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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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).

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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).

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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).

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.

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.

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.

"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.

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.

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

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.

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.

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.

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.

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.

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

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

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.

A presente pesquisa investiga autilização da Pedagogia de Projetos como metodologia para o 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 e quais as suas implicações para o 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 e professores de música que declaravam trabalhar com a 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.

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

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.

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.

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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.

          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.

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. 

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.

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. 

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.

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.

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.

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.

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.

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.

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.

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.

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.

 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.

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.

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.

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.

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”. 

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.