were certainly responsible for the musical formation of the popular musicians researched in this work. 

18
  • RODRIGO ALVES DE MELO
  • THE AFFECTIVITY IN MUSICAL EDUCATION: a study in two centers of reference for children's education in João Pessoa-PB

  • Líder : AMÉLIA MARTINS DIAS SANTA ROSA
  • MIEMBROS DE LA BANCA :
  • AIDA TERESA DOS SANTOS BRITO
  • AMÉLIA MARTINS DIAS SANTA ROSA
  • VALERIA LAZARO DE CARVALHO
  • Data: 20-dic-2016


  • Resumen Espectáculo
  • Early childhood education is a rich field of discovery, where learning is constructed in a simple and playful way, so as to facilitate the understanding of children. In particular, music classes in this age group are provided for practical and enjoyable learning, where it is not the child's job to decode musical symbols but to experience music through the body and emotion. The present work sought to delve into the specific universe of musical education that takes place in distant parts of the city, in the Reference Centers for Infantile Education in the city of João Pessoa-PB, where two female teachers were invited. The main focus of the research was to analyze the presence and the role of affectivity in the relationships between music education teachers and their students. In the foreground, we sought, through literature review, to know and study some particularities of children, among some of them being, according to Gutman (2015) fusion beings. It was also discussed about the guidelines, terms and laws that govern the education of children and the importance of this for the development and learning of the child, and then to discuss theories that discuss about affectivity in learning, citing authors who discussed the subject, Such as Piaget, Wallon and others. It was also reflected on the teacher and his work in the universe of early childhood education. The music lessons and the affective relations present in it were also in vogue in the writings of this work, since they were the objective of the desired research. In the second part, we sought to investigate the music lessons of the music teachers through a field research, with qualitative emphasis. The investigations were done through bibliographical research and observation of the classes. We also used tools such as interviews with the teachers and audio recordings of the classes with the children, for later analysis of the data and to proceed with the writing of the dissertation. In the third part of the study, after observing the lessons and analyzing the data from the interviews, recordings and notes, four categories were constructed for a chapter: Initial conceptions about affectivity, about the affectivity in the formation of the musical educator, the teaching practice as constructor space of the affectivity, the affectivity present in the interactions between teacher and student. The results of the research reveal that teachers who work in CREIs, even with little academic training on the subject, interact with their students affectionately, making learning happen in an environment where students feel respected and welcomed in the music classes.

19
  • MAGNO AUGUSTO JOB DE ANDRADE
  • MUSICAL EDUCATION FOR ADULTS:Social representations of age and musicalizacion

  • Líder : JEAN JOUBERT FREITAS MENDES
  • MIEMBROS DE LA BANCA :
  • JEAN JOUBERT FREITAS MENDES
  • MARCUS VINICIUS MEDEIROS PEREIRA
  • MARIO ANDRE WANDERLEY OLIVEIRA
  • Data: 20-dic-2016


  • Resumen Espectáculo
  • This study aims to analyze adult musicalizacion seeking to understand the role of social representations in the formation of concepts, evaluations and behaviors of teachers and music students. The interest is the investigation of the symbolic dimension involved in music education process of adults and not musicalizacion process or music teaching itself. For both were interviewed students and teachers of the Federal University Music School of Rio Grande do Norte (UFRN). It was used the concept of social representation from Moscovici (2009) and Jodelet (2001) and as a methodology was used a literature revision related to the subject that provided the elements for the application of semi-structured interviews, as proposed by Spink (2013) qualitative research and analysis of social representations. Among the results, we find ample evidence of social representations express and explained in various academic papers over our literature, as well as evidence of social representations about the musicalizacion adults among students and teachers of the UFRN Music School.

2015
Disertaciones
1
  • GERONIMO BRITO VIEIRA
  • Cantata Para Louvor e Glória de Cleide Dorta Benjamim: Preparo para a Execução

  • Líder : ANDRE LUIZ MUNIZ OLIVEIRA
  • MIEMBROS DE LA BANCA :
  • ANDRE LUIZ MUNIZ OLIVEIRA
  • DURVAL DA NOBREGA CESETTI
  • NELSON CAVALCANTI DE ALMEIDA
  • Data: 13-feb-2015


  • Resumen Espectáculo
  • O presente trabalho tem como objetivo relatar o processo de preparação para a execução da “Cantata  Para  Louvor  e  Glória”,  composta  em  1985,  pela  compositora  Cleide  Dorta Benjamim  (1936),  visando  antecipar  para  futuros  regentes,  cantores  e  instrumentistas,  as possíveis  dificuldades  encontradas  e  enfrentadas.  Inicialmente,  através  de  uma  breve apresentação da obra, são abordadas questões relacionadas  ao texto escolhido, bem como a sua  estrutura  e  importância  no  processo  composicional.  Mais  à  frente,  são  analisadas, identificadas  e  propostas  resoluções  para  as  dificuldades  existentes  do  ponto  de  vista  das
    execuções,  vocais  e  instrumentais,  e  do  gestual  aplicado  à  regência,  sendo  abordado, detalhadamente,  cada  movimento  que  compõe  a  obra.  O  trabalho  também  apresenta  um memorial  que  descreve  todo  o  processo  prático  de  preparação  da  Cantata:  reedição  da partitura;  seleção  e  perfil  dos  cantores  e  instrumentistas;  os  ensaios;  modificações  e adequações  na  partitura;  e  uma  breve  entrevista  com  quatro  cantores  e  dois  instrumentistas que participaram do processo.  A interação com a compositora,  durante parte significativa do trabalho, traz uma marcante ampliação dos  possíveis esclarecimentos e desenvolvimento das
    ideias, potencializando uma execução coerente da obra.

2
  • MARCUS VINICIUS DE FREITAS
  • O TEATRO MUSICAL ENQUANTO PRÁTICA PEDAGÓGICA NO MEIO ECLESIÁSTICO: RESSIGNIFICANDO O FAZER ARTÍSTICO NA IGREJA BATISTA DA ESPERANÇA, NATAL-RN

  • Líder : AMÉLIA MARTINS DIAS SANTA ROSA
  • MIEMBROS DE LA BANCA :
  • AMÉLIA MARTINS DIAS SANTA ROSA
  • VALERIA LAZARO DE CARVALHO
  • LEILA MIRALVA MARTINS DIAS
  • Data: 13-feb-2015


  • Resumen Espectáculo
  • As igrejas no Brasil têm demonstrado ser um espaço importante na formação musical de muitos indivíduos. No entanto, percebemos em muitas delas uma postura musical exclusivista e meramente performática, com o argumento de que desejam prestar adoração ao Ser Divino e que, assim, devem oferecer sempre o melhor. Além disso, a cultura do talento e do dom tem se mostrado determinante na seleção de pessoas para as práticas musicais eclesiásticas. O teatro musical, também praticado neste contexto, tem sido realizado com os mesmo princípios. Entendendo que a prática musical deve estar acessível a todos, vimos, através dos estudos de Santa Rosa, 2006 e 2012, o teatro musical, por suas inúmeras possibilidades, como importante ferramenta para o ensino de música nesse contexto, de maneira integradora, motivadora, interdisciplinar e libertadora. Por essa razão este trabalho procurou, por meio de uma pesquisaação, investigar a aplicabilidade do teatro musical enquanto prática pedagógica no contexto da Igreja Batista da Esperança, Natal-RN, verificando o impacto desta experiência para os envolvidos. Para alcançar este objetivo, realizamos a construção de um musical com todos
    aqueles que desejassem participar, possuindo ou não experiências musicais prévias. A coleta de dados foi realizada através de diário de campo, entrevistas semiestruturadas com os participantes do elenco e registros de imagens de ensaios e apresentações. As principais temáticas evidenciadas pelos alunos foram, então, categorizadas e devidamente analisadas, o que nos mostrou o quanto o teatro musical pode ser usado como ferramenta pedagógico-musical de modo eficaz também no contexto eclesiástico. Desse modo, pôde ser trazida uma outra concepção do fazer artístico para as igrejas, contribuindo para a inserção de novos partícipes em suas práticas musicais, além de expandir um pouco mais os estudos sobre o teatro musical e a presença da
    música nestes espaços, provocando outros estudos futuros. 

3
  • NILTON DA SILVA SOUZA
  • O gesto regencial para além do compasso: uma discussão acerca das ferramentas da regência e de seus usos para a performance na música do século XX.

