This work proposes the elaboration of an edition of the score of the work Variacoes Romanticas by the composer Oriano de Almeida using the methodology of critical edition.The work is based on two sources of information left by the composer himself, which are the manuscript of the work and its recording. The manuscript left by Oriano looks like a draft of the work, due to the problems contained in it and the difficulty of reading the piece. From this manuscript our objective is to prepare an edition that facilitates the understanding of the interpreter or musical scholar.

This dissertation proposes a technical approach for the electric guitar based on the adaptation of violin repertoire. Acknowledging the violin’s pedagogical tradition and established body of practice, the research argues that performing this repertoire inspires technical and interpretative solutions that expand the guitarist’s performance possibilities. Although references to the violin already exist in the practices of virtuoso guitarists, these initiatives remain fragmented and lack formal academic treatment.

The methodology adopts an analytic autoethnographic character (T. S. López and D. J. L. Cano), conducting the technical analysis of the works and proposing technical solutions derived from the author's experience. The literature review points to the absence of studies that systematically bridge the technical transposition between the two instruments (violin and electric guitar) in the field of execution.

The study uses Antonio Bazzini’s piece La Ronde des Lutins as a case study. The analysis demonstrates how elements of high technical complexity in violin playing—such as artificial harmonics, double harmonics, and fast phrases in the upper register—demand adaptations that require the guitarist to develop very advanced techniques, such as having to execute artificial harmonics to play diatonic phrases and arpeggios in the high register, for example.

Subsequently, practical exercises derived from canonical passages are outlined, compiled in an Exercise Notebook (appendix). The work contributes to the proposal of a coherent didactic model and suggests future lines of research, such as instrumented biomechanical studies (EMG and motion capture), aiming to deepen the understanding of contemporary guitar technique.

This research investigates the pedagogical contributions of the work Sete Poemas for solo piano by the brazilian composer Rodrigo Lima in the training of a pianist. This work seeks to highlight the author's interpretative process in preparing her first master's recital, identifying the performance elements worked on and discussing, primarily, its didactic potential in dialogue with the following authors: Iazzeta (1997), Gouveia (2010), Godøy and Leman (2010), Milani (2016), among others. The research focused on identifying four general aspects present in the work, which were: 1) use of body and gesture; 2) timbre and rhythm; 3) specificities of musical notation; and 4) intertextual elements. This work contributed to a better understanding of the work, mainly developing active listening and a practical understanding of concepts such as gesture, the timbral potential of the piano, variety of rhythms, other forms of musical notation, and the relationship of music with other forms of artistic expression through intertextuality. Given the performative demands intended in this set of seven poems, the focus on technical-interpretative development brought new possibilities and reflections regarding creative musical practice in the process of constructing contemporary music performance.

This article examines a set of six songs by Antônio Madureira, originally composed for voice and guitar and later adapted for voice and piano, situating the work within the context of the Armorial Movement and the tradition of Brazilian art song. The study aims to analyze the aesthetic and musical elements that characterize these songs, particularly the incorporation of elements from Northeastern Brazilian traditional music in their melodic, harmonic, and rhythmic structures. It also seeks to examine the relationship between the work and the aesthetic principles of the Armorial Movement, as well as its contribution to the expansion of the Brazilian chamber vocal repertoire. The research adopts a qualitative approach grounded in artistic research, in which interpretative practice constitutes a central mode of knowledge production. The methodology combines musicological analysis of the scores, a review of the literature on the Armorial Movement and Brazilian art song, and the consideration of recordings and interviews with the composer. The analytical perspective is informed by the framework proposed by Carol Kimball for the study of art song, emphasizing the relationship between poetry and music. The results indicate that Madureira’s songs embody Armorial principles through the integration of modality, characteristic Northeastern rhythmic patterns, and an expressive treatment of the poetic text, reaffirming Brazilian art song as a significant space for the expression of national cultural identity.

This dissertation seeks to analyze and problematize the use of harmonics as a pedagogical resource and as a strategy to facilitate performance in the upper register of the transverse flute – an instrument whose technique is directly related to its own harmonic series. Throughout this process, the investigation also aims to systematize practices and approaches employed in different contexts, contributing to an understanding that remains in continuous development regarding their application in both educational and performative settings. The research further includes the practical application of these concepts through an analysis of Fantaisie Brillante sur des thèmes de Carmen by François Borne, in which several excerpts are examined to demonstrate how harmonics can serve as practical solutions for executing rapid and technically demanding passages written in the flute’s upper register. The methodology encompasses practical analyses derived from two data-collection procedures: objective questionnaires administered to flutists, and interviews conducted with ten teachers from different generations and regions of Brazil, forming a body of data that contributes to the proposed reflection. The results indicate that the incorporation of harmonics not only facilitates technical execution but may also function as a broadly transferable resource to any work presenting similar technical-performative challenges in the flute’s upper register. The study suggests that the mastery of harmonics may contribute to the enhancement of flute performance, particularly regarding technical refinement and the expansion of interpretative strategies. The findings also point to the possibility of systematizing this resource in pedagogical materials and employing it in a variety of performance contexts, indicating that harmonics may progressively integrate the pedagogical organization of advanced study programs.

