Música dos espaços: paisagem sonora do Nordeste no movimento armorial

This work exams the presence of music in the imaginary constitution of spaces, taking as study s object part of the musical production of the Armorial Movement, officially casted in 1970 in the city of Recife, Pernambuco. From that so called, by the Armorial s discourse, the essence of the brazilian northeastern popular art , the armorialists has intended to make an art that express an idea of northeasternity and brazility . Tries to demonstrate how the music has exerted a basic function of condensation and spreading of the armorial aesthetics, auditorily delimiting the territory of Brazilian Northeastern and, at the same time, trying to impose a sonority to it. This work still analyses the elaboration of what would be a proper soundscape of the Northeastern and how this elaboration passes trough the desire of crystallization of an idealized space, perpetual, escape line of the characteristic modernizing and postmodernizing experience of the twentieth century, product, in turn, of the anxiety of conservation of the Northeastern as a shelter to the traditions that has been evidenced by the construction of an visibility and, also, an audibility to the so called northeastern universe. It analyses, too, the way as works the confrontation between the idea of a so called northeastern soundscape - sonorous events set taken as typical from the rural space - and a sonorous archives series produced since 1920 with the regionalist discourse, showing how was elaborated an armorial music that has intended to represent the brazilian Northeastern. It evidences how, to the elaboration of armorial music, it was managed elements from the European musical culture so called scholar. It argues that the utilization of, to the manufacture of the armorial thinking and aesthetics, of a European mimical capital, so called that way by Stephen Greenblat, was consequence of the intellectual leadership of the Movement, centered in the writer Ariano Suassuna. It argues that Suassuna, followed by the musicians and the artists of the Movement, has searched to evidence a genetic linking between what he has considered the Brazilian true popular art and the medieval Iberian culture. For in such a way, the music was taken as a formation element of the social imaginary and directed to verify a relationship between the Northeastern idealized by the Armorial and the music produced by the Movement. This work has searched, therefore, through the analysis of the armorial music, to study the possible confluences between music and the space that has produced it to, by this analysis, to think the complicity between music and history

Bandas de música, escolas de vida

The focus of this dissertation is to understand the child and youth musical learning trajectory by using two philharmonic orchestras from Seridó, an area in the interior of Rio Grande do Norte. One is called the Hermann Gmeiner Philharmonic Orchestra of Aldeias Infantis SOS Project from Caicó, and the other is the 24 de Outubro Philharmonic Orchestra from Cruzeta. It emphasizes the singular relationship between the band s master and his students, based on a permanent interaction with tradition, creativity and change, resulting from a shared educational process. The idea that unites the work of these two communities is the gamble about the individual's formation as a complex human being, which it is not just concerned with the learning of a musical instrument, but is, more importantly, an educational process capable of facilitating the discovery of the self, others and society. The history and the course of the musical education of these two experiences were facilitated using a base of semi-structured interviews of the bands masters, students and people from two municipal districts. Their history is understood through analysis of the band s pictures and the theoretical-social approach is governed by the complexity idea expressed by Edgar Morin. For the author, complex means to `weave together`; therefore it is multidimensional, and it creates a dialogue about several domains and aspects that occur on the same phenomenon. The complex always supposes creativity and the relationship between the subject s reason and affectivity

A História entre Tempos e Contratempos: Fontes Ibiapina e a obscura invenção do Piauí

