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

Como se fora brincadeira de roda: a ciranda da ludopoiese para uma educação musical humanescente

The present work concerns an auto-ethnographic study based on life experiences and reflections of an educator at Escola Viva Preschool and Elementary-Middle School, located in the city center of Natal, Rio Grande do Norte. As a cognitive model of operation, we use the metaphor of the Circle Dance. The objective of this study is to identify, interpret and describe the ludopoetics that are achieved through a Musical Education program, which we denominate, Humanescent. The data of this investigation was derived from the music making by Preschool and Elementary-Middle School students at Escola Viva during 2007, 2008 and 2009, from which 20 learners were selected to form the corpus, along with the description and interpretation of photos of their experiences and sand tray scenes. We justify the methodological systemization of the research based on our own pedagogical practice, which supports Musical Education in the schools based on the principals of Embodiment, Autopoesis and Flow. The methodological systemization was developed through an Action Research model and on the concepts of Systemic Development, with the goal of re-reading the context investigated through the structuring of categories of Ludopoesis: Self-esteem, Self-territory, Self-connectivity, Self-realization and Selfworth. We used an observant-participant research approach with regard to the perception of emergent knowledge, the surroundings, the experience lived and the contextual and vibration of the circumstances. Besides this, we used projection to interpret the experiences lived, in the form of drawings, short poems, letters or sand tray scenes as symbolic interpretations of experience. In the unfolding of the Ludopoetic Process (Selfesteem, Self-territory, Self-connectivity, Self-realization and Selfworth) we draw conclusions about the relevance of the ludic musical experience, which foments the formation of the self based on music learning, and which is demonstrated in the Embodiment of the learners. In the auto-formative process (of learners and educators) we observe the importance of pedagogical work based on Musical Humanescent Education that gives value to the music making path to the construction of music and performance in play, creativity, and sensibility. The experience of making music in a playful way allows for organization of the self and its autonomous production in the joy of living within a ludopoetic process. These findings highlight the educator as in a permanent state of selfformation, which generates moments of flow. However, in Musical Humanescent Education, music is learned collectively, doing a circle dance, experiencing love, fostering an expansion of the creative spirit, and giving recognition to playfulness as a necessary condition for education and to the value of music made with the true nature and sensibilities of the educators

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

Templo Central da Igreja Evangélica Assembleia de Deus do Natal/RN: um estudo sobre música e educação musical

This study aims to investigate the music and the existing music education in Central Temple of the Evangelical Assembly of God Church of Natal/RN. The research question asks how are the musical practices, teaching and learning music that happens in this place. I used the qualitative approach conducting a case study. The theoretical framework were Arroyo (1999, 2000a, 2000b, 2002), Kraemer (2000), Souza (1996), Souza (2000, 2008, 2009), Green (1997), Queiroz (2004a, 2004b, 2005, 2007, 2010, 2011, 2013), Geertz (1989), Nettl (1992) and Merrian (1964). I conducted semi-structured interviews and participant observation with the direction of the music department, teaching coordination, students, teachers, musicians and conductors of the church. The study revealed that the relationship between music and education is beyond just a musical training, there are many relationships established as faith, belief in God and devotion. It was found that the views of musicians and conductors think the music teaching in the church to play in worship and praise God. In the musical training of students, he was working not only musical content; It was understood that music is a mediator of meanings that go beyond experiences and musical practices. The worship of God and the worship featuring musical practices and their effects are direct music classes. The research contributes to reflection and understanding of music and music education happens in the evangelical church and a greater understanding in the relationship between music education and the cultural context where it happens.

LAUDMUS: rumo à implantação e gerenciamento de uma lista de audição musical online

SILVA, Alexandre Reche e. LAUDMUS: rumo à implantação e gerenciamento de uma lista de audição musical online. In: ENCONTRO REGIONAL DA ABEM NORDESTE (Associação Brasileira de Educação Musical), 9, Natal, RN, 2010. Anais eletronicos... Natal, RN, 2010.Trabalho Completo. Disponivel em: dex.php/abemnordeste2010/about>. Acesso em: 04 out. 2010.

O teatro musical enquanto prática pedagógica no meio eclesiástico: ressignificando o fazer artístico na Igreja Batista da Esperança, Natal-RN

