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.

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.

Aprendizagem musical na Orquestra Sinfônica da UFRN

Music and music education are present in the daily lives of people in different ways and in multiple contexts. In this study, we highlight the musical training in the orchestral context aiming to understand how learning music happens in the Symphony Orches tra of the Universidade Federal do Ri o Grande do Norte – OSUFRN. To achieve this goal, we identified all the activities, structure and functioning in OSUFRN; we have observed the development of activities of the group by checking the interactions among the participants of the orchestra and the different ways to learn music in that orchestral context. The research is based on discussions about collective musical practice, instrumen tal training in music education, the process of learning and the relationship between young people and music in the context of collective musical practice learning. Qualitative approach and case study were used as methodological procedures. Data collection was established by means of on - site observations, accompanying of the activities, rehearsals and performances of group and semi - structured interviews with the conductor and some participants with more time in the orchestra. We have also used photographs a nd footage that helped us in the procedure collection and construction of data. The analysis and interpretation of these data were enforced by Content Analysis featuring. It reveals the musical learning, through learning instances perceived in rehearsals, concerts, in living with the conductor and between musicians, teachers, employees and guest musicians, individually in travel and exchanges with other orchestral groups. In this way the activities developed by the group enable a comprehensive musical educa tion that guides to acquire autonomy in their learning and preparing them for future careers.

Ensino e aprendizagem de violão na UFRN

The instrumental teaching in Brazil has been more widely studied by music education in the last years, becoming a significative scientific investigation field. This work is focusing on analysis of the instrument teaching reality, considering more specifically the guitar teaching. In a timely manner, approaches the reality of the guitar teaching from the Universidade Federal do Rio Grande do Norte (Federal University of Rio Grande do Norte – UFRN), considering specific instrument courses in this institution. Thus, the present work was guided by the aim of understanding conceptions, contents and didactic and methodological perspectives that constitute the teaching and learning of the guitar at UFRN. To reach this main aim, we sought to verify, in general: 1) the theoretical, methodological and content perspectives that underlie guitar formation in the music courses of the UFRN; 2) the functions and the aims of the guitar disciplines in the Courses; 3) the profile of the guitar disciplines' professors; 4) the demands of the subjects directly involved in these proposals of musical education; and, 5) the conceptions about formation practices and teaching methodologies that characterize the docent action. In accordance with the aims, the methodological guidance was based on the qualitative paradigm. Thus, data collection procedures involved were: bibliographical and documentary research and interviews with three professors who taught in guitar disciplines during the semester of 2014.1 on the mentioned courses. Then, these data were systematically organized and analyzed in line with the research characteristics presented here. The results of the research evidenced the concepts, contents and didactic and methodological perspectives in the context of teaching and learning guitar in the studied empirical field. In this context, we perceive a relation between the demands of teaching and learning tool in the study field and the ones evidenced in the literature. The results demonstrated that the professors’ professional tragetory is associated with their influences from the initial musical formation and their guitar learning since they related conceptions that reflected aspects formation, sometimes converging sometimes divergente. The contentes, methodologies and general aspects are made based on parameters that demonstrate alignment with the perspectives of guitar teaching and learning in the contemporary world to the instrumental player formation. Thus, the study gave a broader diagnosis about the guitar teaching reality, demonstrating the diferences and the singularities between the Technical Course and the Course of Bachelor in Music at UFRN. Thereby, this study provides importante contribution to music education, mainly, through its reflections about the guitar pedagogy.