Dans ce texte, nous prenons avec probleme le départment bresilien de Piauí comme espacialité de la Région « Nordeste », suivant les instants de son insertion politique et discursif dans l'identité régionale, qui s'est donnée entre la fin des années 1950 et débuts des années 1970. Pour ceci, nous proposons une analyse de discours identitaires de Piauí comme la littérature et le folklore produits alors, cherchant à rapporter telles discours avec les pratiques et intérêts politiques qui ont concouru pour la « nordestinization » de Piauí. Parmi ces discours et dans dialogue avec eux, nous prenons centralement l'oeuvre du juge et ecrivain João Nonon de Moura Fontes Ibiapina, emisseur de signes qui apparaît en ce moment. Notre objectif est discuter les images élaborées sur Piauí et son inclusion dans les stéréotypes cristallisés de Nordeste, comme la pauvreté et la nécessité, la vie dans le champs et la prédominance d'une « culture populaire » régionale. Dans une période d'importantes mutations dans la société brésilienne, dans la production culturelle, dans heurtes régionalistes Nordeste et dans les formes de penser et pratiquer les espaces, les intellectuels de Piauí que nous étudions ont essayé de recouvrir de mots et de sens la noirceur et l'incommode silence concernant le Piauí dans la Nation bresilienne, quand le déparment s'intégrait, au moyen de la Région, au Brésil urbain et industrialisé

A invenção da Terra da Luz: história, literatura e paisagem (1875-1914)

Ce travail est un étude de cas qui analyse la construction litéraire du paysage du « Sertão» du Ceará entre la fin du siècle XIX et le début du siècle XX. Pour cela, quelques oeuvre simbole de la production litéraire du Ceará ont été sélectionnés, comme les textes qui suivent: O sertanejo (1875), de José Martiniano de Alencar; Os retirantes (1879), de José Carlos do Patrocínio; A fome (1890), de Rodolfo Marcos Teófilo; Luzia-Homem (1903), de Domingos Olímpio Braga Cavalcanti; Terra de sol: natureza e costumes do Norte (1912), de Gustavo Dodt Barroso et finalement, Aves de arribação (1914), de Antônio Sales. Ces oeuvres non seulement prend la nature comme personage, elles représentent aussi trois moments de la production litéraire du Ceará : romantique, réaliste et naturaliste. A invenção da Terra da Luz se rapporte à l idée d une littérature qui fait remarquer le paysage diurne du Sertão du Ceará, élaborée par ces hommes des lettres dans ses discours formidables, beaux et des matériaux qui viennent de ses rapports avec le monde naturel. Pour réaliser une tel entreprise, les idées de Edmund Burke et Gaston Bachelard se sont constitués en référence de cet étude. Et cette réflexion sur la description, la rêverie et l imagination marchent côte-à-côte au discours de ces littéreurs qui ont construits un espace simbolique spécifique : le sertão du Ceará. Comme ça, quelques thèmes deviennent canonique à la forme de penser, représenter et imaginer l espace du sertão du Ceará. De cette manière, le paysage est beaucoup plus que la contemplation, une fois qu elle est liée aussi à la rêverie poétique, à la mémoire et l imagination. C est de là l invention du paysage, car ces littéreurs n ont pas l accès au paysage purement naturel parce que ses perceptions et sensibilitées sur le monde du sertão ont été historiquement, c est-à-dire, dans un certain temps et espace

A história do intemperismo na Província Borborema Oriental, Nordeste do Brasil: implicações paleoclimáticas e tectônicas

