(RE)arranjos de uma utopia do som nacional: A bossa nova como realização do projeto musical modernista de Mário de Andrade

This text aims to argument about the historic relation between Mário de Andrade's project to Brazilian music (his national sound utopia, as Arnaldo Contier called it) and one of its possible realization with bossa nova. The text presents in general lines the Andradian project, its committed character, its incursions in the problems of popular and erudite and its filiations to the national obsession with formation. It exposes punctually the possible comprehension of bossa nova as a modernist project, suggesting a logicality of continuity in Brazilian musical experience.

Notas de testemunho e recalque: uma experiência musical dos traumas sociais brasileiros em Chico Buarque e Paulinho da Viola (de meados da década de 1960 a meados da década de 1970)

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

The effects of aging and musical experience on the representation of tonal hierarchies

Two experiments explored the representation of the tonal hierarchy in Western music among older (aged 60 to 80) and younger (aged 15 to 22) musicians and nonmusicians. A probe tone technique was used: 4 notes from the major triad were presented, followed by 1 note chosen from the 12 notes of the chromatic scale. Whereas musicians had a better sense of the tonal hierarchy than nonmusicians, older adults were no worse than younger adults in differentiating the notes according to musical principles. However, older adults were more prone than younger adults to classify the notes by frequency proximity (pitch height) when proximity was made more salient, as were nonmusicians compared with musicians. With notes having ambiguous pitch height, pitch height effects disappeared among older adults but not nonmusicians. Older adults seem to have internalized tonal structure, but they sometimes fail to inhibit less musically relevant information.

Aging and experience in the recognition of musical transpositions

The authors examined the effects of age, musical experience, and characteristics of musical stimuli on a melodic short-term memory task in which participants had to recognize whether a tune was an exact transposition of another tune recently presented. Participants were musicians and nonmusicians between ages 18 and 30 or 60 and 80. In 4 experiments, the authors found that age and experience affected different aspects of the task, with experience becoming more influential when interference was provided during the task. Age and experience interacted only weakly, and neither age nor experience influenced the superiority of tonal over atonal materials. Recognition memory for the sequences did not reflect the same pattern of results as the transposition task. The implications of these results for theories of aging, experience, and music cognition are discussed.

Tele-education and competencies assessment to Brazilian's auxiliary nurse

This paper presents Brazilian's experience with the organization of methods and strategies for the assessment of competencies for technical level of nursing workers. The evaluative process proposed includes the creation of a learning-oriented and distance-based virtual assessment environment. The proposed methodology for professional competencies assessment adopted a critical-emancipatory perspective. A tele-education environment was deployed, involving software development - a virtual man - and an assessment cybertutor. Learning modules for the cybertutor were developed and videos of clinical simulations, structured around assessment in cognitive, behavioral, and simulation areas. The evaluation modules considered aspects of competencies in know-know, know-how and know-act professional ethics. Also the variability of practices of nursing - hospitals and primary health care units - was considered. This instrument showed as an important strategy for the optimization of assessment procedures that are widely used across Brazil and it is a powerful tool for incorporation into the continuing professional 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

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.

Coping strategies among brazilian professional and amateur football players

To identify coping strategies used among professional and amateur Brazilian football players. The Ways of Coping Scale (WOCS) was completed by 134 male football players (71 professionals: mean age = 22.77 ± 3.98 years; 63 amateurs: mean age = 17.18 ± 0.84 years) from three teams that participated in the Campeonatos Estaduais da Primeira Divisão (the state championships for the first division of football). There was no significant difference between the two groups in the type of coping strategy they used (e.g., problem-focused, emotion-focused, fantasy thoughts, religious practices and social support). Problem-focused coping was the most frequently used strategy by all of the players and social support was the least frequently used strategy. Both professional and amateur players failed to focus on the development of adequate coping strategies. Further studies are needed to better understand the impact that Brazilian athletes experience has on their choice of coping strategies during pre-competitive and competitive phases of their sport. © JPES.

Rumos da análise musical no Brasil: análise estilística 1919-84

Pós-graduação em Música - IA

Melody recognition at fast and slow tempos: Effects of age, experience, and familiarity

Eighty-one listeners defined by three age ranges (18–30, 31–59, and over 60 years) and three levels of musical experience performed an immediate recognition task requiring the detection of alterations in melodies. On each trial, a brief melody was presented, followed 5 sec later by a test stimulus that either was identical to the target or had two pitches changed, for a same–different judgment. Each melody pair was presented at 0.6 note/sec, 3.0 notes/sec, or 6.0 notes/sec. Performance was better with familiar melodies than with unfamiliar melodies. Overall performance declined slightly with age and improved substantially with increasing experience, in agreement with earlier results in an identification task. Tempo affected performance on familiar tunes (moderate was best), but not on unfamiliar tunes. We discuss these results in terms of theories of dynamic attending, cognitive slowing, and working memory in aging.