Música e surdez: o ensino de música numa perspectiva bilíngue na escola regular

The present study focuses on the development of pedagogical activities in Music Teaching, aiming to enhance the accessibility of musical knowledge for both deaf and hearing students, using a bilingual approach in regular schools. Few studies address Music and Deafness, and those that do focus exclusively on the context of special education, and specifically the deaf student, which signals the urgent need for conducting research on this issue in the context of inclusion – empirically and carried out on school grounds. Therefore, we developed our study at a Natal City Public Elementary school, in a class of 6th graders, comprised of 37 students, 3 of whom were deaf. The objective of the study was to develop a proposal for a pedagogical intervention in Music Teaching, using a bilingual approach, with deaf and hearing students, in the context of regular school classes. The research is based on the theoretical framework presented in Penna (2010), Brito (2001) and Fonterrada (2008), with reference to music education, and Haguiara-Cervellini (2003), Finck (2009) and Louro (2006), with reference to inclusion in teaching music. To achieve this objective, we developed a proposal for intervention based on the methodological dictates of intervention research, presented in studies by Jobim and Souza (2011) in light of the theoretical concepts posited by Mikhail Bakhtin, which assert that knowledge is produced through interaction between subjects, dialogically and through alterity. This methodology was carried out in pedagogical workshops, conceived as spaces for the construction of knowledge, mobilizing participants to engage in ludic activities of musical experimentation. Content covered in these workshops focused on Pulse and Rhythm – basic elements in music education – demonstrating that awareness about and sensitivity to these elements is not limited to the auditory sensory perception of the student, once the entire body is used as an agent of acquisition and expression. Thus, we began the trajectory of our research from the starting point of the identification and perception of „Pulse‟, using one‟s own body and the body of classmates, representing it through physical expressions and movement. Subsequently, this Pulse was extended from the body to a percussion instrument, and was then represented graphically as lines of rhythm, constituting a process of reading and writing; ultimately the intervention culminated in the class presentation with the musical group De Pau e Lata (Stick and Can). In our analysis, faced with the challenges and possibilities presented in our study, findings showed satisfactory results with regard to the participation of all of the students: completing the activities proposed in the class, asking questions when they did not understand, positioning themselves when they thought it necessary, expressing opinions about the work completed, evaluating the workshops given, interacting, helping in the activities, constructing knowledge collaterally, experimenting and experiencing musical elements through the body in activities that applied to both groups (deaf and hearing) in the one class. These indications elucidate the viability of teaching music to deaf and hearing students, using a bilingual approach, and based on experiences with the body and communicative and cultural specificities involved, confirming, as well, the role of Sign Language as a mediator in the teaching/learning process.

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.

Aprendizagem criativa na aula de piano em grupo

The central focus of this thesis was to investigate creative learning in music at piano group lessons. Thus, the theoretical framework adopted was guided by two main principles: (1) creativity in the field of music education and (2) Piano teaching and learning. As a methodological procedure we used a research-action with students of the disciplines Prática de Instrumento Harmônico I e II, at the Music Education Undergraduate Course of Federal University of Rio Grande do Norte (UFRN). This research-action was structured in four phases: 1) the identification of the starting points and the theme of creativity matters in piano group lessons, considering the context of a teacher training course in music; 2) the projection of actions, the definition of the objectives and the organization of instruments of data collection and analysis; 3) the realization of the planned actions; and 4) the evaluation of the results, the transcription, organization and analysis of the data collected through observation and interviews. Given the Creative Learning Cycle in Music, represented by the activities of composing, performing and criticizing Music, defended by Beineke (2009, 2013, 2015), we propose in this thesis a creative cycle of formation in music to promote creative learning in piano group lessons, in which teachers and students teach and learn creatively, expanding training opportunities in the field of Music Education. This was possible due to the joint experience of creative practices related to improvisation, elaboration of arrangements and musical compositions - elements that contributed positively to the learning process of the participants. But for this to occur, the planning, implementation and evaluation of the creative and pedagogical musical procedures adopted were decisive, considering the perspectives of students, their conceptions, musical creations, processes and collaborative exchange.

Aprendizagem criativa na aula de piano em grupo

The central focus of this thesis was to investigate creative learning in music at piano group lessons. Thus, the theoretical framework adopted was guided by two main principles: (1) creativity in the field of music education and (2) Piano teaching and learning. As a methodological procedure we used a research-action with students of the disciplines Prática de Instrumento Harmônico I e II, at the Music Education Undergraduate Course of Federal University of Rio Grande do Norte (UFRN). This research-action was structured in four phases: 1) the identification of the starting points and the theme of creativity matters in piano group lessons, considering the context of a teacher training course in music; 2) the projection of actions, the definition of the objectives and the organization of instruments of data collection and analysis; 3) the realization of the planned actions; and 4) the evaluation of the results, the transcription, organization and analysis of the data collected through observation and interviews. Given the Creative Learning Cycle in Music, represented by the activities of composing, performing and criticizing Music, defended by Beineke (2009, 2013, 2015), we propose in this thesis a creative cycle of formation in music to promote creative learning in piano group lessons, in which teachers and students teach and learn creatively, expanding training opportunities in the field of Music Education. This was possible due to the joint experience of creative practices related to improvisation, elaboration of arrangements and musical compositions - elements that contributed positively to the learning process of the participants. But for this to occur, the planning, implementation and evaluation of the creative and pedagogical musical procedures adopted were decisive, considering the perspectives of students, their conceptions, musical creations, processes and collaborative exchange.