Until some years ago, weathering geochronology was primarily based on the K-Ar and 40Ar/39Ar dating of supergene minerals. Recent advances in the analysis of supergene goethite by the (U-Th)/He method expanded the number of suitable minerals for such purpose, as well as the time of application for weathering geochronology. This study represents the first systematic approach in Brazil, combining both the 40Ar/39Ar e (U-Th)/He methodologies to improve the knowledge on the weathering and the age of nonfossiliferous sediments. Supported by geologic and geomorphologic correlations, we identified different types of weathering profiles occurring in the interior and coastal areas of northeastern Brazil. These profiles were correlated to main regional geomorphological domains: the Borborema Plateau , the Sertaneja Depression , and the Coastal Cuestas and Plains, and respective planation surfaces, which study is fundamental to understand the landscape evolution of the northern portion of the eastern Borborema Province. The depth and stratigraphic organization of the weathering profiles in each of the geomorphological domains permitted to establish that: (i) the profiles on the highlands that cap the Borborema Surface are deeper (up to 100 m) and can be considered as typical lateritic profiles; (ii) on the lowlands that form the Sertaneja Surface , the weathering profiles are shallow and poorly developed (2-5 m deep); (iii) the profiles along the coastal area are moderately developed (up to 25 m deep), and are characterized by thick saprolites and mottle zones. Aiming to establish the timing of the evolution of northeastern Brazil, we studied 29 weathering profiles representing distinct topographic levels of the Borborema Province, from the highlands to the coast, through the analysis of 248 grains of supergene manganese oxides using laser step-heating 40Ar/39Ar geochronology. Additionally, we applied the (U-Th)/He method in 20 weathering profiles, by dating 171 grains of supergene iron oxides and hydroxides. Geochronological results for 248 grains of manganese oxides analyzed by the 40Ar/39Ar method indicate that the weathering profiles in the study area record the history of weathering from the Oligocene to the Pleistocene, with ages in the order of 31.4 ± 1.0 Ma to 0.8 ± 0.4 Ma. Dating of 171 grains of goethite by the (U-Th)/He method yielded ages ranging from 43.2 ± 4.3 Ma to 0.8 ± 0.1 Ma, suggesting the weathering processes last from the Eocene to the Pleistocene. The precipitation of supergene goethite in this interval confirms the age of the weathering processes identified from the manganese oxides record. 105 goethite grains from 8 different occurrences of the Barreiras Formation were dated by the (U-Th)/He method. Five grains collected from the cement in the Barreiras Formation sandstones, in the Lagoa Salgada and Rio do Fogo coastal cuestas, yielded ages of 17.6 ± 1.8 Ma, 17.3 ± 1.7 Ma, 16.3 ± 1.6 Ma, 16.2 ± 1.6 Ma and 13.6 ± 1.4 Ma. Results of 69 goethite grains from authigenic pisoliths collected in 7 different localities also yielded concordant ages, varying from 17.8 ± 1.8 to 7.5 ± 0.8 Ma. Results obtained from 31 detrital grains are concordant in 3 distinct localities (Lagoa Salgada, Praia da Garças e Ponta Grossa); they vary in the range of 43.2 ± 4.3 to 21.6 ± 2.2 Ma, and indicate that the maximum age for the Barreiras Formation deposition is around 22 Ma. 40Ar/39Ar results for 15 manganese oxides grains associated with the Barreiras Formation weathering profiles, in 3 different localities, vary from 13.1 ± 0.9 to 7.7 ± 0.4 Ma, in the same range of ages obtained by the (U-Th)/He method. The systematic application of the 40Ar/39Ar and (U-Th)/He methods, respectively for manganese oxides and goethites, show that the Barreiras Formation sediments were already deposited since ca. 17 Ma, and that the weathering processes were active until ca. 7 Ma ago. The ages obtained from manganese oxides collected in the Cenozoic basalts (Macau Formation) also reveal a weathering history between 19 and 7 Ma, pointing to hot and humid conditions during most of the Miocene. 40Ar/39Ar ages yielded by manganese oxides associated with the Serra do Martins Formation vary from 14.1 ± 0.4 to 10.5 ± 0.3 Ma. On the other hand, (U-Th)/He ages from iron oxides/hydroxides collected in the Serra do Martins Formation mesas vary from 20.0 ± 2.0 to 5.5 ± 0.6 Ma, indicating that those sediments are older than 20 Ma. 40Ar/39Ar and (U-Th)/He results produced in this study are in agreement with paleoclimatic interpretations based on stable isotopes and clay index values measured in the Atlantic Ocean sediments, validating the use of weathering geochronology to investigate paleoclimatic variations. The direct dating of the Barreiras Formation permitted, for the first time, confident inferences on the age of the brittle deformation recorded by this sedimentary unit in the Rio Grande do Norte and Ceará states. The first event, syn-deposition, occurred during the early Miocene; an younger event, related to the post-depositional deformation of the Barreiras Formation, is associated with tectonic activity from the very early Miocene to the Holocene. In agreement with data from other areas, results obtained in this study reveal that the depth and complexity of the weathering profiles reflect the time of exposition of such areas to the weathering agents close to the surface. However, there is no clear relationship between ages vs. altitude. The depth and the stratigraphic organization of weathering profiles in northeastern Brazil, contrary to the southeastern Brazil pattern, do not vary toward the coast. In our study area, field observations reveal the presence of ancient, thick and complex lateritic profiles preserved in the sedimentary mesas on the Borborema Plateau, as younger, narrow and incipient ones occur in the dissected areas. Geochronological results obtained for these profiles yielded older ages on the high altitudes, and younger ages in the lowlands, suggesting the scarp retreatment is the most reliable model to explain the regional landscape evolution. However, in the coastal lowlands, the relatively older ages obtained indicate that more complexes processes were involved in the modeling of the local relief

