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

Explorando a execução de técnicas estendidas no oboé encontradas em quatro peças contemporâneas

This dissertation presents an investigation of the evolutionary process of extended oboe techniques, through literary analysis and practical research. The objective of this work is to provide assistance to oboists interested in learning these techniques. Additionally, this work encourages the student, through the process of experimentation, to explore the questions that may arise around the aesthetics of sound, the concept of gesture as an additional visual and aural element in music, and the collaboration and “real-time” creation processes. Discussed within the work, are the relationship between the instrument (the oboe) and extended techniques, and two possible definitions of extended techniques, provided by Luk Vaes (2009) and Gardner Read (1993). Also explored are the how and why some composers have utilized extended techniques in their compositions, including brief discussions relating to extended techniques in real-time composition (improvisation), extended techniques and technological resources, theatrical gesture as an extended technique, and suggestions of how musicians might approach theatrical gestures in performance. Four works were visited: “I Know This Room So Well” – Lisa Bielawa (2007-9); “Four Pieces for Oboe and Piano” – Ernst Krenek (1966); “In Freundschaft” – Karlheinz Stockhausen (1978); “Atem” – Mauricio Kagel (1969-70); and an exploration of the difficulties and solutions associated with each extended technique found within these pieces, was carried out. The following founding works on extended oboe techniques were used, as a basis for research: books - Heinz Holliger’s Pro Musica Nova (1972); Gardner Read’s Compendium of Modern Instrumental Techniques (1993); Peter Veale & Claus-Steffen Mahnkopf’s The Techniques of Oboe Playing (1994); and Libby Van Cleve’s Oboe Unbound: Contemporary Techniques (2004); and articles - Nora Post’s “Monophonic sound resources for the oboe: Part I – Timbre” (1984), “Part II- Pitch and other techniques” (1984), and “Multiphonics for the oboe” (1982).

Práticas de ensino da música de rabeca no Rio Grande do Norte

MARTINS, Emerson Carpegianne de Souza ; LIMA, Agostinho Jorge de. Práticas de ensino da música de rabeca no Rio Grande do Norte. In: ENCONTRO REGIONAL DA ABEM NORDESTE, 9. Natal, 2010.Anais... Natal: UFRN/ESCOLA DE MUSICA, 2010

Identificando práticas musicais e processos de aprendizagem musical no contexto urbano de Montes Claros-MG

MENDES,Jean Joubert Freitas; BRITO,Leila de Jesus Ferreira de;CARMO, Raiana Alves Maciel Leal do. Identificando práticas musicais e processos de aprendizagem musical no contexto urbano de Montes Claros-MG. In: ENCONTRO DA ASSOCIAÇAO NACIONAL DE PESQUISA E POS-GRADUAÇAO EM MUSICA (ANPPOM), 17.,2007, Sao Paulo. Anais... Sao Paulo: ANPPOM, 2007.

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: musica.ufrn.br/revistas/index.php/abemnordeste2010/about>. Acesso em: 04 out. 2010.

Sistemas interativos musicais aplicados à percussão mediada

CAMPOS, Cleber da Silveira ; MANZOLLI,Jônatas. Sistemas Interativos Musicais aplicados à percussão mediada. In: CONGRESSO DA ASSOCIAÇAO NACIONAL DE PESQUISA E POS-GRADUAÇAO EM MUSICA (ANPPOM), 20.,2010, Florianópolis. Anais... Florianópolis: ANPPOM, 2010.