Les caractères musicaux au sein d'une démarche artistique dramatique : exploration des indices acoustiques jouant un rôle dans l'évocation des états affectifs en musique

Cette thèse de doctorat en composition comprend deux projets de nature différente et complémentaire : (1) un projet de recherche théorique sur la communication des caractères musicaux; (2) un projet artistique s'articulant autour de la composition de trois pièces : L'homme à deux têtes - opéra de chambre, Un instant dans l'esprit de Lovecraft - pour clarinette solo, orchestre à cordes et percussions, et Balade ornithologique - pour orchestre à vents. La conception de la musique comme un moyen de communication est à l'origine de cette recherche théorique qui est motivée par un désir de compréhension des stratégies d'expressions des émotions en musique, à partir du point de vue du compositeur. Cette thèse aborde les modèles de communication, le concept de personnage virtuel et la théorie de la contagion des humeurs. Par la suite, nous détaillerons les indices acoustiques menant à la perception des caractères musicaux. Toutes ces notions sont illustrées et explorées par la composition de miniature ayant un caractère bien ciblé. Finalement, nous proposons un système d'analyse musical des caractères et des émotions qui est appliqué à l'analyse de sections des pièces composées au cours de ce projet de doctorat. Ce dernier chapitre met en lumière les stratégies utilisées pour créer un discours dramatique tout en exposant l'évocation de différents caractères musicaux.

A Philosophy of Operatic Storytelling

This dissertation presents the first theoretical model for understanding narration and point of view in opera, examining repertoire from Richard Wagner to Benjamin Britten. Prior music scholarship on musical narratives and narrativity has drawn primarily on continental literary theory and philosophy of the 1960s to the middle of the 1980s. This study, by contrast, engages with current debates in the analytic branch of aesthetic philosophy. One reason why the concept of point of view has not been more extensively explored in opera studies is the widespread belief that operas are not narratives. This study questions key premises on which this assumption rests. In so doing, it presents a new definition of narrative. Arguably, a narrative is an utterance intended to communicate a story, where "story" is understood to involve the representation of a particular agent or agents exercising their agency. This study explores the role of narrators in opera, introducing the first taxonomy of explicit fictional operatic narrators. Through a close analysis of Britten and Myfanwy Piper's Owen Wingrave, it offers an explanation of music's power to orient spectators to the points of view of opera characters by providing audiences with access to characters' perceptual experiences and cognitive, affective, and psychological states. My analysis also helps account for how our subjective access to fictional characters may engender sympathy for them. The second half of the dissertation focuses on opera in performance. Current thinking in music scholarship predominantly holds that fidelity is an outmoded concern. I argue that performing a work-for-performance is a matter of intentionally modelling one's performance on the work-for-performance's features and achieving a moderate degree of fidelity or matching between the two. Finally, this study investigates how the creative decisions of the performers and director impact the point of view from which an opera is told.

La música como reivindicación de género en "Margarita y el lobo", de Cecilia Bartolomé

El carácter innovador y feminista del mediometraje Margarita y el lobo (1969) supuso la censura total de la película y el ostracismo hacia su directora, la entonces estudiante de la EOC, Cecilia Bartolomé. En este artículo repasamos sus anteriores cortometrajes para desgranar los primeros matices de protesta así como la utilización de la expresión musical como vehículo del discurso feminista en Margarita y el lobo. A través de los planteamientos de la musicóloga Susan McClary que abordan sexualidad, género y feminismo concluimos con una visión del análisis de género en las obras musicales, al vincular sus es­tudios al film de Bartolomé. Del mismo modo, analizamos la función que cumple la música en el medio­metraje. Para ello, examinamos el repertorio de canciones presente en Margarita y el lobo para terminar reconociendo la función discursiva y referencial como piezas claves en la película de la directora.

La Musicoterapia, una vía de expresión global

La Musicoterapia se ha revelado últimamente como una herramienta de intervención efectiva en la prevención y rehabilitación de patologías muy diversas, ayudando a mantener o mejorar las funciones físicas, psico-emocionales y sociales de las personas. En este articulo explicamos cómo se articula una intervención en Musicoterapia partiendo del conocimiento de los efectos de la música en el ser humano y cómo estos llegan de una manera global a todas las áreas de la persona y utilizando adecuadamente las diferentes técnicas de musicoterapia basadas en la escucha y la improvisación musical, podemos influir en el bien estar de nuestros pacientes o clientes

La música en el desarrollo de la espiritualidad y la religiosidad. Una aproximación al Cristianismo y al Budismo

La música puede afectar al individuo en todos sus niveles –físico, mental y espiritual–. El presente artículo se centra en el papel que ésta desempeña en el desarrollo de la vida espiritual y trascendental. Para ello, realizaremos un repaso histórico de su evolución estética y social, abordaremos dicho fenómeno a nivel fisiológico y presentaremos sus aplicaciones clínicas y sociales. Seguidamente y a modo de ejemplo de las concepciones de pensamiento occidental y oriental, trataremos la forma en que el cristianismo y el budismo conciben la música dentro de su doctrina. Finalizaremos con algunas reflexiones sobre el tema.

Propondo um modelo para acompanhamento do processo Composicional

Silva, Alexandre Reche. Propondo um modelo para acompanhamento do processo Composicional. Ictus - Periódico do PPGMUS/UFBA, v. 11, n. 1, p. 11-28, Salvador, BA, 2010.