This dissertation investigates the musical learning processes of guitarists from electronic forró bands

in Rio Grande do Norte (RN) during the 1990s, considering their training in non-institutional teaching

and learning environments. The research seeks to understand how these musicians developed their

skills, how musical transmission occurred among them, and the impact of the guitar on shaping the

sonic identity of forró eletrônico. The study adopts a retrospective ethnomusicological approach,

combining semi-structured interviews with guitarists, producers, and musicians active during the

period, along with the analysis of sound and audiovisual documents. The methodology includes the

collection of audio recordings, videos, phonographic records, and oral narratives, allowing for a

reconstruction of the musical scene of the time. The results indicate a learning process based on

playing by ear, collective practice, and the adaptation of techniques from genres such as disco music,

lambada and rock to forró eletrônico. Additionally, musicians developed specific nomenclatures for

the rhythmic patterns of the guitar, such as "Calanguetu," "Tina Charles," and "Pica-paus," which we

term “Verbal Cipher”, essential for communication and arrangement execution. This investigation

contributes to the field of music education by documenting and analyzing the practices of popular

musicians from Rio Grande do Norte (RN), expanding knowledge about musical transmission in

electronic forró within this context, and fostering reflections on its incorporation into the formal

teaching of the electric guitar.

This research probeses a teaching-leating approach fosused on the integration of the cello inta Rasqueado Cuiabano, which is one of the cultural symbols of the state of Mato Grosso. The rescarch acose from the desite to explore new possibilities for expression and teaching, of the cello, bringing the instrument gloser to Brazilian regional music and expanding its scope. Of a qualitative and applied nature, the rescarcher was based on the authoris artistic and pedagogical practice, starting with a bibliographic review on the bistorical and cultural context of Rasqueado Cuiabano, as well as on the collective teaching of the cello to different technical lexels. The actixities involved lessons, ichearsals, and recordings in which the participants sxplored the chehmic and expressive language of Rasqueado Cuiabano through the cello. As a result, an Ebook was dexeloped with sheet music, video lessons, and audio recordings that integrate cello sounds with the txpical instruments of Cuiaba. This work airs to soutribute to the expansion of the cello's ducational musical reperteire and to sucowage intercultural dialogue and the appreciation of Brazilian musical expression in sellective sducation.

This work investigates the recovery, performance analysis, and dissemination of Brazilian chamber songs written by women in the 20th and 21st centuries, articulating documentary records with practical stage performance. Given the historical asymmetry of representation and the dispersion of these works in both concert settings and classrooms, this study adopts a qualitative approach grounded in artistic research, positioning the interpreter-researcher as an agent of knowledge generation through praxis. The corpus was defined through data collection in official archives and private collections, as well as direct communication with contemporary composers. For the technical and aesthetic analysis, a set of six Brazilian songs presenting complementary interpretative challenges was selected: O Pipoqueiro (Dinorá de Carvalho), Oração por um amor perdido (Hilda Reis), Vento Malvado (Neusa França), Sapo Cururu (Ilza Nogueira), Desencontro (Laís Lorrany), and Canção da Saudade (Kadija Teles). The analytical framework is anchored in Achille Picchi’s methodology, structured around the axes of Vocality, Pianism, and Text-Music. As a result, the discussions were systematized into a Performance Guide aimed at guiding singers and pianists through the technical and interpretative preparation of this repertoire. The processes culminated in Master’s recitals that integrated the preservation of historical scores with the premiere of unpublished works, demonstrating the role of performance in the renewal and sustainability of an inclusive national chamber repertoire.

Based on an exchange program at the Sibelius Academy's global music program, this research aimed to capture didactic approaches to music education, focusing on the rhythmic element, from a decolonial perspective. The chosen methodology was qualitative research (Gil, 2008; González, 2020; Deslandes et al; 2002; Godoy, 1995; Bresler, 2007) using action research approaches (Thiollent, 1986; Tripp, 2005; Franco, 2005). Their rationale concerns contributing to the landscape of teacher training for higher education in Brazil from a decolonial perspective, whereby, through a hybrid training (Zeichner, 2010; Idrus, 2015; Veles, 2023; Whitchurch, 2008), they will be able to work in different teaching situations (Queiroz; Marinho, 2005; Del Ben, 2003). Their theoretical framework permeates the concept of hybridity and Homi K. Bhabha's (1989) theory of the third space, along with Aníbal Quijano's (2019) decolonial conceptions, with the perspective that Latin America is embedded in a new model of global power. This is based on a literature review focused on the contributions of these two schools of thought to the field of music. This study approached the concept of "emancipatory practices" as the core of a study group based on Eduardo Gramani's (2013) 2-1 series, which allowed for an attempt to frame the author's thinking within decolonial conceptions. As a result, the research revealed that, although decolonial studies in the field of music are already present, research involving rhythmic aspects is still under construction (Bezerra, 2021). Therefore, in addition to different activities, this study makes accessible two rhythmic games originating from East Africa in order to contribute to this scenario. It reflects on a possible characterization of a rhythmic musical formation that opposes Eurocentric conceptions. Concomitantly, it raises a question regarding a possible musical formation focused on body percussion, which may prove promising for the advancement of the decolonial perspective in music education in Brazil.

