Contribuições da inserção musical para a qualidade de vida no trabalho em ambiente laboral fabril

The present thesis aimed at understanding how the insertion of music in the work environment contributes to achieving Quality of Work Life. - QWL, under the perspective of biopsychosocial and organizational well-being. As to music insertion we considered the theoretical-empirical perception about how music is inserted at work and its functions on such place. The context where the study was taken was the manufacturing area of a major textile company, located in Natal, state of Rio Grande do Norte, Brazil, in which music is used during labor activities. The only study case was the research strategy adopted, with exploratory and descriptive purposes. The primary data were collected through the focus group technique, applied to the collaborator in the manufacturing sector. The semi-structured interview was done as a complementary tool, directed to the supervisor in that sector. Respecting the theoretical saturation criterion, we formed four focus groups, each one composed of eight members randomly selected, among the seventy-six collaborators in the sector. The data were analyzed qualitatively, through the content analysis technique, more specifically the category analysis. We identified twenty-eight QWL attributes. Six of them were found present in the four focus groups and in the interview. Among these ones, the attribute of Interpersonal Relationship at Work, contemplating the Psychological and Organizational dimensions, was the only one anticipated in four out of fifteen theoretical models here listed. The attribute Music at Work Environment could be inserted in the four QWL dimensions, highlighting the power and relevance of this attribute for the research participants. The way music has been inserted in the labor environment contributes to promoting well-being at work, which goes against theoretical conceptions, especially when it comes to musical genre. We identified nine functions of music at work, among which, Improving Work Conditions, Improving Interpersonal Relationship at Work and Favoring Motivation for Work had to be emphasized for being associated to three QWL attributes. In the total, we highlighted seven associations. The most affected QWL dimension through the insertion of music at work was the Psychological one, followed by the Organizational one. We conclude that music insertion provides biological, social and, above all, psychological and organizational well-being to the contributors, thus contributing to obtaining QWL at the labor environment researched. However, we should consider the context and proceed to periodical plans and adjustments in the way of music insertion so as to avoid health and well-being problems to those people at work

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

A apreciação musical infantil: aspectos da constituição da infância contemporânea no discurso de crianças do Ensino Fundamental

Music can be found in peculiar historical and social context with distinct functions, such as religious rituals, ethic-esthetic education of subjects, therapeutic elements, critic and maintenance of established patterns, among others. Considered as language, music acts on dialogue dimensions of the body, the senses, the affectionate-cognitive and of social interactions. Their uses reveal the social forces that cross the culture and constitution of subjectivities. The attribution of senses by the subjects to musical production reveals the cultural voices in dialogue, that circumscribe determined social places to them. Our aim in this work is to investigate the child musical appreciation, with children about 7 to 9 years old, and, by attributing uses and senses to music, unveil the voices that settle the places intended and assumed by infancy in contemporaneity The child constructs its musical appreciation through cultural access and mediation, possible by circulation in several socializing groups like family, school, church, infant groups, community groups and, more recently, publicity and media These last two spheres, enabled by the development of the technological means of communication, contributed to the dissemination of the set of consume ideas and for the emergence of the cultural industry, characteristic of the capitalistic production way in its present configuration. They develop new possibilities of perception of the world, in which the limits between childhood and adulthood are not anymore the same that have been established in previous centuries. So, the child musical appreciation is constituted by homogeneity regarding the senses built and disseminated by cultural industry and by the logical merchandizing, and singularities, associated to the construction of senses in interaction with global, local, and multiple contexts, through which the subject circulates and constitutes himself polyphonically

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

Contribuições da inserção musical para a qualidade de vida no trabalho em ambiente laboral fabril

The present thesis aimed at understanding how the insertion of music in the work environment contributes to achieving Quality of Work Life. - QWL, under the perspective of biopsychosocial and organizational well-being. As to music insertion we considered the theoretical-empirical perception about how music is inserted at work and its functions on such place. The context where the study was taken was the manufacturing area of a major textile company, located in Natal, state of Rio Grande do Norte, Brazil, in which music is used during labor activities. The only study case was the research strategy adopted, with exploratory and descriptive purposes. The primary data were collected through the focus group technique, applied to the collaborator in the manufacturing sector. The semi-structured interview was done as a complementary tool, directed to the supervisor in that sector. Respecting the theoretical saturation criterion, we formed four focus groups, each one composed of eight members randomly selected, among the seventy-six collaborators in the sector. The data were analyzed qualitatively, through the content analysis technique, more specifically the category analysis. We identified twenty-eight QWL attributes. Six of them were found present in the four focus groups and in the interview. Among these ones, the attribute of Interpersonal Relationship at Work, contemplating the Psychological and Organizational dimensions, was the only one anticipated in four out of fifteen theoretical models here listed. The attribute Music at Work Environment could be inserted in the four QWL dimensions, highlighting the power and relevance of this attribute for the research participants. The way music has been inserted in the labor environment contributes to promoting well-being at work, which goes against theoretical conceptions, especially when it comes to musical genre. We identified nine functions of music at work, among which, Improving Work Conditions, Improving Interpersonal Relationship at Work and Favoring Motivation for Work had to be emphasized for being associated to three QWL attributes. In the total, we highlighted seven associations. The most affected QWL dimension through the insertion of music at work was the Psychological one, followed by the Organizational one. We conclude that music insertion provides biological, social and, above all, psychological and organizational well-being to the contributors, thus contributing to obtaining QWL at the labor environment researched. However, we should consider the context and proceed to periodical plans and adjustments in the way of music insertion so as to avoid health and well-being problems to those people at work