DESENVOLVIMENTO DO TEATRO MUSICAL BRASILEIRO À LUZ DA NOTORIEDADE MIDIÁTICA DAS ADAPTAÇÕES E DOS ARTISTAS

O trabalho tem a proposta de analisar os desdobramentos do teatro musical brasileiro desde a primeira encenação em território nacional de adaptações de espetáculos do Teatro de Revista, gênero originário da França, até as superproduções musicais realizadas nos últimos 16 anos de adaptações de espetáculos americanos. O panorama histórico e analítico será estudado, com ênfase no teatro musical que se utiliza de elementos midiatizados para estar inserido em uma sociedade em que a produção cultural é vista como internacionalizada e mercantilizada. Como forma de marketing, os produtores utilizam-se da notoriedade midiática presente em formatos estrangeiros já consagrados, adaptações renomadas e bem aceitas pelo público, além da fama de celebridades que são escaladas para os musicais. Tudo para a conquista de um patrocinador que, por sua vez, acaba fazendo exigências que interferem de maneira decisiva na montagem dos espetáculos. Em meio a um processo onde são tantos os direcionamentos pré-estabelecidos por patrocinadores, onde se encontra o genuíno teatro musical brasileiro? A pesquisa abrange o ineditismo da presença de temáticas nacionais em formatos estrangeiros e agrega o conjunto de fatores que possibilitam que um roteiro de musical saia do papel e adentre os palcos, tais como as políticas públicas de incentivos fiscais; a ligação de empresas patrocinadoras e suas marcas a musicais; o fato de que, mesmo as produções sendo pagas por dinheiro público, possuírem ingressos que não são a preços populares. Para auxiliar nas conjecturas a serem formadas, será utilizada uma metodologia histórico-descritiva com foco na relação do tema com elementos notórios na mídia, como os artistas e obras a serem adaptadas no palco.

DESENVOLVIMENTO DO TEATRO MUSICAL BRASILEIRO À LUZ DA NOTORIEDADE MIDIÁTICA DAS ADAPTAÇÕES E DOS ARTISTAS

O trabalho tem a proposta de analisar os desdobramentos do teatro musical brasileiro desde a primeira encenação em território nacional de adaptações de espetáculos do Teatro de Revista, gênero originário da França, até as superproduções musicais realizadas nos últimos 16 anos de adaptações de espetáculos americanos. O panorama histórico e analítico será estudado, com ênfase no teatro musical que se utiliza de elementos midiatizados para estar inserido em uma sociedade em que a produção cultural é vista como internacionalizada e mercantilizada. Como forma de marketing, os produtores utilizam-se da notoriedade midiática presente em formatos estrangeiros já consagrados, adaptações renomadas e bem aceitas pelo público, além da fama de celebridades que são escaladas para os musicais. Tudo para a conquista de um patrocinador que, por sua vez, acaba fazendo exigências que interferem de maneira decisiva na montagem dos espetáculos. Em meio a um processo onde são tantos os direcionamentos pré-estabelecidos por patrocinadores, onde se encontra o genuíno teatro musical brasileiro? A pesquisa abrange o ineditismo da presença de temáticas nacionais em formatos estrangeiros e agrega o conjunto de fatores que possibilitam que um roteiro de musical saia do papel e adentre os palcos, tais como as políticas públicas de incentivos fiscais; a ligação de empresas patrocinadoras e suas marcas a musicais; o fato de que, mesmo as produções sendo pagas por dinheiro público, possuírem ingressos que não são a preços populares. Para auxiliar nas conjecturas a serem formadas, será utilizada uma metodologia histórico-descritiva com foco na relação do tema com elementos notórios na mídia, como os artistas e obras a serem adaptadas no palco.

