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 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.

Aspectos técnico-interpretativos no quarteto de cordas nº 2 de Guerra-Peixe

Technical and interpretative aspects of the String Quartet No. 2 Guerra-Peixe will approach this work of a composer who is considered one of the greatest exponents of Brazilian music of the twentieth century, who developed several strands in his career as a musicologist, performer, composer, arranger radio and cinema, among others. In this work, we will see in the work in question their compositional styles, pointing sources that he has been drinking and offering elements that will subsidize technical and interpretive choices for future interpreters. After the historical context and esthetics, we will make some brief remarks about the terms performance and interpretation, to support the objective of the work, which will be the interpretation of the work. For that purpose, a comparative analysis was performed between recording of important Brazilian quartets, interviews with relevant players on the national scene and trials in rehearsals and recitals, always making a Quartet bridge with other works by the composer. Concomitantly, it was held analysis of handwritten edits by the composer, culminating with its own revised edition.

Aspectos técnico-interpretativos no quarteto de cordas nº 2 de Guerra-Peixe

Technical and interpretative aspects of the String Quartet No. 2 Guerra-Peixe will approach this work of a composer who is considered one of the greatest exponents of Brazilian music of the twentieth century, who developed several strands in his career as a musicologist, performer, composer, arranger radio and cinema, among others. In this work, we will see in the work in question their compositional styles, pointing sources that he has been drinking and offering elements that will subsidize technical and interpretive choices for future interpreters. After the historical context and esthetics, we will make some brief remarks about the terms performance and interpretation, to support the objective of the work, which will be the interpretation of the work. For that purpose, a comparative analysis was performed between recording of important Brazilian quartets, interviews with relevant players on the national scene and trials in rehearsals and recitals, always making a Quartet bridge with other works by the composer. Concomitantly, it was held analysis of handwritten edits by the composer, culminating with its own revised edition.

Sugestões performáticas do bilhete de um jogral para viola sozinha e das três peças para viola e piano de César Guerra-Peixe

This work is aimed at providing an interpretive study of the work for viola and piano titled Three Pieces, and work for solo viola titled Ticket of a Jogral, by Brazilian composer César Guerra Peixe. This study will be divided into three parts: The first will bring a brief history of the composer focusing on his visit to Pernambuco in the late 1940s and early 1950s; the second shows the use of Pernambuco musical regionalism elements used by the composer in the aforementioned documents; the third will present a set of interpretive suggestions based: the analysis of regional musical elements identified in these works; the technical rudiments used in writing for viola depicting the arcades, dynamics, fingerings, articulations, phrasing; and the experiences lived by the author of this research as an interpreter of these works.

Sugestões performáticas do bilhete de um jogral para viola sozinha e das três peças para viola e piano de César Guerra-Peixe

This work is aimed at providing an interpretive study of the work for viola and piano titled Three Pieces, and work for solo viola titled Ticket of a Jogral, by Brazilian composer César Guerra Peixe. This study will be divided into three parts: The first will bring a brief history of the composer focusing on his visit to Pernambuco in the late 1940s and early 1950s; the second shows the use of Pernambuco musical regionalism elements used by the composer in the aforementioned documents; the third will present a set of interpretive suggestions based: the analysis of regional musical elements identified in these works; the technical rudiments used in writing for viola depicting the arcades, dynamics, fingerings, articulations, phrasing; and the experiences lived by the author of this research as an interpreter of these works.

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.

Classificação de técnicas estendidas no contrabaixo acústico

This work is to identify and classify extended techniques on acoustic bass. The main purpose of this classification is to provide the bass better understanding and practice these techniques. For this, we carried out a literature review, it was noted that, in academia, this topic is new and understanding for some musicians is still complex and nebulous. To assist in the difficulties of the bass player, the extended techniques were divided into two parts, proposing different approaches. The first part proposes the experimentation and exploration of conventional and unconventional techniques from other instruments on acoustic bass. The second seeks to identify and rank the extended techniques, showing excerpts from the solo instrument repertoire compositions. On each, there are still referenced authors and their contributions to the instrumental practice these techniques. In both categories of classification procedures were presented to be adopted by the bass player for the implementation of those techniques, as well as suggestions for their study. Among the main results, it was found that through the proposed classification of these techniques, one can incorporate new resources to technical universe and timbre of the instrument. Lastly, it was found a creation of a composition performed by interaction between composer and performer, containing new extended techniques or extended techniques not found in the instrument's contemporary soloist repertoire.

