The Beatles: ensaio sobre a ética do amor

The thesis intends to discuss the ethics by the way of love. So, it uses as a mention the musical work and the set of attitudes of the group that changed the way of thinking across the 20th Century mass-comm, entering a new way of thinking about the World: The Beatles. Analyzing the lyrics and the writing of the songs was searched the comprehension of he intrinsic love message at the Ethics it expresses. At the musical art of The Beatles political messages had been announced in a time that the World sought a Ethic way beyond the several declared war and the Cold War. Taking the Edgar Morin works as a base, O método 6, Ética (2005), it sought to understand the idea who permeates the human relations: the good, the possible, the necessary. Another works used as a cognitive base were Meus demônios (2003), Cultura de massas no Século XX: neurose (2005), Cultura de massas no Século XX (2006), The Beatles Anthology (2000) and Many years from now (2000). Holding the Ethics idea showed by Morin were established imaginary lines that perpass the behavior of the group known in the entire World understood till nowadays as tolerance, comprehension, peace, love and endurance messengers. The Beatles operate during the sixties a musical reborn, which allowed to the people the discussion and the reflexion about the World and the human being new behavior,endurance but acting with tolerance. Permeating the basic study, we find the Beatles way, the group origin, the fast walk till success, the spiritual choice, who guide their behavior and the end of the band. The music used as a masscomp instrument passes by the condition of a simple way of communicating. It deeply action feeds feelings, allows transcendence and is showed as target of human being transformation. The Ethics in music passes by the ideological barriers and becomes to comprehension with a clear synthony for the man, cause the polyphony and the new musical order establish the messages worldwide

Entre a vida e a obra: música e religião em Max Weber

This study aims to analyze the relationship between music and religion in Max Weber s life and work, in a perspective that combines its intellectual productions in Sociology, in religion and art subfields. We developed a research in order to revisit the concept of rationalization, present in Weberian thought, and also to discuss how music and religion, as distinct spheres of life, star conflicts and alliances and build particular attitudes of action in the world, having the appearance of a rationality based on calculation in a central position to understand the construction of musical technique in the West and the autonomy of aesthetic enjoyment from religious enjoyment, previously linked. Regarding the procedure analysis, we built a symbolic cartography, according to Santos (2000), from selected works of Max Weber, as Religious rejections in the world and their directions (1982), among others. With the activity, we identified similarities and differences between music and religion in the author thoughts. We consider that the studied dimensions are important in Weberian analysis of the constitution of modern society and its cultural system, showing two distinct approaches to the issue of rationalization in the West

Clara Nunes como obra de arte: a epistemologia das ciências humanas a partir da cultura musical

The thesis has its largest array in the reorganization of science that is built from the middle of the last century and its horizon reconnection between scientific culture and humanistic culture, and the dialogue between science, art and literature. This epistemological regeneration view of the scientific paradigm incorporates the poetic language and sociological analysis, and brings out a complex, open and transdisciplinary narrative. To undertake this exercise as interlocutors we have thinkers like Nietzsche, Lévi-Strauss, Edgar Morin and Bruno Latour, to name a few, and as a reference for analyzing the entire artistic production of one of the icons of Brazilian music, Clara Nunes. It is problematized up in this work, through the singer s discography, lyrics and fragments of her biography, the construction of a social character that politicized culture, increased the mestizo consciousness of popular imagery, and exceeded the excessively prosaic narratives of the academic and scientific culture. The central argument of the thesis recognizes a Hybrid Subject Clara Nunes, as indeed is what is expected of the politically engaged intellectual in the 21st century

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.

Missa de Alcaçus: aproximações melódicas com os romances medievais ibéricos

Este trabalho tem como objetivo investigar a obra Missa de Alcaçus a partir dos romances medievais ibéricos recolhidos do livro Romanceiro de Alcaçus de Deífilo Gurgel (1992). Parte-se do interesse de buscar afinidades melódicas entre os romances com as partes da Missa e de compreender como se deu o processo de inserção dos romances ibéricos, como elementos da cultura popular na obra erudita. Para a análise musical da obra Missa de Alcaçus, o trabalho tem como referência o conceito de afinidade eletiva por Max Weber (1995) atribuído as possibilidades de inserção de elementos da música tradicional do Nordeste à obra erudita. Quanto os romances ibéricos recolhidos da tradição oral, tomamos o conceito de memória coletiva de Maurice Halbwachs (2006), a fim de esclarecer o processo de construção da memória coletiva contida nesses romances. A pergunta central deste trabalho consiste em saber se há afinidade melódica entre os romances e as partes da Missa de Alcaçus. Para a metodologia desta pesquisa, são expostos os romances ibéricos e as partes da Missa num quadro de cartografia simbólica, segundo Boaventura Santos (2000), a fim de identificar onde, como e quais os desdobramentos musicais da obra

