Economia criativa e estratégia como prática social: uma abordagem teórico-empírico-conceitual a partir de ambientes criativos de grupos musicais

This study seeks to identify how creative environments of musical groups are configured in the Strategy as Practice perspective as theoretical, empirical and conceptual models. It develops within the theoretical framework, discussions on the context of the Creative Economy, Creative Industries, creative environment, organizational paradigm of Creative Economy, music as a creative environment and business, design and dynamics of Strategy as Practice and conjecture about the contextualism and other epistemological currents. The study is shaped as an exploratory and descriptive research, utilizing the qualitative method and being characterized as a Grounded Theory. A total of four musical groups of different styles, markets and areas of operation with over ten years of activity were surveyed. The Grounded Theory and simple observation methods were used for both data collection and analysis. The software ATLAS.ti. was used to help with the analysis. The research shows that the bands perceive the specialized expertise in the virtual social media as a strategic differentiator. It also shows that the groups nourish individuation and the differentiation in their relationship with the individual. Finally, it validates that these organizations get teams involved and value the dynamic design of their routines in strategic decision making, paying attention to a strategic social bias. Strategy and Creative Practice is the main category that emerged from the data. This category is explained through the three aforementioned results. It shows that organizations that are part of the Creative Economy perform simultaneously and dynamically creative and strategic making at both artistic and managerial levels.The theory created is validated by the principles of degree of coherence, functionality, relevance, flexibility, density and integration, and it is inserted in the contextualism principle, which points the knowledge as related to the context in which it is placed and discussed.

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.

A música nos currículos específicos individuais

Tendo como suporte a revisão bibliográfica, pretende-se com este estudo de caso de carater interpretativo, compreender qual o papel da música inserida nos currículos específicos individuais (CEI). O estudo pretende contribuir para uma maior compreensão acerca da inclusão da disciplina de Educação Musical nos CEI, conhecer as práticas pedagógicas desenvolvidas com alunos ao abrigo de um CEI e caraterizar e promover o desenvolvimento musical dos três alunos participantes. O trabalho empírico no qual foi delineada a investigação assenta numa metodologia qualitativa. Nos instrumentos de recolha de dados saliento, as entrevistas, as notas de campo e o círculo de desenvolvimento musical “Sound of Intent”. Os resultados reforçam a importância da formação docente na intervenção com crianças com NEE e a clara valorização do papel da música nestes currículos. Observa-se que os três alunos, embora caraterizados com perturbações de grau e patologia diferenciadas, e com manifestações variadas, mostram níveis de musical dos alunos, corresponde ao perfil descrito na literatura o que nos permite sugerir que as atividades e estratégias utilizadas contribuíram para o desenvolvimento das diferentes dimensões analisadas promovendo o desenvolvimento de competências musicais e extra musicais.

Qualidade dos instrumentos de autorresposta que medem a funcionalidade do membro superior em condições músculo-esqueléticas do ombro : revisão sistemática

Contextualização: Dada a prevalência de disfunções no ombro, os registos de avaliação segundo a perspetiva do utente constituem ferramentas úteis na seleção das estratégias de intervenção. A escolha do instrumento adequado deve-se basear em grande parte na força das suas propriedades psicométricas, contudo não existem estudos que analisem sistematicamente a qualidade destas medidas. Objetivo: Análise de estudos referente às propriedades psicométricas de instrumentos de autorresposta na funcionalidade do ombro. Metodologia: Revisão da literatura em inglês/português, nas bases de dados: PubMed, PEDro, Google Académico, B-On e RCAAP. Foram analisados estudos realizados até 2015. A qualidade metodológica e as propriedades psicométricas foram avaliadas e resumidas através de dois critérios padronizados, seguindo a ideologia COSMIN. Resultados: Nesta revisão foram incluídos 6 estudos. O Disabilities of the Arm Shoulder and Hand (DASH) e o Neck and Upper Limb Index (NULI-20) demonstram boas propriedades psicométricas e uma metodologia de fraca a excelente; o Shoulder Pain And Disability Index (SPADI) e o Weelchair User’s Shoulder Pain Index (WUSPI) exibem boas propriedades psicométricas e qualidade metodológica fraca; tanto no Shoulder Rating Questionnaire (SRQ-PT) como no Upper Extremity Functional Index (UEFI) não foram avaliadas propriedades psicométricas relevantes, contudo as analisadas apresentam boas propriedades psicométricas e uma metodologia fraca. Conclusão: Devido às falhas na metodologia dos estudos incluídos, não é possível inferir qual o questionário mais apropriado à prática clínica. São necessários mais estudos de validação de instrumentos de autorresposta com melhor qualidade metodológica.

Evaluando el impacto de los instrumentos de promoción científica. Problemas metodológicos y estrategias empíricas

Fil: Aguiar, Diego. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación; Argentina.

Evaluando el impacto de los instrumentos de promoción científica. Problemas metodológicos y estrategias empíricas

Fil: Aguiar, Diego. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación; Argentina.

Evaluando el impacto de los instrumentos de promoción científica. Problemas metodológicos y estrategias empíricas

Fil: Aguiar, Diego. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación; Argentina.

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.

Sistemas interativos musicais aplicados à percussão mediada

CAMPOS, Cleber da Silveira ; MANZOLLI,Jônatas. Sistemas Interativos Musicais aplicados à percussão mediada. In: CONGRESSO DA ASSOCIAÇAO NACIONAL DE PESQUISA E POS-GRADUAÇAO EM MUSICA (ANPPOM), 20.,2010, Florianópolis. Anais... Florianópolis: ANPPOM, 2010.

Instrumentos de Avaliação Psicológica em Idosos

O envelhecimento constitui-se como um fenómeno recente e universal nos países desenvolvidos. Assistimos simultaneamente ao aumento da prevalência de doenças crónicas, pelo que, é premente realizarem-se avaliações geriátricas eficazes, apostando-se em diagnósticos precoces e completos. Deste modo, na presente tese iremos debruçar-nos sobre a avaliação psicológica de adultos, com particular incidência na população idosa, apresentando alguns dos instrumentos mais utilizados para proceder a uma plena avaliação funcional, com enfoque nas pessoas com mais de 65 anos. / Aging constitutes a recent and universal phenomenon in the developed countries Simultaneously, we bear witness of the increase in the prevalence of chronic diseases being thus urgent to carry out effective geriatric assessments, focussing on early and comprehensive diagnoses. Thus, in this dissertation we shall address the adults' psychological evaluation with particular emphasis on the elderly population, presenting some of the most used instruments/tools to make a full functional assessment, with special focus on people over 65 years.