Sobre a ação do docente: os sentidos dados ao planejamento e formação continuada por professores de uma escola pública municipal de Natal

Este trabajo tiene como objetivo comprender los sentidos dados a la relación entre el planeamiento y el proceso de formación continuada por profesores de una escuela pública municipal de la ciudad de Natal (RN). La conjetura guía es la percepción de que los profesores parecen no concebir el planeamiento escolar como espacio de formación colectiva y continuada. Así, esta conjetura es motivo de reflexión a medida que el planeamiento puede ser visto como un proceso cargado por tensiones y conflictos estructurales reprimidos en la escuela. Nuestro principio teórico metodológico es una interpretación de múltiples referencias que parte de conceptos en diferentes modelos de análisis en la comprensión de una realidad en que diferenciadas dimensiones están entremezcladas. Adoptamos como metodología de investigación la Entrevista Comprensiva, en que el objeto de la investigación se construye por medio de la elaboración teórica de las hipótesis surgidas en el campo de la investigación. El investigador busca dominar y personaliza los instrumentos y teoría a un proyecto concreto de investigación, cuya imagen más cercana es lo que se denomina de artesanía intelectual . En el proceso de construcción comprendemos la necesidad de entender el registro de un saber social incorporado por los individuos a su historicidad, a sus orientaciones y definiciones de su acción en relación al conjunto de la sociedad. En este sentido, los profesores entrevistados comentan su entendimiento revelando sentidos sobre cómo hacer efectivo un planeamiento que atienda las realidades del cotidiano de los alumnos. Observamos en nuestros análisis que parte del grupo de profesores tiene consciencia de hacer del planeamiento como base del trabajo docente no apenas dirigido al aspecto práctico elaboración y ejecución -, sino relacionado a un proceso de otros aspectos simultáneos como la reflexión acción-reflexión sobre la acción. De este modo, existe la posibilidad de mejorar el planeamiento transformándolo en más dinámico y participativo a través de los proyectos de trabajo como alternativa de enseñanza y de acercar la práctica pedagógica a la realidad de los alumnos, por ese motivo el planeamiento diario es de fundamental relevancia, ya que el espacio escolar es complejo y dinámico. Sin embargo, percibimos que existe incomprensión del planeamiento como espacio de formación continuada en la escuela en consecuencia de prácticas sin reflexión, y por eso, el proceso de planeamiento tiende a ser visto apenas como técnico y no un proceso político que apunta hacia la acción reflexiva. Por estas razones surgen tensiones externas e internas, unidas a las incertidumbres del trabajo docente en el cotidiano escolar, asociada a los sentimientos antagónicos que pueden ser elementos que dificultan y limitan el trabajo profesional de los docentes, llevándolos a la improvisación. Los profesores sugieren la construcción de la propuesta pedagógica dirigida a la formación continuada, coligada a la introducción de una práctica reflexiva que considere a la colectividad, siendo incluidas la autonomía, la flexibilidad y la abertura del planeamiento, y resaltan la actuación mediadora del coordinador pedagógico como de fundamental importancia para fortalecer el trabajo colectivo en la escuela y de enfatizar practicas reflexivas

Relações interpessoais no ambiente de trabalho da equipe de enfermagem: uma ação comunicativa

The current study strives to address the interpersonal relationships of the nursing team from the perspective of the communicative action, by contributing to the health work process. It aims to analyze the interpersonal relationships of the nursing team in its work environment. This is a descriptive study with a qualitative approach. Data collection wal held from interviews, guided by a script with open questions. The study was conducted at a state hospital in the city of Natal/RN/Brazil. The research subjects were the workers of the nursing team, including nurses, nursing technicians and nursing assistants, totaling 16 subjects. The capture of information was performed in April 2012. The project was approved by the Ethics Research Committee, under CEP/UFRN protocol n. º 262/11 and Certificate of Presentation for Ethical Consideration n. º 0289.0.051.000-11. The analysis was performed from the categories that emerged from the research through a dialogue with the authors studied in the theoretical framework of the Theory of communicative action , by Jürgen Habermas, as well as The changing in the world of work, by Ricardo Antunes, and Characterization of the team , by Marina Peduzzi. The outocomes point out that the interpersonal relationship of the nursing team is very troubled, with no interaction among the individuals involved in this process, among themselves and with other health professionals. We have developed a particular concept about team, which is comprised of three essential elements: multiplicity of individuals, common objective and heterogeneity. In the studied environment, it was realized the existence of grouping teams. The interpersonal relationship of the nursing can be a facilitator or an obstacle in the workplace in such a way that causes positive or negative consequences, both to the health workers, and to the sicks. In this context, the interviewees have intensified their viewpoints with regard to the weaknesses that permeate the nursing relationship, by pointing them more frequently than the strengths. The work conditions have signaled a failing situation, which is evidenced by the constant improvisation process before the lack of human and material resources, low wages, deficit in recognizing the nursing worker, and physical and emotional wear, by creating a professional exhaustion. The devaluation of the worker also became a strong factor for this study, because it was characterized a reason of job dissatisfaction, due to the lack of valuation policies, which should be prepared by the institution or, even, they are unknown by the worker itself. The worker participation in the design of these policies has emerged as a relevant factor. The poor work conditions lead the worker to a process of professional demotivation and dissatisfaction, by causing the feeling of devaluation within its work environment. Hence, it was found in this research that the lack of communication leads to situations of inadequate interpersonal relationships, which are creators of an unsuitable environment for the performance of the nursing team

