Ser docente universitário-professor de música : dialogando sobre identidades profissionais com professores de instrumento

Tomando como ponto de partida o tema das identidades profissionais e as reflexões sobre as minhas vivências como professora universitária na área de música, proponho o estudo das narrativas de dezesseis professores de instrumentos musicais nos cursos de Bacharelado em Música em três universidades públicas do Estado do Rio Grande do Sul: UFPel, UFRGS, UFSM. A metodologia escolhida é a técnica da história oral temática, através de entrevistas semi-estruturadas, contextualizadas com o auxílio de registros em diários de campo. O conceito de “diálogo genuíno”, vindo da hermenêutica filosófica, também se torna importante para o estabelecimento de uma “zona interpretativa”, na qual as perspectivas dos entrevistados, minhas e da literatura pudessem ser consideradas. A análise de dados é feita a partir do estabelecimento de categorias que transversalizam as entrevistas, buscando-se, entretanto, a preservação da unicidade de cada depoimento. Primeiramente, são desenvolvidos dois grupos de categorias analisadas: formação e atuação. Posteriormente, desenvolvo os grupos de categorias referentes às experiências de ensino, fazendo uma aproximação do foco para os relatos sobre as disciplinas de instrumento principal dos cursos de Bacharelado em Música. A seguir, faço um recuo panorâmico, destacando as relações entre as identidades profissionais e as amplas vivências como pessoa, de cada professor. Posteriormente, abordo a profissão de docente universitário-professor de instrumento, confrontando os dados com os conceitos de profissionalidade, de competências e de identidades profissionais coletivas. Nas considerações finais, a contribuição dessa investigação para a reflexão pessoal dos participantes, para a área de música, para outras áreas que têm como objeto de estudo o professor universitário, bem como para a minha reflexão pessoal e profissional é apontada.

Bandas de música, escolas de vida

The focus of this dissertation is to understand the child and youth musical learning trajectory by using two philharmonic orchestras from Seridó, an area in the interior of Rio Grande do Norte. One is called the Hermann Gmeiner Philharmonic Orchestra of Aldeias Infantis SOS Project from Caicó, and the other is the 24 de Outubro Philharmonic Orchestra from Cruzeta. It emphasizes the singular relationship between the band s master and his students, based on a permanent interaction with tradition, creativity and change, resulting from a shared educational process. The idea that unites the work of these two communities is the gamble about the individual's formation as a complex human being, which it is not just concerned with the learning of a musical instrument, but is, more importantly, an educational process capable of facilitating the discovery of the self, others and society. The history and the course of the musical education of these two experiences were facilitated using a base of semi-structured interviews of the bands masters, students and people from two municipal districts. Their history is understood through analysis of the band s pictures and the theoretical-social approach is governed by the complexity idea expressed by Edgar Morin. For the author, complex means to `weave together`; therefore it is multidimensional, and it creates a dialogue about several domains and aspects that occur on the same phenomenon. The complex always supposes creativity and the relationship between the subject s reason and affectivity

A História entre Tempos e Contratempos: Fontes Ibiapina e a obscura invenção do Piauí

Dans ce texte, nous prenons avec probleme le départment bresilien de Piauí comme espacialité de la Région « Nordeste », suivant les instants de son insertion politique et discursif dans l'identité régionale, qui s'est donnée entre la fin des années 1950 et débuts des années 1970. Pour ceci, nous proposons une analyse de discours identitaires de Piauí comme la littérature et le folklore produits alors, cherchant à rapporter telles discours avec les pratiques et intérêts politiques qui ont concouru pour la « nordestinization » de Piauí. Parmi ces discours et dans dialogue avec eux, nous prenons centralement l'oeuvre du juge et ecrivain João Nonon de Moura Fontes Ibiapina, emisseur de signes qui apparaît en ce moment. Notre objectif est discuter les images élaborées sur Piauí et son inclusion dans les stéréotypes cristallisés de Nordeste, comme la pauvreté et la nécessité, la vie dans le champs et la prédominance d'une « culture populaire » régionale. Dans une période d'importantes mutations dans la société brésilienne, dans la production culturelle, dans heurtes régionalistes Nordeste et dans les formes de penser et pratiquer les espaces, les intellectuels de Piauí que nous étudions ont essayé de recouvrir de mots et de sens la noirceur et l'incommode silence concernant le Piauí dans la Nation bresilienne, quand le déparment s'intégrait, au moyen de la Région, au Brésil urbain et industrialisé

A invenção da Terra da Luz: história, literatura e paisagem (1875-1914)