A construção da identidade profissional de licenciados em Música da UFRN: um estudo de narrativas autobiográficas

Aims to understand the construction of the professional identity of undergraduate in Music UFRN, through the study of autobiographical sources of these subjects, checking their formative dimensions and their (re) meanings established throughout life stories. To do so, shows a brief presentation of the study and the main motivations of the author to do it; expresses the life story of the researcher and their training courses in music career; analyzes the historical overview of the route Search (Auto) biography as research and training approach (JOSSO, 2010; NÓVOA; FINGER, 2010; SOUZA, 2007; PASSEGGI; SILVA (2010b) and DELORY-MOMBERGER, 2012); It presents some reflections and discussions about the construction of identity, beyond the concepts and perceptions of the training and professional representations of this building (DUBAR, 2005); discusses the historical background regarding teacher training in Brazil and Music Education; describes the ways and methodological resources used for data collection and implementation of this research, namely, a reflective open questionnaire and autobiographical essays; It presents the life stories of the undergraduate students of the Music course and its educational and musical dimensions; Lastly, it presents a reflection about the paths taken. The results indicated that the autobiographical essays make it possible to understand the ways and social relations in the various identified training dimensions, in addition to realize that the family contexts and the first musical social contacts in informal settings, enable the licensees, an identification with the possible career lecturer in Music, as well as the main reasons for this choice. We conclude, therefore, that the experiences and musical experiences throughout life favor the construction of professional identity and that in the course of training, such experiences make ways to (re) define the musical experiences, as well as the (re) thinking their professional career.

A construção da identidade profissional de licenciados em Música da UFRN: um estudo de narrativas autobiográficas

Aims to understand the construction of the professional identity of undergraduate in Music UFRN, through the study of autobiographical sources of these subjects, checking their formative dimensions and their (re) meanings established throughout life stories. To do so, shows a brief presentation of the study and the main motivations of the author to do it; expresses the life story of the researcher and their training courses in music career; analyzes the historical overview of the route Search (Auto) biography as research and training approach (JOSSO, 2010; NÓVOA; FINGER, 2010; SOUZA, 2007; PASSEGGI; SILVA (2010b) and DELORY-MOMBERGER, 2012); It presents some reflections and discussions about the construction of identity, beyond the concepts and perceptions of the training and professional representations of this building (DUBAR, 2005); discusses the historical background regarding teacher training in Brazil and Music Education; describes the ways and methodological resources used for data collection and implementation of this research, namely, a reflective open questionnaire and autobiographical essays; It presents the life stories of the undergraduate students of the Music course and its educational and musical dimensions; Lastly, it presents a reflection about the paths taken. The results indicated that the autobiographical essays make it possible to understand the ways and social relations in the various identified training dimensions, in addition to realize that the family contexts and the first musical social contacts in informal settings, enable the licensees, an identification with the possible career lecturer in Music, as well as the main reasons for this choice. We conclude, therefore, that the experiences and musical experiences throughout life favor the construction of professional identity and that in the course of training, such experiences make ways to (re) define the musical experiences, as well as the (re) thinking their professional career.