The churches in Brazil have shown themselves as a very important space in the musical training of many individuals. However, we perceive in many of them an excluding and merely performatic musical posture. Their argument is the fact that they want to give worship to the Divine Being and, for that, they must always offer their best. Besides that, the culture of the talent and the gift has provoked the selection of people in the ecclesiastical musical practices. The musical theatre, also practiced in this context, has been following the same principles. Understanding that musical practices must be accessible to all people, we have seen, through the studies of Amelia Santa Rosa, 2006 and 2012, the musical theatre, for its various possibilities, as an important tool for the music teaching in this context in an integrating, motivating, interdisciplinary and liberating way. For this reason, through an action research, this work has aimed to investigate the applicability of the musical theatre as a pedagogical practice in the context of the Igreja Batista da Esperanca (Hope Baptist Church), in Natal-RN, verifying the impact of this experience to the ones involved. In order to accomplish this, we carried out the construction of a musical with all of the ones who wanted to be a part of this research, having or not having previous musical experiences. The data collection was made through the field diary, semi-structured interviews with the cast of the musical and pictures and videos of rehearsals and presentations. The main issues highlighted were categorized and properly analyzed, which showed us how much the musical theatre can be used as a musical pedagogical tool also effective in the ecclesiastical context. Thus, another conception of artistic endeavor could be brought to churches, contributing to the inclusion of new participants in their musical practices, expanding the studies on the musical theatre and the presence of music in these spaces a bit more, causing other future studies.

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.

A pedagogia de projetos e o ensino de música na educação básica da cidade de Natal/RN

This research aims to investigate the use of Project based learning as a method for teaching music in Elementary Schools located in Natal, RN. Its main objective is to analyze how this method is used during the classes of music at school context and which are its implications to the process of music learning acquirement. The specific objectives comprise: gathering the music teachers in preschool that work with project based learning as a method for their classes; identifying how the theory meets their practice; and analyzing how project based learning contributes to the learning process of music within schools. The main scholars adopted as theoretical reference were Boutinet (2002), Hernández (1998; 200), Antunes (2001), Cavalcante (2009), from Education area; and Penna (2008), Fonterrada (2008), Queiroz (2012), regarding Musical Education. Such choice was made in views of identifying the relationship and how project based pedagogy associates to the current Brazil school curriculum. For data collection, mixed methodological strategies were used, of qualitative and quantitative approaches that are complementary for better meeting the research needs. By applying a questionnaire, it was sought to identify the music schools and teachers who reported working with project based learning. Based on these results were selected two schools, one private school and one public school to perform a participant observation in two groups following the development of music classes based on project based learning, and the information were recorded in a diary of audio and video recordings. The results of this work show that the Project Education is a methodology frequently used by music teachers from Natal/ RN contributing to the integration of content and subjects and engages students in activities awakening interest and contributing to the development of music education at school. However, it was identified that many of the conceptions of the teachers about projects are confused by ambiguities from the use of the term in different areas and in various theoretical perspectives as well as the lack of publications that address the music education through the project based learning. It is hoped that this study provides discussions and research about the project based learning applied to music education in elementary school.

LAUDMUS: rumo à implantação e gerenciamento de uma lista de audição musical online

SILVA, Alexandre Reche e. LAUDMUS: rumo à implantação e gerenciamento de uma lista de audição musical online. In: ENCONTRO REGIONAL DA ABEM NORDESTE (Associação Brasileira de Educação Musical), 9, Natal, RN, 2010. Anais eletronicos... Natal, RN, 2010.Trabalho Completo. Disponivel em: dex.php/abemnordeste2010/about>. Acesso em: 04 out. 2010.

Análise conceitual e pensamento crítico: uma relação complementar na enfermagem

ENDERS, Bertha Cruz ; BRITO RS ; MONTEIRO, Akemi Ywata. Analise conceitual e pensamento critico: uma relacao complementar na enfermagem. Rev Gaucha Enferm, Porto Alegre (RS) 2004 dez;25(3):295-305.

O jogo que não foi jogado

MORAIS JUNIOR, Agamenon Clemente de. O jogo que não foi jogado. In: ENCONTRO REGIONAL DA ABEM NORDESTE, 7., Joao Pessoa, PB, 2008. Anais ... Joao Pessoa, PB, 2008.

A união entre técnica e musicalidade na metodologia de ensino do piano da professora Isabelle Vengerova

GOMES FILHO, Tarcísio. A união entre técnica e musicalidade na metodologia de ensino do piano da professora Isabelle Vengerova. In: Encontro Regional da ABEM Nordeste, 7., João Pessoa, PB, 2008. Anais ... João Pessoa, PB, 2008.