A pesquisa governamental de opini??o p??blica: raz??es, limites e a experi??ncia recente no Brasil

Este trabalho discute raz??es pelas quais se deve esperar que governos representativos mantenham um programa institucionalizado de pesquisa de opini??o p??blica. O argumento divide-se em quatro se????es. Na primeira, discutem-se raz??es te??ricas e operacionais para que os governos acompanhem ao longo do tempo o comportamento de opini??es e prefer??ncias dos cidad??os. Na segunda, descrevem-se as consequ??ncias da (im)popularidade governamental, medida sint??tica e crucial da rela????o entre representantes e representados. Em seguida, uma terceira se????o aponta poss??veis fronteiras ou limites que permitiriam distinguir o escopo das pesquisas de opini??o p??blica realizadas pelos governos daquele das conduzidas com prop??sito cient??fico, mercadol??gico e, sobretudo, eleitoral. Finalmente, a quarta se????o descreve a recente experi??ncia do governo brasileiro nessa ??rea

O planejamento econômico no Brasil: considerações críticas

In the past thirty years, a series of plans have been developed by successive Brazilian governments in a continuing effort to maximize the nation's resources for economic and social growth. This planning history has been quantitatively rich but qualitatively poor. The disjunction has stimulated Professor Mello e Souza to address himself to the problem of national planning and to offer some criticisms of Brazilian planning experience. Though political instability has obviously been a factor promoting discontinuity, his criticisms are aimed at the attitudes and strategic concepts which have sought to link planning to national goals and administration. He criticizes the fascination with techniques and plans to the exclusion of proper diagnosis of the socio-political reality, developing instruments to coordinate and carry out objectives, and creating an administrative structure centralized enough to make national decisions and decentralized enough to perform on the basis of those decisions. Thus, fixed, quantified objectives abound while the problem of functioning mechanisms for the coordinated, rational use of resources has been left unattended. Although his interest and criticism are focused on the process and experience of national planning, he recognized variation in the level and results of Brazilian planning. National plans have failed due to faulty conception of the function of planning. Sectorial plans, save in the sector of the petroleum industry under government responsibility, ha e not succeeded in overcoming the problems of formulation and execution thereby repeating old technical errors. Planning for the private sector has a somewhat brighter history due to the use of Grupos Executivos which has enabled the planning process to transcend the formalism and tradition-bound attitudes of the regular bureaucracy. Regional planning offers two relatively successful experiences, Sudene and the strategy of the regionally oriented autarchy. Thus, planning history in Brazil is not entirely black but a certain shade of grey. The major part of the article, however, is devoted to a descriptive analysis of the national planning experience. The plans included in this analysis are: The Works and Equipment Plan (POE); The Health, Food, Transportation and Energy Plan (Salte); The Program of Goals; The Trienal Plan of Economic and Social Development; and the Plan of Governmental Economic Action (Paeg). Using these five plans for his historical experience the author sets out a series of errors of formulation and execution by which he analyzes that experience. With respect to formulation, he speaks of a lack of elaboration of programs and projects, of coordination among diverse goals, and of provision of qualified staff and techniques. He mentions the absence of the definition of resources necessary to the financing of the plan and the inadequate quantification of sectorial and national goals due to the lack of reliable statistical information. Finally, he notes the failure to coordinate the annual budget with the multi-year plans. He sees the problems of execution as beginning in the absence of coordination between the various sectors of the public administration, the failure to develop an operative system of decentralization, the absence of any system of financial and fiscal control over execution, the difficulties imposed by the system of public accounting, and the absence of an adequate program of allocation for the liberation of resources. He ends by pointing to the failure to develop and use an integrated system of political economic tools in a mode compatible with the objective of the plans. The body of the article analyzes national planning experience in Brazil using these lists of errors as rough model of criticism. Several conclusions emerge from this analysis with regard to planning in Brazil and in developing countries, in general. Plans have generally been of little avail in Brazil because of the lack of a continuous, bureaucratized (in the Weberian sense) planning organization set in an instrumentally suitable administrative structure and based on thorough diagnoses of socio-economic conditions and problems. Plans have become the justification for planning. Planning has come to be conceived as a rational method of orienting the process of decisions through the establishment of a precise and quantified relation between means and ends. But this conception has led to a planning history rimmed with frustration, and failure, because of its rigidity in the face of flexible and changing reality. Rather, he suggests a conception of planning which understands it "as a rational process of formulating decisions about the policy, economy, and society whose only demand is that of managing the instrumentarium in a harmonious and integrated form in order to reach explicit, but not quantified ends". He calls this "planning without plans": the establishment of broad-scale tendencies through diagnosis whose implementation is carried out through an adjustable, coherent instrumentarium of political-economic tools. Administration according to a plan of multiple, integrated goals is a sound procedure if the nation's administrative machinery contains the technical development needed to control the multiple variables linked to any situation of socio-economic change. Brazil does not possess this level of refinement and any strategy of planning relevant to its problems must recognize this. The reforms which have been attempted fail to make this recognition as is true of the conception of planning informing the Brazilian experience. Therefore, unworkable plans, ill-diagnosed with little or no supportive instrumentarium or flexibility have been Brazil's legacy. This legacy seems likely to continue until the conception of planning comes to live in the reality of Brazil.