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Veblen, Nora Bryant. "MUSIC THERAPISTS’ PERCEPTIONS AND PRACTICES REGARDING MUSICAL AUTHENTICITY IN MUSIC THERAPY PRACTICE". UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/129.
Pełny tekst źródłaWells, Robert. "Musical composition : creative social and educational practices". Thesis, University of Southampton, 2014. https://eprints.soton.ac.uk/371692/.
Pełny tekst źródłaDavhula, Mudzunga Junniah. "Malombo Musical Art in VhaVenda Indigenous Healing Practices". Thesis, University of Pretoria, 2016. http://hdl.handle.net/2263/64353.
Pełny tekst źródłaThesis (DMus)--University of Pretoria, 2017.
SAMRO
Music
DMus
Unrestricted
Santos, Catherine Furtado dos. "Casa Caiada: process human and musical practices in collaborative percussive". Universidade Federal do CearÃ, 2013. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=9747.
Pełny tekst źródłaEsta pesquisa tem como tema central o processo contÃnuo de formaÃÃo humana e musical dos integrantes do Grupo de MÃsica Percussiva AcadÃmicos da Casa Caiada (GMPACC) da Universidade Federal do Cearà (UFC). O interesse por esse aspecto veio da minha prÃpria experiÃncia com atividades de percussÃo dentro da Universidade Federal do Cearà - UFC, em organizaÃÃes nÃo governamentais (ONGs) e em grupos de maracatus, na cidade de Fortaleza. Pude observar que a partir de 2006 houve um aumento significativo do surgimento de grupos percussivos voltados para atividades no perÃodo carnavalesco e tambÃm a grande procura de pessoas em participar destes agrupamentos na cidade. Na UFC, criou-se em 2008 um projeto de extensÃo do curso de licenciatura em mÃsica da UFC denominado pela sigla GMPACC, tendo a coordenaÃÃo do Prof. Dr. Erwin Schrader e sob minha regÃncia a partir de 2009. O grupo possui como proposta oferecer uma formaÃÃo humana e musical atravÃs das prÃticas percussivas em contexto colaborativo, principalmente, para jovens das escolas pÃblicas do bairro de Messejana. Desde o ano de 2009 atà 2012, certifiquei que alguns integrantes fazem parte do projeto desde o inÃcio das atividades e vale reforÃar que o grupo nÃo à voltado apenas para atividades carnavalescas como se apresenta, normalmente, no cenÃrio percussivo em Fortaleza. A partir dessa permanÃncia dos ritmistas no grupo pude indagar sobre o que caracteriza e como acontece o processo contÃnuo de formaÃÃo humana e musical dos integrantes permanentes no GMPACC (UFC) sob uma perspectiva de EducaÃÃo Musical no perÃodo dos anos de 2009 a 2012. Para realizaÃÃo desta pesquisa tÃm-se como suporte teÃrico autores como Ribeiro (1996) e Miranda (2009) sobre a temÃtica dos contextos percussivos no Brasil; Prass (2004) e Schrader (2011), com pesquisas sobre percussÃo e educaÃÃo musical; e Matos (2008) e Freire (1996), trazendo uma perspectiva sobre processos formativos e prÃticas colabortivas. A metodologia serà de abordagem qualitativa e com o delineamento de estudo de caso. Os instrumentos de coleta dos dados serÃo o levantamento bibliogrÃfico, acesso a documentos e aplicaÃÃo de entrevistas, tendo como mÃtodo de anÃlise as fundamentaÃÃes teÃricas iluminando os dados levantados a partir das entrevistas. Assim, esta pesquisa teve por objetivo analisar o processo contÃnuo de formaÃÃo humana e musical dos integrantes permanentes no GMPACC (UFC) sob uma perspectiva de EducaÃÃo Musical no perÃodo dos anos de 2009 a 2012, esperando contribuir para uma melhor compreensÃo do espaÃo formativo educacional atravÃs da percussÃo na UFC, os aspectos formativos na educaÃÃo e o fazer musical criativo que a prÃtica percussiva em contexto colaborativo poderà propiciar ao campo da EducaÃÃo Musical.
This research has as its central theme the continuous process of the human and musical education of the members of âGrupo de MÃsica Percussiva AcadÃmicos da Casa Caiada (GMPACC)â {Academics of the Whitewashed House Percussion Music Group [AWHPMG]}. The interest in this aspect arose from my own experience with percussion activities at the university, in non-goverment organisations (NGOs) and âMaracatuâ groups, in the city of Fortaleza. I was able to observe that from 2006 there has been a significant increase in the appearance of percussion groups focussed upon activities in the carnival period as well as a great demand for people to participate in these groups in the city. At CFU (Cearà Federal University) an extension project was created in 2008 to the CFU\'s Music HND Course known by the initials AWHPMG, under the co-ordenation of Prof. Dr. Erwin Schrader and conducted by me since 2009. The group has as its objective to offer a human, musical and artistic education through percussion activities in a collaborative context, especially for young people of the state schools of the Messejana neighbourhood. Since 2009 and until 2012, I confirmed that some members have been part of the project since it began its activities and it is fitting to stress that the group in not focused only upon carnival activities as it is usually presented in Fortaleza\'s percussion scene. From this constancy of group\'s rhythm section I was able to ascertain what characterises the continuous process of human and musical education and how it occurs with the permanent members of the AWHPMG (CFU) through the perspective of Musical Education in the period of the years 2009 to 2012. In order to carry out this research there were in the role of technical support authors such as Ribeiro (1996) and Miranda (2009) with regard to the theme of percussive contexts in Brazil; Prass (2004) and Schrader (2011), with research on percussion and musical education; and Matos(2008) and Freire (1996), bringing together a perspective of formative and educational processes. The methodology will be by way of a qualitative approach and with the guidelines of case studies. The instruments of data collection will be a bibliographical survey, access to documentation and the application of interviews, having as analytical method the theoretical fundaments linked to the discourse of the interviewees. Thus, the objective of the research aims analyse the continuous process of the human and musical education of the âpermanent membersâ of the AWHPMG (CFU) under a perspective of Musical Education in the period between 2009 and 2012, aiming to contribute towards a better understanding of the formative educational environment through percussion at CFU, of the formative aspects of education and creative musical practice which percussion activities in a collaborative context may provide the the field of Musical Education.
Ong, Min Yen. "Kunqu in 21st century China : musical change and amateur practices". Thesis, SOAS, University of London, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.649379.
Pełny tekst źródłaKunnuji, Joseph. "A chronicle of cultural transformation: ethnography of Badagry Ogu musical practices". Doctoral thesis, Faculty of Humanities, 2020. http://hdl.handle.net/11427/32279.
Pełny tekst źródłaLeite, Matheus de Carvalho. "Música, comunidade e escola : relações vividas por professores não-especialistas em música". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/97690.
Pełny tekst źródłaThe objective of this research was to unveil the musical practices of teachers in the community and at school discussing the relationship between music, school and community. The methodology adopted was the case study, taking as theoretical support reflections upon Setton (2010), Forquin (1994), Bozon (2000) and Souza (2012). The musical practices of teachers include the act of music listening, musical preferences, the practice of singing, experiments with music lessons, practice playing a musical instrument or not, participation in musical activities, interactions with bands and ensembles active in community, awareness and inclusion in relation to the different spaces where music is present in communities, professionals who work with music in the classroom, how that in their teaching practice in the classroom musical experiences of students and teachers are contextualized. The results contributes to current discussions in Brazil relating to the context of Federal Law. º to 11.769/08 regarding the musical and pedagogical practices of teachers non-specialist in music.
Rodríguez, Suárez Roberto Alexis. "Gusto musical y espacio social juvenil. Prácticas musicales en Barcelona y Trójmiasto". Doctoral thesis, Universitat Rovira i Virgili, 2014. http://hdl.handle.net/10803/461979.
Pełny tekst źródłaLa tesis tiene como objetivo general estudiar las prácticas musicales de jóvenes habitantes o en tránsito en las ciudades de Barcelona y Trójmiasto. La intención es poder desvelar lógicas de sentido e identidad cultural que se generan a través de éstas. La aproximación al estudio del gusto y el espacio social juvenil intenta participar en los debates actuales en estas áreas, desarrollando una aproximación teórico-metodológica a través de un estudio sobre las prácticas musicales vistas desde las trayectorias biográficas. Buscando contribuir en la comprensión del proceso de socialización, las divisiones y distinciones sociales que constituyen la cultura popular contemporánea. Esta investigación se basa en el análisis cualitativo de datos etnográficos recogidos en Barcelona y en Trójmiasto. Las entrevistas en profundidad han sido el principal instrumento para la obtención de datos para este estudio. Pero también se recurrió a la observación participante, a fuentes secundarias y una combinación de acercamientos y técnicas de análisis. Los principales resultados de la investigación revelaron como el gusto musical es un punto de anclaje cuyo análisis nos permitió aportar comprensión y triangular los procesos de mediación entre las diferentes instancias sociales en los que se crean estrategias cotidianas para la conformación del gusto musical. La tesis en su conjunto demostró la utilidad de poner en el centro del análisis en observar qué clase de cosas hacen las personas en relación a la música y qué clase de discursos crean las personas en relación a la música. Y de esa manera hemos podido pensar al gusto musical como un proceso y no como un objeto. Lo pudimos presentar en esta tesis desde sus vinculaciones a través de las biografías desde una aproximación en la que el gusto constituye una práctica corporal, colectiva e instrumentada.
The thesis has the overall aim to study the musical practices of young people in the cities of Barcelona and Trójmiasto. The intention is to analyse meaning-making and cultural identity that are generated through them. The approach to the study of taste and youth social space seeks to participate in current debates in these areas, developing a theoretical-methodological approach through a study of musical practices from the biographical trajectories. We are seeking understanding the process of socialization, social divisions and distinctions that constitute contemporary popular culture. This research is based on qualitative analysis of ethnographic data collected in Barcelona and Trójmiasto. In-depth interviews have been the main instrument for data collection for this study. But participant observation, secondary sources and a combination of approaches and analytical techniques were also used. The main results of the research revealed musical taste is an anchor point whose analysis allowed us to bring understanding and perspective to study mediation processes between different social instances in which everyday strategies are set to shape musical tastes. The thesis as a whole demonstrates the usefulness of putting at the center of analysis a scope at what kinds of things people do in relation to music and what kind of discourses people create in relation to music. Thus we presented musical taste as a process rather than an object. In this thesis musical taste is understood from its links through the biographies from an approach in which the taste is an embodied, instrumented and collective practice.
