Esta dissertação tem o objetivo de responder à seguinte questão: é possível abordar a música negra nas escolas, ao som do tambor africano, de modo a promover a aceitação e valorização deste instrumento e, consequentemente, da cultura afro-brasileira? Com a intenção de refletir e encontrar caminhos para iluminar essa questão, realizou-se um trabalho de campo na Escola de Aplicação da Faculdade de Educação da USP e na Escola Municipal Saturnino Pereira, ambas situadas no município de São Paulo, durante três anos, com turmas de 9º, 7º, 6º e 8º anos, respectivamente. Por meio de uma proposta de docência compartilhada com os professores dessas turmas, foram realizadas intervenções conjuntas em sala de aula, como forma de suscitar, especialmente entre os jovens afrodescendentes, um olhar crítico à toda forma de estigmatização do tambor e da sonoridade de matriz africana que dele emana. Em busca de novas práticas educacionais e analisando detalhadamente o cotidiano escolar, ao introduzir práticas e saberes dos afrodescendentes, promoveram-se rupturas de campo em duas dimensões do universo escolar: a) nos rituais e práticas de ensino em sala de aula; b) no imaginário da cultura escolar, envolvendo professores e alunos, a propósito do tambor. Os estudos realizados apontam que o tambor ocupa um lugar central, nos rituais de religiões de matriz africana, opondo-se aos instrumentos eurocêntricos e consagrados pelo mainstream, e que talvez, por isso mesmo, seja considerado inferior, do mesmo modo como toda a cultura proveniente da África. Dessa maneira, verifica-se uma série de estereótipos relacionados à cultura afro-brasileira, presentes nas atitudes de alguns docentes e alunos em face do instrumento, que tem dificultado a valorização, por parte dos estudantes afrodescendentes, de sua própria cultura. A fundamentação teórica que orientou tais reflexões baseou-se, principalmente, nas obras de Munanga (2005), Caputo (2012), Leite (2008), Gilroy (2001), Herrmann (2001) e Schafer (2011), além de outros autores, cujos escritos colaboraram para a fundamentação desta pesquisa. / This paper aims to answer the following question: is it possible to approach black music at schools, with the sound of African drums, in order to promote acceptance and appreciation of that instrument and consequently of Afro-Brazilian culture? With the purpose of reflecting on that question and shedding light on it, fieldwork was done at the Escola de Aplicação institute at the University of São Paulos School of Education and at the Escola Municipal Saturnino Pereira elementary school, both located in the city of São Paulo, involving, for three years, students from the 6th to the 9th grades in the Brazilian school system. Through a shared teaching project involving the teachers of those classes, concerted in-class efforts were carried out to promote critical thinking, especially among Afro-Brazilian students, about the many ways in which the drum is stigmatized along with the African sound character that it has. In search of new teaching practices and in performing an in-depth analysis of the day-to-day at the schools, the introduction of new practices and knowledge promoted a field disruption in two scopes of the school realm: the in-class teaching rituals and practices; b) the image that the school culture, including teachers and students, holds about the drum. The studies show that the drum plays a key role in the religious rituals of African origin, as opposed to Eurocentric instruments celebrated in mainstream culture, and that for that very reason, the drum is held as inferior, to the same extent that African culture as a whole is. Many stereotypes about Afro-Brazilian culture emerge from that perception, as observed in the attitude toward the instrument by part of both the students and the teaching staff. This has an impact on how Afro-Brazilian students view their own culture. The theoretical basis for our reflections drew mainly on the works by Munanga (2005), Caputo (2012), Leite (2008), Gilroy (2001), Hermann (2001) and Schafer (2011), as well as various other authors, whose theories helped provided the grounds for this study.

