Thin place exhibition

Thin Place is an interdisciplinary project which aims to find connections between the fields of art, archaeology, astrophysics, astrology, alternative therapy, poetry and theology. The nature of this project goes beyond the exhibition and incorporates a symposium, catalogue and education programme which will attempt to dissolve the boundaries that separate fields of knowledge and, in so doing, create a thin place at Oriel Myrddin. The five exhibiting artists and the other contributors to this project have produced work that is concerned with or responds to two particular locations: West Wales and the West of Ireland. In ancient times it was believed that the West was where departed souls easily entered Otherworlds. This is because the delineation between worlds was more permeable along these coasts. Archaeological excavations reveal that West Wales and the West of Ireland were thought by some to be ‘thin places.’ In considering the notion of a ‘thin place’, this exhibition addresses the ways in which we value our relationship with Place, particularly in landscapes where human and non-human relationships are well established.

Folkmusikundervisningen på fiol och gitarr och dess historiska rötter

How folk musicians of today learn to play their instruments is an over-all question in this article. One violin lesson and one guitar lesson have been observed at Framnäs folk high school. Three research questions were formulated. What do the two lessons have in common? What are the differences? How could the folk music education of today be related to the Swedish fiddler movement in the 1920s and other folk music traditions? Theoretically, the interpretation of the results was based on the mimesis theory of Ricoeur. Two teachers and three students participated in the study. The results showed that the lessons were structured in a similar way and dominated by master apprenticeship teaching. The violin teacher showed a more respectful attitude towards the tradition compared to the guitar teacher. Great parts of the manifest ideology of the fiddler movement seems to have become concealed into a latent or frozen ideology in the formal folk music education of today. There seems to be no big differences between learning the music by way of visiting an older fiddler hundred years ago compared to the study of music today at a formal institution.

The Björling 'Opera' : A children's Nursery Academy and an Italian Conservatory in Miniature

The aim in this chapter is to develop a deeper understanding about the informal Björling 'School' in Sweden. Contextually the example is related to the micro history of opera education contributing to the macro perspective illuminating a provincial example of the concept of domestic opera schooling. The specific focus was on Karl David Björling (1873-1926), the teaching parent of the Swedish tenor Jussi Björling (1911-1960) and his brothers Gösta and Olle.   The Björling family model of opera schooling belongs to the classical canon of domestic home education which was common during the epoch. The phenomenon is also within the field of opera singing an important reference to the historical context of the Nordic opera history of vocal education.   The uniqueness concerning the Björling School seems to be the rigorous and exceptionally early training. David Björling’s pedagogy was rooted in earlier German theories of musical upbringing. It's clear from his results that he was familiar with the neo-humanistic ideal on which reformed music education was based. Of a specific interest is the term Gesang als Unterricht as a concept for developing childrens musical and memorising capacities.   Conceptually the roots of the Björling model are in the eighteenth-century Romantic view of prodigies and their abilities. The extensive touring is connected to the promotion of wonder-children, and David Björling’s educational style to the conservative Master-pupil tradition.   David Björling's vocal ideal was a part of the contemporary debate about “The decadence of the singing art”, and seems to have its roots in an older Italian tradition. There are recurring similarities between his educational methods and the didactic principles of the Lamperti School: Enjoying a revival around the late 1800s and early 1900s, it has been called the natural or the national school. Nevertheless, through authentic experiences and gramophone recordings the Italian tenor Enrico Caruso became David Björling’s pedagogical role model.

Manifesta och latenta ideologier om lärande inom svensk spelmansrörelse under 1920-talet

The purpose of this article was to illuminate existing educational ideologies in the Swedish fiddler movement (Spelmansrörelsen) 1923-1927. This period was characterized by the organization and to some extent institutionalization of Swedish folk music. Furthermore, the purpose was to discuss the results in relation to the folk music education of today. The empirical data was taken from the journal Hembygden, which was a magazine for scholars, enthusiasts and practitioners of folk music. Theoretically, the study was based on a concept of ideology developed by Sven-Eric Liedman: in every time there are two basic forms of identifiable ideology, manifest and latent. From the empirical material as a whole (around 900 articles), a selection was made to find articles dealing with aspects of learning among the fiddlers (33 articles). After content analysis the following themes were generated: Fiddlers’ repertoire, Fiddlers’ masters, Rooms for learning, Learning formation. The writers in Hembygden often emphasized the autodidactic aspects of learning and especially the importance of learning by ear. This manifest ideology of authenticity presumed that learning directly from another fiddler by playing together was to prefer to formal schooling. In spite of a tendency towards more ensemble playing, the folk music education of today in Sweden is characterized by a similar retrospective ideology as in the 1920s.

Interview with Louise "Lou" Trucks

In her December 2014 interview with Michelle Dubert-Bellrichard, Louise “Lou” Trucks detailed her thoughts and memories of her time at Winthrop. Trucks spoke of the time period from 1960-1964 as a music and music education double major. Trucks shared the benefits of being a music major, her involvement in campus traditions and organizations, and the rigor of her studies. Trucks concludes her interview detailing her life after Winthrop in Bloomington, IN and Rochester, NY. This interview was conducted for inclusion into the Louise Pettus Archives and Special Collections Oral History Program.