Stevens, Melissa A. "Marcel Tabuteau : pedagogical concepts and practices for teaching musical expressiveness : an oral history /". Connect to resource, 1999. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1225392470.
Pełny tekst źródłaMalley, Nicole Edwards. "The sound that sells: the musical and improvisatory practices of the American auctioneer". Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/2936.
Pełny tekst źródłaAlberto, Rita Sofia Grácio. "Gender distorting genre distorting gender : exploring women's rock musicking practices in contemporary Portugal". Thesis, University of Exeter, 2017. http://hdl.handle.net/10871/33397.
Pełny tekst źródłaLux, Violeta Alejandra Mayer. "Musical practices and non-democratic political systems : Popular music in authoritarian Chile 1973-1990". Thesis, University of Liverpool, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.533976.
Pełny tekst źródłaGrothues, Nicole M. "Celebrity and the Broadway Musical: Perceptions, Practices, and Prospects for an American Art Form". The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306240634.
Pełny tekst źródłaRoth, Robert Ray. "A survey of form and compositional practices of Ralph Vaughan Williams, Igor Stravinsky, Paul Hindemith, and Robert Roth in Kyrie of the mass ordinary". Kansas State University, 2014. http://hdl.handle.net/2097/17599.
Pełny tekst źródłaDepartment of Music, Theater, and Dance
Craig Weston
Ralph Vaughan Williams, Igor Stravinsky, and Paul Hindemith, three prolific composers of the 20th century, wrote for the medium of the mass ordinary in different ways. This report comprises a survey of those composers’ styles using the Kyrie movement of the mass ordinary as the main vehicle of compositional exploration. The results of this compositional survey examine the form and various techniques the composers employ to garner the same emotional response from the listeners of the Kyrie text. The final portion of the report explores the author’s personal compositional contribution to the mass ordinary.
Clarkson, Rebecca. "Singing With the New Order Amish: How Their Current Musical Practices Reflect Their Culture and History". University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1352993454.
Pełny tekst źródłaDel, Zoppo Silvia [Verfasser]. "Ferramonti : Interpreting Cultural Behaviors and Musical Practices in a Southern-Italian Internment Camp / Silvia Del Zoppo". Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2021. http://d-nb.info/1241456135/34.
Pełny tekst źródłaThomaz, Rafael 1986. "A linguagem musical e violonística de Marco Pereira : uma simbiose criativa de diferentes vertentes". [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285285.
Pełny tekst źródłaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-09-11T21:22:41Z (GMT). No. of bitstreams: 1 Thomaz_Rafael_M.pdf: 5789556 bytes, checksum: 9b682ecffe1b4bb9ad251549e8f124ff (MD5) Previous issue date: 2014
Resumo: O violonista e compositor brasileiro Marco Pereira (1950) é reconhecido internacionalmente por suas composições para violão e por sua carreira como concertista e acompanhador no âmbito da música popular. Sua produção composicional é formada por peças para violão solo, música de câmara, peças concertantes para violão e orquestra e arranjos de música popular para violão. Este trabalho busca destacar e entender o caráter híbrido de sua produção, que constitui uma simbiose de diferentes vertentes das quais podemos destacar a música popular brasileira, o violão de concerto e o jazz. Através da análise dos aspectos híbridos e idiomáticos de sua obra e de aspectos característicos de sua performance, o trabalho visa contribuir para o entendimento de sua obra a partir de diversos pontos de vista
Abstract: The Brazilian guitarist and composer Marco Pereira (1950) is internationally recognized for his compositions for guitar and his acting career as a concert performer and accompanist in popular music. His compositional output consists of pieces for solo guitar, chamber music, pieces for guitar and orchestra and arrangements of popular music for guitar. This work aims to emphasize and understand the hybrid nature of his production, which is a symbiosis of different strands of which we can highlight Brazilian popular music, concert and jazz guitar. By analyzing The hybrids and idiomatic aspects of his work and characteristic aspects of his performance, the work aims to contribute to the understanding of his work from various points of view
Mestrado
Praticas Interpretativas
Mestre em Música
Lee, Hyun Kyung (Organist). "Louis Vierne’s Pièces de Fantaisie, Opp. 51, 53, 54, and 55: Influence from Claude Debussy and Standard Nineteenth-Century Practices". Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849666/.
Pełny tekst źródłaCardoso, Tânya Marques [UNESP]. "A que(m) serve a música na reforma psiquiátrica brasileira?: Linhas de audibilidade nas práticas musicais da saúde mental coletiva". Universidade Estadual Paulista (UNESP), 2014. http://hdl.handle.net/11449/110675.
Pełny tekst źródłaNo presente trabalho, abordamos algumas perspectivas da relação entre música e sujeito, no contexto da Reforma Psiquiátrica brasileira e em práticas de Saúde Mental Coletiva, especificamente, as práticas musicais e sonoras. Inspiramo-nos na arqueogenealogia para criar algumas ferramentas metodológicas para realização deste trabalho. Para a nossa questão sobre “a que” ou “a quem” serve a música na Reforma Psiquiátrica, a resposta foi o levantamento bibliográfico organizado em um Arquivo-teia, ferramenta que forjamos a partir da noção de arqueogenealogia, combinada à de dispositivo, das obras de Foucault. A teia que construímos, como um pedaço do dispositivo, possui linhas de enunciados e de visibilidades que se entrecruzam para sustentar certos discursos e ocupar determinadas funções em cada época. Buscamos, primeiramente, problematizar esse espaço onde a teia está suspensa, nas ações com música no contexto dos hospícios, seguindo a lógica do higienismo e disciplinamento de corpos. Com as experiências modernistas, constituiu-se uma oposição importante entre o campo do saber psiquiátrico e da criação artística. A musicoterapia também é investigada em sua história, já que ela tem uma “origem” comum às práticas musicais e sonoras em geral, além do fato de representar um saber específico sobre a relação música-subjetividade-saúde. Depois, vislumbramos o modo como as práticas musicais e sonoras serviram à Luta Antimanicomial e como foram incorporadas na Reforma Psiquiátrica brasileira como política, a partir do conceito de oficinas, dentro das lógicas e éticas da desinstitucionalização, do Paradigma da Atenção Psicossocial e da ideia de saúdessubjetividade/subjetividadessaúde. A partir de fontes documentais diversas – livros, revistas, bases de dados eletrônicas e sítios eletrônicos – encontramos experiências singulares de práticas ...
In this paper, we discussed some perspectives of the relation between music and subject, in the context of the Brazilian Psychiatric Reform and in Collective Mental Health practices, specifically, musical and sound practices. We were inspired by the archeogenealogy to create some methodological tools for this work. To our question of to what or to who the music serves in the Psychiatric Reform, the answer was the bibliographic organized in a File – web, tool that we forged from the notion of archeogenealogy combined with that of device, from the work of Foucault. The web we built, like a piece of the device, has lines of statements and visibilities that intersect to support certain discourses and occupy certain roles each season. We sought, first, to problematize this space where the web is suspended, in the actions with music in the context of the hospices, following the logic of hygienism and disciplining of bodies. With the modernist experiences, it was constituted an important contrast between the field of psychiatric knowledge and that of artistic creation. Music therapy is also investigated in its history, considering that it has a common origin to the musical and sound practices in general, beyond the fact of representing a specific knowledge about music- subjectivity-health relation. Then, we envisioned how the music and sound practices served the anti-asylum and how they were incorporated into the Brazilian Psychiatric Reform as policies, from the concept of workshops, within the logic and ethics of deinstitutionalization, the Paradigm of Psychosocial Care and the idea of “saúdessubjetividade/subjetividadessaúde”. From various documentary sources - books, journals, electronic databases and electronic sites – we found unique experiences of musical practices, which we called strings or threads of the web which were arranged from its working processes: 1. music-therapy; 2. Music ...
Cardoso, Tânya Marques. "A que(m) serve a música na reforma psiquiátrica brasileira? : Linhas de audibilidade nas práticas musicais da saúde mental coletiva /". Assis, 2014. http://hdl.handle.net/11449/110675.
Pełny tekst źródłaBanca: Helio Rebello Cardoso Junior
Banca: Marcus Vinícius Machado de Almeida
Resumo: No presente trabalho, abordamos algumas perspectivas da relação entre música e sujeito, no contexto da Reforma Psiquiátrica brasileira e em práticas de Saúde Mental Coletiva, especificamente, as práticas musicais e sonoras. Inspiramo-nos na arqueogenealogia para criar algumas ferramentas metodológicas para realização deste trabalho. Para a nossa questão sobre "a que" ou "a quem" serve a música na Reforma Psiquiátrica, a resposta foi o levantamento bibliográfico organizado em um Arquivo-teia, ferramenta que forjamos a partir da noção de arqueogenealogia, combinada à de dispositivo, das obras de Foucault. A teia que construímos, como um pedaço do dispositivo, possui linhas de enunciados e de visibilidades que se entrecruzam para sustentar certos discursos e ocupar determinadas funções em cada época. Buscamos, primeiramente, problematizar esse espaço onde a teia está suspensa, nas ações com música no contexto dos hospícios, seguindo a lógica do higienismo e disciplinamento de corpos. Com as experiências modernistas, constituiu-se uma oposição importante entre o campo do saber psiquiátrico e da criação artística. A musicoterapia também é investigada em sua história, já que ela tem uma "origem" comum às práticas musicais e sonoras em geral, além do fato de representar um saber específico sobre a relação música-subjetividade-saúde. Depois, vislumbramos o modo como as práticas musicais e sonoras serviram à Luta Antimanicomial e como foram incorporadas na Reforma Psiquiátrica brasileira como política, a partir do conceito de oficinas, dentro das lógicas e éticas da desinstitucionalização, do Paradigma da Atenção Psicossocial e da ideia de saúdessubjetividade/subjetividadessaúde. A partir de fontes documentais diversas - livros, revistas, bases de dados eletrônicas e sítios eletrônicos - encontramos experiências singulares de práticas ...