[ES] La presente tesis pone el foco en lo sonoro en un momento de cambios disruptivos operados por las tecnologías y su impacto en los globalizados sistemas sociales, culturales, políticos y científicos. La conceptualizada Industria 4.0 acelera a gran velocidad el proceso de digitalización y automatización de todas las esferas, activando nuevas relaciones humano-máquina, máquina-máquina; las ciudades modelos generalizados de vida, concentran gran parte de la actividad social y el volcado de los procesos tecnológicos, la hibridación físico-digital potenciada por la ubicuidad. Ya no se trata de la portabilidad del sonido ni de su reproducción, el cambio se produce por la colonización de nuestro tiempo y espacio, la conectividad infinita que media en todas nuestras transacciones, acontecimientos y la percepción de los lugares; las acciones de corporeización con dispositivos que se vuelven cuasitransparentes (Ihde, 2015), la conversión en cíborg al añadir nuestro cuerpo temporalmente para adaptarnos a un nuevo entorno (Case, 2018); el síndrome de atención parcial continuada (Stone, 2014) que nos mantiene en un estado de alerta, o el tiempo que, según Foucault, está gestionado como artefacto de la cultura y el resultado de las relaciones de poder. Desde el prisma del arte y su vertiente práctica, el estudio ofrece una lectura de la ciudad y los medios digitales a través de sus sonidos, un acercamiento que busca descifrar el carácter de un territorio, encontrar rastros de singularidad o de homogeneidad, la sintonía con los ambientes, y también el pensamiento de lo disruptivo. La investigación se expresa a través de propuestas sonoras y visuales, cartografías simbólicas y perceptivas, conjugadas con metodologías mestizas de estudio teórico-práctico interdisciplinario, en un proceso abierto y fluido de experimentación que se funda en la re-utilización o instanciación de medios, materiales y conceptos de manera que puedan arrojar ideas, lecturas no previstas o activar el pensamiento crítico y estético. / [EN] This thesis focuses on sound in times of disruptive changes operated by technologies and their impact on globalised social, cultural, political and scientific systems. The conceptualised Industry 4.0 accelerates the process of digitisation and automation at great speed and on all spheres, activating new human-machine, machine-machine relationships; cities, the generalised models of life, gather a large part of social activity and the dumping of technological processes, the physical-digital hybridisation promoted by ubiquity. It is no longer about the portability of sound or its reproduction, the change is takes place by the colonisation of our time and space, the infinite connectivity that mediates all our transactions, events and the perception of places; embodiment actions with devices that become quasi-transparent (Ihde, 2015), the transformation into cyborgs by temporarily adding our bodies to adapt to a new environment (Case, 2018); the syndrome of continued partial attention (Stone, 2014) that keeps us in a state of alert, or the time that, according to Foucault, is managed as a device for culture and the result of power relations. From the eyes of art and its practical side, the study offers a reading of the city and the digital media through its sounds, an approach that seeks to decipher the nature of a territory, find traces of singularity or homogeneity, the harmony with the environments, and also the thought of the disruptive. The research is expressed through sound and visual proposals, symbolic and perceptual cartographies, blended with hybrid methodologies of interdisciplinary theoretical-practical study, in an open and fluid experimentation process that is based on the re-use or instantiation of media, materials and concepts so that they can shed ideas, unforeseen readings or activate critical and aesthetic thinking. / [CA] Aquesta tesi posa el focus en allò sonor en un moment de canvis disruptius operats per les tecnologies i el seu impacte en els globalitzats sistemes socials, culturals, polítics i científics. La conceptualitzada Indústria 4.0 accelera a gran velocitat el procés de digitalització i automatització de totes les esferes, i activa noves relacions humà-màquina, màquina-màquina. Les ciutats, models generalitzats de vida, concentren una gran part de l'activitat social i l'abocament de dades dels processos tecnològics, la hibridació físicodigital potenciada per la ubiqüitat. No es tracta ja de la portabilitat del so ni de la seua reproducció, el canvi es produeix per la colonització del nostre temps i espai, la connectivitat infinita que media en totes les nostres transaccions, esdeveniments i la percepció dels llocs; les accions de corporeïtzació amb dispositius que es tornen quasitransparents (Ihde, 2015), la conversió en cíborg en afegir el nostre cos temporalment per a adaptar-nos a un nou entorn (Case, 2018), la síndrome d'atenció parcial continuada (Stone, 2014), que ens manté en un estat d'alerta, o el temps que, segons Foucault, és gestionat