Física e o som: possibilidades didáticas e experimentais para o ensio de acústica

We studied in this work some aspects of the physics of sound and music as a tool for physics teaching. The theory of sound since it is generated by some stimulus to its uptake by the human body, in areas such as: frequency, intensity, tone and propagation. The literature of the subject research was combined with the study of free software that captures waves on a computer, using a microphone, and allows to analyze the waves and frequencies involved in the sound, being able to distinguish tones, frequencies and intensities. We have analyzed some instruments (guitar, harmonica and pitch), including voice, from the quantitative and qualitative point of view. Finally we analyze textbooks in their acoustic topics and try to understand how important these materials give to this topic in basic education. We suggest a teaching sequence that could be applied in a high school classroom

Música: ferramenta de motivação para saúde

With the growth and modernization of the world, physical activity is no longer only a leisurely way, becoming an essential means of maintaining health and well being of the population that is becoming increasingly sedentary day. The work presented aims to show the benefits that music as a means of external motivation can have on physical activity, can make this much more pleasurable practice and increase the performance of the one who performs it. There is a vast amount of sports activities, and each of them relate better to one type of music. Besides all we must take into consideration the musical taste, preference of each, because each individual is different, and the motivation of each being is subjective

A brincadeira da cultura tradicional da infância na formação musical do pedagogo

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

A idéia de jogo em obras de John Cage e no ambiente da livre improvisação

Este texto examina as principais diferenças de enfoque relacionadas ao papel dos intérpretes na realização de duas diferentes propostas de jogo. Para tanto, são comparadas algumas obras de John Cage e as práticas de grupos que se dedicam à livre improvisação musical, principalmente do grupo Akronon.1 Procura-se demonstrar que as propostas de Cage, que estão situadas num plano conceitual, e as propostas da livre improvisação, que partem de uma prática experimental interativa baseada numa manipulação empírica dos sons, resultam em concepções bastante distintas a respeito do papel do intérprete. A partir desta perspectiva, afirma-se o caráter potente da livre improvisação que pode ser pensada enquanto prática de um jogo ideal conforme conceituação proposta pelo filósofo francês Gilles Deleuze

The Compositional Aesthetic of Rodolfo Coelho de Souza in Paradise Station: an analysis

This article focuses on the compositional aesthetics of Rodolfo Coelho de Souza (1952-), a Brazilian fine art composer and active researcher, whose concerns surpasses the musical composition isolated from the social communication aspect. This is particularly evident in his piece Paradise Station, which, when analyzed, features the structural depth of its compositional process without disregarding the dialog with the listener and the Brazilian character, according to pitch, rhythm, texture, timbre and dynamics. The present analysis reveals a modular structure based on set classes, worked through a transformation network, which follows the David Lewin model.

The Prelude from Suite for solo Piano Le Tombeau de Couperin by Maurice Ravel: compositional and interpretive considerations

This article, part of a doctoral research conducted at the Department of Music of the ECA/USP/FAPESP aims to elucidate compositional and technical procedures in the Prelude from the suite Le Tombeau de Couperin (1914-1917) by french composer Maurice Ravel. Such procedures are traced back to French barroque composer Francois Couperin (1668-1733) harpsichord pieces, and are translated by Ravel to the modern piano. Thus, by studying the works for harpsichord by Couperin it was possible to see a kind of fusion of two languages and two instrumental techniques apart in time. This fusion of languages poses several interpretive questions.

String Quartet n degrees 02 by Villa-Lobos: a dialogue with the cyclic form of Franck, Debussy and Ravel

This article investigates Villa-Lobos's String Quartet n degrees 02, an early work by this composer, written according cyclic sonata principles, as developed by Cesar Franck and systematized by Vincent d'Indy. Another important source are the string quartets composed by Franck (1889), Debussy (1893) and Ravel (1903), which possibly served as compositional models to Villa-Lobos. In this light, the themes of the Exposition in the first movement were analyzed and this procedure reveals some harmonic and rhythmic aspects throughout all the other movements.