Ce travail est un étude de cas qui analyse la construction litéraire du paysage du « Sertão» du Ceará entre la fin du siècle XIX et le début du siècle XX. Pour cela, quelques oeuvre simbole de la production litéraire du Ceará ont été sélectionnés, comme les textes qui suivent: O sertanejo (1875), de José Martiniano de Alencar; Os retirantes (1879), de José Carlos do Patrocínio; A fome (1890), de Rodolfo Marcos Teófilo; Luzia-Homem (1903), de Domingos Olímpio Braga Cavalcanti; Terra de sol: natureza e costumes do Norte (1912), de Gustavo Dodt Barroso et finalement, Aves de arribação (1914), de Antônio Sales. Ces oeuvres non seulement prend la nature comme personage, elles représentent aussi trois moments de la production litéraire du Ceará : romantique, réaliste et naturaliste. A invenção da Terra da Luz se rapporte à l idée d une littérature qui fait remarquer le paysage diurne du Sertão du Ceará, élaborée par ces hommes des lettres dans ses discours formidables, beaux et des matériaux qui viennent de ses rapports avec le monde naturel. Pour réaliser une tel entreprise, les idées de Edmund Burke et Gaston Bachelard se sont constitués en référence de cet étude. Et cette réflexion sur la description, la rêverie et l imagination marchent côte-à-côte au discours de ces littéreurs qui ont construits un espace simbolique spécifique : le sertão du Ceará. Comme ça, quelques thèmes deviennent canonique à la forme de penser, représenter et imaginer l espace du sertão du Ceará. De cette manière, le paysage est beaucoup plus que la contemplation, une fois qu elle est liée aussi à la rêverie poétique, à la mémoire et l imagination. C est de là l invention du paysage, car ces littéreurs n ont pas l accès au paysage purement naturel parce que ses perceptions et sensibilitées sur le monde du sertão ont été historiquement, c est-à-dire, dans un certain temps et espace

A história do intemperismo na Província Borborema Oriental, Nordeste do Brasil: implicações paleoclimáticas e tectônicas