com a artefacte de la cultura i el resultat de les relacions de poder. Des del prisma de l'art i el seu vessant pràctic, l'estudi ofereix una lectura de la ciutat i els mitjans digitals a través dels seus sons, un acostament que busca desxifrar el caràcter d'un territori, trobar rastres de singularitat o d'homogeneïtat, la sintonia amb els ambients, i també el pensament del disruptiu. La investigació s'expressa a través de propostes sonores i visuals, cartografies simbòliques i perceptives, conjugades amb metodologies mestisses d'estudi teòric i pràctic interdisciplinari, en un procés obert i fluid d'experimentació que es funda en la re-utilització o instanciació de mitjans, materials i conceptes de manera que puguen llançar idees, lectures no previstes o activar el pensament crític i estètic. / A la Universitat Politècnica de València por la beca FPI y la estancia de investigación concedidas para dar cobertura económica a este trabajo y ayudar a mi formación. / Rodríguez López, R. (2021). Prácticas experimentales e indagación sobre sonido, territorio y tecnologías contemporáneas: Cartografías, soportes de escucha y sonidos disruptivos [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/162974 / TESIS

More and more attention of scientists and artists is paid to the effect of sound to human and ecosystems. Due to technology development and growing urgency of human impact new approaches are being formed. This thesis is based on concepts of acoustics ecology by R. M. Schafer. In addition to noise mapping, Czech geographical research does not reflect the growing urgency of sound environment issues. In this thesis I present terminology, concepts and some methods which are used in acoustic ecology or soundscape ecology. A literature search shows the application of these terminology, concepts and methods in a geographical research, specifically in urban and landscape planning, geography of tourism, leisure, health geography or landscape ecology. In an empirical part I followed a pioneering idea of acoustic landscape typology. I used qualitative research, listening walk and narrative conversation, to obtain data about soundscapes. Through these data I critically evaluated and compared acoustic typology of landscape by Hendrych and Hynek (2008). I used recording of soundscapes and spectrograms as secondary methods. Recordings and spectrograms are availabled in ArcGIS Online application. I found out the typology according to Hendrych and Hynek appropriately describes soundscapes from the perspective of...

Made available in DSpace on 2014-12-17T15:36:39Z (GMT). No. of bitstreams: 1 MarcosRRS_TESE_2red.pdf: 2914202 bytes, checksum: 607aa226333ce661d0e57d380f43b9e9 (MD5) Previous issue date: 2012-08-07 / Conselho Nacional de Desenvolvimento Cient?fico e Tecnol?gico / The acoustic ecology concept involve the relation between the live organisms and their sound environment and is applied in the present work to study the context in which the humpback whale (Megaptera novaeangliae) singing behavior, known as the most complex display in the nature, occurred in the northeastern Brazilian coast, outside the core area of Abrolhos Bank, between 2005 and 2010.I analyze the singer male occurrence , their spatial distribution and probable relations with oceanographic features, such as depth, tide regimen and moon phases. I also describe the acoustic structure and temporal variation of the singing behavior, based on song frequency and time measurements outside the Abrolhos Bank, and further compare the song complexity, registered in the same period, between Abrolhos Bank (16?- 19? S, 37?- 39? W) and the adjacent North Coast, herein considered from Itacar? (14? S, 38? W) to Aracaju (11? S, 37? W). Additionally, I look for describe and analyze anthropogenic noise sources in the marine environment of the study area, produced by the oil industry as well as by the whale watching operation, relating their frequencies to the acoustic niche utilized by the humpbacks. The results indicated a great plasticity in the singing behavior, evidenced by the occurrence of singer males in diverse social structures, from solitary individuals to other groups, even containing females and calves, as well as by the diversity which compound the song, when compared between two regions inside the same breeding area, which present distinct oceanographic characteristics. The singer male distribution may be related with the continental shelf extent along the study area. The anthropogenic noise presented frequency range, amplitude and sound intensity in potential to interfere acoustically in the singing behavior of the species, may resulting in disturbance during the breeding season in the Brazilian coast. Implications about the obtained results in the humpback whale mating system are discussed. In this way, I pretend to contribute with the acoustic ecology subject and provide information to subsidize humpback whale conservation / O conceito de ecologia ac?stica envolve a rela??o entre os organismos vivos e o seu ambiente sonoro