  • Líder : ANDRE LUIZ MUNIZ OLIVEIRA
  • MIEMBROS DE LA BANCA :
  • ANDRE LUIZ MUNIZ OLIVEIRA
  • FABIO SOREN PRESGRAVE
  • ALFREDO JACINTO DE BARROS
  • Data: 19-feb-2015


  • Resumen Espectáculo
  •  Este  trabalho  foi  fruto da pesquisa de mestrado desenvolvida no Programa de Pós-Graduação em  Música  da  Escola  de  Música  da  UFRN  sob  a  orientação  do  Dr.  André  Luiz  Muniz  de Oliveira que buscou  uma reflexão acerca do gesto regencial e suas implicações no que tange aos  elementos  objetivos  e  subjetivos  da  performance  atrelados  a  uma  gama  de  ferramentas regenciais  concebidas  de  acordo  com  a  tradição  da  música  histórica.  Como  ferramenta  de análise gestual foi utilizado o método  PatternCube  de Harold Farbermann.  Foram utilizados vídeos  dos  regentes  Pierre  Boulez  e  Valery  Gergiev,  ambos  regendo  A  Sagração  da Primavera  de  Igor  Stravinsky.  Na  análise  dos  vídeos  observamos  o  uso  técnico  do  aparato
    gestual dos regentes em detrimento do gesto musical fundamentado em Hatten.  A pesquisa nos  revelou  a  importância  do  uso  de  ferramentas  analíticas  no  auxílio  a  subsidiar  um direcionamento a performance na regência.

4
  • ISAC RUFINO DE ARAÚJO
  • A MOTIVAÇÃO DE LICENCIANDOS EM MÚSICA SOB A PERSPECTIVA DA TEORIA DA AUTODETERMINAÇÃO

  • Líder : VALERIA LAZARO DE CARVALHO
  • MIEMBROS DE LA BANCA :
  • VALERIA LAZARO DE CARVALHO
  • LUIS RICARDO SILVA QUEIROZ
  • SUELI EDI RUFINI
  • Data: 19-feb-2015


  • Resumen Espectáculo
  • Essa pesquisa teve como objetivo geral verificar a qualidade motivacional dos licenciandos em música em quatro Universidades públicas do Nordeste sob a perspectiva da Teoria da Autodeterminação (TAD). Proposta por Edward Deci e Richard Ryan (1985, 2000, 2008a, 2008b), a TAD abrange os aspectos qualitativos da motivação e afirma que todos os indivíduos tem uma propensão natural à autorregulação, por isso ela adota o conceito de
    internalização por meio de um continuum de Autodeterminação previsto na miniteoria da integração organísmica. Essa pesquisa apresenta uma abordagem quantitativa, descritiva de natureza exploratória e correlacional. Como técnica de coleta de dados, foi aplicado um questionário de autorrelato contendo a Escala de Motivação Acadêmica (EMA), traduzida e validada por Guimarães e Bzuneck (2008), a qual permite verificar os tipos de motivação conforme o continuum de Autodeterminação. Nesta aplicação o instrumento apresentou
    evidências de validade satisfatórias, com boa consistência interna e correlações de fracas a moderadas. Os dados obtidos da amostra de 380 licenciandos em música foram analisados através da estatística descritiva e inferencial, por meio de alguns procedimentos: frequências, médias, desvio padrão, análise fatorial, análise deconsistência interna por meio do alpha de Cronbach, análise de correlação de Pearson e análise de variância. Os dados apontam as maiores médias na avaliação das formas de motivação mais autodeterminadas e as médias mais baixas na avaliação da desmotivação e das formas menos autônomas de motivação. Grande parte dos alunos revelou forte intenção de concluir o curso. Apresentaram menor motivação autônoma e maior desmotivação os alunos com intenção de atuar em outras áreas, que já passaram pelo estágio e que estão no curso porque não tiveram outra opção. Concluímos que o licenciando em música, representado nesta amostra, apresenta boa qualidade motivacional, no entanto, com o passar dotempo há uma tendência em diminuir a
    motivação autônoma mediante as pressões inerentes aum curso superior. Neste sentido, os cursos devem criar estratégias para manter o comportamento autodeterminado nos alunos e promover os reforçadores intrínsecos fazendo-os perceber importância, valor e significado no curso. Esta pesquisa espera contribuir e estimular outros estudos com o objetivo de compreender a motivação dos alunos no ensino superior em música.

5
  • ANDERSONN HENRIQUE SIMOES DE ARAUJO
  • MÚSICA EM PROJETOS SOCIOASSISTENCIAIS GOVERNAMENTAIS: práticas e concepções culturais no Serviço de Convivência e Fortalecimento de Vínculos em Natal

  • Líder : JEAN JOUBERT FREITAS MENDES
  • MIEMBROS DE LA BANCA :
  • JEAN JOUBERT FREITAS MENDES
  • LUIS RICARDO SILVA QUEIROZ
  • ANTONIO DIAS NASCIMENTO
  • Data: 20-feb-2015


  • Resumen Espectáculo
  • Com o tema ensino de música em projetos sociais governamentais, este trabalho discute as concepções do ensino de música que permeiam as práticas educativo -musicais presentes no Serviço de Convivência e Fortalecimento de Vínculos, do Complexo Dom Bosco, em NatalRN. Objetiva-se refletir sobre as concepções do ensino de música e as relações entre as trocas de conhecimentos musicais e a cultura. Para isso, problematizam-se as concepções de ensino e aprendizado de música nos projetos sociais governamentais através de pesquisa de referenciais teóricos e da investigação em campo. Após essa etapa, estudam-se os aspectos culturais que participam do cotidiano das instituições que influenciam no aprender música no Serviço de Convivência e Fortalecimento de Vínculos, e como tais aspectos se fazem presentes na constituição dos paradigmas que envolvem o ensino de música. Para isso, foi
    empregada a abordagem qualitativa e o estudo de caso como tipo de pesquisa. Como ferramenta de captação de dados utilizou-se o registro etnográfico, fotográfico, captações de entrevistas, gravações de áudio e vídeo. Por fim, conclui-se que o ensino de música, dentro do SCFV, é envolto a concepções culturais que se remetem ao espaço do Oratório Dom Bosco e ao mesmo tempo a política pública socioassistencial. Sendo por vezes conflitantes, as concepções como disciplina, protagonismo e combate a exclusão social se remetem ao holograma cultural dialógico das instituições envolvidas no processo educativo .

6
  • PRISCILA GOMES DE SOUZA
  • Um estudo sobre música e educação musical na Igreja Evangélica Assembleia de Deus do Natal/RN: Templo
    Central.

  • Líder : AGOSTINHO JORGE DE LIMA
  • MIEMBROS DE LA BANCA :
  • AGOSTINHO JORGE DE LIMA
  • ZILMAR RODRIGUES DE SOUZA
  • CARLA PEREIRA DOS SANTOS
  • Data: 25-feb-2015


  • Resumen Espectáculo
  • Esta dissertação trata da música e seu ensino na Igreja Evangélica Assembleia de Deus do Natal/RN - Templo Central. A investigação fala acerca da relação entre a educação musical e o contexto cultural, lançando um olhar sobre as práticas musicais, o ensino e a aprendizagem musical neste espaço. Nossa investigação busca apreender três aspectos basilares: A música, em sua prática; a educação musical, em suas formas de ensino aprendizagem e o contexto no quais ambas se efetivam. Assim, a pesquisa tem por objetivo desvelar e compreender os processos, situações e dimensões simbólicas que constituem a música e o seu ensino para a
    formação musical e as práticas musicais no espaço estudado. Os procedimentos metodológicos incluíram buscas de teses e dissertações sobre o tema, trabalhos da área de música, em suas diferentes subáreas, através de Anais de Congressos da Associação Nacional de Pesquisa e Pós-Graduação em Música (ANPPOM), além dos Anais dos encontros Nacionais e Regionais da Associação Brasileira de Educação Musical (ABEM) e Revistas da ABEM at all. Foi realizada a observação participante na Igreja Evangélica Assembleia de Deus do Natal no Templo Central, em seus cultos, nos ensaios da orquestra, nas salas de aulas com os alunos, com os professores, nas reuniões pedagógicas. Foi feito uma coleta de dados através de entrevistas semiestruturadas gravadas com a direção do departamento de música, coordenação pedagógica, alunos, professores, músicos e regentes. Coleta de fotos, alguns vídeos de aulas e ensaios. O tratamento e a análise dos dados foram feito e organizados
    quanto às concepções de ensino, práticas pedagógicas e musicais. A proposta inclui uma reflexão sobre o ensino de música na igreja buscando contribuições para a Educação Musical. O referencial teórico centra em autores que discutem mais sobre estudos sobre abordagem sociocultural da Educação Musical (ARROYO, 1999, 2000a, 2000b, 2002). Autores que mais tratam da Sociologia para educação musical (KRAEMER, 2000), (SOUZA, 1996). Autores que abordam Educação Musical e Práticas Sociais, Música e Cotidiano (SOUZA, 2000, 2008, 2009); Música e Ensino (PENNA, 1999, 2008). Sociologia da Música (GREEN, 1997). Autor que trata para Educação Musical e Etnomusicologia; Música e Religiosidade; A música comofenômeno sociocultural; Etnomusicologia para a educação musical; Educação Musical e Cultura (QUEIROZ, 2004a, 2004b, 2005, 2007, 2010, 2011, 2013). Autores que tratam da Antropologia e da Etnomusicologia sobre abordagem da cultura como contexto (GEERTZ,
    1989); (NETTL, 1992); (MERRIAN, 1964). A construção metodológica está apoiada nos princípios da pesquisa qualitativa (BODGAN e BIKLEN, 1994), com descrição de questões físicas do contexto (BRESLER, 2007). Tendo sido adotado o estudo de caso (YIN, 2001) como método. O presente estudo revelou que a relação entre música e ensino na igreja está além de apenas uma formação musical. Que existem muitas relações que se estabelecem, como fé, crença em Deus e devoção no culto. Que a igreja pensa sobre o ensino de música para tocar nos cultos e louvar a Deus. Que na formação musical foi trabalhado algo maior que apenas conteúdos musicais. Que a música na igreja evangélica é mediadora de significados que vão além de vivências e práticas musicais. Que o sagrado e o culto religioso como expressão de adoração a Deus caracterizam as práticas musicais dos grupos pesquisados. Que seus reflexos são diretos nas aulas de música ministradas nos cursos da igreja. Que as concepções dos participantes do Departamento de Música e dos grupos musicais da igreja compreendem processos, situações e concepções do ensino e aprendizagem da música na igreja.