The exploration of new sonorities and technical refinement has been a constant pursuit throughout the history of music; in the saxophone, this reality is reflected in a significant expansion during the 20th and 21st centuries. Although the repertoire has advanced, there is a noticeable lack of pedagogical materials – especially in Portuguese – that systematize the “how-to” in a contextualized manner, taking into account contemporary Brazilian repertoire; in general, pedagogy tends to be unilateral and merely descriptive. The aim of this dissertation is to propose systematized strategies as facilitating processes (FPs) for the performance of extended techniques (ETs) found in Ignis ictum (2023) by Marcílio Onofre. These facilitating processes consist of decoding each technique into gradual steps, prioritizing the metacognitive development and self-perception of the performer for the conscious control of the techniques employed. The research addresses eight techniques: flutter tonguing, multiphonics, microtones, air sound, slap tongue, double staccato, circular breathing, and altissimo. Methodologically, based on a bibliographic survey structured through the use of search expressions, Boolean operators, and specialized reference management software, this study adopts the perspective of the researcher-performer and the concept of participatory musical interpretation, grounded in direct mediation and collaboration between composer and performer to render the technical demands of the work both feasible and idiomatic. As an outcome of this research, a practical guide is presented, aiming to transcend mere technical description by systematizing the “how-to” through facilitating processes presented in an accessible and progressive manner for the contemporary saxophonist.

This research investigates the teaching of the French horn in wind bands from the Seridó region of Rio Grande do Norte, aiming to understand how this pedagogical process occurs and how methodological proposals may contribute to its improvement, considering the historical, cultural, and structural specificities of this context. The study is based on the understanding that wind bands play an important role in the musical education of instrumentalists, especially in regions where access to formal music education is still limited. In the case of the French horn, however, challenges related to the absence of a consolidated pedagogical tradition for the instrument within these ensembles, the lack of specialized references, and the structural limitations of the investigated institutions were observed. The research adopts a qualitative approach, based on bibliographic review, document analysis, and semi-structured interviews conducted with band conductors working in the region. The theoretical framework dialogues with authors who discuss collective instrumental teaching, pedagogical practices in wind bands, and the technical foundations of French horn performance, addressing aspects such as posture, breathing, embouchure, tone production, articulation, flexibility, range, scales, and transposition. The results show that the teaching of the French horn in the Seridó bands occurs mainly through practices built from daily experience, oral tradition, and collective learning developed during rehearsals and performances. The research also identified methodological limitations related to the repertoire traditionally assigned to the horn in these ensembles, often restricted to harmonic functions and rhythmic accompaniment inherited from the old saxhorn tradition, reducing the possibilities for the student’s technical and musical development. Based on these analyses, the study proposes methodological guidelines aimed at strengthening technical fundamentals, bringing technical study closer to culturally meaningful repertoire, and promoting a pedagogical reformulation of horn parts within wind bands. It is concluded that improving French horn teaching in this context depends on the articulation between tradition, cultural reality, and the specialized technical development of the instrument.

The present research is situated at the intersection of composition and performance for percussive guitar and interactive mixed electroacoustic music, with a focus on investigating the possible sonorities of the instrument and their expansion through technological interaction. Drawing from the historical contextualization of Percussive Guitar (PG), a set of aspects are discussed that encompass the instrument, posture, technique, and notation for percussive appropriation, articulated with the conception of Interpretive Gesture (IG) in interaction with technological devices and other resources available on the internet. In this context, in light of new technologies and the contemporary digital connectivity, the appropriation of electronic resources and Artificial Intelligence (AI) tools, - articulated with Machine Learning processes and creative programming directly in the browser - is proposed as support for creation and interaction, opening new perspectives in the field of interactive mixed electroacoustic music within the guitar context. The investigation is grounded in an experimental artistic research framework and adopts a qualitative methodological approach concerning analysis, composition, and instrumental practice. This approach made it possible to reflect on the interrelation with other emphases within the scope of musical practices through the use of percussive techniques related to different regions of the instrument; to explore the relationships between the physical and geometric specificities of the instrument and the musician's musical gesture, combined with sonic expansions afforded by the proposed technological apparatus; and to understand the sonorities generated through compositional and performance practice. As a result, three works of semi-open structure were composed, drawing on the exploration of percussive sonorities and technological integration, as well as their performance, attesting to the viability of the proposed approach and its artistic value within the current state of the art of the guitar.