Poesia digital: três leituras da Obra de Jason Nelson

The development of digital technologies has opened up a new niche for artistic production. It began to emerge artworks that could only happen in the digital context. In this study, we investigated the syntax of defining digital poetry, recognized internationally as one of the possibilities of this new artistic practice, and how happens the meaning during the reading process. As research corpus, we chose the poem "Birds Still Warm From Flying", by american poet Jason Nelson. And we structure our analysis looking through three perspectives: the digital poem as a game; as the evolution of experimental trends of twentieth-century poetry; and as a representation of Rubik`s Cube, a famous three-dimensional puzzle from the 1970`s. Initially, we made some considerations about the construction of digital poetry as a hypermedia artwork, looking through convergence and hybridization of artistic and media languages. Then, we saw some similarities between Nelson`s poem and electronic games, based on our critical observations about the concept of interactivity. Subsequently, we wrote a historical overview about the poetic experimentation in the twentieth century, bringing examples of sound poetry and visual poetry as evidence that the birth of digital poetry is also the result of the evolution of these experiments. Finally, we use the Charles Sanders Peirce`s semiotics to analyze the signs that give references able to make us recognize the Rubik`s Cube in "Birds Still Warm From Flying"

Foucault e a (bio) política: possibilidades e metamorfose de um conceito

The fundamental question developed in this research is to consider the possible meanings of biopolitics in the thought of Michel Foucault. In the first chapter of this study seeks to examine the rationality of biopower. It is able to show the rationality of acting as a social machinery for the manufacture of the subjectivity of individuals, biopolitics as a producer of bodies and subjectivity. The theme of biopolitics appears as inspiration of Nietzsche's metaphor of war. The idea that history is the war for dominance of the bodies. In the second chapter, the (bio) political will and political thought of resistance, fighting criticism as an attitude of revolt of the subject before his condition subjugated. The biopolitical here is intended as a conceptual tool for reading the thought / Foucault's work. A resistance that can be thought of as a biopolitical as a "refractoriness reflected". The third chapter will seek to show how the Foucault argues that power was already present the ethics of self-care. If the subject is a product, is captured by the discourse of biopower that manufactures its subjectivity, self care, it's time to think about the inner contents. Self care is something that offers resistance, as a possibility to think that these contents are constructed historically, and that therefore it is possible to reestablish the self-care is a policy of fighting these sedimented content that promotes colonization of the subjects. You can move from ruler to ruled itself, although this pursuit of liberty is always unfinished, always be a tension, a desire for freedom that can be undertaken not as a state, but at least the minimum and temporarily in other forms of existence, and other ways of relating, other ways of sociability, friendship, sexuality

