Música e surdez: o ensino de música numa perspectiva bilíngue na escola regular

The present study focuses on the development of pedagogical activities in Music Teaching, aiming to enhance the accessibility of musical knowledge for both deaf and hearing students, using a bilingual approach in regular schools. Few studies address Music and Deafness, and those that do focus exclusively on the context of special education, and specifically the deaf student, which signals the urgent need for conducting research on this issue in the context of inclusion – empirically and carried out on school grounds. Therefore, we developed our study at a Natal City Public Elementary school, in a class of 6th graders, comprised of 37 students, 3 of whom were deaf. The objective of the study was to develop a proposal for a pedagogical intervention in Music Teaching, using a bilingual approach, with deaf and hearing students, in the context of regular school classes. The research is based on the theoretical framework presented in Penna (2010), Brito (2001) and Fonterrada (2008), with reference to music education, and Haguiara-Cervellini (2003), Finck (2009) and Louro (2006), with reference to inclusion in teaching music. To achieve this objective, we developed a proposal for intervention based on the methodological dictates of intervention research, presented in studies by Jobim and Souza (2011) in light of the theoretical concepts posited by Mikhail Bakhtin, which assert that knowledge is produced through interaction between subjects, dialogically and through alterity. This methodology was carried out in pedagogical workshops, conceived as spaces for the construction of knowledge, mobilizing participants to engage in ludic activities of musical experimentation. Content covered in these workshops focused on Pulse and Rhythm – basic elements in music education – demonstrating that awareness about and sensitivity to these elements is not limited to the auditory sensory perception of the student, once the entire body is used as an agent of acquisition and expression. Thus, we began the trajectory of our research from the starting point of the identification and perception of „Pulse‟, using one‟s own body and the body of classmates, representing it through physical expressions and movement. Subsequently, this Pulse was extended from the body to a percussion instrument, and was then represented graphically as lines of rhythm, constituting a process of reading and writing; ultimately the intervention culminated in the class presentation with the musical group De Pau e Lata (Stick and Can). In our analysis, faced with the challenges and possibilities presented in our study, findings showed satisfactory results with regard to the participation of all of the students: completing the activities proposed in the class, asking questions when they did not understand, positioning themselves when they thought it necessary, expressing opinions about the work completed, evaluating the workshops given, interacting, helping in the activities, constructing knowledge collaterally, experimenting and experiencing musical elements through the body in activities that applied to both groups (deaf and hearing) in the one class. These indications elucidate the viability of teaching music to deaf and hearing students, using a bilingual approach, and based on experiences with the body and communicative and cultural specificities involved, confirming, as well, the role of Sign Language as a mediator in the teaching/learning process.

Contribuições da inserção musical para a qualidade de vida no trabalho em ambiente laboral fabril

The present thesis aimed at understanding how the insertion of music in the work environment contributes to achieving Quality of Work Life. - QWL, under the perspective of biopsychosocial and organizational well-being. As to music insertion we considered the theoretical-empirical perception about how music is inserted at work and its functions on such place. The context where the study was taken was the manufacturing area of a major textile company, located in Natal, state of Rio Grande do Norte, Brazil, in which music is used during labor activities. The only study case was the research strategy adopted, with exploratory and descriptive purposes. The primary data were collected through the focus group technique, applied to the collaborator in the manufacturing sector. The semi-structured interview was done as a complementary tool, directed to the supervisor in that sector. Respecting the theoretical saturation criterion, we formed four focus groups, each one composed of eight members randomly selected, among the seventy-six collaborators in the sector. The data were analyzed qualitatively, through the content analysis technique, more specifically the category analysis. We identified twenty-eight QWL attributes. Six of them were found present in the four focus groups and in the interview. Among these ones, the attribute of Interpersonal Relationship at Work, contemplating the Psychological and Organizational dimensions, was the only one anticipated in four out of fifteen theoretical models here listed. The attribute Music at Work Environment could be inserted in the four QWL dimensions, highlighting the power and relevance of this attribute for the research participants. The way music has been inserted in the labor environment contributes to promoting well-being at work, which goes against theoretical conceptions, especially when it comes to musical genre. We identified nine functions of music at work, among which, Improving Work Conditions, Improving Interpersonal Relationship at Work and Favoring Motivation for Work had to be emphasized for being associated to three QWL attributes. In the total, we highlighted seven associations. The most affected QWL dimension through the insertion of music at work was the Psychological one, followed by the Organizational one. We conclude that music insertion provides biological, social and, above all, psychological and organizational well-being to the contributors, thus contributing to obtaining QWL at the labor environment researched. However, we should consider the context and proceed to periodical plans and adjustments in the way of music insertion so as to avoid health and well-being problems to those people at work