7
  • CRISTIAN DE PAULA BRANDÃO
  • Sonata No.1 para Violoncelo e Piano de Alfred Schnittke: Aspectos Poliestilísticos e Técnico-Interpretativos

  • Líder : DURVAL DA NOBREGA CESETTI
  • MIEMBROS DE LA BANCA :
  • DURVAL DA NOBREGA CESETTI
  • FABIO SOREN PRESGRAVE
  • ROBERTO PINTO VICTORIO
  • Data: 26-feb-2015


  • Resumen Espectáculo
  • A Sonata No. 1 para Violoncelo e Piano (1978) de Alfred Schnittke figura dentre as principais obras do repertório camerístico para violoncelo do século XX. Dedicada à violoncelista russa Natalia Gutman, esta obra foi composta de acordo com as características do poliestilismo, um dos principais aspectos da música de Schnittke. Tendo vivido sob muitas restrições políticas da antiga União Soviética e, ao mesmo tempo, sob intensas e diversificadas influências culturais e artísticas, Schnittke adquiriu uma linguagem e estilo muito particular a partir de vários outros estilos, desde o barroco até o jazz, passando pelo folclore de diferentes culturas, romantismo, classicismo, música religiosa, dentre outros. Este artigo aponta os elementos poliestilísticos na Sonata No.1 para violoncelo e piano, assim como também aborda meu processo de aprendizagem da peça: as principais dificuldades técnicas encontradas, as técnicas estendidas, a consciência corporal utilizada e meu processo de memorização, com conceitos baseados a partir de minha experiência de performance, assim como da leitura artigos, dissertações e outras referências bibliográficas.

8
  • THIAGO LUCION
  • A Escrita de Roberto Victorio nas peças Aztlan e Chronos III para Violoncelo solo

  • Líder : FABIO SOREN PRESGRAVE
  • MIEMBROS DE LA BANCA :
  • ANDRE LUIZ MUNIZ OLIVEIRA
  • FABIO SOREN PRESGRAVE
  • ROBERTO PINTO VICTORIO
  • Data: 26-feb-2015


  • Resumen Espectáculo
  • A forma de escrita utilizada pelo compositor Roberto Victorio aparece como principal alicerce dentro de sua produção musical. Durante sua trajetória, mesmo com mudanças significativas, a notação é a principal ferramenta para a ampliação dos recursos utilizados pelo compositor, como voz e percussão simultâneas à execução do instrumento. Nas peças Aztlane Chronos IIIescritas para violoncelo solo, tem-se o exemplo da transição e simbiose entre as notações utilizadas. Com a utilização de técnicas convencionais e técnicasestendidas presentes na escrita, este trabalho procura apresentar uma forma de entendimento sobre as peças citadas acima abordando de que forma a notação e escrita do compositor influenciam na performance das mesmas, também sugerindo possíveis estudos para execução das peças.

9
  • KLEBER DESSOLES MARQUES
  •  

    TÉCNICAS ESTENDIDAS PARA SAXOFONE EM OBRAS COMPOSTAS POR MEIO DE COLABORAÇÃO COMPOSITOR -INTÉRPRETE

  • Líder : DURVAL DA NOBREGA CESETTI
  • MIEMBROS DE LA BANCA :
  • DURVAL DA NOBREGA CESETTI
  • FABIO SOREN PRESGRAVE
  • ROBERTO PINTO VICTORIO
  • Data: 27-feb-2015


  • Resumen Espectáculo
  • Esta dissertação aborda o uso de técnicas estendidas para saxofone na obra Minus, para saxofone soprano em Bb solo, composta por meio de colaboração compositor-intérprete, entre Agamenon de Morais e o saxofonista Kleber Dessoles. O texto está organizado da seguinte maneira: a primeira parte traz um apanhado histórico do repertório de música de concerto para saxofone, desde o início do século XX, passando pelo uso de técnicas estendidas para o instrumento e pelos principais personagens e fatos históricos desse período de tempo, dados esses obtidos a partir de pesquisa bibliográfica e documental; a segunda parte trata da colaboração compositorintérprete, desde os casos documentados nos séculos XVIII e XIX até chegarmos aos dias de hoje, explorando de que maneiras as colaborações podem acontecer e as suas motivações, por meio de pesquisa bibliográfica; a terceira e última parte versa sobre a obra em si, seguida de um relato pormenorizado da colaboração entre o compositor e o intérprete, bem como explicações minuciosas das técnicas estendidas que constam na obra (multifônicos e flatterzunge), por meio de pesquisa bibliográfica, documental e relatos dos encontros entre compositor e intérprete. Ao final do processo de colaboração, pode-se dizer que o resultado final da obra foi derivado da soma dos conhecimentos do compositor e do intérprete, combinados, quase como se a composição tivesse uma dupla autoria. O documento resultante do relato do processo pode auxiliar compositores e intérpretes a comporem para saxofone, bem como a nortear futuras experiências de colaboração.

10
  • JACO SILVA FREIRE
  • ENSINO E APRENDIZAGEM DE VIOLÃO NA UFRN

  • Líder : LUIS RICARDO SILVA QUEIROZ
  • MIEMBROS DE LA BANCA :
  • DANIEL WOLFF
  • JEAN JOUBERT FREITAS MENDES
  • LUIS RICARDO SILVA QUEIROZ
  • Data: 27-mar-2015


  • Resumen Espectáculo
  • O ensino do instrumento no Brasil tem sido mais amplamente estudado pela educação musical nos últimos anos, constituindo um campo significativo de investigação científica. Este trabalho se atém a análise de uma realidade do ensino de instrumento, considerando de maneira mais específica o ensino de violão. De maneira pontual, aborda a realidade do ensino de violão da Universidade Federal do Rio Grande do Norte (UFRN), considerando cursos específicos do instrumento nesta instituição. Assim, o presente trabalho foi pautado pelo objetivo de compreender as concepções, conteúdos e perspectivas didáticas e metodológicas que constituem o ensino e aprendizagem de violão na UFRN. Para alcançar este objetivo principal, buscou-se verificar, em linhas gerais: 1) as perspectivas teóricas, metodológicas e de conteúdos que embasam formação em violão nos cursos de música da UFRN; 2) as funções e objetivos das disciplinas de violão nos Cursos; 3) o perfil dos professores das disciplinas de violão; 4) as demandas dos sujeitos diretamente envolvidos nessas propostas de ensino musical; e, 5) as concepções acerca das práticas de formação e das metodologias de ensino que caracterizam a ação docente. Em consonância com os objetivos, o norteamento metodológico se pautou pelo paradigma qualitativo. Assim, os procedimentos de coleta de dados envolvidos foram: pesquisa bibliográfica e documental e realização de entrevistas com três professores que ministraram disciplinas de violão durante o semestre de 2014.1 nos cursos mencionados. Posteriormente, esses dados foram sistematicamente organizados e analisados em sintonia com as características da pesquisa aqui apresentada. Portanto, os resultados desta pesquisa evidenciaram as concepções, conteúdos e perspectivas didáticas e metodológicas no contexto de ensino e aprendizagem de violão no campo empírico estudado. Neste contexto, pudemos perceber uma relação existente entre as demandas de ensino e aprendizagem de instrumento no campo estudado e as evidenciadas na literatura pesquisada. Deste modo, foram percebidos, analisados e demonstrados quais as perspectivas para o ensino de instrumento na contemporaneidade, com especial atenção para o ensino de violão. Assim, este estudo traz relevante contribuição para a educação musical, sobretudo, através de suas reflexões sobre a pedagogia do violão.