O conceito de liberdade em o ser e o nada de Jean-Paul Sartre

This dissertation aims to address the concept of freedom from the perspective of the French philosopher Jean-Paul Sartre with reference to the main work Being and Nothingness. After presenting the concept of freedom we will try to show that it is related to the notion of responsibility, which will lead, ultimately, to define the Sartrean philosophy as a philosophy of action. In the first chapter we will present in passing the phenomenology of Edmund Husserl, philosopher from which Sartre will develop his concept of freedom. The Husserlian notion of consciousness (intentionality) is the way to develop his analysis of Sartre phenomenon of being. From this analysis Sartre submits their concepts of being in-itself and being for-itself. Being initself is defined as the things of the world devoid of consciousness, are the things that surround us. The In-itself has as its main brand positivity: it is what it is, is all that can be said about him. In turn being For-itself is the very being of man, which differs radically from the In-itself. The For-itself has as its main intentionality, ie, its ability to project outside itself in existence. That's when Sartre shows that this type of being realizes its existence on the basis of a constant nihilation. Here comes the notion of anything. Among the relations of the For-itself with the surrounding world stands a very special: relationship between consciousnesses. It is when we discuss the issue of another. Intersubjectivity, through sartrean analysis of look, show that the For-itself assumes a new existential dimension: the being-for others. That's when Sartre will emphasize his notion of conflict. The conflict in intersubjectivity would come from the fact that you want to take another- For-itself as an object. Given this we will analyze what Sartre called the concrete relations with others. The philosopher submit such relations in the form of ducts and conduits assimilation of ownership. In the first my-self to try to "get lost" in the consciousness of another, ownership of my conduct in-itself tries to "take ownership" of the subjectivity of the other and try to treat others as things, as objects. In this sense Sartre examines the experiences of love, masochism, indifference, desire and sadism. Following this route we will enter the land of freedom itself, which is the major theme of our work. Since Sartre defines the For-itself as a being that is projected to create your way of being, it can only define it as freedom. The freedom of the For-itself is taken in terms of autonomy of choice. Once the For-itself has no way of being a thing as being in-itself, it just may be picking up, that is, making your being. Here Sartre speaks of the anguish that would be the symptom of freedom itself. The fact that the For-itself have to choose on whether the call as one being distressed. However, in most cases the For-itself tries to escape from the anguish of freedom and takes refuge in bad faith. After setting the man (For-itself) as freedom Sartre defends that he is totally responsible for what he does of himself. Once the philosopher holds that man is not predetermined, ie, does not have an a priori essence, his philosophy has as its basic assumption the action. If Sartre argues that the For-itself must constantly choose your way of being, the action is the basis on which man will exercise his own freedom. In this sense we conclude the work with an approach to work Existentialism is a Humanism, which represent the entry of the philosopher on the practical aspects of life

O conceito de consciência em o ser e o nada de J.-P. Sartre

This current discourse intends to prove how consciousness or Being-for-itself presents the idea that in its operation one can emphasize that it s Nothingness, transience and liberty in Jean-Paul Sartre s work O Ser e o Nada. To testify the proposed idea, the conception that Sartre gives to consciousness, representing nothingness, without any content that is connected to the possessor objects of a transphenomenal existence will be the starting point. This way, consciousness will be analyzed transcendently to the object that it s not, demonstrating its revealer-revealed condition, because it unveils a concrete world that exists against its idea, functioning as the revealer intentionality that there are beings instead of nothingness, obeying the ontological proof defended by Sartre. From this idea, every kind of consciousness will always be consciousness of something, a glance of the world, avoiding the fact that the consciousness could be considered nothing in the world. In order to live its original negation state of the world, apprehending this same world, with the purpose of a knowledge, it needs to be divided in two: the first degree consciousness or previous-reflexive cogito, that turns the proper reflexion possible, because, it s the consciousness proper transphenomenality of being different of all that connected to its existence being only its consequence; and the cogito, responsible to the positioning of the first degree consciousness, while aware of its own consciousness, that is, while being certain that knows. From this point, the way to untangle the consciousness or Being-for-itself will be developed as being Chasm, Liberty and transience. From this idea, it s intended to know how consciousness, that in Sartre s thoughts is originally nothing, could turn into Liberty that is presented in the field of transience? In other words, how these three internal structures imbricate one another to form consciousness in Sartre? First of all, it has to be considered the review of a conduct of human reality, the inquiry, that will be possible to understand how Nothingness exists as the mold of all kind of negation. After this, it will be shown, considering its way of existence, the human reality that is connected to Para-si, determined like nothingness, still is proposed like Liberty. Form this point, it will be possible to gleam how Liberty is lived deeply by Para-si in the shape of chasm, trying to how Para-si turns into nothingness, creating a chasm based on its proper liberty. Then, Liberty will be the proper mechanism used by Para-si to modificate its original chasm. The way Being-for-itself has to build to gain its goal will be projecting in transience, the building of something possible that brings one being back. However, will be demonstrated like Chasm can occupy the moment of a choice turning the decision instant an anguish stage, based on the failing of stability of the Being-for-itself, once nothingness persists in the field of the possibilities that human beings preserves in its essence while being essentially Liberty. From this idea, anguish will be studied as the proper consciousness of Liberty, being bad-faith the attempt of avoid Liberty trying to gain a shelter contradicting the fact that life is done of continual choices