Abstract: In this paper, we discussed some perspectives of the relation between music and subject, in the context of the Brazilian Psychiatric Reform and in Collective Mental Health practices, specifically, musical and sound practices. We were inspired by the archeogenealogy to create some methodological tools for this work. To our question of "to what" or "to who" the music serves in the Psychiatric Reform, the answer was the bibliographic organized in a File - web, tool that we forged from the notion of archeogenealogy combined with that of device, from the work of Foucault. The web we built, like a piece of the device, has lines of statements and visibilities that intersect to support certain discourses and occupy certain roles each season. We sought, first, to problematize this space where the web is suspended, in the actions with music in the context of the hospices, following the logic of hygienism and disciplining of bodies. With the modernist experiences, it was constituted an important contrast between the field of psychiatric knowledge and that of artistic creation. Music therapy is also investigated in its history, considering that it has a common "origin" to the musical and sound practices in general, beyond the fact of representing a specific knowledge about music- subjectivity-health relation. Then, we envisioned how the music and sound practices served the anti-asylum and how they were incorporated into the Brazilian Psychiatric Reform as policies, from the concept of workshops, within the logic and ethics of deinstitutionalization, the Paradigm of Psychosocial Care and the idea of "saúdessubjetividade/subjetividadessaúde". From various documentary sources - books, journals, electronic databases and electronic sites - we found unique experiences of musical practices, which we called strings or threads of the web which were arranged from its working processes: 1. music-therapy; 2. Music ...
Mestre
Pras, Amandine. "How to draw out the best musical performance: best practices for studio recording in the digital era". Thesis, McGill University, 2012. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=110619.
Pełny tekst źródłaCette thèse a pour but d'identifier les pratiques professionnelles de l'enregistrement musical qui implique la «capture» en studio de nombreuses prises d'une même œuvre. Les technologies numériques et les échanges de fichiers sur Internet ont déclenché une phase de transition de l'industrie de l'enregistrement dans laquelle les professions du studio (ingénieur du son et directeur artistique) ont besoin d'être réinventées. Pour mieux com- prendre l'impact des avancées technologiques sur la production d'enregistrements, il est important d'enquêter sur les pratiques et les connaissances tacites des professionnels du studio, un domaine qui a reçu peu d'attention dans la recherche académique. Cette investigation se situe à l'intersection de la gestion des connaissances, de l'étude des cultures et de l'étude des médias. Elle est basée sur le concept théorique des rôles de médiateur en création artistique et en gestion.Cette thèse inclut trois parties : 1) les attentes des musiciens lorsqu'ils collaborent avec des professionnels du studio ; 2) les «meilleures pratiques» des directeurs artistiques ; et 3) l'impact des commentaires des directeurs artistiques sur la qualité perçue. En particulier, cinq études sont présentées alliant des enquêtes adressées à des jeunes musiciens et ingénieurs du son, des entretiens avec des directeurs artistiques expérimentés qui ont travaillé à travers la transition de l'industrie de l'enregistrement, et des études en studio réunissant des musiciens et des professionnels du studio. Une approche mixte a été choisie avec des analyses qualitatives (de contenu et de discours) des descriptions verbales et des analyses statistiques des questions fermées.Les résultats montrent que les musiciens attendent des professionnels du studio d'afficher des aptitudes de communication et de prendre en considération l'esthétique de leur projet. En réponse, les directeurs artistiques adaptent leur niveau d'implication d'un accompagnement léger à une collaboration artistique profonde selon les demandes des musiciens et leur personnalité. De plus, les commentaires des directeurs artistiques donnent une base commune à l'ensemble et améliorent la concentration des musiciens pendant la séance d'enregistrement. Les résultats soulignent le fait que les changements récents de l'industrie de l'enregistrement n'ont pas encore transformé la perception des rôles et les approches des ingénieurs du son et directeurs artistiques. Cependant, les professionnels de studio ont du adapter leur organisation aux contraintes budgétaires et aux conditions difficiles pour produire des enregistrements de qualité.Les directeurs artistiques «prolongent» les oreilles des musiciens, guident et critiquent selon le contexte esthétique du projet. Leur rôle de médiateur entre les musiciens et leur public est similaire au rôle des directeurs d'acteurs, et comparable à celui des directeurs dans d'autres contextes de production. Les investigations théoriques avec les expériences en studio ont fourni une compréhension profonde de la contribution des professionnels de studio dans la qualité des enregistrements musicaux, donc cette thèse valide une nouvelle méthodologie pour les études en création artistique. D'un point de vue pratique, cette étude de l'aspect artistique de la production d'enregistrement peut aider les musiciens à prendre des décisions fondées lorsqu'ils embauchent des professionnels du studio. D'un point de vue théorique, cette thèse élargit le cadre du rôle de médiateur au contexte de la création artistique.
Gomes, Stênio Ramalho Biazon. "Improvisações livres de uma perspectiva anarquista: invenção de heterotopias do fazer musical". Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-18042018-141221/.
Pełny tekst źródłaIn this research was studied the free musical improvisations from an anarchist perspective, i.e., interested in anarchize the multiple relations associated to it. This is discussed by looking to questions methodologically influenced by Michel Foucault. One of them concerns to the way in which the performances are given, for which it is important the relations of the improviser with himself, with the other performers e how them both converge in the flow (the temporary unfolding of the performance). In this question it is dealt mostly with the researches of Manuel Falleiros and Rogério Costa. Other question concerns to the place (the physical space, geographically \"localizable\") in which those practices are realized, also evidencing the importance of the relations that go around the performances. For this are brought considerations from Costa, Chefa Alonso and David Bell, as well as the notion of heterotopia, coined by Foucault and associated to the anarchisms by Edson Passetti; and also my considerations related to the period in which I watched the rehearsals of Orquestra Errante (OE) - free improvisation group from USP, coordinated by the advisor of the present research. One last question concerns to the dissolution of the improviser by looking, for a clipping reason, mostly to its relations with himself (in multiple senses). For this, it is referred also to OE and it is made an use of the philosopher Max Stirner. It is also important to this work to oppose the inventions, with its courses and transitority, to the creation, that aspires to perfection and the finished.
Devaney, Johanna. "An empirical study of the influence of musical context on intonation practices in solo singers and SATB ensembles". Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=103705.
Pełny tekst źródłaL'intonation du chant est un phénomène complexe qui a été peu étudié jusqu'à présent. Les évaluations empiriques qui ont eu lieu indiquent que les chanteurs ne se conforment pas à un tempérament égal, ni à aucun autre système d'intonation fixe, mais ces études n'ont pas cherché à déterminer si les pratiques d'intonation des chanteurs sont reliées de façon systématique au contexte musical. L'objectif principal de cette thèse est d'examiner les façons dont l'intonation est liée à un contexte musical, à la fois pour des chanteurs solistes et pour des choeurs SATB (une seule voix par partie). Les données liées à intonation ont été extraites automatiquement à partir des enregistrements des chanteurs en utilisant un algorithme d'alignement et suivi de partition optimisé pour les voix chantées et développé spécifiquement pour cette thèse. Les estimations de fréquences fondamentales ont été obtenues via un algorithme existant, et une unique hauteur perçue a été calculée, pour chaque note, par moyenne pondérée de ces estimations. Cette thèse utilise également la transformée en cosinus discrète afin d'explorer de nouveaux moyens de décrire la manière dont la fréquence fondamentale varie pendant la durée d'une note ; par exemple, si un chanteur monte plus pendant certaines notes que d'autres. La thèse se compose de deux expériences. La première fait appel à deux groupes de chanteurs (des étudiants en chant de premier cycle universitaire et des chanteurs professionnels) pour étudier le rôle que joue le contexte musical dans l'intonation des tons et demi-tons mélodiques. L'impact de l'accompagnement musical est aussi étudié. Chaque participant a chanté « Ave Maria » de Schubert trois fois a cappella et trois fois avec un accompagnement enregistré. Les participants à la seconde expérience faisaient partie d'un ensemble SATB semi-professionnel et de deux ensembles SATB professionnels. Cette expérience étudie les manières dont le contexte musical influence les tendances d'intonation observables mélodiques et verticales. Plus précisément, les intonations des demi-tons et des tons sont comparées en différents degrés de la gamme. De plus, les intonations des intervalles verticaux sont examinées dans différents contextes harmoniques. Le répertoire utilisé pour la seconde expérience est constitué de plusieurs courts exercices composés, au cours desquels l'intervalle mélodique apparaît sur une gamme de fonctions harmoniques, d'une progression d'accords de Benedetti, et du « Es ist ein Ros entsprungen » de Praetorius.
Sollish, David S. "Musical Theatre in the Mountains: An Examination of West Virginia Public Theatre's History, Mission, Practices, and Community Impact". Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1276802020.
Pełny tekst źródłaFeerst, Timothy A. "A Motivic Analysis and Performance Practices of "Akrodha" (1998) by Kevin Volans, including Comparative Analyses of "She Who Sleeps with a Small Blanket" (1985) and "Asanga" (1997)". Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984254/.
Pełny tekst źródłaMolano, Zuluaga Juan Carlos. "Damaciri y Jaury : La performatividad sonora Emberá Chamí en el resguardo indígena de San Lorenzo. Caldas (Colombia) Juan Carlos Molano Zuluaga Porto Alegre". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/142688.
Pełny tekst źródłaThe Indigenous Reservation of San Lorenzo is a territory composed by 11.618 inhabitants, located in the northwest of Caldas (Colombia). This territory belongs to a subgroup of the indigenous Emberá-Chamí ethnicity. The sound and musical practices that these indigenous population operate on a daily basis are the central theme of this dissertation, guided by an ethnomusicological ethnography. The steering and interpretation components are shaped by their persistent political and territorial struggle in which the Emberá-Chamí's sound-musical practices reflect a sonic and corporeal becoming. Due to these features, the objective of this research is to refer to an ethnography of the performances of two musical groups of this indigenous territory - JAURY and DAMACIRI- delving into the processes of (re)signification of their sound-musical practices through each of their spaces of mobilization, both within and outside their indigenous territory. These socio-musical and socio-political processes of signification, in the case of DAMACIRI, are going to be shown through the study of the musical-performative and textual components of "Parrandera" songs, and the ritual heding in the shamanic contexts. In the case of JAURY, the processes of signification will be analyzed by means of their appropriation, within their sound-musical practices, of the most popular trends in the industry of the contemporary popular music - as rock- punk and andean music. In sum, through this work we can analyze the conflicts as well as the processes of resistance and/or negotiations that constitute the identitarian and socio-musical configuration of these social actors. Moreover, this work will help us show, through these sound-musical practices, the way of being an Emberá Chamí and, more precisely, what it means to be a young and indigenous Emberá Chamí musician in the XXI century.
