O papel dos quintais urbanos na segurança alimentar, bem estar e conservação da biodiversidade

Residential homegardens have environmental and social roles in the urban environment. These green spaces can potentially minimize the impacts caused by the growth of cities, being an alternative to connect fragmented areas or offer refuge to wildlife and therefore support the conservation of biodiversity. In addition, the homegardens demonstrate a leading role in increasing human well-being by promoting socialization opportunities, contact with nature, local culture as well as improvements in food security for the urban families. Nevertheless, it is still unclear what specific characteristics of homegardens can act effectively in the conservation of the biodiversity, as well as in the construction of food security and well being of the homegardeners and their families. The first chapter of this thesis analyzed the diversity of plant species (native and exotic) and assessed the contribution of different types of urban gardens (ornamental and forest gardens alike) in the presence of wildlife such as birds, monkeys and lizards. In the second chapter we evaluated the contribution of those gardens to the welfare and food security of their owners. In order to do this, 41 gardens were visited in Pium, a southern coastal town in the northeastern Brazil, which also happens to be in a periurban region undergoing rapid urban expansion and pressure from the real estate market. We surveyed the planned biodiversity and fauna associated with homegardens. The data related to food security and welfare were sampled through interviews with the person in charge of taking care of the gardens. These interviews covered issues on the supply of food from the garden and absence of chemical products, as well as aspects of the GNH indicator (Gross National Happiness). The results showed that these homegardens generally contribute little to the maintenance of native plant species (native species = 29/ total = 187). From its main features, the gardens were classified as ornamental, forest gardens and forest farms. These groups had a different effect on the presence of the animals studied and the last two contained most of the sampled native species. The diversity of plants and trees was a good predictor of the presence of birds and monkeys. Thus, the contribution of yards for the conservation of biodiversity depends on the type of garden: some even can have negative effects on conservation. These results can direct new approaches to detailed understanding of gardens and also of public policies applied to urban planning. The results of the second chapter showed that the two types of forest gardens contributed to household food security, for providing food and medicinal herbs, which mostly did not have pesticides and chemical 12 fertilizers. But the three groups of gardens are important components for the well being of their stakeholders. Gardens help promote the transmission of knowledge on agriculture, socialization, contact with nature and bring up feelings related to peace and harmony. Thus, forest gardens can be considered important means to get through public projects and policies designed to encourage biodiversity and promote food security and well-being in urban areas

Aprendizagem criativa na aula de piano em grupo

The central focus of this thesis was to investigate creative learning in music at piano group lessons. Thus, the theoretical framework adopted was guided by two main principles: (1) creativity in the field of music education and (2) Piano teaching and learning. As a methodological procedure we used a research-action with students of the disciplines Prática de Instrumento Harmônico I e II, at the Music Education Undergraduate Course of Federal University of Rio Grande do Norte (UFRN). This research-action was structured in four phases: 1) the identification of the starting points and the theme of creativity matters in piano group lessons, considering the context of a teacher training course in music; 2) the projection of actions, the definition of the objectives and the organization of instruments of data collection and analysis; 3) the realization of the planned actions; and 4) the evaluation of the results, the transcription, organization and analysis of the data collected through observation and interviews. Given the Creative Learning Cycle in Music, represented by the activities of composing, performing and criticizing Music, defended by Beineke (2009, 2013, 2015), we propose in this thesis a creative cycle of formation in music to promote creative learning in piano group lessons, in which teachers and students teach and learn creatively, expanding training opportunities in the field of Music Education. This was possible due to the joint experience of creative practices related to improvisation, elaboration of arrangements and musical compositions - elements that contributed positively to the learning process of the participants. But for this to occur, the planning, implementation and evaluation of the creative and pedagogical musical procedures adopted were decisive, considering the perspectives of students, their conceptions, musical creations, processes and collaborative exchange.

Aprendizagem criativa na aula de piano em grupo

The central focus of this thesis was to investigate creative learning in music at piano group lessons. Thus, the theoretical framework adopted was guided by two main principles: (1) creativity in the field of music education and (2) Piano teaching and learning. As a methodological procedure we used a research-action with students of the disciplines Prática de Instrumento Harmônico I e II, at the Music Education Undergraduate Course of Federal University of Rio Grande do Norte (UFRN). This research-action was structured in four phases: 1) the identification of the starting points and the theme of creativity matters in piano group lessons, considering the context of a teacher training course in music; 2) the projection of actions, the definition of the objectives and the organization of instruments of data collection and analysis; 3) the realization of the planned actions; and 4) the evaluation of the results, the transcription, organization and analysis of the data collected through observation and interviews. Given the Creative Learning Cycle in Music, represented by the activities of composing, performing and criticizing Music, defended by Beineke (2009, 2013, 2015), we propose in this thesis a creative cycle of formation in music to promote creative learning in piano group lessons, in which teachers and students teach and learn creatively, expanding training opportunities in the field of Music Education. This was possible due to the joint experience of creative practices related to improvisation, elaboration of arrangements and musical compositions - elements that contributed positively to the learning process of the participants. But for this to occur, the planning, implementation and evaluation of the creative and pedagogical musical procedures adopted were decisive, considering the perspectives of students, their conceptions, musical creations, processes and collaborative exchange.