Involução criadora: o maior e o menor na obra de Gilles Deleuze

This work is on the political thought of the French philosopher Gilles Deleuze (1925 – 1995) taking the concepts of major/minor as starting point, since by them the deleuzian philosophy produces significant approaches to think politics and its forms. Not only the concepts of major/minor, but also the concept of becoming, in the mode of becoming-minor, marks the proposition, as we could tell, a properly deleuzian political philosophy. Thus, this work attempts to expose the possible form of this politics and of a fight ethic associated to it. To study the Deleuze political thought today is not to abdicate of a political thought that recognizes the singularities and embraces the political fight not as a totalizing revolution, but as resistance. The analyses of the concepts of major/minor, and the becoming shows itself as necessary in the political proposal in the present context

Belmiro Borba, um homem de abismos: um personagem em conflito sob o prima da melancolia na obra O amanuense Belmiro, de Cyro dos Anjos

This master‘s thesis presents an analytical reading of Cyro dos Anjos (1906-1994)‘s novel O amanuense Belmiro (1937) and its main objective is to analyze the way some aspects of melancholy, together with the notion of memory, diary writing as well as time permeate all the narrative of this unique book in the Brazilian literary scenario. Anjos‘ novel is an atypical work in the fiction of the 1930s as it is considered a dissonant voice compared to the regional and social productions of the time it was published. Among other themes, the book depicts the relationship of man with life; the present and the past; love and frustrations and the hero in search of itself. Belmiro Borba, character-narrator, is a sentimental man, often handicapped by his inner life. For this matter, Borba decides to write a book in order to register his stories, memories, feelings, meditations and illusions. From this perspective, this research aims to deal with issues related to the aesthetics of melancholy, especially its relationship with the creative process, which belongs to Borba‘s attempt to write literature. Throughout our academic research, we used the work of Aristotle (1998), Lambotte (2000), Benjamin (2011) and Kristeva (1989) to articulate relevant issues of melancholy; Halbwachs (2006) on the concept of memory, among other theorists who were essential to the completion of this study.

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.

Atmosferas arquitetônicas: projeto e percepção na obra de Peter Zumthor

This thesis will discuss the topic architectural atmospheres, based on Peter Zumthor's works and narrative. The subject "architectural atmospheres" is defined in the study as the "complex and general condition, realized by the user during the experience of a place". Atmospheres are composed of the overlap of all physical qualities that compound a space and its perception, conditioned by individual issues of the user. The atmosphere is realized through all human body receivers, in a multi-sensorial process, and affects qualitatively the spacial experience of the places created by architecture. The study has three chapters. The first chapter is a reflection on the issues that architectural atmospheres present. It passes through the concept and definition of the subject and includes a compilation of design principles that act on the architectural atmosphere composition in a variety of projects by a range of professionals. In the second chapter, the procedures adopted by Peter Zumthor in his design process that focus on atmosphere composition are studied. In the third and last chapter, Brother Claus Chapel (Wachendorf, German) and Kolumba Museum (Colon, German) projects, both by Peter Zumthor, are analyzed, in order to comprehend the complex role of elements that constitute the architectural atmosphere of each of these places. The methodology used throughout the thesis consists of bibliography and documental analysis, based on books, plans and material searched on Internet. Furthermore, the project analysis counted with the personal experience of the author of this thesis upon visiting the studied buildings. Finally, in conclusion, it is realized that when architecture is made in order to touch the user, expressed by its built objects, it can be provide a vast conceptual and theoretical basis that valorizes and enriches the experience of its use. It (the architectural atmosphere) is related to an approach that uses the same elements of any other construction, but distinguishes itself by the connections that it implies with humans and its environment. In the face of new patterns unveiled for contemporary architecture, this study contribution is based around the opportunity to understand this particular relationship between user and architectural object, identified as a phenomenological approach of architecture, as well as to update the subject bibliography, still scarce among Brazilian universities.