El resguardo indígena de San Lorenzo es un territorio de unos 11.618 habitantes localizado en el noroccidente de Caldas (Colombia) y perteneciente a un subgrupo indígena de la etnia Emberá Chamí. Las prácticas sonoro-musicales que desenvuelven cotidianamente estas personas indígenas son el tema central de esta disertación, asumida a partir de una etnografía norteada por la etnomusicología. Ahora bien, el componente de dirección e interpretación se enmarca a partir de la persistente lucha política y territorial de estos actores sociales donde sus prácticas sonoro-musicales reflejan y evidencian un devenir sónico y corporal en el territorio indígena. En este sentido, el objetivo para con este universo de investigación es remitirme a una etnografía de las performances de dos grupos musicales del territorio indígena -DAMACIRI y JAURY- ahondando en los procesos de (re)significación de sus prácticas sonoro-musicales a través de cada uno de los espacios de movilización tanto dentro como fuera del territorio indígena. Estas significaciones socio-musicales y socio-políticos en el caso de DAMACIRI se evidencian mediante el estudio de lo músico-performático y textual a través de los contextos de los cantos de música “parrandera” y los cantos rituales de curación –chamánicos- y en el grupo JAURY mediante la apropiación para con sus prácticas sonoro-musicales de las tendencias más populares de la industria de la música popular contemporánea -como el rock-punk y la música andina- En suma, aquí se evidencian los conflictos, resistencias y/o negociaciones en los procesos de configuración identitaria y socio-musical de estos actores sociales, demostrando mediante estas prácticas sonoro-musicales el modo de ser un indígena Emberá Chamí y el pensamiento de lo que es ser un joven músico indígena Emberá en el siglo XXI.
Moore, Laurence James, i res cand@acu edu au. "Sing to the Lord a New Song: a Study of changing musical practices in the Presbyterian Church of Victoria, 1861-1901". Australian Catholic University. School of Arts and Sciences, 2004. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp49.29082005.
Pełny tekst źródłaPavão, Elitza Mladenova. "Self-regulated practices: impacts on motivation and learning outcomes". Master's thesis, Universidade de Aveiro, 2011. http://hdl.handle.net/10773/8561.
Pełny tekst źródłaEstratégias adequadas ao estudo de um instrumento envolvem a implementação de estratégias de auto-regulação. Neste contexto, tendo em conta a falta de estudos sobre quais as estratégias adequadas a alunos de violino numa faixa etária entre os 9 e os 12 anos, desenvolveu-se um estudo longitudinal observacional comparativo com o objectivo de investigar estratégias de estudo que possam influir na auto-regulação da prática instrumental e a sua influência no desenvolvimento musical e motivação dos estudantes. Implementaram-se estratégias de auto-regulação de estudo com um grupo de alunos (grupo experimental), cujos resultados de aprendizagem e motivação foram comparados aos de um segundo (grupo de controlo) para quem não foram implementadas estratégias de estudo específicas. A forma, regularidade e organização das sessões de estudo de ambos os grupos foram comparadas através de: (i) entrevistas semi-estruturadas; (ii) diários foram entregues aos alunos que receberam instruções precisas de regulação das sessões de estudo; (iii) testes de avaliação perceptual da performance dos alunos. Os resultados da triangulação dos dados recolhidos sugerem que a implementação de estratégias de auto-regulação do estudo é benéfica ao desenvolvimento do domínio técnico do instrumento e ao interesse dos alunos. A ausência destas estratégias pode conduzir à falta de motivação e abandono escolar, embora a prática eficiente por si só pode não ser suficiente para manter elevados níveis de motivação intrínseca. Futuras práticas pedagógicas deveriam ter em conta estes resultados e procurar a implementação destas estratégias no dia-a-dia do processo ensino-aprendizagem, envolvendo todos os seus intervenientes, i.e. aluno, professor, pais e escola.
The implementation of appropriate practicing strategies involves self-regulation, both related to efficient music instrumental practice. Despite this close relation between successful learning and self-regulated studying habits, there is a lack of systematic research on which self-regulated studying strategies could be most appropriate for violin students of an age group between 9 and 12 years old. A longitudinal observational comparative study was undertaken to investigate how specific implemented strategies affect student´s self-regulation of instrumental practice and impact on their instrumental learning outcomes and motivation. The study involved two participant groups: the experimental group, to whom regular practice strategies were implemented; and the control group, who did not receive specific guidance on practicing strategies. Three database sets were collected, consisting of: (i) face to face semi-structured interviews; (ii) written diaries; and (iii) a perceptual evaluation of students’ performances. Results of data triangulation suggested that effective practice strategies are necessary for developing instrumental expertise and motivation, although efficient practice by itself may not be sufficient to further develop motivation, a key factor for effective learning.
Raniro, Juliane. "Compartilhando um ambiente musical: processos educativos e relações afetivas entre pais e crianças de 8 a 24 meses". Universidade Federal de São Carlos, 2008. https://repositorio.ufscar.br/handle/ufscar/2493.
Pełny tekst źródłaFinanciadora de Estudos e Projetos
The research work here presented has as a theretical base, authors that believe that the social practices and the people's educational processes are developed and favored in the context of their interactions with the family, friends and the community enviromment, Considering that music can create opportunities for the people's development, including mental, corporal and social aspects, this research has for objective to study the affectionate relationships that happen in music classes offered for a group of children of eight months to two years and the adults that accompany them in the musical activities offered in a music education programm. Starting from the idea that to share musical activities it is a social practice between babies and parents, a more attentive glance for the aspects involved in this practice also brings information on the educational processes that happen in elapsing of the interactions. The data were collected and analyzed through a methodology of qualitative research, involving participant observation. Photographic registrations of classroom situations, impressions and two specialist researchers' reflections in musical education, aided in the reception of images and prominence of significant situations for the construction of the data. The diary of the researcher's field and the conversations accomplished between she and the observers were fundamental for the understanding of the affectionate relationships revealed in elapsing of the research. Considering tha the organization and analysis of the data was possible to highlight that the solidarity, the knowledge and respect with the other, the friendship and the construction of affectionate bows, such as the touch, the affection, the change of glances, they were stimulated and noticed in different activities of musical practice. The interface between the data and the literature allowed to reveal how musical activities shared between parents and their babies can be important for the strengthening of affectionate bows and for the people's development.
O trabalho de pesquisa aqui apresentado tem por base teórica autores que acreditam que as práticas sociais e os processos educativos das pessoas são desenvolvidos e favorecidos no contexto das interações delas com os diversos meios em que convivem. Considerando que a música cria oportunidades para o desenvolvimento mental, corporal e social de pessoas este trabalho tem por objetivo olhar para as relações afetivas estimuladas em aulas de música oferecidas para um grupo de crianças de oito meses a três anos e adultos acompanhantes. Na metodologia são descritas e analisadas algumas possibilidades de atividades musicais que podem auxiliar na construção das relações afetivas entre a criança, o adulto e o ambiente em que estão inseridos. Um olhar para as formas compartilhar ações dentro desta prática social traz também informações sobre os processos educativos entre os participantes. Através da pesquisa qualitativa, com observação participante, os dados foram coletados e analisados a partir de registros fotográficos realizados por duas observadoras treinadas. O diário de campo da professora/pesquisadora e as conversas realizadas entre esta e as observadoras é que delinearam os resultados. A partir da análise dos dados foi possível destacar que a solidariedade, o conhecimento e respeito com o outro, a amizade e as construções de laços afetivos, como o toque, o carinho e o olhar mútuo, foram desenvolvidos em diversas atividades apresentadas durante as aulas.
Ribeiro, Ariane da Silva Escórcio. "Práticas criativas em educação musical: concepções, ferramentas pedagógicas e veiculação em livros didáticos para o ensino fundamental". Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-22022019-145306/.
Pełny tekst źródłaThis dissertation tries to understand issues related to creativity in musical education, verifying if such pedagogical thinking is currently broadcasted and the ways it is proposed in music textbooks, considered here a way to provide circulation and registration of conceptions and practices of music education. This research is in the scope of brazilian school education and, by contextualizing throught official legislation about music on basic education readings, seeks to identify pedagogical trends that crossed musical in its history course. Then presents theories of creativity in the human formation and in musical education. Psychology and Education authors were the starting point, followed by the musical pedagogy educators of renovation movement in the 20th century who worked in the school context and the main reference for understanding this theme and to develop the analyses are the important an active educators and researchers in Brazil and in Latin America, Teca Alencar de Brito and Violeta Gainza. Finally, music textbooks published after the law 11.769/08 (which made the Music a required content) were analyzed to identify whether and how they developed creative practices in these music in school\'s publications, understanding that such materials can be accessed by musical educators in their formation or proceeding and thus this books can be considered relevant to pedagogical practice.
Fialho, Vania Aparecida Malagutti da Silva. "Aprendizagens e práticas musicais no Festival de Música Estudantil de Guarulhos". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/96922.
Pełny tekst źródłaThis research aimed at understanding the learning and musical practices triggered in and by the student music festival in Guarulhos. The festival had a competitive nature and focused on the songs produced by the students. Another as important objective was to mobilize the municipal schools in Guarulhos – SP, and also highlight the music education actions developed there. This event was organized by the Municipal Department of Culture involving teachers, school and municipal managers and, especially, twenty-three music groups formed by young students. It was open to all instrumental/vocal groups of any formation and music style, which resulted in a great variety of manners of singing and playing music. The festival had two semifinals and a final, the prize was the recording of a CD with the ten best songs. The leading questions to the research were: What are the juvenile musical practices present at the event? How did they appear? What music education actions did the festival cause in the young participants? And at school, how did that happen? To what extent did the young participants – and the school – interfere in the decisions and dynamics of the event? In order to discuss these questions, the research focuses the student music festival in Guarulhos based on the arguments of field of music education has – understood as a field of knowledge that takes interest in the processes of music teaching and/or learning. The research was guided by the qualitative approach and had a case study as the investigative method. The inclusion in the field occurred between the months of October 2011 and June 2012. The resulting data consists of: 1) audiovisual and photographic records of the playoffs and the final in 2011; 2) semi-structured interviews with participating groups, participating schools’ pedagogical team, and the organizing staff of the Festival - including people from the Department of Culture of Guarulhos and people involved in the Education Department of the State of São Paulo; and, 3) festival-related documents and reports. The resulting data allow the understanding of aspects such as the dynamics, structure, and the music and educational potential present in this kind of event. There were several fruitful moments of music learning during the festival, such as the students’ preparation for the event, and the possibility the organizers gave them to be in touch with other musicians who provided them with hints and instructions concerning music. The festival boosted the music practice of several young students, changing the school setting from the commitment of students and teachers in composing, forming groups, and the music performances. The results show that the festival went beyond the space and schedule the organizers had formally established – by contemplating its participants’ life and music.