This dissertation investigates the creation and consolidation of a Choro suite for solo flute, drawing upon the instrument's idiomatic language. The work bridges the author's musical background with Choro practice, adapting and transforming a genre rooted in collective performance into a solo context. The overarching goal is to create an original work grounded in the understanding and application of flute-specific idiomatic elements within Choro. Specific objectives included analyzing this musical language, developing and experimenting with solo arrangements of traditional Choros, and structuring a suite based on creative and performance-oriented processes. The methodology integrates a review of literature and recordings, the creation of arrangements, experimentation in public recitals, the development of original compositions, and audiovisual documentation. This approach is supported by theoretical references: Salzer (1952); Sandroni (2001), Almada (2006), Geus (2009), Hannula, Suoranta, and Vadén (2014), Silva (2018); Machado (2019), and Séve (2021); as well as the works of flutists Joaquim Callado (1848-1880), Pedro de Assis (1873-1947), Pattápio Silva (1880-1907), Pixinguinha (1897-1973), Dante Santoro (1904-1969), and Altamiro Carrilho (1924-2012). The artistic research proved effective in integrating practice, creation, and critical reflection, thereby contributing to both the flute repertoire and the field of Brazilian music. The results demonstrated that creating and adapting Choro for solo flute was feasible while maintaining the balance between tradition and innovation. The study concludes that Choro can be reimagined in a solo setting without losing its identity, reaffirming itself as a dynamic and living cultural expression.

This article is part of a master's research project that aims to understand the impact of Embouchure Task-Specific Focal Dystonia (ETFD) on the professional and pedagogical trajectory of brass instrument teachers. Through semi-structured interviews with fifteen educators diagnosed with the disorder, the study analyzes how these musicians coped with the diagnosis, the consequences for their artistic and teaching activities, and the pathways they followed toward professional reorganization. The results reveal experiences marked by rupture, emotional challenges, and strategies for overcoming adversity, highlighting music education as a possible space for continuity, identity, and resistance in the face of limitations imposed by ETFD. The findings reinforce the importance of institutional support, specialized clinical listening, and the development of pedagogical practices adapted to the new reality experienced by affected musicians.

This work focuses on the relationship between creation, performance, and aesthetic identity, making the suite the central object of artistic and analytical investigation for a new reading of this popular manifestation. Its objective is to present the compositional creation process in the classical form of a "Suite," which I call the "Baile do Boi de Reis Suite," a piece inspired by the Auto do Boi-de-Reis by master Manoel Marinheiro, a manifestation of popular oral tradition from Rio Grande do Norte, engaging in dialogue with the thinkers Nettl, Bauman, and Zumthor. The challenge was how to create and organize a musical work of oral tradition for the theater space? Methodologically, this approach was only possible through the recording of the Auto do Mestre in audio, scores, and images, carried out in 2001. The transcriptions contributed to the analysis of melodic, rhythmic, and harmonic forms, proposing an instrumental chamber music reading that is interpretative, performative, creative in its arrangements, and playable at any time and place, seeking to showcase the sonic richness of this popular manifestation of oral tradition, which represents music, staging, popular theater, and dance.

This research paper focuses on presenting the history and contribution to the pedagogy and repertoire for brass instruments of the MaraBrass Group, based in São Luís, Maranhão. Objective: This paper presents records that demonstrate the musical activities developed by the group, culminating in the emergence of a regional repertoire that values local culture with compositions for this type of ensemble. Materials and Methods: The research was structured based on document analysis, bibliographic review, and semi-structured interviews, seeking to demonstrate the generations and events that fostered its emergence and its contribution to the consolidation of chamber music and brass instrument pedagogy in the capital of Maranhão. Result: This work offers the community interested in the subject matter a perspective that seeks to unveil the initiatives and contributions that the group has made throughout its more than 22 years of existence. Discussion: The data analysis makes it evident that the MaraBrass Group plays a significant role in strengthening the practice of chamber music for brass instruments in São Luís-MA, in a context historically marked by the valorization of symphonic formations and more traditional bands, where the actions of the aforementioned group directly dialogue with musical teaching-learning processes, especially by promoting activities that integrate performance, technical training, and cultural dissemination.