A educação musical como agente facilitador do processo de aprendizagem

Esta monografia parte de pressuposto de que a música desenvolve o equilíbrio emocional do indivíduo e sua sensibilidade para e belo. Essa premissa alerta para a importância do estudo em questão, especialmente em relação a outras áreas de ensino, considerando-se a educação musical como um instrumento auxiliar no aprendizado das outras disciplinas. Trata-se de um estudo teórico, com implicações pedagógicas, visande a demonstrar a importância da educação musical - não descobrir talentos para a música e valores musicais --, aperfeiçoar o indivíduo, criando platéias que saibam ouvir música e, desenvolvendo a sua capacidade perceptiva, criar um estado propiciador da aprendizagem. São expostos alguns aspectos essenciais, básicos, demonstrando que a educação musical nas escolas é fator de integração emocional do educando, e que favorece o trânsito interdisciplinar e facilita a aprendizagem.

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

Trânsito de saberes e campo representacional na visão dos profissionais da saúde da família e do programa de educação pelo trabalho e para a saúde

The Family Health Strategy (ESF) is emerging as a possible restructuring of services and new practices of intervention in health care; it requires skilled professionals to work with that framework. Within this purpose, we established the Education Programme for Work and Health (PET-Saúde), in order to integrate teaching and service activities, focusing on primary care. On this basis, the aim of this work is to apprehend the social representation of nurse, doctor and dentist (Project PET-Natal Health RN preceptors) on the ESF, while practice field of them. It is a descriptive and exploratory study, with a qualitative approach, carried out in 07 Family Health Units (USF) included in the PET-Saúde Natal (RN). The population was composed of 35 professional components of the primary care team with bachelor's degree of the USF linked to this project. The sample was composed of 05 nurses, 05 physicians and 05 dentists, for a total of 15 subjects. Data were collected through three instruments: the drawing-themed story, a semi-structured individual interviews and field diary. The data relating to the identification of the subjects were entered and tabulated by the Microsoft Excel software 2007 version. The drawing analysis and interpretation is given by the significance attributed to the resource chart from title and keywords assigned by the subjects, considering the ESF as an inductive term. The stories and interviews were transcribed and typed and then subjected to read/listen the material and a lexical analysis through Alceste. After this process, the discursive material was analyzed and discussed by theoretical and methodological feature of the Social Representations theory. The majority of health professionals were female, aged between 46 and 52 years old, married, income less than six minimum wage, time since graduation ranged from 22 to 29 years and working time in the ESF range from 02 to 11 years. From the classification system ALCESTE were selected categories identified by: Category 1 - ESF: relations and territory; Category 2 - Training and bond profile; Category 3 - Working process in the ESF; Category 4 - Articulation between teaching and service; Category 5 - Health care and disease prevention. The representational field construction, while a process, followed the logic of structural cores in existing categories. In this sense, it is clear that the ESF is an environment rich in diversity, experience and relationships with potential such as the relationship "very subject-subject" and the link established between professional-community, but also has some weaknesses such as poor working conditions, lack of popular participation and management support, thus difficulties in the achievement of teamwork. Being essential to that end, the teaching-service aimed at the formation of a new health professional able to work in the ESF. In this research, the training of the representational field encountered a diversity of structural cores, or thoughts on training, about the ESF because of the greater emphasis on the here and now of the interaction between health professionals, the ESF, the community, PET Health-UFRN and students, emphasizing that such proposals are still considered as concepts in the context of recent health and that, therefore, are not fully realized in the social imaginary

A educação musical sob a perspectiva da pedagogia histórico-crítica

This work, from of theorist perspective of Historical-Critical Pedagogy, presents the school Music Education like a social mediator environment between the practices, listening and musical everydaylife knowledges and the not-quotidian, which are constitution and accumulated, throughout the centuries of History, by the human societies. The purpose is to present a possible theorist foundation to define the importance of Music Education insert in the elementary school, like a subject destined to guarantee the whole children formation and the enrichment of their relations with the music. It is a theorist reflection that indicates the importance of observation of the quotidian and not-quotidian knowledges characteristics, moreover of complete importance of formal education and, in specific, of school Music Education on human development.

A Educação Musical Brasileira e Três Modelos Explicativos de Mundo: em busca de significados

In this paper we study the main modalities of music education in Brazil and how they can be compared to different views worldwide. Recognition that modern practices in music education are inserted in contemporary knowledge paradigms shows their relevance to a changing world. According to this contemporary paradigm the practices included herein point to alternatives in the relationship between men and themselves, men and other men and men and the environment. They also encourage cooperation, the relationship among the arts, the conduction of actions ruled by the principles of ecology and the recovery of values lost or weakened.

O formal e o real na educação complementar de Araraquara/SP: o amargo da doce ilusão

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Apreciação de gêneros musicais no contexto do ensino médio: possíveis percursos

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Aprendizagem da lecto-escrita musical ao piano: um diálogo com a psicogênese da língua escrita

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

O papel mediador da educação musical no contexto hospitalar: uma abordagem sócio-histórica

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Tecendo sons e palavras: oficina de música dirigida a portadores de distúrbios graves

Pós-graduação em Música - IA