Ferreira, Tiago Teixeira [UNESP]. "Quem com fio fia, com fio será fiado: práticas criativas em Educação Musical e os desafios da ação docente". Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/142870.
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Trata-se de pesquisa cuja temática relaciona-se à relevância das práticas criativas em música como proposta de ação docente do educador musical e base para o desenvolvimento da linguagem da música em salas de aula de escolas de Educação Básica. Justifica-se pela presença tímida da temática em trabalhos acadêmicos da área de Educação Musical, como constatado em recente estudo desenvolvido pelo grupo de pesquisa do qual o pesquisador participa. Teve como hipótese inicial a concepção de que a compreensão das bases pedagógicas dos educadores musicais de meados do século XX permitiria percorrer caminhos sólidos na inserção de práticas criativas em música em sala de aula. Como fundamentação teórica foram utilizadas concepções de ensino musical baseadas nas ideias de John Paynter, apoiadas no pensamento rizomático, cunhado por Gilles Deleuze e Félix Guattari. Lançou mão, ainda, de outros autores, para justificar as concepções de linguagem da música, criatividade e Oficinas de Música. O objetivo principal foi compreender como o educador musical poderia estruturar sua ação docente, baseada em práticas criativas, em aulas de Música na Educação Básica, de modo a possibilitar aos estudantes a ampliação do conceito de música, sua utilização como linguagem, bem como o aperfeiçoamento da escuta. A metodologia escolhida foi o Estudo de Caso e a pesquisa foi aplicada em uma escola do município de Osasco. As práticas criativas em música foram consideradas base estruturadora da ação docente, o que exigiu a aproximação do educador, em sua formação, de tais práticas, entendendo, metodologicamente, como planejar atividades de composição, interpretação e apreciação musicais, de modo a conectar teoria e prática.
The aim of the present research is to report the relevance of creative practices in music as a pedagogical foundation for the music educator, and a way to improve and stimulate the development of the language of music in classrooms of Primary Schools. The lack of academic publications on this theme related to Music Education justifies this study. The initial hypothesis was that the understanding of the pedagogical bases of music educators of the second half of the 20th Century would allow planning solid activities involving creative practices in schools. The chief conception of music used in this work are based on the ideas of John Paynter and supported by the concepts of rhizomatic thinking, coined by Gilles Deleuze and Félix Guattari. Furthermore, other authors were mentioned in order to justify the conceptions of music as language, creativity and musical workshops. The main objective of the research was to understand how the music educator could structure his praxis based on creative practices in music in order to expand the concept of music, use it like a language and improve the hear. The adopted methodology for this research was the Study of Case and it was applied in a school of the city of Osasco, São Paulo, Brazil. The creative practices in music were considered an important way to improve the pedagogical praxis of the music educator, which demanded not only commitment, regarding his educational formation, but also the understanding of how to plan activities in composing, performing and appreciating music. These procedures created a narrow and strong connection between theory and practice.
Neves, Hirlândia Milon. "Implementar uma institução de formação musical : uma história do Conservatório de Música Joaquim Franco, Manaus/AM". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2009. http://hdl.handle.net/10183/18478.
Pełny tekst źródłaThis research aimed to investigate the process of foundation and development of the Music Conservatory Joaquim Franco (CMJF), in Manaus, north of Brazil. This institution was established by the State Government of the Amazon, in 1965, by a small nucleus of people. It was transferred to the Federal University of Amazon (UFAM) in 1968 and transformed, in 1987, in the Sector of Arts of this University. Currently, it is configured as Arts Center Hahnemann Bacelar of UFAM. To carry out this study I worked with the methodology of oral history, interviewing nine exteachers and five ex-students of the CMJF. I also used written sources, which were found in public and private collections. The CMJF was seen in the present work as an educational institution, as conceived by Garay (1988), Nóvoa (1995) and Magalhães (1999a, 1999b). The CMJF remained, throughout its life course, as an institution that embraced, at the same time, different pedagogical conceptions and practices, that coming especially from the experience and musical training of its teachers, even being tied to the conservatory model, and having adopted initially the music program of the National Music School of Rio de Janeiro. The CMJF survived as an institution of music teaching because of the ideas and actions of its managers and teachers. The flexibility of managers and teachers in adopting both different musical-pedagogical models and approaches and different management strategies helped the institution to achieve its main objectives, specially the implementation of a higher education music course.
Marshall, Elsa. "Silent Film Music Research as Local Musicology: A Case Study of Musical Practices and Networks in Ottawa Theatres from 1897 to 1929". Thesis, Université d'Ottawa / University of Ottawa, 2017. http://hdl.handle.net/10393/36476.
Pełny tekst źródłaGasparini, Stéphane. "Qu'est-ce que penser - en - musique ?" Thesis, Université de Lorraine, 2013. http://www.theses.fr/2013LORR0347/document.
Pełny tekst źródłaThe hypothesis we will try to validate in our PhD thesis will be the following: any time a musician creates, composes, improvises or performs, he thinks. More precisely, he uses a very specific type of thought which circulates, skimming on the musical activity. A non-reflexive thought that doesn’t speculate, doesn’t theorize or argue, but acts and experiments. The work we have undertaken has for goal, on the basis of what we call “musical practices”, the understanding and the description of this specific mode of “thinking-in-music”. The method employed will be a long sailing up from these practices in order to point out the presence of “thinking-in-music” at every step of the work in progress. Actions linked to this “back travelling”, which will bring us to the core of musical creativity, shall be the actions of broadcasting, playing, recording, writing, deciding, and composing music. The perspective we have chosen all along our analysis will be the production one (instead of most philosophical works on music which are generally based on the reception point of view). To conclude this abstract, we will add that the subsidiary goal of this study is to bring a new contribution to the very ancient philosophical question of the link between “thinking and action”. In art, this question is now, and more than ever, a burning one
Silva, érika de Andrade. "O despertar do músico para a educação musical: limitações e expectativas de sua atuação na sociedade". Universidade Federal de São Carlos, 2011. https://repositorio.ufscar.br/handle/ufscar/2577.
Pełny tekst źródłaThe current research was developed at the Post-graduation Program in Education at UFSCar in a Social Practices and Educational Processes research line. This is the master's thesis in which was conducted a qualitative study in order to understand how the musicians discover themselves as music educators. The aims are to describe and to analyze the strengths and weaknesses in both professions, to understand how the family and society recognize them and how these professionals become more aware of their social role. The research also searched for understanding which social and academic practices promote the awakening of the musician toward music education. Questions, anxieties and reflections about the music return to the regular school curriculum and the current education of musicians and music educators were surveyed. The main authors of the research line helped to build a theoretical basis allowing the discussion on the research problem. The concept of experience was referenced on Larrosa Bondia (2002); the concepts of culture, pop culture and liberation were based on Dussel (undated); Education, Dialogue, Liberation, and others came from contributions of Paulo Freire (1979a, 1979b, 1992, 1993, 1996, 2000, 2001); and the concept of teaching practice was founded by Tardif (2002). The concepts of social practice and educational processes were built from the text developed by the professors of the research line. The concepts in the field of art-education were contributed by Barbosa (2009). Other references in the field of music education helped us to build the specific references, including: Penna (2005), Kater (2004), Koellreutter (1977), Fonterrada (2005). The data collection methodology used was the group interviews which promoted a dialogue among the participants. Fourteen graduated students of the Bachelor s Degree in Music at the Universidade de Ribeirão Preto, UNAERP, were interviewed. The research is organized into three chapters. The results show that the discovery of music education by musicians occurs as a result of the positive experience, of the involvement with working, and of the bond they establish with their students. We can also emphasize that the possibilities of personal and interpersonal changes that occurred during his/her professional course collaborate, motivate and encourage teachers to initiate and continue his/her career.
A presente pesquisa desenvolveu-se no Programa de Pós-Graduação em Educação da UFSCar, na linha de pesquisa Práticas Sociais e Processos Educativos. Trata-se da dissertação de Mestrado, em que foi realizado um estudo qualitativo que procurou compreender de que forma os músicos se descobrem educadores musicais. Os objetivos são descrever e analisar as forças e fragilidades em ambas as profissões, compreender como a família e a sociedade os reconhece e de que forma estes profissionais se conscientizam do seu papel social. A investigação buscou também compreender quais práticas sociais e acadêmicas favorecem o despertar do músico rumo à educação musical. Foram levantados questionamentos, inquietações e reflexões sobre a volta da música na matriz curricular da escola regular e a atual formação dos músicos e educadores musicais. Os autores centrais da linha ajudaram a construir uma base de fundamentação teórica que permitiu discutir o problema de pesquisa. O conceito experiência foi referenciado de Larrosa Bondia (2002), os conceitos de cultura, cultura popular e libertação foram embasados em Dussel (s/d). Educação, Diálogo, Libertação, entre outros vieram das contribuições de Paulo Freire (1979a; 1979b; 1992; 1993; 1996; 2000; 2001), além do conceito de prática docente fundamentado por Tardif (2002). Os conceitos de prática social e processos educativos foram construídos a partir do texto elaborado pelos docentes da linha de pesquisa. Os conceitos na área de arte-educação tiveram a contribuição de Barbosa(2009). Outras referências na área da Educação Musical ajudaram a construir o referencial específico, entre eles: Penna (2005), Kater (2004), Koellreutter (1977), Fonterrada (2005). A metodologia de coleta de dados utilizada foi entrevistas em grupo, o que promoveu o diálogo entre os participantes. Foram entrevistados quatorze formandos ou egressos do curso de Licenciatura em Música da Universidade de Ribeirão Preto, UNAERP. O texto está organizado em três capítulos. Os resultados apontam que a descoberta da educação musical pelos músicos se dá em decorrência da experiência positiva, do envolvimento com o trabalho, e do vínculo que estabelecem com seus alunos. Podemos destacar também que as possibilidades de transformações pessoais e interpessoais ocorridas durante sua trajetória profissional favorecem, motivam e encorajam o professor a iniciar e dar continuidade na carreira.
Barbosa, Émerson da Silva. "Vivendo e aprendendo...: um estudo de caso sobre a aprendizagem da docência dos professores de música na Cauc". reponame:Repositório Institucional da UFC, 2016. http://www.repositorio.ufc.br/handle/riufc/22158.