Until some years ago, weathering geochronology was primarily based on the K-Ar and 40Ar/39Ar dating of supergene minerals. Recent advances in the analysis of supergene goethite by the (U-Th)/He method expanded the number of suitable minerals for such purpose, as well as the time of application for weathering geochronology. This study represents the first systematic approach in Brazil, combining both the 40Ar/39Ar e (U-Th)/He methodologies to improve the knowledge on the weathering and the age of nonfossiliferous sediments. Supported by geologic and geomorphologic correlations, we identified different types of weathering profiles occurring in the interior and coastal areas of northeastern Brazil. These profiles were correlated to main regional geomorphological domains: the Borborema Plateau , the Sertaneja Depression , and the Coastal Cuestas and Plains, and respective planation surfaces, which study is fundamental to understand the landscape evolution of the northern portion of the eastern Borborema Province. The depth and stratigraphic organization of the weathering profiles in each of the geomorphological domains permitted to establish that: (i) the profiles on the highlands that cap the Borborema Surface are deeper (up to 100 m) and can be considered as typical lateritic profiles; (ii) on the lowlands that form the Sertaneja Surface , the weathering profiles are shallow and poorly developed (2-5 m deep); (iii) the profiles along the coastal area are moderately developed (up to 25 m deep), and are characterized by thick saprolites and mottle zones. Aiming to establish the timing of the evolution of northeastern Brazil, we studied 29 weathering profiles representing distinct topographic levels of the Borborema Province, from the highlands to the coast, through the analysis of 248 grains of supergene manganese oxides using laser step-heating 40Ar/39Ar geochronology. Additionally, we applied the (U-Th)/He method in 20 weathering profiles, by dating 171 grains of supergene iron oxides and hydroxides. Geochronological results for 248 grains of manganese oxides analyzed by the 40Ar/39Ar method indicate that the weathering profiles in the study area record the history of weathering from the Oligocene to the Pleistocene, with ages in the order of 31.4 ± 1.0 Ma to 0.8 ± 0.4 Ma. Dating of 171 grains of goethite by the (U-Th)/He method yielded ages ranging from 43.2 ± 4.3 Ma to 0.8 ± 0.1 Ma, suggesting the weathering processes last from the Eocene to the Pleistocene. The precipitation of supergene goethite in this interval confirms the age of the weathering processes identified from the manganese oxides record. 105 goethite grains from 8 different occurrences of the Barreiras Formation were dated by the (U-Th)/He method. Five grains collected from the cement in the Barreiras Formation sandstones, in the Lagoa Salgada and Rio do Fogo coastal cuestas, yielded ages of 17.6 ± 1.8 Ma, 17.3 ± 1.7 Ma, 16.3 ± 1.6 Ma, 16.2 ± 1.6 Ma and 13.6 ± 1.4 Ma. Results of 69 goethite grains from authigenic pisoliths collected in 7 different localities also yielded concordant ages, varying from 17.8 ± 1.8 to 7.5 ± 0.8 Ma. Results obtained from 31 detrital grains are concordant in 3 distinct localities (Lagoa Salgada, Praia da Garças e Ponta Grossa); they vary in the range of 43.2 ± 4.3 to 21.6 ± 2.2 Ma, and indicate that the maximum age for the Barreiras Formation deposition is around 22 Ma. 40Ar/39Ar results for 15 manganese oxides grains associated with the Barreiras Formation weathering profiles, in 3 different localities, vary from 13.1 ± 0.9 to 7.7 ± 0.4 Ma, in the same range of ages obtained by the (U-Th)/He method. The systematic application of the 40Ar/39Ar and (U-Th)/He methods, respectively for manganese oxides and goethites, show that the Barreiras Formation sediments were already deposited since ca. 17 Ma, and that the weathering processes were active until ca. 7 Ma ago. The ages obtained from manganese oxides collected in the Cenozoic basalts (Macau Formation) also reveal a weathering history between 19 and 7 Ma, pointing to hot and humid conditions during most of the Miocene. 40Ar/39Ar ages yielded by manganese oxides associated with the Serra do Martins Formation vary from 14.1 ± 0.4 to 10.5 ± 0.3 Ma. On the other hand, (U-Th)/He ages from iron oxides/hydroxides collected in the Serra do Martins Formation mesas vary from 20.0 ± 2.0 to 5.5 ± 0.6 Ma, indicating that those sediments are older than 20 Ma. 40Ar/39Ar and (U-Th)/He results produced in this study are in agreement with paleoclimatic interpretations based on stable isotopes and clay index values measured in the Atlantic Ocean sediments, validating the use of weathering geochronology to investigate paleoclimatic variations. The direct dating of the Barreiras Formation permitted, for the first time, confident inferences on the age of the brittle deformation recorded by this sedimentary unit in the Rio Grande do Norte and Ceará states. The first event, syn-deposition, occurred during the early Miocene; an younger event, related to the post-depositional deformation of the Barreiras Formation, is associated with tectonic activity from the very early Miocene to the Holocene. In agreement with data from other areas, results obtained in this study reveal that the depth and complexity of the weathering profiles reflect the time of exposition of such areas to the weathering agents close to the surface. However, there is no clear relationship between ages vs. altitude. The depth and the stratigraphic organization of weathering profiles in northeastern Brazil, contrary to the southeastern Brazil pattern, do not vary toward the coast. In our study area, field observations reveal the presence of ancient, thick and complex lateritic profiles preserved in the sedimentary mesas on the Borborema Plateau, as younger, narrow and incipient ones occur in the dissected areas. Geochronological results obtained for these profiles yielded older ages on the high altitudes, and younger ages in the lowlands, suggesting the scarp retreatment is the most reliable model to explain the regional landscape evolution. However, in the coastal lowlands, the relatively older ages obtained indicate that more complexes processes were involved in the modeling of the local relief

Subsídios para a gênese da imprensa musical brasileira e para a história do Hino da Independência, de Dom Pedro I

Este artigo tem por objetivos rever, mediante análise bibliográfica e de fontes primárias, a história de um de nossos símbolos musicais pátrios, o Hino da Independência, de Dom Pedro I, bem como trazer novos subsídios para o estudo da gênese da imprensa musical brasileira. Tem, igualmente, por escopo divulgar peculiaridades de uma antiga e pouco conhecida partitura desse hino, já não mais presentes em modernas edições de tal composição.

A música como recurso cênico de palhaços: Cia. Teatral Turma do Biribinha e Circo Amarillo

Pós-graduação em Artes - IA

Eu não sei fazer música, mas eu faço: a banda de rock paulista Titãs

Pós-graduação em Ciências Sociais - FFC

Televisão e música popular na década de 60: as vozes conflitantes de José Ramos Tinhorão e Augusto de Campos

Pós-graduação em Comunicação - FAAC

A guitarra clássico-romântica: história dos métodos de um instrumento

Pós-graduação em Música - IA

Tomemos la historia en nuestras manos: utopia revolucionária e música popular no Chile (1966-1973)

Pós-graduação em História - FCHS

A Discoteca Pública Municipal de São Paulo: um projeto modernista para a música nacional

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Variazioni attraverso i secoli, op 71 de Mário Castelnuovo-Tedesco: um estudo sobre a história da forma Tema e Variações no repertório violonístico

Pós-graduação em Música - IA

Relações estético-estruturais entre música e arquitetura: Polytopes : uma análise sobre a obra multimídia de Iannis Xenakis

Pós-graduação em Música - IA

Música e ultramontanismo: possíveis significados para as opções composicionais nas missas de Fúrio Franceschini

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)