Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-01-04T21:29:23Z No. of bitstreams: 1 DanubioGomesDaSilva_DISSERT.pdf: 8940789 bytes, checksum: 83b7d8364e0a55cfc84cfdb3e52977d3 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-01-07T17:30:01Z (GMT) No. of bitstreams: 1 DanubioGomesDaSilva_DISSERT.pdf: 8940789 bytes, checksum: 83b7d8364e0a55cfc84cfdb3e52977d3 (MD5) / Made available in DSpace on 2016-01-07T17:30:01Z (GMT). No. of bitstreams: 1 DanubioGomesDaSilva_DISSERT.pdf: 8940789 bytes, checksum: 83b7d8364e0a55cfc84cfdb3e52977d3 (MD5) Previous issue date: 2014-02-21 / Esta disserta??o tem como campo de experi?ncia e reflex?o o Pau e Lata: Projeto Art?stico-Pedag?gico e sua atua??o no campo da educa??o musical. Foi criado em 1996, junto ? Escola Comunit?ria Semente de Luz, localizada no Bairro Tabuleiro do Martins, em Macei?/AL. O trabalho se estendeu para o Rio Grande do Norte e posteriormente retornou para Alagoas, mantendo suas atividades nos dois estados, envolvendo aproximadamente 280 pessoas. As quest?es que nos moveram diante da experi?ncia do Pau e Lata foram: Quais as principais refer?ncias e elementos te?rico-metodol?gicos que constituem a forma??o do m?sico no Pau e Lata? Como os integrantes desse projeto percebem e se inserem no processo educacional de forma??o do m?sico? Como se d? e o que significa o uso dos instrumentos e o aprendizado da escrita e leitura musical? Essas quest?es nos levaram a realizar esta disserta??o, com o intuito de aprofundar a reflex?o sobre os processos de forma??o musical do Pau e Lata, relacionando as experi?ncias de seus integrantes nesse processo e as refer?ncias te?ricas que regem sua pr?tica educativa. Nesse sentido, delineamos os objetivos da pesquisa, quais sejam: descrever o Projeto Pau e Lata, tendo como foco seu contexto de atua??o e seus processos metodol?gicos; investigar a rela??o entre a participa??o efetiva de seus membros no processo de composi??o do repert?rio art?stico-pedag?gico e o seu desempenho no campo da milit?ncia cultural no meio em que atua. O processo de composi??o desta pesquisa est? fundamentado na perspectiva fenomenol?gica. Constitu?mos, portanto, o nosso trajeto metodol?gico de pesquisa a partir de dois caminhos que se comunicam: 1) a organiza??o e a descri??o de registros hist?ricos do Pau e Lata (documentos comprobat?rios, certid?es, cartazes, entre outros), e lembran?as trazidas na mem?ria do pesquisador e de outros componentes do grupo. 2) a forma??o de grupo focal e os depoimentos escritos e enviados, via online, dos participantes do Pau e Lata referentes aos temas sucata e onomatopeia, respectivamente. Participaram desse processo, 11 componentes, somando a presen?a do pesquisador, com a faixa et?ria entre 21 a 45 anos, todos integrantes do Pau e Lata do N?cleo UFRN. Os resultados desta pesquisa est?o centrados na discuss?o de tr?s eixos que descrevem e norteiam o trabalho desenvolvido pelo Pau e Lata: o trabalho coletivo, o uso da sucata como instrumento e a onomatopeia como base dos processos metodol?gicos da forma??o musical. Essa partitura foi composta em tr?s partes. A primeira ? apresentada a partir de um acervo de referenciais do Pau e Lata, composto por registros impressos e videogr?ficos. A segunda parte se refere ao instrumento utilizado pelo Pau e Lata, e a percep??o dos membros do grupo sobre esses instrumentos, que ocorre de forma que os mesmos est?o integralizados no contexto da forma??o do m?sico. O terceiro eixo diz de como se d? e o que significa o aprendizado da escrita e leitura musical que ocorre em dois aspectos correlacionados: o processo de ensino aprendizagem e o corpo como elemento musical nesse processo, associado com outras a??es em car?ter de estudos e aprofundamentos te?ricos / The field of experience and reflection in this dissertation is the Pau and Lata: Artisticpedagogical project and its activities in the field of music education It was created in 1996, by the Community School Sementes da Luz, located on Tabuleiro do Martins district, Macei? / AL. The work extended to the Rio Grande do Norte and later returned to Alagoas, keeping their activities in both states, involving approximately 280 people. The issues that moved us front the experience of Pau e Lata were: What are the main references and theoretical-methodological elements that constitute the formation of the musician in Pau e Lata? How members perceive this project and include themselves in the educational process of music formation? How it works and what is the meaning of the use of instruments and the learning of musical writing and reading? These questions lead us to undertake this