Análise conceitual e pensamento crítico: uma relação complementar na enfermagem

O propósito deste trabalho é mostrar a relação entre o processo de análise conceitual e as habilidades de pensamento crítico na enfermagem. Utilizando uma abordagem de ensaio discursivo, argumenta-se que a técnica de análise conceitual promove a criticidade em alunos de enfermagem. Os passos da atividade de análise são examinados quanto às operações cognitivas neles inseridas e que representam habilidades de raciocínio crítico. Reflete-se sobre a análise conceitual como atividade didática na promoção do pensamento crítico em uma experiência com alunos de graduação. Conclui-se que os dois processos se complementam no repensar e no enfrentamento de desafios na enfermagem

Um estudante cego no curso de licenciatura em musica da ufrn: questões de acessibilidade curricular e física

This work aims to discuss and analyze the process of school inclusion of a blind person in the Bachelor's Degree in Music, at the School of Music at the Federal University of Rio Grande do Norte, as well as reflect on the importance of establishing systems of support and to ensure university inclusive process of people with visual impairments. In pursuit to achieve these objectives, this research chose a qualitative methodological approach, the case study, using as procedures for data construction an interview, observation, analysis of documents and photographs. Joined the group of participants in this study, a blind student in the class of 2009.1of the EMUFRN Bachelor's Degree in Music, teachers from two disciplines complied by the student, two classmates, a monitor support in music theory, the course coordinator and school principal, and two other individuals who contributed to the inclusion process in actions not formalized institutionally. The results indicate UFRN proposed initiatives that contribute to inclusion of students with disabilities in this institution, the main one is the creation of the Standing Committee of Support for Students with Special Educational Needs (CAENE), a group that guides administrative sectors, teachers, principals, coordinators and students on the measures needed to enter and remain in quality education for all. Physical accessibility is still under construction at UFRN, and many access and sectors see it being adapted for students with physical or visual disabilities, and those with mobility impairments, have access to various parts of the university, however, as shown in this study, some points need to be reconsidered, as there are several places where the installation of tactile floor does not fully follow the guidelines proposed in the legislation. The proposals for access to the curriculum, mediated by EMUFRN, are actions that propose the inclusion of the blind student, as the existence of an educational monitor to help in the study of music theory, however, we need to rethink these proposals to not became actions of reactive intervention. Assuming a more proactive posture, the EMUFRN will be prepared to receive the diversity of students that expects. The study also points out that the blind student is part of a group of students that are practical musicians, who must work in events and evening shows, and who have little knowledge in music theory, leading, respectively, in low frequency classes and learning difficulties in certain curricular components, which may cause the closing of such components. In this case, the challenge of EMUFRN, considering the inclusive perspective, it is not specifically fit for the academic host a blind student, but to develop an accessibility project curriculum to consider effectively the diversity of all its students, taking into account mainly the economic and cultural conditions. This implies a process of resizing academic practices that be guided for collaborative and coordinated actions involving the various educational actors at EMUFRN and UFRN

A criança e o brinquedo-TV: análise sobre o discurso publicitário direcionado para a infância na Rede Globo de Televisão

Esta investigación es un análisis del contexto actual que rodea a la publicidad brasileña, más concretamente, la publicidad discurso televisivo dirigido a los niños en Brasil. Análisis de los documentos se basa en la revisión retórica (Leach, 2004) (SODRE, 2006) A partir de la primera supuesta inadecuación de algunos de sus contenidos al público para que se comunican. También investiga las posibilidades de regulación y la educación del consumidor y el papel de los medios de comunicación en la sociedad mediante la movilización exigiendo el cumplimiento y la mejora de la legislación vigente, evitando los posibles abusos y distorsiones de las secciones generales de la ley. Hemos llevado a cabo por separado se analiza en los niños y sus conceptualizaciones y la función social, abordando también el juguete y el acto de jugar hoy y su sede histórica en un intento de crear una fundación que apoya el análisis de la relación entre la infancia y la publicidad y el consumo, basado en obras de Roger Silverstone, Kapferer, Leontiev y Walter Benjamin. También se hicieron inferencias basadas en estudios de Pablo Del Río, sobre las posibles consecuencias psicológicas del consumo de medios por los niños, sin embargo, en arvorarmos llevar a cabo investigaciones en el estudio de la recepción. Se enfrentarán, tanto en acciones a favor de la aprobación de la Ley 5.921/2001 N º Suplente sugiere que la prohibición de la publicidad infantil en todo el país, los enfoques ampliamente "integrado" y por lo tanto, favorables a la continuidad de la actividad publicitaria en el país bajo la acción de la CONAR de autorregulación, lo que demuestra sin embargo, la viabilidad de ambas propuestas. Tambien relativa a el CONAR se llevó a cabo un estudio sobre su Consejo Asesor, dando a entender su composición y características. Por último, se estudian las posibilidades y el concepto de la educación para el consumo de los medios de comunicación, a partir de la utilización de los recursos de los propios medios de comunicación, como una propuesta para un cambio de paradigma en el mercado de la publicidad en Brasil. En conclusión, vemos que a partir del análisis de la publicidad comercial de los niños atendidos por la Red Globo de Televisión, en una muestra de 170 inserciones, todavía existen graves lagunas, pero que los desequilibrios se pueden resolver con medidas relativamente sencillas que incluyan campañas de educación y la exigencia de adecuación de los pocos grandes anunciantes que violan la ley. Afortunadamente, una nueva entrega de los anunciantes mostró la responsabilidad social en sus acciones