Criatividade musical: conceitos e práticas

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Tecnologias digitais para Educação Musical

O item não apresenta o texto completo, para aquisição do livro na íntegra você poderá acessar a Editora da UFSCar por meio do link: www.editora.ufscar.br

Origens e desenvolvimento da educação musical: uma breve visão

Material não foi concebido para uma disciplina em específico, mas sim para ser usado por diferentes professores que de alguma forma abordam seu conteúdo integral ou parcialmente.

Vivências em educação musical 5 e 6

Módulo 3

Criação Musical 2

Módulo 6

O estágio do curso de licenciatura em Educação Musical: os professores e as disciplinas

A videoaula apresenta em linhas gerais o estágio curricular do curso de Educação Musical na modalidade à distância, oferecido pela Universidade Federal de São Carlos. A professora explana sobre cada uma das cinco disciplinas de estágio, bem como a distribuição da carga horária em atividades virtuais dentro e fora dos locais de estágio. Também são apresentadas as professoras que atuam nas disciplinas durante período contemplado pelo vídeo.

Património musical madeirense: a preservação da identidade através do currículo

O objetivo do presente estudo consiste em perceber o papel do currículo na preservação da identidade cultural. O estudo justifica-se pelo seu contributo original no campo do currículo, mediante uma investigação pioneira e inédita no que diz respeito à articulação entre o currículo, a identidade e o património musical madeirense. Para compreender aquele processo, recorremos a um trabalho de campo, caracterizado por um estudo exploratório, sob a égide da abordagem qualitativa, abrangendo todos os professores de Educação Musical da Região Autónoma da Madeira. Como instrumentos de recolha, assinalamos: observação de conferências e a análise das planificações no âmbito do projeto Regionalização do Currículo de Educação Musical (RCEM), entrevistas semiestruturadas, inquérito por questionário e análise documental. Os dados foram submetidos à análise de conteúdo, organizados em seis categorias, e os dados quantitativos foram analisados através de uma grelha do programa excel. Dos resultados do estudo, evidenciamos: reconhecimento da importância da construção curricular local; integração de componentes regionais e locais no currículo como prática comum a todos os professores; valorização das atividades práticas e dos saberes dos alunos, constitui um vetor importante para a motivação; constatação de uma boa adesão pela maioria dos alunos às propostas naquele âmbito; reconhecimento de que as novas sonoridades são um fator de motivação; reconhecimento de carência de formação no âmbito do projeto RCEM; conhecimento e utilização de vários materiais pedagógicos no âmbito do projeto RCEM; existência de um conhecimento geral do património imaterial madeirense; conhecimento da grande maioria das instituições e grupos culturais musicais e da sua importância na pesquisa e divulgação do património; constatação de uma fraca colaboração entre aquelas instituições e a escola; reconhecimento de que a cultura demarca a identidade; constatação de que a música é um veículo de identidade; reconhecimento de que música madeirense representa um legado histórico; reconhecimento de que educação ajuda a formar a identidade do aluno, considerando que o currículo é um documento de identidade. Estes resultados sustentam a posição da educação, através do currículo, como vetor de transmissão cultural e formação da identidade.

Identificando práticas musicais e processos de aprendizagem musical no contexto urbano de Montes Claros-MG

MENDES,Jean Joubert Freitas; BRITO,Leila de Jesus Ferreira de;CARMO, Raiana Alves Maciel Leal do. Identificando práticas musicais e processos de aprendizagem musical no contexto urbano de Montes Claros-MG. In: ENCONTRO DA ASSOCIAÇAO NACIONAL DE PESQUISA E POS-GRADUAÇAO EM MUSICA (ANPPOM), 17.,2007, Sao Paulo. Anais... Sao Paulo: ANPPOM, 2007.

LAUDMUS: rumo à implantação e gerenciamento de uma lista de audição musical online

SILVA, Alexandre Reche e. LAUDMUS: rumo à implantação e gerenciamento de uma lista de audição musical online. In: ENCONTRO REGIONAL DA ABEM NORDESTE (Associação Brasileira de Educação Musical), 9, Natal, RN, 2010. Anais eletronicos... Natal, RN, 2010.Trabalho Completo. Disponivel em: . Acesso em: 04 out. 2010.