Corporeidade e educação: sinfonia de saberes na educação musical

This study investigates the implications between the musical theory and pedagogical practice based on a study that questions the reasons why some students feel incapable of learning the music language, as well as, if the musical codes are truly so difficult to be apprehended by them. To answer these questions takes itself as reference, the classes I have minister while teaching the disciplines: Music Workshop and Music Language I in the Art Department, Scenic Art Course at the Federal University of Rio Grande do Norte. I have searched the knowledge that constitutes the teacher formation based on the union between the pedagogical efficiency and sensibility, searching in the Corporality the theoretical port for my investigation. This way, advocating is a methodological principle for musical education originated from the experience of knowledge: creating, playing, feeling, thinking, and the interaction among them, conducting the students not only to music learning, but to a process of human formation. It adopts itself as methodological resource, amongst the qualitative methods, some of the techniques that are associated with the ethnographic research, for having as its main objective, to study the meaning of the actions and events of the investigated group. The analysis of the data leads to the conclusion that when the teacher displays his or her pedagogical knowledge in an environment constructed with affectivity, in a playful and pleasant form, the assimilation and construction of the musical concepts happen naturally and efficiently, surpassing the taboo that music learning is only possible to the especially well endowed people for music. Very aware that the scientific debate is important for the strengthening of formative programs involved in the growth and consolidation of the musical teaching and learning area, it is expected to promote this research discussions and reflections in the general educational field with this research, as well as, to contribute significantly to the specific growth of musical education

Pau e lata para uma educação musical: uma partitura de vidas

The field of experience and reflection in this dissertation is the Pau and Lata: Artisticpedagogical project and its activities in the field of music education It was created in 1996, by the Community School Sementes da Luz, located on Tabuleiro do Martins district, Maceió / AL. The work extended to the Rio Grande do Norte and later returned to Alagoas, keeping their activities in both states, involving approximately 280 people. The issues that moved us front the experience of Pau e Lata were: What are the main references and theoretical-methodological elements that constitute the formation of the musician in Pau e Lata? How members perceive this project and include themselves in the educational process of music formation? How it works and what is the meaning of the use of instruments and the learning of musical writing and reading? These questions lead us to undertake this dissertation, in order to deepen reflection on the processes of musical training on Pau e Lata, relating the experiences of its members in the process and the theoretical references governing their educational practice. In this sense, we outline the research objectives, which are: describe the Pau e Lata project, focusing on their context of action and their methodological processes; investigate the relationship between the effective participation of its members in the process of composition of the artistic and pedagogical repertoire and its performance in the field of cultural militancy in the environment where it operates. The writing process of this research is based on the phenomenological perspective. Therefore constitute our methodological research path two roads that communicate: 1) the organization and description of historical record of Pau e Lata (supporting documents, certificates, posters, etc.) and memories of the researcher and from other members of the group. 2) the formation of focal groups and writing and sending, via online, testimonials the participants of Pau and Lata relating to issues scrap and onomatopoeia, respectively. Participated in this process 11 components, adding the presence of the researcher, with the age between 21-45 years, all members of Pau e Lata, Core UFRN. The results of this research are focused on the discussion of three axes that describe and guide the work of the Pau e Lata: collective work, the use of the scrap as instrument and the onomatopoeia as base of a methodological process of musical training. This score was composed of three parts. The first part is presented from a collection of references from Pau e Lata, composed of printed and videographic records. The second part refers to the instrument used by Pau e Lata, and the perception of group members on these instruments, which occurs so that they are integrated in the training of the musician.The third axis tells how and what it means learning of music writing and reading, that occurs in two related aspects: the teaching-learning process and the body as a musical element in this process, associated with other actions characterized as studies and theoretical deepening