11
  • ANA CLAUDIA SILVA MORAIS
  • Aprendizagem musical na Orquestra Sinfônica da UFRN.

  • Líder : AMÉLIA MARTINS DIAS SANTA ROSA
  • MIEMBROS DE LA BANCA :
  • AMÉLIA MARTINS DIAS SANTA ROSA
  • LUIS RICARDO SILVA QUEIROZ
  • CARLA PEREIRA DOS SANTOS
  • Data: 22-may-2015


  • Resumen Espectáculo
  • A música e a educação musical estão presentes no cotidiano das pessoas de diversas formas e em múltiplos contextos. Neste estudo, destaca-se a formação musical no contexto orquestral objetivando compreender como acontece a aprendizagem musical na Orquestra Sinfônica da Universidade Federal do Rio Grande do Norte – OSUFRN. Para atingir esse objetivo, buscou-se identificar quais atividades são inerentes à OSUFRN, assim como sua estrutura e funcionamento; observar o desenvolvimento das atividades do grupo, verificando as interações presentes entre os participantes da orquestra e compreender as diferentes maneiras de se aprender música no contexto orquestral. O trabalho baseia-se em discussões de autores acerca da prática musical coletiva da formação instrumental na educação musical, a aprendizagem em si e as relações entre jovens e música no contexto da aprendizagem coletiva. Os procedimentos metodológicos adotados nesta investigação correspondem à abordagem qualitativa e ao estudo de caso com participantes da orquestra sinfônica da referida instituição. A coleta de dados foi estabelecida por meio de observações in loco das atividades desempenhadas pelo grupo, de acordo com sua agenda de ensaios e apresentações, e de entrevistas semiestruturadas realizadas com o maestro e com participantes que possuíam mais tempo de experiência na orquestra. Além disso, o uso de fotografias e filmagens auxiliou em todo o processo de coleta e construção dos dados, permitindo análises posteriores. A análise e interpretação desses dados foram efetivadas pela técnica de Análise de Conteúdo apresentando categorias que revelam a autonomia dos participantes diante da sua aprendizagem, constituída na coletividade da prática musical do contexto orquestral, visando à profissionalização. Assim, percebe-se que no grupo há interações interpessoais e diversas instâncias de aprendizagens que contribuem para a formação integral do músico instrumentista.

12
  • CATARINA ARACELLE PORTO DO NASCIMENTO
  • PIBID MÚSICA - UFRN: a formação de professores em articulação com os saberes docentes 

  • Líder : JEAN JOUBERT FREITAS MENDES
  • MIEMBROS DE LA BANCA :
  • JEAN JOUBERT FREITAS MENDES
  • VALERIA LAZARO DE CARVALHO
  • CLAUDIA RIBEIRO BELLOCHIO
  • Data: 25-may-2015


  • Resumen Espectáculo
  • A Educação Musical no Brasil tem ganhado seu espaço no cenário educacional brasileiro, fazendo com que se repense a formação inicial do educador musical na contemporaneidade. Partindo dessa perspectiva, este trabalho tem como objetivo geral analisar a articulação de saberes docentes que o subprojeto de música do PIBID/UFRN proporciona no processo formativo docente dos bolsistas participantes. Para tal feito, determinamos trilhar os seguintes caminhos: investigar quais são os principais saberes que constituem a formação do educador musical; identificar a(s) natureza(s) (epistemológicos, filosóficos, sociais, afetivos, pedagógicos etc.) desses saberes na formação docente em música; verificar como os saberes docentes são adquiridos na formação inicial em música e pesquisar as articulações entre os saberes docentes e a contribuição do PIBID Música/UFRN nesse processo. A metodologia aplicada é de abordagem totalmente qualitativa através do método do estudo de caso, no qual foram desenvolvidas duas etapas. A primeira fase caracterizou-se pela identificação do perfil dos bolsistas investigados e pelos saberes docentes constituintes do processo formativo do educador musical e suas naturezas, bem como a(s) maneira(s) pela qual (is) esses saberes são adquiridos na formação inicial do licenciando em música. A segunda fase foi analisar como ocorre a articulação desses saberes docentes a partir da perspectiva do PIBID. O referencial teórico que embasa essa pesquisa é TARDIF (2013), complementados por autores da Educação Musical (Bellochio, 2003a, 2003b; Queiroz, 2014;Del Ben, 2003) e da Educação (Nóvoa, 1995a, 1995b, 2009; Gauthier et al., 1998; Pimenta, 1999), entre outros. A coleta de dados na primeira fase se deu por entrevistas semiestruturadas, onde através da análise de conteúdo (BARDIN, 2011) e do referencial teórico adotado pode-se identificar os saberes docentes que norteiam a formação inicial do educador musical na contemporaneidade e a relação que o PIBID Música/UFRN constrói com esses saberes. Como resultados alcançados com esta pesquisa, apresento o PIBID como um instrumento potencializador na formação de professores a partir de seu crescimento e fortalecimento em todo o Brasil. Na perspectiva do subprojeto de música do PIBID/UFRN, é possível afirmar o PIBID como um articulador na construção e reconstrução dos saberes docentes na formação inicial docente em música. Portanto, espera-se que com este trabalho a formação docente em Música seja repensada e reformulada, consolidando, assim, o espaço da música e do educador musical na escola regular, bem como contribua de forma significativa para o fortalecimento do PIBID Música da UFRN.

13
  • WASHINGTON NOGUEIRA DE ABREU
  • CONCEPÇÕES DOS EDUCADORES MUSICAIS SOBRE O ENSINO DE MÚSICA NA EDUCAÇÃO BÁSICA DA REDE PÚBLICA MUNICIPAL DA CIDADE DO NATAL/RN

  • Líder : JEAN JOUBERT FREITAS MENDES
  • MIEMBROS DE LA BANCA :
  • JEAN JOUBERT FREITAS MENDES
  • AMÉLIA MARTINS DIAS SANTA ROSA
  • LUCENI CAETANO DA SILVA
  • Data: 27-may-2015


  • Resumen Espectáculo
  • A educação musical está presente na educação básica em seus diversos níveis de aprendizagem e nesse trabalho destaca-se o ensino de música no ensino fundamental ministrado por professores especialistas em música. Este trabalho tem como objetivo geral identificar e analisar concepções dos educadores musicais sobre o ensino de música no Ensino Fundamental em escolas públicas Municipais da Cidade do Natal/RN. Os objetivos específicos são: identificar como se constitui o ensino de música nas escolas públicas municipais da cidade do Natal; identificar o perfil dos professores de música que atuam no ensino fundamental da cidade do Natal; as experiências da formação do educador musical com o ensino de música. A fundamentação teórica está embasada em autores que tratam da função da música na escola, saberes docentes, concepções do educador musical na educação básica. A metodologia a ser abordada, a pesquisa qualitativa que esclarecerá problemática da pesquisa: quais as concepções dos educadores musicais sobre o ensino de música no ensino fundamental em escolas públicas Municipais da Cidade do Natal? Para analisar os dados utilizei a análise do discurso. Essa pesquisa foi feita com educadores musicais, licenciatura em música ou educação artística com habilitação em música, da rede municipal de ensino da cidade do Natal/RN. O levantamento dos dados foi construído através dos instrumentos de coleta: questionários e entrevista semiestruturada. Os resultados foram sinalizados a partir da análise do discurso dos educadores dialogando com autores que estudam sobre as concepções do educador musical na educação básica. Eles apontam para uma diversidade de concepções relacionadas ao ensino e aprendizagem de música no ensino fundamental em todas as suas dimensões: planejamento, conteúdos, prática, avaliação e formação humana. Nessa perspectiva, o ensino de música na cidade do Natal está se solidificando por ter educadores musicais que se preocupam com sua formação, reflexão e ação na aprendizagem do educando contextualizado com a realidade de cada escola.