This research, of an artistic and qualitative nature, adopting an analytical-interpretive approach, investigates the Suíte Qüase or “Between Schoenberg and the Northeast” by Beetholven Cunha (2025), a work for violin and double bass in five movements that synthesizes dodecaphonic procedures from the Second Viennese School with genres of traditional northeastern Brazilian music: martelo, aboio, caboclinhos, seresta, and frevo. The research departs from a singular position: the author, violinist Diego Silva Araújo, is simultaneously the commissioner of the work, its premiere performer, and its analyst. The work was commissioned by him from the composer with parameters of instrumental scoring, northeastern character, and an approximate duration of fifteen minutes; it was delivered in less than a month, with a title and aesthetic conception of the composer’s own, without the performer’s participation in the compositional process. The master’s recital Poty Duo e suas raízes musicais (EMUFRN, May 2026), performed with André Borges on double bass, functioned simultaneously as an artistic product and a data source for the research. The investigation articulates three complementary axes: dodecaphonic analysis of the four canonical series and their 12x12 matrices; an ethnomusicological study of the northeastern genres based on Philip Tagg’s (2003) semiotic-hermeneutic methodology; and documentation of the collaborative process between performers and composer, in which interpretive decisions (including the addition of double stops, timbral resources, and vocal interventions) were made autonomously and subsequently validated by Beetholven Cunha in remote meetings. The results show that the work operates through a dialogic interpenetration of the two traditions, producing an expressive synthesis in which serialism and northeastern Brazilian identity are articulated in asymmetrical dialogue, without either being subordinated to the other. The model of post-compositional validation configured in this research, in which interpretive autonomy precedes and is subsequently acknowledged by the composer, constitutes a theoretical contribution to the field of performance studies. The integrated methodology proposed here suggests paths that could be explored, in future research, for other works in the contemporary Brazilian chamber repertoire that establish analogous dialogues between erudite and popular traditions.

This master's research, within the research line “Processes and Dimensions of Artistic Production,” aims to analyze the editorial process and the descriptive analysis of work of the renowned Brazilian musician Ernani Braga (1888–1948). In addition, the dissertation seeks to recover a rare manuscript that had been lost in the history of Brazilian piano music, namely Brejeirices. A detailed investigation was conducted of the piano works—both solo and chamber music—that comprise the rare collection bequeathed by Ernani Braga’s family to the Conservatório Pernambucano de Música, an institution of which the composer was one of the founders and directors. This recovery of works previously considered lost is the result of research carried out within the Graduate Program in Music at the Federal University of Rio Grande do Norte. The analysis of the composer, pianist, and conductor’s oeuvre revealed new findings, particularly certain compositions that were performed in recitals (cf. Brito, 2008) but were subsequently lost without recordings or audio documentation. In this context, Brejeirices is one such composition: a set of twelve concert variations for solo piano based on the choro Brejeiro by Ernesto Nazareth (1863–1934), the renowned Brazilian composer and pianist. The investigative study therefore focuses on the editorial process and the artistic creation of this specific work by Ernani Braga. It constitutes documentary research employing descriptive analysis to explore the possibilities found in the drafts and annotations of the rare manuscript. The descriptive analysis enabled the identification of the principal elements necessary to understand the artistic construction and the composer’s ideas, seeking to preserve the work as faithfully as possible to the original manuscript, which contains numerous corrections and required careful attention in order to achieve a coherent result.

This work contributes to the revival of four songs by the composer Ernani Braga (1888-1948) from the

state of Rio de Janeiro: "Saudade," "Manhã," "Tristesse de la Lune," and "La Cloche Fêlée." The sheet

music for these works is part of the digital collection of Hermelindo Castello Branco (1922-1996),

made available by the Brazilian Piano Institute (IPB). Widely recognized for his harmonizations of

Brazilian folk music, which gained international recognition, Ernani Braga belongs to the second

generation of nationalist composers. In addition to his famous cycle of northeastern songs, Braga

composed songs with texts by important Brazilian and foreign poets, such as Charles Baudelaire,

many of which remained unknown despite their evident artistic quality. With the aim of reviving the

performance of this repertoire, this research relied on historical musicology, utilizing techniques such

as bibliographic surveys, literature reviews, and documentary research on the composer, culminating

in an interpretive work focused on the performance of the four songs. Furthermore, this research is

eminently practical, including the transcription and editing of the sheet music for these four songs, as

well as the creation of transposed versions, aimed at facilitating the performance of this repertoire and

offering a modern edition that accommodates varied vocal ranges. The work also provides an

interpretative analysis of the pieces, with an emphasis on creating interpretative resources that can

assist singers and pianists interested in performing these four songs.