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This paper is about the Music Education in regular basic education schools in the county of Caucaia - Brazil. The county held in 2009 a Public Service Competitive Examination for the provision of effective positions for Music Teacher from 6th to 9th grade of elementary school, living up to the Law No. 11,789 (BRAZIL, 2008), which makes the Music subject mandatory in the Basic Education. The objective of this research is to understand how the Music Teachers learn the subject, so they can teach it in schools. The main theoretical framework of the research is based on: Mizukami (2004;2005), with his studies on the learning of teaching; Silva (2015), with his research on Curriculum Theories; and Silvino (2007), with the proposal for Music Education. The methodology used, through a qualitative approach, was a multiple cases study. Six County Music Teachers were chosen and interviewed, hired by the said Public Service Competitive Exam. According to the data analysis and the results of research, nothing is ready. The Music Teacher has been building his teaching skills through the reflection on his own practice and the experience exchange in the learning communities, among teachers themselves. The Music Education in the county, alienated to the school’s program, has been building its own curricular identity, having as a priority education on: music, aesthetics and integral human aspects of the student. In addition, regarding the viability of Music Education, there is a methodological multiplicity according to the experience and training of each teacher.
Esta pesquisa de mestrado é referente ao ensino de música nas escolas regulares de ensino fundamental do município de Caucaia. O município realizou em 2009 concurso público para provimento de cargos efetivos para professor de música do 6º ao 9º ano do ensino fundamental, fazendo jus a Lei Nº 11.789 (BRASIL, 2008) que torna a música conteúdo obrigatório na educação básica. Diante disso procurou-se conhecer a realidade do ensino de música no município de Caucaia através de respostas a seguinte problemática: como os professores de música aprendem a ensinar música nas escolas? O objetivo desta pesquisa é conhecer o processo da aprendizagem da docência do professor de música do município de Caucaia, procurando responder à questão acima através de uma abordagem qualitativa, utilizando como método científico, um estudo de casos múltiplos com seis professores de música do município, efetivados através do concurso de 2009. Esse trabalho traz dados concretos de como os professores de música aprendem na sala de aula, refletem a sua prática docente e como se articulam entre si para trocar e construir conhecimento. Esta pesquisa também traz conhecimentos sobre o currículo em que esses professores se baseiam para exercer as suas bases pedagógicas e por fim, como fazem para viabilizar o ensino de música em suas escolas e no município de Caucaia.
Nedel, Mariana Zamberlan. "Educação musical e práticas corporais como recurso metodológico da educação infantil: diálogos com professores de música e educandos sobre interdisciplinaridade". Universidade Federal de Santa Maria, 2010. http://repositorio.ufsm.br/handle/1/6917.
Pełny tekst źródłaA presente pesquisa, em nível de mestrado, teve como objetivos principais analisar narrativas de professores de música e educandos de 2º a 5º anos acerca da utilização de práticas corporais e educação musical como elementos participantes do processo de ensino-aprendizagem da educação infantil, bem como analisar as práticas corporais e sua utilização ao longo das narrativas dos colaboradores durante as entrevistas; descrever o tipo de interesse, manifesto em entrevista, que os professores de música e educandos têm na educação musical aliada às práticas corporais; tipificar as práticas pedagógicas dos dois professores colaboradores que foram entrevistados; compreender como as práticas corporais aliadas à música descritas pelos professores entrevistados se associam a uma educação total integralizadora e as principais contribuições do ensino destes conteúdos para as crianças, em diversos âmbitos de suas vidas. A coleta de dados foi realizada em duas escolas da rede particular de ensino, na cidade de Ribeirão Preto-SP, sendo as mesmas: Instituto de Educação Infantil e Ensino Fundamental Liceu Albert Sabin e Instituto Santa Úrsula de Ribeirão Preto. Por se tratar de uma pesquisa qualitativa, o uso do método História Oral tornou-se o mais adequado no que diz respeito a esta pesquisa. Dentro da História Oral, foram utilizados como recurso a História Oral Temática e Híbrida. O uso da História Oral Híbrida justifica-se pelo fato de poderem ser consideradas observações das aulas dos professores colaboradores, filmagens das mesmas, diários de campo, todo material cedido pelos mesmos, além das entrevistas semi-estruturadas (recurso da História Oral Temática). Esta dissertação está dividida em seis momentos. No primeiro contextualiza-se a temática ao momento histórico de pós-modernidade. No segundo são descritos um breve histórico da interdisciplinaridade, bem como as principais características de um ensino interdisciplinar. O terceiro momento foi destinado ao corpo e às práticas relacionadas a ele, salientando que a libertação do corpo na era narcisista pode se dar através da cultura do cuidar de si e automaticamente do outro. No quarto são descritas as metodologias e recursos que foram julgados como apropriados para a coleta e análise dos dados. O quinto apresenta os principais temas e reflexões abordados durante a coleta de dados com os dois professores de música, os oito educandos, e nas aulas e eventos observados. E no sexto e último momento são descritas as considerações finais mais relevantes acerca da importância percebida em um ensino baseado nas práticas corporais e educação musical como ferramentas para o processo educativo infantil. Ao final da dissertação são analisadas as práticas corporais aliadas à música, utilizadas pelos professores entrevistados, em relação às suas possíveis características relacionadas a uma educação total integralizadora.
Faccio, Cristiani Maria. "As práticas pedagógicas musicais dos professores na educação infantil". Universidade do Oeste Paulista, 2017. http://bdtd.unoeste.br:8080/jspui/handle/jspui/1023.
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This research is linked to the Post-Graduation Program in Education of the Oeste Paulista University - (known as UNOESTE), Research line 2: Training and Pedagogical Practice of the Schoolteacher. The main objective was to analyze the work of Music teaching developed by teachers of Early Childhood Education in municipal schools of a medium-sized city in the countryside of Sao Paulo. The specific research objectives were: to apprehend the importance that teachers attribute to Music, to identify their practices and to list problems and difficulties that they encounter to teach Music. Methodological procedures adopted had a qualitative nature, with a phenomenological perspective, of the case study type. Data collection used documental analysis and semi-structured interview made with eight teachers from two municipal schools of Early Childhood Education, considering three topics: Teacher Characterization; The teacher and his relation with Music and Musical Pedagogical Knowledge and Practices. Data were organized to the analysis and discussion and afterwards divided into topics and categories. The study had as theoretical contribution authors of the Musical Education line, the current Legislation about Music teaching in schools and guiding documents of Early Childhood Education. Results indicated that Music is used from inadequate conceptions with activities without intentionality and planning; teachers did not receive musical training in their undergraduate courses and those who did receive it, considered it superficial; they were not aware of the current legislation about music teaching; the main difficulty to carry out the musical teaching work is the lack of knowledge of contents. According with the teachers, the importance of Music in Early Childhood Education is to provide pleasure, contributing to the development of oral language, socialization, memorization, affectivity, global motor coordination and, for stimulating creativity. Our hope is that this research can favor the training of teachers, helping to spread the knowledge regarding Music teaching, in addition to offer benefits for the teachers who work in this field.
A presente pesquisa vincula-se ao Programa de Pós-Graduação em Educação da Universidade do Oeste Paulista – UNOESTE, Linha de Pesquisa 2: Formação e Prática Pedagógica do Profissional Docente. Teve por objetivo geral analisar o trabalho de Música desenvolvido por professores de Educação Infantil em escolas municipais de uma cidade de médio porte do interior paulista. Os objetivos específicos da pesquisa foram: apreender a importância que os professores atribuem à Música, identificar suas práticas e elencar problemas e dificuldades que eles encontram para ministrar Música. Foram adotados procedimentos metodológicos de natureza qualitativa, com perspectiva fenomenológica, do tipo estudo de caso. A recolha de dados recorreu à análise documental e entrevista semi-estruturada considerando três tópicos: Caracterização do Docente; O docente e sua relação com a Música e Conhecimentos e Práticas pedagógicas musicais, com oito professoras efetivas de duas escolas municipais de Educação Infantil. Os dados foram submetidos à análise e discussão, em seguida organizados em tópicos e categorias. O trabalho teve como aporte teórico autores da linha de Educação Musical, a Legislação vigente sobre o ensino de Música nas escolas e documentos orientadores da Educação Infantil. Os resultados indicaram que a Música é utilizada a partir de concepções inadequadas com atividades sem intencionalidade e planejamento; as professoras não receberam formação musical em seus cursos de graduação e aquelas que o tiveram, consideraram-no superficial; elas não tinham conhecimentos sobre a legislação vigente sobre o ensino de música; a principal dificuldade para realizar o trabalho musical é a falta de conhecimento dos conteúdos. As professoras atribuem a importância da Música na Educação Infantil para proporcionar prazer, contribuindo para o desenvolvimento da linguagem oral, socialização, memorização, afetividade, coordenação motora global e por estimular a criatividade. Espera-se que a pesquisa favoreça a formação de professores e que ajude difundir o conhecimento em relação ao ensino da Música, além de oferecer subsídios ao trabalho docente na área.
Olesen, Bradley Christian. "The Impact of Musical Background, Choral Conducting Training and Music Teaching Style on the Choral Warm-up Philosophy and Practices of Successful High School Choral Directors". Scholarly Repository, 2010. http://scholarlyrepository.miami.edu/oa_dissertations/425.
Pełny tekst źródłaPereira, Luciano Silveira. "Aspectos da performance historicamente orientada do repertório setecentista para clarinete". [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284456.