14
  • ERNANDES CANDEIA DO NASCIMENTO JÚNIOR
  • Ensino de música e alteridade: discutindo a relação entre professores e alunos em uma escola especializada

  • Líder : VALERIA LAZARO DE CARVALHO
  • MIEMBROS DE LA BANCA :
  • VALERIA LAZARO DE CARVALHO
  • JEAN JOUBERT FREITAS MENDES
  • CRISTIANE MARIA GALDINO DE ALMEIDA
  • Data: 28-may-2015


  • Resumen Espectáculo
  • Esta pesquisa teve como objetivo geral compreender como se estabelecem as relações entre professores e alunos em uma escola especializada de música investigando como ocorre a relação dialógica caracterizada pela presença da alteridade durante um processo de ensino aprendizagem. Como campo investigativo, escolhemos o Conservatório Pernambucano de Música, situado na cidade de Recife/PE. A abordagem metodológica empregada foi de natureza qualitativa, tendo o estudo de caso escolhido como tipo de pesquisa. Como ferramenta de captação de dados utilizou -se a aplicação de um questionário, e posteriormente fez-se também o uso de entrevistas. Trazemos como referencial teórico, o pensamento da Filosofia do Diálogo apresentada pelo filósofo Martin Buber, onde o diálogo é tido como essencial para a manutenção de uma relação baseada no senso ético da alteridade. Outra base na qual se apoia nosso referencial teórico é a perspectiva da alteridade de acordo com o pensamento de Emanuel Lévinnas, onde o lugar do outro na relação é reconhecido e valorizado garantindo assim a edificação de uma relação dialógica. Refletiremos também sobre a importância histórica do espaço dos conservatórios para a formação musical do indivíduo, abordando as indicações apresentadas por Pereira (2013) sobre Habitus Conservatorial, que é em sua crítica um modelo de ensino repetitivo que reproduz nas salas de aula de hoje as práticas concebidas pelos professores de música no passado. Desta maneira buscaremos encontrar em meio a este Habitus Conservatorial o lugar para a emergência da alteridade e do diálogo entre os sujeitos investigados. Os dados obtidos desta investigação indicam que o diálogo entre professores e alunos se faz uma excelente alternativa para trilhar caminhos que rumem a uma melhor experiência educacional sobre o ensino de música no contexto de um conservatório de música.

15
  • FREDERICO ARANTES NABLE
  • Sept Papillons de Kaija Saariaho: uma análise dos elementos técnico-interpretativos

  • Líder : FABIO SOREN PRESGRAVE
  • MIEMBROS DE LA BANCA :
  • FABIO SOREN PRESGRAVE
  • EZEQUIAS OLIVEIRA LIRA
  • FELIPE JOSE AVELLAR DE AQUINO
  • Data: 12-jun-2015


  • Resumen Espectáculo
  • A peça Sept Papillons de Kaija Saariaho é considerada um obra de destaque na produção atual para violoncelo. O presente trabalho busca contextualizá-la e oferecer reflexões sobre as dificuldades técnicas encontradas em seu estudo, discorrendo também sobre conceitos importantes para a interpretação. Como procedimento metodológico foram estudados autores como MOISALA (2009) e VICTORIO (2015) que dão fundamentação ao entendimento do processo composicional e à análise dos gestos propostos pela compositora. Em um segundo momento foi realizada uma entrevista com Natasha Farny, uma violoncelista reconhecida por sua performance da obra, a qual utilizamos como referência junto à performance da koreana Seung Ri Jung e a gravação do violoncelista Anssi Karttunen, dedicatário da peça. Concomitantemente ao estudo e aquisição do material bibliográfico, a peça foi estudada e apresentada no âmbito do PPGMUS-UFRN. A experiência obtida pelos recitais e pela pesquisa da obra resultou em sugestões para violoncelistas interessados no estudo e na performance da mesma.

16
  • DORA UTERMOHL DE QUEIROZ
  • TÉCNICAS ESTENDIDAS NA OBRA TRAÇADO ÍNTIMO E HESITANTE PARA VIOLONCELO SOLO DE BRUNO ANGELO E SUA UTILIZAÇÃO NA INICIAÇÃO AO VIOLONCELO

  • Líder : FABIO SOREN PRESGRAVE
  • MIEMBROS DE LA BANCA :
  • FABIO SOREN PRESGRAVE
  • EZEQUIAS OLIVEIRA LIRA
  • FELIPE JOSE AVELLAR DE AQUINO
  • Data: 12-jun-2015


  • Resumen Espectáculo
  • Este trabalho aborda os desafios técnicos e interpretativos na obra Traçado Íntimo e Hesitante de Bruno Angelo e a importância de envolver a música contemporânea e as técnicas estendidas na iniciação ao violoncelo, com materiais derivados da peça. O objetivo desta pesquisa é proporcionar aos violoncelistas sugestões para a solução dos problemas apresentados na peça e em obras que utilizem técnicas semelhantes, assim como incentivar a
    utilização de materiais sonoros da música contemporânea na iniciação ao violoncelo.

17
  • MARIA VERONICA FERNANDEZ
  • Técnicas estendidas e aspéctos culturais presentes na Puneña No. 2, Op. 45 para violoncelo solo de Alberto Ginastera

  • Líder : FABIO SOREN PRESGRAVE
  • MIEMBROS DE LA BANCA :
  • FABIO SOREN PRESGRAVE
  • AGOSTINHO JORGE DE LIMA
  • FELIPE JOSE AVELLAR DE AQUINO
  • Data: 12-jun-2015


  • Resumen Espectáculo
  • Esta pesquisa examina os elementos estilísticos (provenientes da música folclórica da Região da Puna) encontrados na Puneña No. 2, Op. 45 para Violoncelo Solo de Alberto Ginastera com o objetivo de embasar violoncelistas interessados no estudo e na performance da mesma. Como procedimento metodológico foram estudados autores como Aretz (2003, 2008) e Aguilar (2007), com o intuito de melhor compreender a música folclórica da Região da Puna e das culturas pré-hispânicas e Suárez Urtubey (1967, 1972, 2003), que discorre sobre a vida e obra do compositor. A partir do levantamento bibliográfico foram expostas ideias e conceitos que auxiliam o intérprete a decodificaraspectos relevantes da obra.

18
  • ALEXANDRE MAGNO ABREU DE GOES
  • O emprego do imalt como solução interpretativo composicional em 3 obras autorais para violão.

  • Líder : ALEXANDRE RECHE E SILVA
  • MIEMBROS DE LA BANCA :
  • ALEXANDRE RECHE E SILVA
  • CRISTIANO SEVERO FIGUEIRÓ
  • ZILMAR RODRIGUES DE SOUZA
  • Data: 05-ago-2015


  • Resumen Espectáculo
  • O trabalho de expressão empreendido pelo intérprete recai, em grande parte, sobre a mão direita do violonista. Conscientes deste fato, mestres do presente e do passado têm deixado suas contribuições para o desenvolvimento da técnica de mão direita. Percebe-se, com exceções, que as propostas pedagógicas e interpretativas, até o momento, têm abordado o ataque às cordas a partir do movimento de flexão dos dedos. Apresenta-se, entretanto, um recurso técnico denominado imalt, que inclui na ação de ataque, o movimento de extensão. Algumas técnicas empregadas em circunstâncias específicas, como o dedillo, a alzapúa, o trêmulo e o rasgueado também utilizam movimentos de extensão no ataque. Elas são postas em perspectiva, junto ao imalt, proporcionando uma visão panorâmica de suas características individuais. O emprego do imalt no repertório tradicional do violão é exemplificado em Villa-Lobos, Ponce e Brower. Três peças autorais foram compostas para esse trabalho: Shravana, Alegoria e Vandana. Técnicas composicionais como a aplicação de contorno melódico e ostinato, foram revisadas e empregadas na elaboração destas composições. Um registro detalhado da trajetória composicional é apresentado. Para tanto, empregou-se o viés analítico do Modelo de acompanhamento do processo Composicional (SILVA 2007). Alguns eventos que têm deixado o imalt em evidência são comunicados, como o lançamento e distribuição do CD Imalt, publicação de partituras e entrevistas. Finalmente são apresentados comentários conclusivos, apontando perspectivas abertas pelo trabalho.

19
  • VICTOR VITORIANO DANTAS
  • ORIGAMI: MEMÓRIAS DE UM PROCESSO COMPOSICIONAL ASSISTIDO POR SOLUÇÕES COMPUTACIONAIS

  • Líder : ALEXANDRE RECHE E SILVA
  • MIEMBROS DE LA BANCA :
  • ALEXANDRE RECHE E SILVA
  • CRISTIANO SEVERO FIGUEIRÓ
  • DANILO CESAR GUANAIS DE OLIVEIRA
  • Data: 05-ago-2015


  • Resumen Espectáculo
  • Este trabalho pretende demonstrar a eficácia do SSCM como ferramenta composicional. Iremos utilizar o sistema no mapeamento das atmosferas entre o origami e a música. Utilizaremos os freewares Pd-Syncker e J-Syncker como ferramentas no auxílio do uso do SSCM e do fazer composicional. Embora as pesquisas sobre o SSCM estejam estabelecidas, no Brasil o assunto ainda é novo. O principal objetivo desse trabalho é relatar o fazer composicional, demonstrando soluções e ferramentas que foram utilizadas para elaborar a composição Origami. O processo composicional descrito aqui utilizou o modelo de acompanhamento composicional (SILVA, 2007). Teremos, entre os resultados principais, uma composição autoral para contrabaixo, tuba e piano. Com esse relato apresentamos nosso fazer composicional e demonstramos possíveis soluções de uso do SSCM, bem como do fazer composicional.