Elaboração de material pré-composicional através de expansão de procedimentos do sistema Schillinger de composição musical

The work aims at investigating possibilities of extending compositional procedures, based on the Schillinger System of Musical Composition (SSMC). I start by elaborating a brief historical review on SSMC, which is followed by a critical review of the System. The work includes a state of the art on the research on this topic, performed upon analysis of the current work conducted by a research group from the UFRN Music School from which I also make part. The main line of the research is to elaborate on the suggestion of extending the SSMC concept of place of attack to the idea of place of instrumentation, through developing a binary instrumentation procedure. The experimentation on the thesis‟ hypothesis is presented in my composition titled “Suíte Grega” (Greek Suite), a compositional memoir for Oboe, Saxophone and 3 Cellos.

Aprendizagem musical na Orquestra Sinfônica da UFRN

Music and music education are present in the daily lives of people in different ways and in multiple contexts. In this study, we highlight the musical training in the orchestral context aiming to understand how learning music happens in the Symphony Orches tra of the Universidade Federal do Ri o Grande do Norte – OSUFRN. To achieve this goal, we identified all the activities, structure and functioning in OSUFRN; we have observed the development of activities of the group by checking the interactions among the participants of the orchestra and the different ways to learn music in that orchestral context. The research is based on discussions about collective musical practice, instrumen tal training in music education, the process of learning and the relationship between young people and music in the context of collective musical practice learning. Qualitative approach and case study were used as methodological procedures. Data collection was established by means of on - site observations, accompanying of the activities, rehearsals and performances of group and semi - structured interviews with the conductor and some participants with more time in the orchestra. We have also used photographs a nd footage that helped us in the procedure collection and construction of data. The analysis and interpretation of these data were enforced by Content Analysis featuring. It reveals the musical learning, through learning instances perceived in rehearsals, concerts, in living with the conductor and between musicians, teachers, employees and guest musicians, individually in travel and exchanges with other orchestral groups. In this way the activities developed by the group enable a comprehensive musical educa tion that guides to acquire autonomy in their learning and preparing them for future careers.

Contribuições da inserção musical para a qualidade de vida no trabalho em ambiente laboral fabril

The present thesis aimed at understanding how the insertion of music in the work environment contributes to achieving Quality of Work Life. - QWL, under the perspective of biopsychosocial and organizational well-being. As to music insertion we considered the theoretical-empirical perception about how music is inserted at work and its functions on such place. The context where the study was taken was the manufacturing area of a major textile company, located in Natal, state of Rio Grande do Norte, Brazil, in which music is used during labor activities. The only study case was the research strategy adopted, with exploratory and descriptive purposes. The primary data were collected through the focus group technique, applied to the collaborator in the manufacturing sector. The semi-structured interview was done as a complementary tool, directed to the supervisor in that sector. Respecting the theoretical saturation criterion, we formed four focus groups, each one composed of eight members randomly selected, among the seventy-six collaborators in the sector. The data were analyzed qualitatively, through the content analysis technique, more specifically the category analysis. We identified twenty-eight QWL attributes. Six of them were found present in the four focus groups and in the interview. Among these ones, the attribute of Interpersonal Relationship at Work, contemplating the Psychological and Organizational dimensions, was the only one anticipated in four out of fifteen theoretical models here listed. The attribute Music at Work Environment could be inserted in the four QWL dimensions, highlighting the power and relevance of this attribute for the research participants. The way music has been inserted in the labor environment contributes to promoting well-being at work, which goes against theoretical conceptions, especially when it comes to musical genre. We identified nine functions of music at work, among which, Improving Work Conditions, Improving Interpersonal Relationship at Work and Favoring Motivation for Work had to be emphasized for being associated to three QWL attributes. In the total, we highlighted seven associations. The most affected QWL dimension through the insertion of music at work was the Psychological one, followed by the Organizational one. We conclude that music insertion provides biological, social and, above all, psychological and organizational well-being to the contributors, thus contributing to obtaining QWL at the labor environment researched. However, we should consider the context and proceed to periodical plans and adjustments in the way of music insertion so as to avoid health and well-being problems to those people at work