This master's research investigates the applicability of Tanya Carey's pedagogical principles,

developed in her Cello Playing is Easy project, in the preparation and performance of Prelúdio da

Suíte Brasileira para Cello Solo by Dimitri Cervo. The study aims to test strategies that facilitate the

learning process of the piece, addressing its technical and interpretative challenges while proposing the

inclusion of Brazilian repertoire in the Suzuki Method. The methodology includes bibliographic and

documentary research on the Suite genre in Brazilian music, interviews with Tanya Carey and Dimitri

Cervo, and a comparative analysis between Carey's pedagogical principles and the preparation of the

piece. Additionally, the study incorporates Fábio Presgrave’s reflections on subjectivity and

interpretation in contemporary music. As a result, pedagogical activities combining technical and

interpretative approaches were developed, demonstrating the effectiveness of integrating these

principles to enrich cello training and expand the instrument’s pedagogical repertoire.

This dissertation seeks to investigate the basic foundations for teaching low fretted strings in collective music teaching projects, considering the multiple contexts of music teaching. The main problem to be addressed is how these fundamentals can be efficiently applied in collective classes, such as those carried out in projects such as Projeto Guri, in the state of São Paulo. The objectives include: identifying theoretical references on the topic, reflecting on the author's teaching practice in Projeto Guri, conducting interviews with other teachers in the area and, finally, systematizing the data obtained to identify fundamental categories for continuous music teaching. The methodology adopted is qualitative, descriptive and analytical, using open interviews and a narrative logic for data analysis. The partial results point to the need for teachers to have access to solid foundations that guide the teaching of low plucked string instruments, in order to guarantee consistent and continuous learning.

This case study focused on the activities of the "03 de Dezembro" Philharmonic Band in four public schools in the municipality of Lajes/RN, aiming to understand its role as an educational, community, and cultural space. The main objective was to analyze the perspectives of school administrators and music instructors involved in the “The Band as a School” project, which integrates the philharmonic band's activities into four municipal schools. Based on interviews with the Municipal Secretary of Education and Culture, three music instructors, and the four school principals, both the institutional perspective and the pedagogical practices during rehearsals and workshops were analyzed. The Secretary emphasized the role of music in post-pandemic reintegration, the inter-institutional nature of the instructional activities, and the political strategies that ensured budget allocation and political support for the initiative. The principals mentioned that music is a powerful ally in boosting children’s self-esteem and emotional well-being, contributing to their holistic development. The instructors reported using a variety of methodologies: sound games and regional rhythms for active learning; co-creation of repertoire and visual codes for inclusion; and focused attention on student engagement. This blend of playfulness, co-authorship, and relational care creates a collaborative learning environment aligned with the concepts of school as a sociocultural space, local musical worlds, and creative pedagogies. It is concluded that the band, by integrating into the school curriculum, acts as an agent of cultural hybridization, democratization of music education, and strengthening of collective identities.

The objective of this work is to understand the relationship between planning and the practice of music teaching in youth and adult education (EJA) in the municipality of Natal (RN). To develop this study, a case study approach was adopted, employing methodological triangulation, composed of document analysis, field observation, and a semi-structured interview with the teacher responsible for music education in EJA at a school in this municipality. Through the information produced, the relationship between planning and the teacher's practice was analyzed, based on the construction of three scenes, which generated six categories focused on classroom management and learning management. The results point to the specificity of this teaching modality, in which the articulation between planning and practice sometimes coincides and sometimes contradicts each other. In music education in EJA, classroom experience reshapes planning according to the context, so that music can be seen as a central instrument in literacy. Through musical appreciation, recording, criticism, and collectively produced artistic experience, student interest and participation in this teaching modality can be increased.

This research aims to present and discuss the pedagogical aspects found in Estudo No. 1, a piano work

by the composer Waldemar de Almeida. In doing so, it also seeks to highlight the composer’s

biography, some of his artistic and pedagogical achievements within the cultural context of Rio

Grande do Norte, and, finally, to expose some of his technical and aesthetic principles through his own

words. The study intends to demonstrate how Almeida unified his artistic and educational pursuits and

how this fusion is manifested in his works, with particular emphasis on Estudo No. 1. Thus, the

research is built upon a contextual investigation — biographical, musicological, and pedagogical —

while also addressing, indirectly, the history of piano technique and how it was established in Rio

Grande do Norte through Almeida’s influence up to the present day.

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

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

The discussion about the variety in terms of playing and learning a musical instrument is growing increasingly through the last years on the academic scene. In this context, the present research has as a goal to open the repertoire of possible approaches while collectively interpreting popular music with the horn. Such a process will happen through the technical-interpretative analysis of selected repertoire with Brazilian Popular Music for horn ensembles, while dialoguing with the available literature related with learning and playing the horn, brass instruments and other instruments. Teachers with an carrer considered to be relevant to the horn ensemble practice in Brazil will be interviewed, aiming a deeper understanding on the pedagogy involved in that kind of practice .