20
  • FERNANDA ROSA MACHADO
  • ABORDAGENS DE ESTUDO E PERFORMANCE NA OBRA ELEGÍA DE EDSON ZAMPRONHA PARA VIOLONCELO E ELETROACÚSTICA MISTA

  • Líder : CLEBER DA SILVEIRA CAMPOS
  • MIEMBROS DE LA BANCA :
  • CLEBER DA SILVEIRA CAMPOS
  • IRACEMA MARIA DE ANDRADE ALMEIDA
  • MARCUS ANDRE VARELA VASCONCELOS
  • Data: 30-nov-2015


  • Resumen Espectáculo
  • O presente artigo irá abordar aspectos técnicos-interpretativos no estudo e performance da obra Elegia (2003-2009) de Edson Zampronha, para violoncelo e eletrônicos. Através de estratégias de estudo e performance a autora propõe orientar futuros intérpretes, a partir de suas experiências pessoais relatando seu processo de preparação desta obra. A fundamentação teórica está baseada em Andrade (2010) e Zampronha (2015), além de referenciais de demais autores.

21
  • FERNANDO BUENO MENINO
  • INTERPRETATIVE POSSIBILITIES INVOLVING PERCUSSION INSTRUMENTS AND TECHNOLOGICAL RESOURCES IN THE WORK CLAPPING MUSIC (1972), BY STEVE REICH.

  • Líder : CLEBER DA SILVEIRA CAMPOS
  • MIEMBROS DE LA BANCA :
  • CLEBER DA SILVEIRA CAMPOS
  • MARCUS ANDRE VARELA VASCONCELOS
  • CESAR TRALDI
  • Data: 03-dic-2015


  • Resumen Espectáculo
  • This study aims to identify, according to the literature and discography, new performance possibilities for minimalist works of American composer Steve Reich, written between 1972 and 1983. More specifically, the article presents a study focused on the adaptation of some of its compositions which were not originally written to be executed by a single performer (solo format). The methodology consists of analyzing this repertoire and their compositional techniques. Posteriorly, new versions were extracted with experimental character, focused on the interaction between percussion instruments and technological resources. Such possibilities were implemented through experimentation workshops. As a result, it generated a new possibility of interpretation for the work Clapping Music (1972). Thus, the work reported here is to present the considerations related to performance, the processes used to implement, and the results obtained during the workshops. It was concluded that such implementations, combined with interaction with technological resources, provided the interpreter further deepening of technical/interpretative aspect, as well as the possibilities of interaction between percussion instruments and electronic devices.

22
  • JOSE LEANDRO SILVA ROCHA
  •  

    Aprendizagem criativa na aula de piano em grupo

  • Líder : AMÉLIA MARTINS DIAS SANTA ROSA
  • MIEMBROS DE LA BANCA :
  • AMÉLIA MARTINS DIAS SANTA ROSA
  • BETANIA MARIA FRANKLIN DE MELO
  • VIVIANE BEINEKE HANTSCHKE
  • Data: 07-dic-2015


  • Resumen Espectáculo
  •  O foco central dessa dissertação é investigar a aprendizagem criativa na aula de piano em grupo. Para tanto, o referencial teórico adotado foi norteado por dois eixos principais: (i) a criatividade na área da Educação Musical e (ii) o ensino e aprendizagem de piano. Além disso, utilizamos como procedimento metodológico uma pesquisa-ação com discentes adultos das disciplinas “Prática de Instrumento Harmônico I e I”, do Curso de Licenciatura em Música da UFRN. Essa pesquisa-ação foi estruturada em quatro fases: 1) a identificação das situações iniciais, problematização do tema criatividade na aula de piano em grupo, considerando o contexto de um curso de formação docente em música; 2) a projetação das ações, a definição dos objetivos e o planejamento das ações, tais como a elaboração de procedimentos pedagógico-musicais criativos e materiais, o planejamento de aulas, a organização dos instrumentos de coleta e análise de dados; 3) a realização das ações planejadas, a efetivação das aulas, promoção de um recital público, coleta de dados por meio de diário de campo e aplicação de entrevistas com alunos participantes da pesquisa; 4) a avaliação dos resultados, transcrição, organização e análise dos dados coletados por meio de observações participantes, entrevistas e também por meio do levantamento teórico obtido na revisão bibliográfica, e por fim, a elaboração do texto de dissertação. Tendo em vista os resultados alcançados, concluímos que o ciclo da aprendizagem criativa em música, constituído por atividades tais como compor, apresentar e criticar música (BEINEKE, 2009; 2013; 2015) se constituiu como um fenômeno significativo para a promoção da aprendizagem criativa na aula de piano em grupo. Mas para que isso pudesse ocorrer foi decisivo o planejamento, a aplicação e a avaliação dos procedimentos pedagógico-musicais criativos adotados e também ouvir os alunos, suas perspectivas, e por meio do processo de trocas e construções estabelecidos, possibilitar um elo criativo e formativo mais abrangente, não somente para os alunos participantes como também para nós, como ator envolvido e transformado nesse processo educativo.

23
  • FLAVIA MAIARA LIMA FAGUNDES
  • A MOTIVAÇÃO NO TEATRO MUSICAL SOB A PERSPECTIVA DA TEORIA DA AUTODETERMINAÇÃO 

  • Líder : AMÉLIA MARTINS DIAS SANTA ROSA
  • MIEMBROS DE LA BANCA :
  • AMÉLIA MARTINS DIAS SANTA ROSA
  • Ana Francisca Schneider Grings 
  • GIANN MENDES RIBEIRO
  • VALERIA LAZARO DE CARVALHO
  • Data: 08-dic-2015


  • Resumen Espectáculo
  • Este estudo teve por objetivo geral investigar os processos motivacionais dos participantes de um grupo de Teatro Musical sob a perspectiva da Teoria da Autodeterminação – TAD (RYAN; DECI, 2004; REEVE, 2006). Os pesquisadores Edward Deci e Richard Ryan (1985, 2000, 2008a, 2008b) afirmam que todos os indivíduos possuem uma propensão inclinada à autorregulação. Por esse motivo, a TAD analisa as razões pelas quais os indivíduos podem se envolver ou evitar participar de determinadas atividades, e adota um conceito de internalização que é representada por um continuum de autodeterminação, evidenciando os diferentes tipos de motivação previstos na miniteoria da integração organísmica. Os tipos de motivação podem ser identificados de acordo com o nível de autodeterminação dos indivíduos, através da satisfação de três necessidades psicológicas básicas: a necessidade de autonomia, a necessidade de competência e a necessidade de pertencimento. Esta pesquisa tem uma abordagem qualitativa e escolheu-se o estudo de entrevistas como estratégia de investigação, utilizando a entrevista semiestruturada como principal técnica de coleta de dados. A pesquisa foi realizada com 12 participantes de um grupo de Teatro Musical de uma universidade do Estado Rio Grande do Norte, referida na pesquisa com o pseudônimo de Companhia Musicale. Os resultados apontam que a principal motivação dos alunos não era a intrínseca. Portanto, a motivação foi considerada complexa e multifacetada, pois os participantes passaram por internalização do comportamento dependendo das condições situacionais. As complexidades nas interações puderam promover a satisfação das necessidades psicológicas básicas dos integrantes que apresentaram maior internalização dos comportamentos autodeterminados. Assim, os integrantes com maior desempenho nas tarefas foram os que internalizaram a importância e o valor das atividades. O estudo busca contribuir para futuras pesquisas e colaborar no sentido de perceber a importância de investigar e promover a motivação de alunos, professores, diretores, regentes, coordenadores e participantes de grupos artísticos em geral, trazendo esclarecimentos que ressaltam as contribuições e a importância que a motivação tem sobre o ensino, a aprendizagem musical e o envolvimento de participantes de grupos artísticos em diferentes atividades.