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

Clara Nunes como obra de arte: a epistemologia das ciências humanas a partir da cultura musical

The thesis has its largest array in the reorganization of science that is built from the middle of the last century and its horizon reconnection between scientific culture and humanistic culture, and the dialogue between science, art and literature. This epistemological regeneration view of the scientific paradigm incorporates the poetic language and sociological analysis, and brings out a complex, open and transdisciplinary narrative. To undertake this exercise as interlocutors we have thinkers like Nietzsche, Lévi-Strauss, Edgar Morin and Bruno Latour, to name a few, and as a reference for analyzing the entire artistic production of one of the icons of Brazilian music, Clara Nunes. It is problematized up in this work, through the singer s discography, lyrics and fragments of her biography, the construction of a social character that politicized culture, increased the mestizo consciousness of popular imagery, and exceeded the excessively prosaic narratives of the academic and scientific culture. The central argument of the thesis recognizes a Hybrid Subject Clara Nunes, as indeed is what is expected of the politically engaged intellectual in the 21st century

Corporeidade e educação: sinfonia de saberes na educação musical

This study investigates the implications between the musical theory and pedagogical practice based on a study that questions the reasons why some students feel incapable of learning the music language, as well as, if the musical codes are truly so difficult to be apprehended by them. To answer these questions takes itself as reference, the classes I have minister while teaching the disciplines: Music Workshop and Music Language I in the Art Department, Scenic Art Course at the Federal University of Rio Grande do Norte. I have searched the knowledge that constitutes the teacher formation based on the union between the pedagogical efficiency and sensibility, searching in the Corporality the theoretical port for my investigation. This way, advocating is a methodological principle for musical education originated from the experience of knowledge: creating, playing, feeling, thinking, and the interaction among them, conducting the students not only to music learning, but to a process of human formation. It adopts itself as methodological resource, amongst the qualitative methods, some of the techniques that are associated with the ethnographic research, for having as its main objective, to study the meaning of the actions and events of the investigated group. The analysis of the data leads to the conclusion that when the teacher displays his or her pedagogical knowledge in an environment constructed with affectivity, in a playful and pleasant form, the assimilation and construction of the musical concepts happen naturally and efficiently, surpassing the taboo that music learning is only possible to the especially well endowed people for music. Very aware that the scientific debate is important for the strengthening of formative programs involved in the growth and consolidation of the musical teaching and learning area, it is expected to promote this research discussions and reflections in the general educational field with this research, as well as, to contribute significantly to the specific growth of musical education

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

As orquestras invadem as salas de estar: redefinição dos padrões e espaços para a escuta musical no Rio de Janeiro (1926-1931)

In the late nineteenth and early twentieth century, a series of technical innovations have been commercially and widespread on some urban groups everyday, in Brazil. Some of these technological innovations have played an important role in large-scale distribution of artistic works, which until then had an extremely limited potential for diffusion. Development of devices that can record and play music has been mechanically inserted into this logic, while the gramophones, phonographs, cylinders and discs became popular. By this time a new moment for production and consumption of music had started. Especially since the begging of electrical system for registration and production of sounds, this process bought important meaning to the way some peoples in Rio would leasing and sense music, besides it had contributed substantially to changes in the spatial references of these individuals

Nos tempos do blackout: cena musical, práticas urbanas e a ressignificação da Rua Chile, Natal-RN

This study aims to analyze the process of resignification of Chile Street, in Natal, from the development of a music scene in the late 1990s. Chile Street, as part of the Historic Centre of Natal, had its images constructed from the discursive practices and everyday life of its regular visitors, leading to a series of symbolic and imaging transformations throughout the twentieth century. Initially transformed into glamorous space as a result of urban actions of the new republic of Albuquerque Maranhão, in the early twentieth century, Ribeira and Chile Street, specifically, came to be seen as bohemian area, during the war time"; followed by a marginal phase, it was eventually transformed into the main rocker area of Natal, with the development of a musical scene in the second half of the 1990s. This music scene, its practices, economic interests, cultural events and identity ties created among their practitioners made Chile Street, "in the time of Blackout night club", an "alternative" space. As the historic centers, inserted in the logic of postmodern city marketing, both spaces are dynamic in their practices, as in their images, Chile Street also suffered changes in its meanings and symbols, around the year 2000 when the alternative-underground space became a pop space, where people from various parts of the city began attending its events and places, transforming it into a point of very heterogeneous sociability