This paper proposes methodological strategies and pedagogical guidelines for
teaching idiomatic melodic improvisation on the electric guitar in the baião and xote
musical genres, based on the technical-stylistic elements of the canon established by
the Maranhão singer-songwriter João do Vale (1934-1996). The proposal is structured
in line with the pedagogical parameters emerging from recent studies in Musical
Education, which intersect with the knowledge plan of Music Psychology regarding the
performance of human cognitive and sociocultural dimensions in learning
improvisation, synchronously contemplating the contributions of the empirical plan of
the author. In summary, the research is developed along 4 axes: (1) Argumentation
about themes essential to the object of the research, such as the implications of
creativity and artistic aesthetics for the executive and teaching act of improvisation, the
conception of idiomatism and its discursive aspects in the improvisational plot (Kant
(1995, [1790]); Engelmman (2012); Sternberg (2017); Wall (2018); Torres (2016) etc.
); (2) The mapping and analysis of musical elements and their combinations present
in the stylization of baião and xote developed by João do Vale (and which substantiate
idiomaticism in his canon) in selected works transcribed between 1950 and 1980; (3)
Description of the proposal for teaching "IMIGE" in baião and xote, consisting of
pedagogical guidelines, teaching skills, content and methodology based on scientific
doctrine that investigates the neurocognitive and sociocultural dimensions (Beaty
(2015); Berkowitz (2014); Paes (2014); Biasutti (2015); Born, Lewis e Straw (2017 etc.)
in the praxis and teaching of improvisation, and in the author's empiricism. In addition,
the research pays attention to the technical peculiarities of the electric guitar and
instructions from references in improvisation on this and other instruments (Pass
(1977), Miles Davis (2022); Denyer (1992), Gambale (1997), Fewell (2016), Vai (2019),
Leavitt (2019), Faria (1995...) etc.); (4) The evaluation of the proposal through the
implementation of an Action Research invested in an improvisation course taught in a
public school in the state of Maranhão. The course is still in progress, partially showing
positive indicators about the methodological proposal.

This master's dissertation has the general objective of understanding the relationship between the teaching trajectory and the pedagogical choices of music teachers at the Escola de Música Renascer em Cultura (EMRC). This research was carried out with two teachers and a monitor from the aforementioned school. First, I contextualize the music education that takes place in religious spaces, addressing the contributions of Saint Augustine and Luther to music in the church. To carry out this research, I used the (auto)biographical method; thus, in the works that make up my literature review, I sought to bring about a dialogue between the narratives of teachers who work in a religious context. The works found were grouped and categorized into the axes of study of the subject addressed by Passeggi (2011, 2020). I describe the tradition of (auto)biographical research and its contributions to teacher training based on the concepts presented by Delory-Momberger (2012) and Passeggi (2008, 2020). I also explore the concepts of formative experience and experience formation proposed by Josso (2004, 2010), which underpin the biographical work of this research. The narratives of the teachers and the monitor were collected through training memorials (Prado; Soligo, 2007) and online meetings. The data analysis, based on the training memorials and online meetings, followed the theoretical assumptions of Discursive Textual Analysis (DTA) proposed by Moraes and Galiazzi (2007). The results indicate that the relationship between the teaching trajectory and pedagogical choices is mediated by significant formative experiences, which make up the pedagogical reservoirs of these educators.

he work in question, written in 2005, dedicated to the author of this research, was composed during the composer's stay with the Banda Filarmônica 24 de Outubro in the city of Cruzeta/RN, in a phase of compositional experimentation. The theoretical basis for a technical preparation process suggestion for the piece is based on the works of ARAÚJO (2016), SILVA (2021), CAMPIONE (2001), LIMA (2006) and BONADE (2022). The reflections on the interpretative aspects were conducted based on a comparison between two performances of the work, made by the author of this research at different times (2005 and 2023), having as support the works of SLOBODA (1985), CARVALHO (2021), LABOISSIÈRRE (2003) and ABDO (2000).The musical experiences of the performer and the composer, which are related to each other, are also part of this study, as they contribute to the understanding and consequent production of sound in the production of the piece.

The dissertation aims to explore significant aspects of didactics in the teaching of musical
arrangement, highlighting the relevance of this topic for performers working within the context
of a chamber group, specifically the Big Band. It is recognized that the language and
mannerisms of the Big Band are perceived distinctly in performance practice. Therefore, the
study will cover both the historical aspects of the creation of this type of group and technical
issues on how to write for a specific section, in this case, the trombone section. Thus, the
work will serve as a basis for the musical arranger and the trombonist performer who are
interested in understanding writing for this section. This work investigated the technical and
musical development in the elaboration of arrangements, with an emphasis on the trombone
within the universe of Banda Pequi, a Brazilian music orchestra. For the foundation, the
research employed a qualitative methodology and used data obtained from bibliographic
review and semi-structured interviews with musician composers and arrangers to elucidate
whether there is a theoretical or practical use for the employment of the instrument within the
arrangement. Therefore, the study will cover both the historical aspects of the creation of this
type of group and technical issues on how to write for a specific section, in this case, the
trombone section. Thus, the work will serve as a basis for the musical arranger and the trombonist performer who are interested in understanding writing for this section. Finally, it is recognized that the language and mannerisms of the Big Band are perceived distinctly in performance practice.