24
  • NATALIA CRISTINA PINHEIRO
  • CLASSIFICAÇÃO DAS TÉCNICAS ESTENDIDAS NO CONTRABAIXO ACÚSTICO

  • Líder : DURVAL DA NOBREGA CESETTI
  • MIEMBROS DE LA BANCA :
  • DURVAL DA NOBREGA CESETTI
  • AGOSTINHO JORGE DE LIMA
  • SONIA RAY
  • Data: 15-dic-2015


  • Resumen Espectáculo
  • Este trabalho consiste em identificar e classificar as técnicas estendidas no contrabaixo acústico. O principal objetivo dessa categorização é proporcionar ao contrabaixista uma melhor compreensão e prática dessas técnicas. Para isso, realizou-se uma revisão bibliográfica, pois foi observado que, no meio acadêmico, este tema é novo e seu entendimento para alguns músicos ainda é complexo e nebuloso. No intuito de auxiliar nas dificuldades do contrabaixista, as técnicas estendidas foram divididas em duas partes, propondo abordagens diferentes. A primeira traz a experimentação e exploração de técnicas convencionais e não convencionais de outros instrumentos no contrabaixo acústico. A segunda busca identificar e classificar as técnicas estendidas, demostrando trechos de composições do repertório solista do instrumento. Nelas, ainda são referenciados autores e suas contribuições para a prática instrumental dessas técnicas. Nas duas categorias de classificação, foram apresentados procedimentos a serem adotados pelo contrabaixista para a execução das referidas técnicas, assim como sugestões para seu estudo. Dentre os resultados principais, verificou-se que, por meio da proposta de classificação destas técnicas, podem-se incorporar novos recursos ao universo técnico e timbrístico deste instrumento. Por fim, constatou-se a criação de uma composição realizada por meio da interação entre compositor e intérprete, contendo novas técnicas estendidas ou técnicas estendidas não encontradas no repertório contemporâneo solista do instrumento.

25
  • NICOLÁS GERVASIO PANATTERI
  • A MÚSICA PARA CLARINETE E PIANO DE CARLOS GUASTAVINO

  • Líder : DURVAL DA NOBREGA CESETTI
  • MIEMBROS DE LA BANCA :
  • DURVAL DA NOBREGA CESETTI
  • ANDRE LUIZ MUNIZ OLIVEIRA
  • JOEL LUIS DA SILVA BARBOSA
  • Data: 15-dic-2015


  • Resumen Espectáculo
  • Carlos Guastavino é um dos mais destacados compositores argentinos do século XX, dono de um particular estilo composicional que conseguiu encurtar a distância existente entre a música erudita e folclórica na Argentina. Este artigo aborda as peças para clarinete e piano do compositor, Tonada y Cueca e a Sonata para clarinete y piano, com o objetivo de informar possíveis intérpretes sobre questões estilísticas próprias de Guastavino, assim como influências da música folclórica argentina. Este artigo também procura fornecer ferramentas ao estudo e à performance destas obras.

26
  • ISRAEL VICTOR LOPES DA SILVA
  • ASPECTOS TÉCNICO-INTERPRETATIVOS NO QUARTETO DE CORDAS Nº 2 DE GUERRA-PEIXE

  • Líder : RUCKER BEZERRA DE QUEIROZ
  • MIEMBROS DE LA BANCA :
  • RUCKER BEZERRA DE QUEIROZ
  • ANDRE LUIZ MUNIZ OLIVEIRA
  • NELSON CAVALCANTI DE ALMEIDA
  • Data: 16-dic-2015


  • Resumen Espectáculo
  • Aspectos técnico-interpretativos no Quarteto de Cordas Nº 2 de Guerra-Peixe vai abordar essa obra de um compositor, considerado um dos grandes expoentes da música brasileira do século XX, que desenvolveu várias vertentes em sua carreira, como musicólogo, intérprete, compositor, arranjador de rádio e cinema, entre outras. Nesse trabalho, procuraremos visualizar na obra em questão seus estilos composicionais, apontando fontes que ele tenha bebido e oferecendo os elementos que subsidiarão escolhas técnico-interpretativas para os futuros intérpretes dessa obra. Com esse fim, foi realizada umaanálise fonográfica comparativa entre gravações de importantes quartetos brasileiros, entrevistas com músicos de relevância no cenário nacional e experimentações em ensaios e recitais, sempre fazendo uma ponte do Quartetocom outras obras do compositor. Concomitantemente, foi realizada análise musicográfica entre edições manuscritas pelo próprio compositor, culminando com uma própria edição revista.

27
  • JOSÉ CARLOS DOS SANTOS
  • SUGESTÕES PERFORMÁTICAS DO BILHETE DE UM JOGRAL PARA VIOLA SOZINHA E DAS TRÊS PEÇAS PARA VIOLA E PIANO DE CÉSAR GUERRA PEIXE

  • Líder : ANDRE LUIZ MUNIZ OLIVEIRA
  • MIEMBROS DE LA BANCA :
  • ANDRE LUIZ MUNIZ OLIVEIRA
  • NELSON CAVALCANTI DE ALMEIDA
  • RUCKER BEZERRA DE QUEIROZ
  • Data: 16-dic-2015


  • Resumen Espectáculo
  • Este trabalho tem como objetivo principal realizar um estudo interpretativo da obra para viola e piano intitulada Três Peças, e da obra para viola solo intitulada Bilhete de um Jogral, do compositor brasileiro César Guerra Peixe. Esse estudo será dividido em três partes: A primeira trará um breve histórico sobre o compositor com enfoque em sua passagem por Pernambuco no final da década de 1940 e início da década de 1950; a segunda mostrará a utilização de elementos do regionalismo musical pernambucano utilizados pelo compositor nas peças citadas; a terceira apresentará um conjunto de sugestões interpretativas fundamentadas: na análise dos elementos musicais regionais identificados nessas obras; nos rudimentos técnicos utilizados na escrita para viola alusivos as arcadas, dinâmicas, dedilhados, articulações, fraseados; e nas experiências vivenciadas pelo autor desta pesquisa como intérprete dessas obras.

28
  • VIRGINIA CAVALCANTI SANTOS
  • Uma descrição sonora contemporânea do imagético tradicional Armorial como subsídio para abordagens interpretativas do ciclo de canções “Visagem” de Nelson Almeida

  • Líder : RUCKER BEZERRA DE QUEIROZ
  • MIEMBROS DE LA BANCA :
  • RUCKER BEZERRA DE QUEIROZ
  • ANDRE LUIZ MUNIZ OLIVEIRA
  • NELSON CAVALCANTI DE ALMEIDA
  • Data: 16-dic-2015


  • Resumen Espectáculo
  • Esta dissertação sugere ambientes sonoros a partir da proposta de imagens configuradas segundo a descrição do texto “A Visagem da Moça Caetana” de Ariano Suassuna, a fim de gerar possibilidades sonoras individuais que auxiliem os instrumentistas na interpretação da peça. O ciclo composto em 1996 – para canto, viola, violoncelo e clarone/clarineta – é constituído por três canções sem título. Seu texto foi extraído do “Folheto XLIV”, do Romance d’A Pedra do Reino e o príncipe do sangue do vai-e-volta, e descreve uma sentença de morte ilustrada por símbolos do imaginário Armorial, usando neologismos e fonética peculiar do Sertão nordestino. Além da análise das dificuldades técnicas de execução, este trabalho informa os intérpretes quanto a timbres e texturas sonoras utilizadas por Nelson Almeida para retratar o tradicional através da linguagem musical contemporânea. As metáforas e as transgressões do racional no texto de Suassuna foram exploradas para esboçar três composições de imagens que conduzam os intérpretes à descrição sonora dos objetos inanimados e dos afetos a que se refere a poesia, extrapolando as indicações técnico-interpretativas limitadas pela notação musical. A pesquisa se valeu da própria partitura, da literatura existente sobre o tema, de discussões com os instrumentistas que já executaram a obra, de entrevistas com o compositor e de depoimentos de outros compositores inseridos nesse contexto. Para ilustrar a teoria, as três imagens gravadas em xilogravura são disponibilizadas como na literatura de cordel.