Do picadeiro ao céu : o riso no teatro de Ariano Suassuna

The analysis of this work seeks to investigate the meaning of the laughter in the paraibano writer Ariano Suassuna s armorial theater. The study departs, firstly, from an argumentation which centers its content in the theory of the many theoreticians of the question: Henri Bergson, Vladimir Propp, Jolles, Freud, Bakhtin. The essence of the laughter in Suassuna and its esthetic relations are commented, because those elements are responsible for the strength of the literary text. On the condition of scholar about Esthetic and Art History, Suassuna always puts the methods of the estheticism in favor of the loud laughter bearing in mind that it is a source of improvisation, i.e., it may have many senses depending on what it is pretended to transmit to the reader/viewer. The laughter is a mask which is changed to each new situation, representing that way own human condition. Because the theater is an art subjected to recreation, the laughter also is. And because it is a great party where other arts (the dance, the music, mamulengo e the bumba-meu-boi) are present, united to compose a confluent and hybrid language, the meaning of hilarity during the popular celebrations is studied mainly those that happened in Medieval Europe. Thus, in the second part, the basis of the research is the Russian Mikhail Bakhtin s theory that helps to link Suassuna s laughter to the popular party, showing the language used in them and the jokes that give life to the joy of the folk. Soon after, the importance of Suassuna s laughter to the Brazilian Culture, is examined making a reflection about its function at the sociocultural context of the country

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.

"Cantata para louvor e glória", de Cleide Dorta Benjamim: preparo para a execução

This study aims to document the preparation process for the implementation of "Cantata To Praise and Glory"(Cantata Para Louvor e Glória), composed in 1985 by composer Cleide Dorta Benjamin (1936 - ), in order to anticipate and address the possible difficulties faced by future conductors, singers and instrumentalists. Issues that relate to the chosen text as well as its structure and importance in the compositional process, are initially addressed through a brief presentation of the work. Consequently, by addressing every detail of the work, solutions to vocal and instrumental execution difficulties, as well as with the conducting gesture, are analyzed, identified and proposed. The work also presents a report that describes all the practical processes of preparation of the Cantata: reissue of the score; selection and profile of singers and instrumentalists; rehearsals; changes and adjustments to the score; and a brief interview with four singers and two musicians who participated in the process. The interaction with the composer throughout a significant part of the work, brings a notable increase of possible clarifications and idea development, enabling a coherent performance of the work.

A motivação de licenciandos em música sob a perspectiva da teoria da autodeterminação