Classificação de técnicas estendidas no contrabaixo acústico

This work is to identify and classify extended techniques on acoustic bass. The main purpose of this classification is to provide the bass better understanding and practice these techniques. For this, we carried out a literature review, it was noted that, in academia, this topic is new and understanding for some musicians is still complex and nebulous. To assist in the difficulties of the bass player, the extended techniques were divided into two parts, proposing different approaches. The first part proposes the experimentation and exploration of conventional and unconventional techniques from other instruments on acoustic bass. The second seeks to identify and rank the extended techniques, showing excerpts from the solo instrument repertoire compositions. On each, there are still referenced authors and their contributions to the instrumental practice these techniques. In both categories of classification procedures were presented to be adopted by the bass player for the implementation of those techniques, as well as suggestions for their study. Among the main results, it was found that through the proposed classification of these techniques, one can incorporate new resources to technical universe and timbre of the instrument. Lastly, it was found a creation of a composition performed by interaction between composer and performer, containing new extended techniques or extended techniques not found in the instrument's contemporary soloist repertoire.

A música para clarinete e piano de Carlos Guastavino

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Uma descrição sonora contemporânea do imagético tradicional armorial como subsídio para abordagens interpretativas do ciclo de canções “Visagem” de Nelson Almeida

This study suggests sonorous ambiences from the propose of images configured according to the description in “A Visagem da Moça Caetana” by Ariano Suassuna in order to create individual sonorous possibilities that may help musicians to play the piece. The cycle, composed in 1996 (for voice, viola, cello, bass clarinet/clarinet), is formed by three untitled songs. Its text is an excerpt from the “Folheto XLIV”, from the Romance d’A Pedra do Reino e o príncipe do sangue do vai-e-volta, and describes a sentence of death illustrated by symbols of the Armorial imagery, with neologisms and the peculiar accent from the Sertão in northeast Brazil. In addition to the analysis of technical difficulties to play, this study informs interpreters of the sonorous timbre and texture used by Nelson Almeida to describe tradition through contemporary musical language. The metaphors and transgressions of reason in Suassuna’s book were explored to create three image compositions so that they may lead interpreters to the sonorous description of the inanimate objects and the affections to which the poetry refers, expanding any technical-interpretative indications limited by musical notation. This research used the Visagem scores, the literature on the theme, discussions with the musicians that played the piece, interviews with Almeida, and composers’ reports. To illustrate the theory, the three images are available, printed as woodcut in cordel literature.

O ciclo Slopiewnie opus 46 bis de Karol Szymanowski: uma abordagem de estudo e performance

This text presents a discussion about the song cycle Slopiewnie Opus 46 bis of Karol Szymanowski, one of the most important Polish composers of the 20th century. Slopiewnie was composed on texts of Julian Tuwim, poet born in 1894 in Łódź, who used ancient roots to create new words and search for special sonorities. First, this text introduces a brief biographical sketch about Szymanowski, in order to contextualize Slopiewnie in relation to the composer’s works. Afterwards, the text provides an analysis of the songs and their texts, which may serve as a study tool for future perfomers. Interpretative suggestions are offered, based on the experience of learning these songs and on references. The text also presents the phonetic transcription of the poems, as well as a suggested translation to Portuguese, making it easier for Brazilian singers to learn the cycle’s text and prosody.

A pedagogia de projetos e o ensino de música na educação básica da cidade de Natal/RN

This research aims to investigate the use of Project based learning as a method for teaching music in Elementary Schools located in Natal, RN. Its main objective is to analyze how this method is used during the classes of music at school context and which are its implications to the process of music learning acquirement. The specific objectives comprise: gathering the music teachers in preschool that work with project based learning as a method for their classes; identifying how the theory meets their practice; and analyzing how project based learning contributes to the learning process of music within schools. The main scholars adopted as theoretical reference were Boutinet (2002), Hernández (1998; 200), Antunes (2001), Cavalcante (2009), from Education area; and Penna (2008), Fonterrada (2008), Queiroz (2012), regarding Musical Education. Such choice was made in views of identifying the relationship and how project based pedagogy associates to the current Brazil school curriculum. For data collection, mixed methodological strategies were used, of qualitative and quantitative approaches that are complementary for better meeting the research needs. By applying a questionnaire, it was sought to identify the music schools and teachers who reported working with project based learning. Based on these results were selected two schools, one private school and one public school to perform a participant observation in two groups following the development of music classes based on project based learning, and the information were recorded in a diary of audio and video recordings. The results of this work show that the Project Education is a methodology frequently used by music teachers from Natal/ RN contributing to the integration of content and subjects and engages students in activities awakening interest and contributing to the development of music education at school. However, it was identified that many of the conceptions of the teachers about projects are confused by ambiguities from the use of the term in different areas and in various theoretical perspectives as well as the lack of publications that address the music education through the project based learning. It is hoped that this study provides discussions and research about the project based learning applied to music education in elementary school.