dissertation, in order to deepen reflection on the processes of musical training on Pau e Lata, relating the experiences of its members in the process and the theoretical references governing their educational practice. In this sense, we outline the research objectives, which are: describe the Pau e Lata project, focusing on their context of action and their methodological processes; investigate the relationship between the effective participation of its members in the process of composition of the artistic and pedagogical repertoire and its performance in the field of cultural militancy in the environment where it operates. The writing process of this research is based on the phenomenological perspective. Therefore constitute our methodological research path two roads that communicate: 1) the organization and description of historical record of Pau e Lata (supporting documents, certificates, posters, etc.) and memories of the researcher and from other members of the group. 2) the formation of focal groups and writing and sending, via online, testimonials the participants of Pau and Lata relating to issues scrap and onomatopoeia, respectively. Participated in this process 11 components, adding the presence of the researcher, with the age between 21-45 years, all members of Pau e Lata, Core UFRN. The results of this research are focused on the discussion of three axes that describe and guide the work of the Pau e Lata: collective work, the use of the scrap as instrument and the onomatopoeia as base of a methodological process of musical training. This score was composed of three parts. The first part is presented from a collection of references from Pau e Lata, composed of printed and videographic records. The second part refers to the instrument used by Pau e Lata, and the perception of group members on these instruments, which occurs so that they are integrated in the training of the musician.The third axis tells how and what it means learning of music writing and reading, that occurs in two related aspects: the teaching-learning process and the body as a musical element in this process, associated with other actions characterized as studies and theoretical deepening

Submitted by Setor de Tratamento da Informa??o - BC/PUCRS (tede2@pucrs.br) on 2016-04-07T17:54:52Z No. of bitstreams: 1 DIS_GIANE_RAMOS_COMPLETO.pdf: 1520885 bytes, checksum: 8153e92979139166b57b546121ce851b (MD5) / Made available in DSpace on 2016-04-07T17:54:52Z (GMT). No. of bitstreams: 1 DIS_GIANE_RAMOS_COMPLETO.pdf: 1520885 bytes, checksum: 8153e92979139166b57b546121ce851b (MD5) Previous issue date: 2016-01-22 / This study aims to research and reflect on musical learning in Early Childhood Education as the primary objective of this dissertation. Seeking to know how these learnings happen and what is the current situation in the schools Private Network from Porto Alegre, five Music teachers were chosen, who are working at this stage of basic education, so that they could bring their impressions about these learning processes. Hence from semi-structured interviews, data were collected for analysis and conclusions. It should be noted that each person, playing a role in society, their chosen profession or one that emerged as an option, brings his or her history, beliefs, concepts of education and therefore the data collected are relevant in order to give voice to those who are directly involved in the teaching and learning processes. Children, in turn, are described by these professionals, who have the certainty of the importance of their role in the individual formation. / O presente estudo se prop?e a pesquisar e refletir sobre as aprendizagens musicais na Educa??o Infantil como o objetivo primeiro dessa disserta??o. Buscando saber como acontecem essas aprendizagens e qual ? o cen?rio atual nas escolas da Rede Privada de Porto Alegre. Foram escolhidos cinco professores de M?sica, que est?o trabalhando nessa etapa da educa??o b?sica, para que pudessem trazer as suas impress?es sobre estes processos de aprendizagem. Assim, a partir de entrevistas semiestruturadas, foram coletados os dados para an?lise e conclus?es. Cabe destacar que cada pessoa, ao desempenhar uma fun??o na sociedade, uma profiss?o que escolheu ou que lhe surgiu como op??o, traz consigo sua hist?ria, suas cren?as, suas concep??es acerca da educa??o e, por isso, os dados coletados s?o relevantes no sentido de se dar voz aqueles que est?o diretamente implicados nos processos de ensino e de aprendizagem. As crian?as, por sua vez, s?o descritas por estes profissionais, que tem a certeza da import?ncia de seu trabalho para a forma??o do indiv?duo.