This research had as main aim to verify the motivational quality of music students at four public universities in the Northeast of Brazil, based on the Self-Determination Theory (SDT). This perspective was proposed by Edward Deci and Richard Ryan (1985, 2000, 2008a, 2008b), and considers the qualitative aspects of motivation. It defends that the individuals have a natural tendency to self-regulation; it adopts the concept of internalizations through a continuum of self-determination conceived in the mini-theory of organismic integration. The research presents a descriptive, exploratory and correlational approach. To collect data, it was submitted a self-report questionnaire, based on the Academic Motivational Scale, translated and validated by Guimarães and Bzuneck (2008), which allow us to verify the motivation types according to a selfdeterminational continuum. According to this application, the instrument has shown evidence of satisfactory validity, with a good internal consistence and correlations from weak to moderate scale. The obtained data were collected from 380 music students, analyzed through a descriptive and inferential statistics, considering a few procedures: frequencies, averages, standard deviation, factorial analysis, internal consistence analysis through Cronbach Alpha, Pearson’s correlational analysis and variance analysis. The analyzed data show that high averages in the evaluation of self-determined motivation and low evaluation in demotivation and less autonomy motivation. Many students revealed strong intention to conclude the course. It was identified less autonomous motivation and more motivation among the students with intention to work in other areas, some of them concluded the final training process in Music Course, and say that they are in this course because they had no other option. We conclude that those graduated in Music Course, represented in this sample, show a good motivational quality. But after a few time there is a tendency in decreasing autonomous motivation because of some requirements of an academic course. In this sense, the courses must create strategies to maintain a self-determined behavior so that students can realize their autonomous motivation, identifying its importance, value and meaning along the Course.

Abordagens de estudo e performance da obra Responsório ao vento para violoncelo solo de Sílvio Ferraz

Recognized for his relevant writing for the cello, Silvio Ferraz wrote , in 2012, Segundo Responsório for cello solo and chamber group which followed Responsório ao Vento , a version of the same piece for solo cello . The work is characterized by the idea of continuity of sound moving through different textures , timbres , dynamics and musical gestures. The composer uses extended techniques, such as large sections in sul tasto playing three strings simultaneously, trills of natural harmonics , muffled trills with natural harmonics , col legno batuto , different types of glissando and simultaneous sounds of harmonic and non harmonic notes corroborate to a wealth of sounds and layers that create different textures. This article investigates the relationship of the composer with the cello, and relates Responsório ao Vento to his other works and studies the influences of the composer addressing technical and interpretive aspects of the piece drawn from performance experiences.

Técnicas estendidas para saxofone em obras compostas por meio de colaboração compositor-intérprete

This dissertation deals with the use of extended techniques for the saxophone in the piece Minus (for solo saxophone in Bb), composed through a composer-performer collaboration between Agamenon de Morais and the saxophonist Kleber Dessoles. The text is organized in the following manner: the first part brings the historical background of the concert music written for the saxophone since the beginning of the 20th-century, exploring the use of extended tehcniques and the main characters and historical facts of this period, with data obtained through a literature review; the second part deals with the issue of the composer-performer collaboration, since cases documented in the 18th and 19th centuries until nowadays, exploring in which different ways collaborations may happen and the motivations behind them; the third and final part is about the specific work, followed by a detailed description of the collaboration between the composer and the interpreter, as well as detailed explanations about the extended techniques present in the work (multiphonics and flatterzunge), through bibliographic and documental research, as well as descriptions of the meetings between composer and interpreter. At the end of the collaborative process, one may say that the final result was created from a sum of the composer's knowledge with the interpreter's, almost as if the composition had double authorship. The document describing this process may help composers and interpreters in composing for the saxophone, as well as guide future collaborative experiences.

O gesto regencial para além do compasso: uma discussão acerca das ferramentas da regência e de seus usos para a performance na música do século XX

This work is the result of a master’s program research developed in the post graduation program in music at the Music School of the UFRN ( Federal University of Rio Grande do Norte) under the orientation of Dr. Andre Luiz Muniz de Oliveira which aimed at making a reflexion about regency gestures and its implications about the objective and subjective elements of the performance connected to a number of regency tools concieved in accordance with the tradition of historic music. As a tool for gestual analysis we’ve used the Harold Farbermann PatternCube method. We’ve used videos from conductors Pierre Boulez e Valery Gergiev, both conducting Igor Stravinsky’s Rite of Spring. In the analysis of the videos we’ve observed the technical use of the gestual aparatus instead of the use of musical gestures fundamented in Hatten. The research showed us the importance of the use of analitical tools in helping subsidise a direction in performance in regency.