Análise estratigráfica de subsuperfície do Devoniano Inferior da Bacia do Rio do Peixe, Nordeste do Brasil

Subsurface stratigraphic analysis of Devonian strata from the Rio do Peixe Basin, newly recognized by palynological studies, has resulted in the identification of two new lithostratigraphic units assembled in the Santa Helena Group. The Pilões Formation, the lower unit, is composed mainly of dark mudstones and medium-tovery fine-grained sandstones, with minor conglomerates and breccias. The Triunfo Formation, the upper unit, comprises whitish grey, kaolinitic, coarse-grained to conglomeratic, cross stratified sandstones and conglomerates, with interbedded mudstones and fine-grained sandstones. These units were characterized using cores, sidewall and cuttings samples, conventional logs and image log, from three wells drilled by PETROBRAS, and 3D seismic data. The Pilões Formation is interpreted as prodeltaic facies, with lesser associated subaqueous talus, debrite and sandy turbidite lobe facies, distal part of fandelta and braided fluviodeltaic facies of Triunfo Formation. The Santa Helena Group corresponds to the Lower Devonian tectono-sequence deposited in a NW-SE-trending graben during a transgressiveregressive cycle. With 343 meters of thickness (isochore) in well 1-PIL-1-PB (Pilões 1), this sequence has a non-conformity at the lower boundary and its upper boundary is an unconformity with the Lower Cretaceous tectono-sequence (Rio do Peixe Group), that represents a hiatus of about 265 million years. Ignimbrites and coignimbrite breccias (Poço da Jurema volcanic breccia), related to an unknown pyroclastic volcanic event, were recognized at the northern margin of the Sousa halfgraben. Evidence from well data suggests that this event is coeval with the Devonian graben filling. The present study indicates a polyhistorical tectono-volcanosedimentary evolution of the basin. This lithostratigraphic update brings new perspectives for geological research in the Rio do Peixe Basin, as well as in other inland basins of the Northeastern of Brazil. The results of the research also contribute to the kwnoledge of the Borborema Province and western Gondwana paleogeography during the Early Devonian.

Arquitetura, litofácies e evolução tectonoestratigráfica da bacia do rio do peixe, nordeste do Brasil

The Rio do Peixe Basin is located in the border of Paraíba and Ceará states, immediately to the north of the Patos shear zone, encompassing an area of 1,315 km2. This is one of the main basins of eocretaceous age in Northeast Brazil, associated to the rifting event that shaped the present continental margin. The basin can be divided into four sub-basins, corresponding to Pombal, Sousa, Brejo das Freiras and Icozinho half-grabens. This dissertation was based on the analysis and interpretation of remote sensing products, field stratigraphic and structural data, and seismic sections and gravity data. Field work detailed the lithofacies characterization of the three formations previously recognised in the basin, Antenor Navarro, Sousa and Rio Piranhas. Unlike the classical vertical stacking, field relations and seismostratigraphic analysis highlighted the interdigitation and lateral equivalency between these units. On bio/chrono-stratigraphic and tectonic grounds, they correlate with the Rift Tectonosequence of neocomian age. The Antenor Navarro Formation rests overlies the crystalline basement in non conformity. It comprises lithofacies originated by a braided fluvial system system, dominated by immature, coarse and conglomeratic sandstones, and polymict conglomerates at the base. Its exposures occur in the different halfgrabens, along its flexural margins. Paleocurrent data indicate source areas in the basement to the north/NW, or input along strike ramps. The Sousa Formation is composed by fine-grained sandstones, siltites and reddish, locally grey-greenish to reddish laminated shales presenting wavy marks, mudcracks and, sometimes, carbonate beds. This formation shows major influence of a fluvial, floodplain system, with seismostratigraphic evidence of lacustrine facies at subsurface. Its distribution occupies the central part of the Sousa and Brejo das Freiras half-grabens, which constitute the main depocenters of the basin. Paleocurrent analysis shows that sediment transport was also from north/NW to south/SE

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.