Pełny tekst źródłaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho tem por objetivo oferecer, em uma visão contextual, subsídios para a interpretação da música clássica para clarinetistas modernos. O trabalho apresenta, inicialmente, as transformações organológicas pelas quais o clarinete passou, desde sua criação, no final do século XVII, até o final do século XVIII, quando o instrumento atinge sua tessitura completa. A seguir, concentra-se em aspectos interpretativos do repertório escrito para o clarinete de 5 chaves, o primeiro a agregar o registro grave, até então explorado apenas pelo chalumeau, e o registro agudo, próprio do clarinete barroco. Este clarinete - standart do período clássico - possui características sonoras semelhantes às do clarinete moderno. O repertório setecentista dedicado a este instrumento é um dos mais vastos da literatura clarinetística. Paradoxalmente, a maior parte deste repertório é praticamente desconhecida por clarinetistas modernos. As diretrizes interpretativas propostas por este trabalho enfocam dois aspectos principais: articulação e acentuação, fundamentando-se em tratados e métodos antigos para clarinete. Dentre estas publicações, foram selecionados seis métodos, com maior destaque para o Méthode de clarinette (1802) de Jean Xavier Lefèvre (1763-1820). Deste modo, é proporcionado ao intérprete moderno um contato direto com a literatura didática setecentista para clarinete. As informações contidas nestes métodos são comparadas com regras propostas por autores como: Leopold Mozart (1719-1787), Johann Joachim Quantz (1697-1773), Carl Philipp Emanuel Bach (1714-1788) e Daniel Gottlob Türk (1750-1813). Com isto, esta pesquisa oferece a clarinetistas suporte para a execução e para uma compreensão mais profunda da música clássica, levando em conta uma abordagem histórica para este repertório
Abstract: This paper aims to provide support for the interpretation of classical music to modern clarinetists in a contextual way. The paper initially presents the transitions which the clarinet experienced since its creation in the late seventeenth century until the mid eighteenth century, when the instrument reached its full range. Next, the paper focuses on the interpretative aspects of the repertoire written for the five-key clarinet, the first one to have both the low register added to it, which had until then had been only explored by the chalumeau and the upper register which was typical of the baroque clarinet. The standart clarinet of the classical period has sound characteristics similar to the modern clarinet. The eighteenth-century repertoire dedicated to this clarinet is one of the most extensive ones. Paradoxically, most of this repertoire is almost unknown to modern clarinetists. The interpretive guidelines proposed by this work focus on two main aspects: the articulation and metrical stress, based on historical treatises and methods for the clarinet of that period. Among these publications, six methods were selected, with greater emphasis being given to the Méthode de clarinette (1802) by Jean Xavier Lefèvre (1763-1820). Thus, the modern interpreter is provided with a direct contact with the eighteenth-century didactic literature for the clarinet. The information contained in these methods are compared to the rules proposed by authors such as Leopold Mozart (1719-1787), Johann Joachim Quantz (1697-1773), Carl Philipp Emanuel Bach (1714-1788) and Daniel Gottlob Türk (1750-1813). With that, this research provides support for the presentation and a deeper understanding of classical interpretation, taking into account a historical approach to this repertoire
Mestrado
Praticas Interpretativas
Mestre em Música
Teixeira, Lúcia Helena Pereira. "Festivais de coros do Rio Grande do Sul (1963-1978) : práticas músico-educativas de coros, regentes e plateia". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/122549.
Pełny tekst źródłaThis research, of qualitative frame (PIRES, 2010; GONZÁLEZ REY, 2005; MELUCCI, 2005), had as objective to understand the music-educational practices taken place in the Rio Grande do Sul Choir Festivals, held during the period 1963-1978 in the city of Porto Alegre, capital of the state of Rio Grande do Sul, Brazil. Specific objectives of this research were: 1) To analyze the constitution of the Choir Festivals; 2) To exam how social actors were mobilized for the/from the Choir Festivals, as well as the engagement strategies used in it, the cooperation networks and interdependence which allowed the events to take place and the wefts which involved social actors in that specific context; 3) To interpret the participation of choirs, conductors and public, as well as the demands requested to the participants of the Festivals; 4) To analyze which were the conceptions about choral singing, which apprenticeships and musical formations occurred in the/from the participation in the events, and which were the contributions left by the Choir Festivals. As a research procedure I worked with oral history, with which I could combine written resources (newspaper articles of that period, musical programs and letters) with oral resources (pre-interviews and interviews). To understand the networks established by the participants of the Choir Festivals I used the concept of configuration or figuration by Norbert Elias (1997; 2008). Through the content of the analyzed Festivals, it were useful the theoretical visions that focus choral singing as a sociopolitical or nationalistic movement (CHINALI, 2009; GILIOLI, 2008; SILVA, 2001, 2012; SANTOS, 2012; SOUZA 1991, 1999, 2007). Studies about art festivals also helped to throw light over the empirical field (FLÉCHET, 2011, 2013; GOETSCHEL; HIDIROGLOU, 2013). Musiceducational practices were constituted and propelled from the action of the participants agents of the Festivals. An organized committee was the start to institutionalize the Rio Grande do Sul Choir Association, which began to mobilize internal actors (choirs, conductor, press and public), and external actors (authorities, governments, sponsors and supporters). To examine what was requested and what dynamics moved conductors, choirs and public to participate in the Choir Festivals, helped to understand the apprenticeships generated and driven by the context. The results of the research show the music formation of singers, conductors and public generated from conceptions of choral singing and the habitus (ELIAS, 1997) generated in the/by the participation in the Festivals, as well as other contributions driven by those events.
Novillo, Perez Cecilio Jose, i Perez Cecilio Jose Novillo. "La Movida Madrileña and the Rock Radical Vasco as Political and Social Agents in Post-Franco Spain: Their influence on Popular Musical Practices of 21st-Century Spain". Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/626715.
Pełny tekst źródłaOliveira, Livia Roberta. "Práticas musicais constituídas pelos alunos nos espaços/tempos livres no/do Conservatório Estadual de Música de Ituiutaba-MG". Universidade Federal de Uberlândia, 2015. https://repositorio.ufu.br/handle/123456789/18903.
Pełny tekst źródłaThe present research aims at understanding how the musical practices are carried out outside music classes in the space/time in the State Conservatory of Music "Dr. José Zôccoli de Andrade" of Ituiutaba-MG. The student of this Conservatory are seen as social beings made of numerous characteristics due to their socio-cultural context, which is directly related to their musical practices in the school of music. From the point of view related everyday life theories, it was intended to also understand what those musical practices were and how they used to happen and to be organized in space/time when students are at the Conservatory but out of music class in space/time like hallways, patio, hall and even the classroom itself, free time between classes, at the unofficial break time, among others. The theoretical view directed to these practices is based on some concepts of theories of everyday life from the perspective of Pais (2003), of music education as social practice in the vision of Souza (2000, 2004, 2009), the ideas of Brougère (2012) about learning in daily life, and in the concepts of space/time of Lindôn (2000). In a qualitative approach, the case study was the method adopted in this research, and data collection procedures were observations and interviews with students. It is concluded that the students are organized in different ways to perform these musical practices, some of them expected and not expected, individual or/and shared ways and grounded on performances and musical listening. The musical practices carried out in the space/free time music class are important actions in the context of this diversified School of music, and that contributes to the understanding of the teaching/learning processes in the musical Conservatory.
Dissertação (Mestrado)
Ferreira, Marta Martines. "O canto coletivo de Cuiabá no universo virtual". Universidade Federal de Mato Grosso, 2013. http://ri.ufmt.br/handle/1/566.
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Esta dissertação resulta de uma pesquisa de mestrado desenvolvida junto ao Programa de Pós – Graduação em Estudos de Cultura Contemporânea – Mestrado – (ECCO) da Universidade Federal de Mato Grosso. O objetivo principal da pesquisa foi investigar o processo de adaptação dos grupos de canto coletivo, na cidade de Cuiabá - Mato Grosso no cenário da cibercultura. A pesquisa põe em debate as transformações culturais provindas da acessibilidade virtual da internet, o avanço das tecnologias e sua influência no cenário musical contemporâneo. Considera que o canto coletivo, apesar de se manifestar muito comumente no meio musical, é ainda um tema pouco explorado na vertente da cibercultura. Com foco em analisar as implicações da utilização das tecnologias digitais nas possíveis modificações acerca das mediações e difusão musical, propôs-se a pesquisa de base qualitativa com pesquisa bibliográfica e pesquisa de campo. Foram consultados autores que discutem o universo da cibercultura, a utilização das redes sociais para divulgação de si e de seus trabalhos e também do canto coletivo. A pesquisa de campo aconteceu junto às instituições que promovem eventos culturais e também com os regentes de grupos de canto coletivo; buscou conhecer o cenário da música na modalidade do canto coletivo em Cuiabá, os espaços oferecidos aos grupos e as formas de divulgação. Houve ainda pesquisa na internet em busca de websites dos grupos que frequentemente se apresentam nesses eventos e como os seus regentes ou instituição representada pelos grupos entendem as articulações da mediação cultural no ciberespaço, assim como as implicações no cenário da cultura musical na cidade de Cuiabá. Os resultados apontam que poucos líderes demonstraram compreensão do potencial da Internet em seu trabalho, não a utilizando em benefício do canto coletivo da região. O ciberespaço parece não se apresentar para os regentes como um espaço que na sua abrangência pode fortalecer a prática, através de uma abordagem inovadora ao seu trabalho como difusor e mediador da cultura no campo da música.
This essay is the result of a mastering research developed along with the Graduation Program in Contemporary Culture Studies - Mastering degree– from the Federal University of Mato Grosso. The aim of this research was to investigate the process of adaptation from collective singing groups, in the city Cuiabá, state of Mato Grosso in the cyberculture scenario. This research debates cultural changes that come from virtual accessibility over the internet, the advancement of technologies and its influence in the contemporary musical panorama, considering that collective singing remains an unexplored theme in cyberculture, despite its appearance in the musical environment. Focused on analyzing implications of the uses of digital technologies in feasible modification about practices and musical diffusion, a qualitative search was proposed supported by bibliographic and field search. Authors who discuss the cyberculture universe, the uses of social network to disclose themselves and their works as well as collective singing were consulted. The field search happened along with institutions that promote cultural events and also with the collective singing groups regents; it aims to know the scenario of music in collective singing mode in Cuiabá, the places offered to groups and ways of disclosure. Furthermore, there was a research over the internet in order to seek websites from groups that frequently have presentations in these events and how their regents or representative institution understand the couplings of cultural practices in cyberspace, besides the implications in the scenario of musical culture in the city of Cuiabá. The results show that few leaders have demonstrated understanding of the potential of the Internet in their work, not using it properly for the benefit of the chanting of the region. Cyberspace does not seem to present to the regents as a space in its scope can strengthen the practice through an innovative approach to his work as a diffuser and mediator of culture in the field of music
Bacot, Baptiste. "Geste et instrument dans la musique électronique : organologie des pratiques de création contemporaines". Thesis, Paris, EHESS, 2017. http://www.theses.fr/2017EHES0172.