Focusing on the training trajectory of music graduates from the Federal University of Rio Grande do Norte, this master's dissertation aimed to understand, through their training trajectory, how music graduates become multi-instrumentalist music teachers. As specific objectives, I sought to investigate the experiences of music graduates, highlighting the challenges and achievements throughout their training; to learn about the contexts that influenced the graduates' life trajectory towards multi-instrumentalism; to identify the graduates' individual motivations for becoming multi-instrumentalist music educators; to examine the experiences and practices in preparing graduates to work in various contexts as music educators; and finally, to investigate the curricular support available to graduates during their training. This research had the contribution of four music undergraduates from UFRN, who gave narrative interviews about their musical training. I looked for references that could contribute to a better understanding of the profile and multi-skills of the music teacher. Authors such as Rauber (2017) and Silva (2018) helped build the theoretical foundation as pioneers in dealing with the term "multi-instrumentalist". Gaulke (2017) and Josso (2010) contributed to learning more about life history and training. To gain a more detailed understanding of teacher training, I turned to authors suchas Beineke (2004); Beineke, Bellochio, Sebold (2005); Bellochio (2003a); Bellochio (2003b); Cereser (2014); Del Ben (2001); Del Ben (2003); Gaulke (2013) and (2017); Mateiro (2007). Looking at the professional training of music educators, authors such as Pereira (2014) and Del Ben (2003) take a critical look at the curricular matrix of degree courses in Brazil and help to support this work. Delving into the life trajectory of these music undergraduates, especially focusing on the transition to future multi-instrumentalist music educators, made me realize the richness of the teaching and learning approach they carry with them. The challenges and experiences they have gained along the way will certainly give them a more complete understanding of their training as a whole.

The proposed research aims to analyze the stylistic, idiomatic, and interpretative characteristics present in Claudio Santoro's work "Elegia No. 1 for violin and piano". The investigation focuses on understanding how the composer's different compositional phases are reflected in this work, highlighting the evolution of his style over time. A central aspect of the study is the analysis of the poetic elements embedded in the composition, investigating how Santoro uses musical elements to convey emotion and meaning. This includes examining the formal structure of the piece, the use of harmonic and melodic resources characteristic of his later phase, and how these elements contribute to the interpretation of the work by the violinist and pianist. Furthermore, the study delves into the relationship between Santoro's writing and the idiomatic characteristics of the violin, taking into account his own experience as a violinist. This allows for a deeper understanding of how the composer explored the expressive and technical capabilities of the instrument, directly influencing the interpretative choices that musicians can make when performing the piece. A practical contribution of the study is the creation of an edited score aimed at assisting performers in their interpretation of the work. This edition may include interpretative markings, phrasing suggestions, dynamics, and other information that aids in the understanding and poetic execution of the composer's intentions.Thus, the research not only explores technical and stylistic aspects of Elegia n°1 but also seeks to broaden the repertoire and performance of Brazilian music for violin, providing valuable resources for musicians interested in exploring this significant work from the national repertoire.

Sanctifier is death metal band from Natal playing this subgenre of heavy metal that - with doom metal, thrash metal and black metal - belongs to a strand called "extreme metal". This research is based on two basic axes: heavy metal and the learning process. The first axis deal with the heavy metal culture (Walser, 1993; Weinstein, 2000), its insertion and maintenance in Brazil (Leao, 1997; Janotti Junior, 2004), and the Brazilian extreme metal culture (Campoy, 2010). In the second axis, musical formation is discussed through informal musical learning (Green, 2001, 2002, 2012), focusing on the self-learning in non-school contexts (Correa, 2008), considering rock and heavy metal bands as formative spaces (Campbell, 1995), as well as processes individual and collective musical learning in an extreme metal band (Carvalho, 2011). In addition, the term “musicking” underlies the vision of music as an activity, not as an object, since its nature and meaning reside in human action when playing, listening, training, rehearsing, composing, dancing, among others (Small, 1998). The research is set as a case study (Yin, 2015; Gil, 2009) that seeks to understand how the musical formations of Sanctifier’s members determine the musicking of the band. Finally, this work endeavored to understand how the learning processes of popular musicians occur within a specific culture belonging to heavy metal: death metal. The results allowed not only to know about Sanctifier itself, but also how musically operates the world of extreme metal in the city of Natal, as well as what are the non-sonorous results of these relations. These findings are expected to maybe influence new researches aimed at understanding musical learning in the extreme metal context, the discussions of Music Education on the possibilities of musical learning beyond school contexts, as well as strengthening existing discussions on these subjects.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

interpretation besides performances and recordings.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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