Submitted by Jos? Henrique Henrique (jose.neves@ufvjm.edu.br) on 2017-02-16T18:54:48Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) alexsander_vanzela.pdf: 3076411 bytes, checksum: bcf22cbcf49df868fdcb842f02de7ff5 (MD5) / Approved for entry into archive by Rodrigo Martins Cruz (rodrigo.cruz@ufvjm.edu.br) on 2017-03-06T11:47:54Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) alexsander_vanzela.pdf: 3076411 bytes, checksum: bcf22cbcf49df868fdcb842f02de7ff5 (MD5) / Made available in DSpace on 2017-03-06T11:47:54Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) alexsander_vanzela.pdf: 3076411 bytes, checksum: bcf22cbcf49df868fdcb842f02de7ff5 (MD5) Previous issue date: 2016 / ? comum deparar-se com um grande n?mero de pessoas que buscam aprender a tocar guitarra de forma r?pida, sem o aux?lio de um profissional qualificado, atrav?s de cursos livres e, ou outros meios dispon?veis na Internet. Na ?nsia deste aprendizado, o indiv?duo passa a receber informa??es fracionadas, n?o utilizando m?todos que aliem o uso de teoria musical ? pr?tica da guitarra, trazendo consigo uma defici?ncia te?rica musical. Para que isso n?o ocorra, existem institui??es que trabalham com o ensino musical, ? o caso do Conservat?rio Estadual de M?sica ?Lobo de Mesquita? de Diamantina, em Minas Gerais, que disponibiliza gratuitamente ? popula??o cursos de m?sica, buscando a forma??o de profissionais nesta ?rea, deixando-os aptos a ingressar em uma universidade ou a seguir uma carreira profissional. Um dos desafios neste processo do ensino trata-se da leitura e escrita musical, cujo aprendizado requer dedica??o e causa ansiedade por ser uma linguagem musical. A quest?o central que norteou esse trabalho foi se a aplica??o de recursos atuais poderia facilitar a leitura e a performance musical pelos estudantes de guitarra el?trica. A pesquisa foi desenvolvida no Conservat?rio Estadual de M?sica ?Lobo de Mesquita? com estudantes do curso inicial de guitarra el?trica e visou avaliar um m?todo de aprendizado em leitura de tablatura e partitura balizado pelas novas tecnologias dispon?veis, sem prescindir das tradicionais. Pretendeu-se proporcionar ao estudante de guitarra el?trica uma forma diferenciada de aprender e executar pe?as escritas em partitura e tablatura, reduzir sua ansiedade e melhorar a performance com o uso de tecnologia da informa??o atrav?s do software Guitar Pro 6. Foram estimuladas as habilidades de escuta musical, leitura em partitura e tablatura e pr?tica no instrumento musical a partir de exerc?cios propostos pelo professor, comparando-se o desempenho desenvolvido atrav?s do m?todo tradicional e o resultado do uso do software Guitar Pro 6. Al?m da avalia??o comparativa da t?cnica de execu??o desenvolvida pelos estudantes, foi analisada a ansiedade na performance musical inspirado na tabela Kenny Music Performance Anxiety Inventory (K-MPAI), cujo m?todo foi modificado para aplica??o a um p?blico diferente. Com a an?lise dos resultados foi poss?vel observar que o uso do software Guitar Pro 6 durante o curso de guitarra para alunos iniciantes influenciou positivamente o aprendizado, proporcionando aos mesmos uma melhora quanto ?s habilidades de leitura e execu??o a partir do registro em pauta e da leitura conjunta pauta/tablatura, contribuindo ainda para o aumento da autonomia e redu??o da ansiedade dos estudantes. / Disserta??o (Mestrado Profissional) ? Programa de P?s-Gradua??o em Sa?de, Sociedade e Ambiente, Universidade Federal dos Vales do Jequitinhonha e Mucuri, 2016. / It is common to came across a large number of people who seek a quick way of learning how to play the guitar, without the help of a qualified professional, by means of informal courses and/or by other ways available on the Internet. Longing for this learning, the individual ends up with receiving fractional information, and does not use methods that entail the music theory to the guitar practice, carrying along a theoretical musical deficiency. In order to avoid this, there are institutions that work with musical learning, like the Conservat?rio Estadual de M?sica ?Lobo de Mesquita?, in Minas Gerais, which offers to the population free musical courses, seeking to form professionals in this area, to qualify them either for joining a University or to follow a professional career. One of the challenges in the process of teaching is related to the music reading and writing, whose learning requires endeavor and causes anxiety due to the musical language. The central matter