29
  • GISLENE DE ARAÚJO ALVES
  • A CONSTRUÇÃO DA IDENTIDADE PROFISSIONAL DE LICENCIANDOS EM MÚSICA DA UFRN: um estudo de narrativas autobiográficas

  • Líder : VALERIA LAZARO DE CARVALHO
  • MIEMBROS DE LA BANCA :
  • CLAUDIA RIBEIRO BELLOCHIO
  • MARIA DA CONCEICAO FERRER BOTELHO SGADARI PASSEGGI
  • VALERIA LAZARO DE CARVALHO
  • Data: 17-dic-2015


  • Resumen Espectáculo
  • Esta dissertação teve por objetivo compreender a construção da identidade profissional dos licenciandos em música da UFRN, através do estudo das fontes autobiográficas destes sujeitos, verificando as suas dimensões formativas e as suas (re)significações constituídas ao longo de histórias de vida. Para uma melhor organização das discussões propostas para esta pesquisa, a estruturação das ideias deu-se em seis capítulos, acrescida das considerações finais: no primeiro capítulo, exprimi a minha história de vida e os meus percursos formativos na carreira musical; no segundo, analisei o panorama histórico sobre os percurso da Pesquisa (Auto)biográfica como abordagem de investigação e formação (JOSSO,2010; DOMINICÉ, 1992; NÒVOA, 2010; SOUZA, 2007; PASSEGGI, 2010 e DELORY-MOMBERGER, 2012); no terceiro, apresento algumas reflexões e discussões sobre a construção da identidade, além dos conceitos e percepções sobre a formação e as representações desta construção profissional. (DUBAR, 19997, 2005;); no quarto, discorro sobre o percurso histórico a respeito da formação de professores no Brasil e na Educação Musical como nossa revisão de literatura; no quinto, descrevo os caminhos e os recursos utilizados para concretização desta pesquisa; e, por fim, no sexto capítulo, apresento as histórias de vida dos estudantes de licenciatura do Curso de Música e as suas dimensões formativas e musicais. Em relação aos objetivos específicos desta pesquisa, todos estavam direcionados a analisar as fontes autobiográficas escritas dos licenciandos sobre a própria trajetória formativa, desde as primeiras experiências musicais, como a escolha do curso e a formação profissional dentro da licenciatura, bem como as atividades práticas formativas nos contextos informais e formais. Dessa forma, através da narrativa das histórias de vida dos estudantes universitários em Música, as dimensões formativas e as principais relações socioculturais que se tornaram processos contínuos de formação e de construção da identidade profissional são possíveis de serem conhecidas e trilhadas. Por meio desta investigação, é possível a compreensão de como os futuros professores de música passam a (re)significarem suas trajetórias de vida pessoal e profissional, trazendo à tona suas indagações, certezas e incertezas das experiências formativo-musicais dentro e fora do contexto acadêmico. Os resultados deste estudo apontaram que os ensaios autobiográficos possibilitam compreender os caminhos e as relações sociais nas diversas dimensões formativas identificadas, além de que também fez-nos perceber que os contextos familiares e os primeiros contatos sociais musicais, em contextos informais, possibilitam aos licenciandos, uma identificação com a possível carreira docente em música, assim como as principais motivações para essa escolha. Conclui-se, assim, que as experiências e vivências musicais ao longo da vida favorecem a construção da identidade profissional e que, no decorrer da formação, tais experiências tornam meios de (re)sign

2014
Disertaciones
1
  • CHRISTINA MARIE BOGIAGES
  • Explorando a Execução de Técnicas Estendidas no Oboé Encontradas em Quatro Peças Contemporâneas

  • Líder : CLEBER DA SILVEIRA CAMPOS
  • MIEMBROS DE LA BANCA :
  • CLEBER DA SILVEIRA CAMPOS
  • DURVAL DA NOBREGA CESETTI
  • JONATAS MANZOLLI
  • Data: 04-dic-2014


  • Resumen Espectáculo
  • O objetivo deste trabalho é auxiliar os oboístas interessados em explorar os “novos sons” e a mecânica funcional das “técnicas estendidas do oboé”. Atualmente, essas técnicas não são mais consideradas novas, contudo o termo “novos sons” remete-se à obra fundamental sobre “técnicas estendidas” de Bruno Bartolozzi, New Sounds for Woodwinds (1967). No decorrer do trabalho, são discutidas a relação entre o instrumento (o oboé) e as “técnicas estendidas”, e duas definições possíveis de “técnicas estendidas”, oferecidas por Luk Vaes (2009) e Gardner Read (1993). São abordados a forma e o motivo pelos quais alguns compositores têm utilizado “técnicas estendidas” em suas obras, incluindo uma breve discussão sobre “técnicas estendidas” na composição em tempo real (improvisação). Quatro peças são analisadas: I Know This Room So Well – Lisa Bielawa (2007-9); Four Pieces for Oboe and Piano – Ernst Krenek (1966); In Freundschaft – Karlheinz Stockhausen (1978); Atem – Mauricio Kagel (1969-70) e são investigadas as dificuldades e soluções associadas a cada “técnica estendida” encontrada nas peças. As seguintes fontes sobre “técnicas estendidas” foram utilizadas como base de pesquisa: Heinz Holliger, “Pro Musica Nova” (1972); Nora Post, “Monophonic sound resources for the oboe: Part I - Timbre”, “Part II- Pitch and other techniques” e “Multiphonics for the oboe” (1982); Gardner Read, “Compendium of Modern Instrumental Techniques” (1993); Peter Veale & Claus-Steffen Mahnkopf, “The Techniques of Oboe Playing” (1994); e Libby Van Cleve, “Oboe Unbound: Contemporary Techniques” (2004). O intuito deste trabalho é facilitar a aprendizagem dos oboístas interessados em estudar essas técnicas. Durante o processo de estudo e aprendizado, espera-se que o aluno explore não só o aspeto mecânico das técnicas, mas também as perguntas subsequentes sobre a estética do som, o conceito de gesto como elemento visual e sonoro adicional, e os processos de co-criação e criação em “tempo real”. 

2
  • JOSÉ RENATO ACCIOLY BEZERRA
  • GRANDE MISSA NORDESTINA DE CLÓVIS PEREIRA:ESTUDO PARA INTERPRETAÇÃO

  • Líder : ANDRE LUIZ MUNIZ OLIVEIRA
  • MIEMBROS DE LA BANCA :
  • ANDRE LUIZ MUNIZ OLIVEIRA
  • FABIO SOREN PRESGRAVE
  • FLÁVIO GOMES TENORIO DE MEDEIROS
  • Data: 08-dic-2014


  • Resumen Espectáculo
  • Esse projeto tem como objetivo realizar um estudo dos elementos técnicos, estéticos e históricos, que possa contribuir para interpretação da GRANDE MISSA NORDESTINA, do compositor Clóvis Pereira. Essa missa foi composta em 1978 e se destaca pela sua consistência artísticae por ter sido a primeira obra para coro, solistas e orquestra com inspiração no Movimento Armorial, do qual o autor participou ativamente.

3
  • KALYNE TELES VALENTE
  • ABORDAGENS DE ESTUDO E PERFORMANCE DA OBRA SEGUNDO RESPONSÓRIO AO VENTO PARA VIOLONCELO SOLO DE SILVIO FERRAZ

  • Líder : FABIO SOREN PRESGRAVE
  • MIEMBROS DE LA BANCA :
  • FABIO SOREN PRESGRAVE
  • SILVIO FERRAZ MELLO FILHO
  • JOSÉ HENRIQUE PADOVANI VELLOSO
  • Data: 09-dic-2014


  • Resumen Espectáculo
  • Com uma produção bastante relevante voltada ao repertório do violoncelo, Silvio Ferraz compôs, em 2012, a peça Segundo Responsório para violoncelo solista e grupo de câmara que, em seguida originou o Responsório ao Vento, versão para violoncelo solo. A peça caracteriza-se pela ideia de continuidade constante do som que se transforma através de diferentes texturas, timbres, dinâmicas e gestos musicais fazendo uso de técnicas estendidas, incluindo grandes seções em sul tasto tocando em três cordas simultaneamente, trinados de harmônicos naturais, trinados com harmônicos naturais abafados, col legno batuto, diferentes tipos de glissando e sons simultâneos de notas harmônicas e não harmônicas corroboram para uma riqueza de sons e camadas que formam essas texturas. O presente artigo investiga a relação do compositor com o violoncelo e contextualiza o Responsório ao Vento dentro da produção de Silvio Ferraz para o instrumento, analisando as influências do compositor e abordando aspectos técnicos e interpretativos da peça a partir de experiências de palco.

4
  • AGAMENON CLEMENTE DE MORAIS JUNIOR
  • Elaboração de material pré-composicional através de expansão de técnicas do Sistema Schillinger de Composição Musical 

  • Líder : ALEXANDRE RECHE E SILVA
  • MIEMBROS DE LA BANCA :
  • ADOLFO MAIA JUNIOR
  • ALEXANDRE RECHE E SILVA
  • SILVIO FERRAZ MELLO FILHO
  • Data: 09-dic-2014


  • Resumen Espectáculo
  • O objetivo deste trabalho é investigar possibilidades de extensões de procedimentos composicionais, tendo por base os recursos disponibilizados pelo Sistema Schillinger de Composição Musical - SSCM, sugerindo extensões aos recursos composicionais disponibilizados pelo Sistema. Localiza historicamente e realiza uma revisão de literatura sobre o assunto. Apresenta o estado da arte do trabalho realizado pela equipe da qual o autor deste trabalho faz parte e apresenta os resultados obtidos, com vistas tanto à aprendizagem quanto à revisão do processo composicional.

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