A motivação no teatro musical sob a perspectiva da teoria da autodeterminação

Este estudo teve por objetivo geral investigar os processos motivacionais dos participantes de um grupo de Teatro Musical sob a perspectiva da Teoria da Autodeterminação - TAD (RYAN; DECI, 2004; REEVE, 2006). Os pesquisadores Edward Deci e Richard Ryan (1985, 2000, 2008a, 2008b) afirmam que todos os indivíduos possuem uma propensão inclinada à autorregulação. Por esse motivo, a TAD analisa as razões pelas quais os indivíduos podem se envolver ou evitar participar de determinadas atividades, e adota um conceito de internalização que é representada por um continuum de autodeterminação, evidenciando os diferentes tipos de motivação previstos na miniteoria da integração organísmica. Os tipos de motivação podem ser identificados de acordo com o nível de autodeterminação dos indivíduos, através da satisfação de três necessidades psicológicas básicas: a necessidade de autonomia, a necessidade de competência e a necessidade de pertencimento. Esta pesquisa tem uma abordagem qualitativa e escolheu-se o estudo de entrevistas como estratégia de investigação, utilizando a entrevista semiestruturada como principal técnica de coleta de dados. A pesquisa foi realizada com 12 participantes de um grupo de Teatro Musical de uma universidade do Estado Rio Grande do Norte, referida na pesquisa com o pseudônimo de Companhia Musicale. Os resultados apontam que a principal motivação dos alunos não era a intrínseca. Portanto, a motivação foi considerada complexa e multifacetada, pois os participantes passaram por internalização do comportamento dependendo das condições situacionais. As complexidades nas interações puderam promover a satisfação das necessidades psicológicas básicas dos integrantes que apresentaram maior internalização dos comportamentos autodeterminados. Assim, os integrantes com maior desempenho nas tarefas foram os que internalizaram a importância e o valor das atividades. O estudo busca contribuir para futuras pesquisas e colaborar no sentido de perceber a importância de investigar e promover a motivação de alunos, professores, diretores, regentes, coordenadores e participantes de grupos artísticos em geral, trazendo esclarecimentos que ressaltam as contribuições e a importância que a motivação tem sobre o ensino, a aprendizagem musical e o envolvimento de participantes de grupos artísticos em diferentes atividades.

A motivação no teatro musical sob a perspectiva da teoria da autodeterminação

Este estudo teve por objetivo geral investigar os processos motivacionais dos participantes de um grupo de Teatro Musical sob a perspectiva da Teoria da Autodeterminação - TAD (RYAN; DECI, 2004; REEVE, 2006). Os pesquisadores Edward Deci e Richard Ryan (1985, 2000, 2008a, 2008b) afirmam que todos os indivíduos possuem uma propensão inclinada à autorregulação. Por esse motivo, a TAD analisa as razões pelas quais os indivíduos podem se envolver ou evitar participar de determinadas atividades, e adota um conceito de internalização que é representada por um continuum de autodeterminação, evidenciando os diferentes tipos de motivação previstos na miniteoria da integração organísmica. Os tipos de motivação podem ser identificados de acordo com o nível de autodeterminação dos indivíduos, através da satisfação de três necessidades psicológicas básicas: a necessidade de autonomia, a necessidade de competência e a necessidade de pertencimento. Esta pesquisa tem uma abordagem qualitativa e escolheu-se o estudo de entrevistas como estratégia de investigação, utilizando a entrevista semiestruturada como principal técnica de coleta de dados. A pesquisa foi realizada com 12 participantes de um grupo de Teatro Musical de uma universidade do Estado Rio Grande do Norte, referida na pesquisa com o pseudônimo de Companhia Musicale. Os resultados apontam que a principal motivação dos alunos não era a intrínseca. Portanto, a motivação foi considerada complexa e multifacetada, pois os participantes passaram por internalização do comportamento dependendo das condições situacionais. As complexidades nas interações puderam promover a satisfação das necessidades psicológicas básicas dos integrantes que apresentaram maior internalização dos comportamentos autodeterminados. Assim, os integrantes com maior desempenho nas tarefas foram os que internalizaram a importância e o valor das atividades. O estudo busca contribuir para futuras pesquisas e colaborar no sentido de perceber a importância de investigar e promover a motivação de alunos, professores, diretores, regentes, coordenadores e participantes de grupos artísticos em geral, trazendo esclarecimentos que ressaltam as contribuições e a importância que a motivação tem sobre o ensino, a aprendizagem musical e o envolvimento de participantes de grupos artísticos em diferentes atividades.