e ? aplicado no presente trabalho para estudar o contexto no qual ocorreu o comportamento de canto da baleia jubarte (Megaptera novaeangliae), considerado o mais complexo comportamento reprodutivo (display) da natureza, na costa nordeste do Brasil, fora da concentra??o reprodutiva do Banco de Abrolhos, entre os anos de 2005 e 2010. Analiso a ocorr?ncia de machos cantores em diferentes estruturas de grupo, sua distribui??o espacial e prov?veis rela??es com fatores oceanogr?ficos, como profundidade, regime de mar?s e fases da lua. Tamb?m descrevo a estrutura ac?stica e a varia??o temporal do comportamento de canto, baseado em medi??es de frequ?ncia e tempo dos cantos, fora do Banco de Abrolhos, al?m de comparar a complexidade do canto, registrada no mesmo per?odo de estudo, entre o Banco de Abrolhos (16?- 19? S, 37?- 39? W), e a Costa Norte adjacente, aqui considerada desde Itacar? (14? S, 38? W) a Aracaj? (11? S, 37? W). Ainda busco descrever e analisar as fontes de ru?dos antropog?nicos no ambiente marinho da ?rea de estudo, produzidos pela atividade de explora??o de petroleo e g?s e tamb?m pelo turismo de observa??o de baleias, relacionando-os com o nicho ac?stico utilizado pela jubarte. Os resultados indicaram uma grande plasticidade no comportamento de canto, evidenciado pela ocorr?ncia dos cantores em diversas estruturas sociais, de indiv?duos solit?rios a grupos contendo outros animais, inclusive f?meas com filhotes, bem como pela diversidade que comp?e o canto da esp?cie, quando comparado entre duas regi?es dentro da mesma ?rea de reprodu??o, como o Banco de Abrolhos e a Costa Norte, que apresenta caracter?sticas oceanogr?ficas distintas. A distribui??o dos machos cantores parece estar relacionada com a extens?o da plataforma continental na ?rea de estudo. Os ru?dos antropog?nicos produzidos demonstraram uma faixa de frequ?ncias, amplitude sonora e intensidade capazes de interferir acusticamente no comportamento de canto da esp?cie, podendo resultar em dist?rbios durante o per?odo de reprodu??o da esp?cie na costa brasileira. Implica??es sobre os resultados obtidos na teoria do sistema de acasamento da esp?cie s?o discutidas. Dessa forma, pretendo contribuir com o tema da ecologia acustica e gerar informa??es que subsidiem a conserva??o da baleia jubarte

This thesis project aims to discuss the conditions and importance of water as a dynamic body in our environment, as water is affecting life on Earth on all levels. By focusing on the Baltic Sea, a sensitive body of water, I am exploring the acoustic characters of the sea dynamics through sound recordings at three bays in the Stockholm Archipelago. How can an acoustic exploration of the Baltic Sea dynamics mediate a sensitive relationship to our marine environments? Sound defines environments and gives indications of their current state. In this project, I intertwine an artistic approach involving our senses with scientific research of measuring to further an understanding of the relationship between humans and nature. The project explores water and sound in two parts, first as a method for listening to the sea, second as a spatial composition created for a sensory experience of the sea’s endless motion. It is my hope that my installation can stir emotions and create an understanding for the environmental challenges facing the Baltic Sea and inspire action towards prosperous natural environments where we live with and not apart from nature.

The histories of acoustic ecology, field recording, and soundscape composition are intertwined. This combination of disciplines has lead to the potential for powerful insights, but an over-emphasis on music composition using recorded sound has to led to some problematic tendencies in the study of soundscapes. I begin by tracing the development of acoustic ecology and related disciplines, leading to a proposal for a practice of acoustic ecology that centers the study of all sounds from an ecological perspective and incorporates the insights of creative practices. I include the results and data from my acoustic surveys in Patagonia, Iceland, and Texas. These three locations are varied in their climate, and they are all threatened by noise pollution or human interference from one source or another. Each survey plots out the daily sound activity in a given location and then includes information such as decibel level and the amount of anthropogenic noise. Using the field recordings from my acoustic surveys, I composed a non-linear piece, Resonance Ecology, that generates soundscapes by combining sounds from different locations based on connections such as geography or weather patterns. There is also the option for acoustic performers to perform alongside the electronics, creating an unpredictably evolving soundscape. The structure of the piece mirrors the ecosystems that serve as the foundation and inspiration of the piece. Importantly, the composition is not meant to represent the real ecosystems, but rather serves as an surreal ecosystem portraying my experience in these locations.