Pełny tekst źródłaTechnological means of electronic music reconfigure musical practices. Because of the machines’ computation and automation capacities that mediate the sonic phenomenon, the causal relationship between instrumental gesture and sound is altered. Therefore, what does it mean to play electronic music? The concepts of gesture and musical instrument are traditionally employed for the analysis of musical practices, but how should they be understood in this context? To address these issues, we conducted an extensive fieldwork between 2010 and 2016 with professional musicians in various contexts: art music with real-time electronics, audiovisual performance, and popular electronic music. Our instrument-focused approach allows us to consider the materiality of electronic music itself, beyond aesthetics. Thus, this work is an “organological inquiry” on the following musicians or bands: Robert Henke, Alex Augier, Brain Damage, High Tone, Pierre Jodlowski, Jesper Nordin, John MacCallum and Teoma Naccarato, Nicolas Mondon, Greg Beller, and the Unmapped collective. The ethnographic method sheds a light on the use of music technologies at different stages of the creative process: conceptualization of the work, technical collaboration, the making of the music and its performance. From this analysis of musical activity captured through instrumental configurations, we offer a typology of electronic music instruments, based on a gestural criterion, which is the only residual aspect of the acoustic instrumental interaction model. The corporeal activity leads to organise the material diversity of music technologies, as well as it constitutes a strategic way to express instrumental interaction
Velásquez, Cuartas Marcela. "Niña que el clarinete es solo pa'hombres : performance e relações de gênero nos conjuntos de Chirimia em Quibdó-Chocó (Colômbia)". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/96175.
Pełny tekst źródłaThis ethnographic study is about gender relations in chirimía musical performances, an instrumental music group representative of black communities in Quibdó- Chocó (Colombia). Inside the process of cultural production, where the chirimía takes place, emerge tense gender relations as a transversal element of the musical performances. This cultural production is developed mainly through domestic and public spaces that generate the constitutive duality of musical practices and black sonorities in Quibdó. In this process, female sonorities are crystalized in domestic spaces, while male sonorities emerge in public spaces, materialized in chirimia music group scenarios. This situation take us to the next research question: how does this gender tension operate during the musical performances and practices of chirimía in Quibdó? Additionally, this study invite us to think about the musical and personal trajectories of three women instrumentalists, about possible reconfigurations of cultural production in the city.
Este estudio etnográfico versa sobre las relaciones de género en las performances musicales de chirimía, conjunto musical instrumental representativo de las comunidades negras de Quibdó-Chocó (Colombia). En el proceso de producción cultural donde se configura la chirimía, se evidencian relaciones de género tensas que se expresan como un elemento transversal de las performances musicales de este conjunto musical. Dicha producción cultural se desarrolla principalmente a través de dos ámbitos, el público y el domestico, que dan lugar a una dualidad constitutiva propia de las prácticas musicales y sonoridades negras de Quibdó. En ese proceso, las sonoridades femeninas se cristalizan en los espacios domésticos, mientras que las sonoridades masculinas en lo público, materializado en los conjuntos musicales de chirimía. Esa situación nos lleva a plantear como pregunta de investigación ¿De qué modo opera esa tensión de género en la performatividad y la práctica musical de la chirimía en Quibdó? Igualmente, este estudio nos invita a reflexionar a partir de las trayectorias personales y musicales de tres mujeres instrumentistas, las posibles reconfiguraciones de la producción cultural de la ciudad.
Leme, Luis Santiago Malaga. "Práticas informais no ensino coletivo de sopros: um experimento no Guri". Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-07032013-093552/.
Pełny tekst źródłaThis work presents some contributions for a methodological and pedagogical update to the teaching of woodwind instruments in group lessons based on informal learning practices identified by Green (2008), Braga (2005) and Priest (1989) among others. Informal learning practices are a set of activities identified in the literature as typical of popular or traditional music which are of interest for formal music education. Their main characteristics can be summarized as: granting time and room for the student\'s experimentations and improvisations; freedom to choose their musical repertoire; enhanced use of visual and sound role models exposed by the teacher and by musical recordings brought to the classroom. Informal practices are in harmony with Paulo Freire\'s pedagogy since they place autonomy as a mean of learning and not only as a goal. Following Koellreutter (BRITO, 2007), the formalization of musical practices towards the writing and reading of musical scores is a very old process related to the development of rationalism in the history of the western thought in its aim for precision. The path taken by musical practices had their pinnacle at the 19th century, when the conservatory learning system developed, which persists until today mainly in formal traditional education. It is only on the second half of the 20th century that the studies in musical education seek to balance the music transmission process towards an almost gone oral tradition and subjectivity. The present work tries to make a contribution in this direction. The research attempts to implement the informal practices according to the general guidelines of the model proposed by Green (2008), incorporating also the contributions of other authors like Braga (2005) and Priest (1989), in the beginner class of woodwind instruments at Guri program. The main focus of the analysis was on the responses of the students along the generally non-structured activities as well as their musical development throughout the course, using the research method based on instrumental case study. Despite several setbacks during the research, the results were highly favorable to the adoption of those practices and corroborate with Green\'s (2008) ideas. In terms of student\'s success in playing the tunes chosen by them, as well as in improvising several of them showed self-sufficiency and were at ease with the instrument. As the Informal Learning Practices are a more musical and nonmediated way of learning, the students were able to deal with a richer and more complex musical content. On the other hand those practices seemed more suitable to older students since they tend to have a more active role in the group and to exercise more fully their autonomy, inhibiting the youngest, that would probably have benefited from more teacher\'s support.
Cavalcante, Fred Siqueira. "Trocas de saberes musicais : um olhar para os processos educativos do grupo vocal Entre Amigos". Universidade Federal de São Carlos, 2010. https://repositorio.ufscar.br/handle/ufscar/2239.
Pełny tekst źródłaFinanciadora de Estudos e Projetos
This study had as its aim to regard, describe and understand the educational processes developed among the integrators of the vocal group "Entre Amigos" ("Among Friends"), existing at the town of Leme, in the state of S. Paulo inward. In order to accomplish this purpose, it was necessary to catch those participators' opinions, as well as hear and understand their life experiences. Such apprehension became possible through their performances in the group actions, that include interchanges of knowledges and musical activities in their various actuation spaces. The data collecting was obtained by means of photos, videos and through the searcher s participant observation, being the camp diary the principal instrument for the research. Some semi- organized interviews were also done, with open regulation, based on education and musical education authors. The registers were later valued and understood in the light of these two realms authors. Thus, the following concepts were studied and developed: social practices, educative processes, experience knowledge, conscientization, humanization and dialogical education. The results indicate six dimensions, catched in the intersubjectivity, that compose different aspects of the educative processes developed in the group context, that are: intimacy (familiarity) among friends, planning through dialogue, rehearsal routine, contextual construction of musical knowledges, repertoires choice and arrangements elaboration. Those processes are ruled essentially in two directions: the one of the human formation, and the one of the musical formation. Those ways are imbricated in the familiarity, presuppose a dialogical attitude of the participants before the knowledges, values and beliefs, and are built by means of exploitations and by actions regarded as vehicle to systematized and nonsistematized knowledges.
Este estudo teve por objetivo olhar, descrever e compreender os processos educativosdesenvolvidos entre os integrantes do grupo vocal "Entre Amigos", existente na cidade deLeme, no interior paulista. Para atingir este propósito, foi preciso captar as opiniõesdesses/dessas participantes, além de ouvir e compreender as experiências vividas poreles/elas. Essa apreensão se tornou possível através do desempenho deles/delas nas atividadesdo grupo, que envolvem trocas de conhecimentos e atividades musicais em seus diversosespaços de atuação. A coleta de dados foi realizada por meio de fotografias, vídeos e porobservação participante, sendo o diário de campo o principal instrumento para a pesquisa.Também foram realizadas algumas entrevistas semiestruturadas, com roteiro abertoconstruído com base em autores da educação e da educação musical. Os registros foramposteriormente avaliados e compreendidos à luz de autores desses dois campos. Para issoforam estudados e desenvolvidos os seguintes conceitos: práticas sociais, processoseducativos, saber da experiência, conscientização, humanização e educação dialógica. Osresultados indicam seis dimensões, captadas na intersubjetividade, que compõem diferentesaspectos dos processos educativos desenvolvidos no contexto do grupo, a saber: convivênciaentre amigos, planejamento em diálogo, rotina dos ensaios, construção contextual de saberesmusicais, escolha de repertório e elaboração de arranjos. Esses processos se pautamessencialmente em duas direções: o da formação humana e o da formação musical. Essas viasestão imbricadas na convivência, pressupõem uma atitude dialógica dos participantes diantedos conhecimentos, valores e crenças, e são construídos por meio de explorações e daveiculação de saberes sistematizados e não sistematizados.
Oliveira, Gilson Rodrigues Chacon de. "Doutos mestres de summa graça e destreza : um estudo etnomusicológico do ofício da música nas vilas do Recife e de Olinda ao longo do século XVIII". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2018. http://hdl.handle.net/10183/183288.
Pełny tekst źródłaThis thesis studies the music craft in the villages of Recife and Olinda throughout the 18th century. Departing from an ethnomusicological perspective on this social space allied with an attention to "native" concepts, we propose to cover the trajectories of five musicians and their professional networks as well as their musical practices in the sociocultural context of these colonial villages. Thus, we can perceive the coexistence of diverse cultural and performative compatibilities of these musical practices with the center of the Portuguese Empire, as a result of the frequent transits and communications of musicians on both sides of the Atlantic. These transits clarifies the frequent presence in the metropolis of musicians transited from the captaincy of Pernambuco tied to a strong clientele composed of local wealthy merchants and merchants, but also tied to the high nobility and high clergy in Lisbon. In the space of Recife and Olinda we propose to understand how the musicians were articulated around the shares, practices and professional exercise of the music in the highly hierarchized society of the Ancien Régime. Thus, we perceive the existence of a "hierarchy of the music craft", resulting not only from the accumulation of practical and speculative knowledge, but also from the clientelistic networks constituted by these musicians. These patronage networks, including the transits of the musicians to the metropolis, were also responsible for a subjective control of the music trade in most of the seven hundred, in mediating the performance of the musicians under their protections. However, in the second half of the eighteenth century, there was an increase in the number of musicians and a reduction of services to these patronage networks, resulting from the economic policies of the Pombaline reforms, which resulted in the need to organize and control the music craft in the village of Recife, events that resulted in the formation of the Brotherhood of Santa Cecilia of Recife. Thus, in constructing the sketches of the five trajectories with their networks of relationships, taking into account the sociocultural context of these musicians, we were able to extract and deepen subjective questions of possible musical and social normative practices, making possible to contribute and advance in Brazilian musicological studies, towards a greater understanding of musicians and eighteenth-century musical practices in Portuguese America.