that guided this work was to verify if the use of current tools could turn easier the musical reading and performance by students of electric guitar. The research was developed in the Conservat?rio Estadual de M?sica ?Lobo de Mesquita? with students of the initial course of electric guitar, and it aimed to evaluate a method of learning how to read tablature and score, based on new available technologies, without excluding the traditional ones. The intention was to offer the students of electric guitar a differentiated way of learning and playing musical pieces written in score and tablature, to reduce the anxiety and to improve performance by means of informational technology with the use of the software Guitar Pro 6. Abilities of musical listening, reading of score and tablature, as well as practice in the musical instrument were stimulated with the use of exercises proposed by the teacher. The performance developed by means of the traditional method and results obtained by using the software Guitar Pro 6 were compared. Besides the comparative evaluation of the technique developed by students, it was analyzed the anxiety in musical performance with inspiration in the Kenny Music Performance Anxiety Inventory (K-MPAI) questionnaire, whose method was modified to be applied to a different public. Analyzing results, it was possible to verify that the use of the software Guitar Pro 6 during the guitar course for beginning students influenced the learning positively, providing the students an improvement in the abilities of learning and practicing from the score records, and in the combined reading from score/tablature, contributing to increase autonomy of students and to decrease anxiety.

Made available in DSpace on 2014-12-17T14:35:52Z (GMT). No. of bitstreams: 1 ValeriaCS.pdf: 807622 bytes, checksum: 12a0f0f537edd3504927b8b19b0ec9cb (MD5) Previous issue date: 2008-03-06 / This study investigates the implications between the musical theory and pedagogical practice based on a study that questions the reasons why some students feel incapable of learning the music language, as well as, if the musical codes are truly so difficult to be apprehended by them. To answer these questions takes itself as reference, the classes I have minister while teaching the disciplines: Music Workshop and Music Language I in the Art Department, Scenic Art Course at the Federal University of Rio Grande do Norte. I have searched the knowledge that constitutes the teacher formation based on the union between the pedagogical efficiency and sensibility, searching in the Corporality the theoretical port for my investigation. This way, advocating is a methodological principle for musical education originated from the experience of knowledge: creating, playing, feeling, thinking, and the interaction among them, conducting the students not only to music learning, but to a process of human formation. It adopts itself as methodological resource, amongst the qualitative methods, some of the techniques that are associated with the ethnographic research, for having as its main objective, to study the meaning of the actions and events of the investigated group. The analysis of the data leads to the conclusion that when the teacher displays his or her pedagogical knowledge in an environment constructed with affectivity, in a playful and pleasant form, the assimilation and construction of the musical concepts happen naturally and efficiently, surpassing the taboo that music learning is only possible to the especially well endowed people for music. Very aware that the scientific debate is important for the strengthening of formative programs involved in the growth and consolidation of the musical teaching and learning area, it is expected to promote this research discussions and reflections in the general educational field with this research, as well as, to contribute significantly to the specific growth of musical education / Este estudo investiga as implica??es entre a teoria e a pr?tica pedag?gica musical com base em quest?es de estudo sobre o porqu? de alguns alunos (as) se sentirem incapazes para aprender a linguagem musical, bem como, se os c?digos musicais s?o verdadeiramente t?o dif?ceis de serem apreendidos pelos mesmos. Para responder a essas quest?es toma-se como refer?ncia as aulas ministradas nas disciplinas Oficina de M?sica e Linguagem Musical I, ambas desenvolvidas no Departamento de Artes da Universidade Federal do Rio Grande do Norte no curso de Educa??o Art?stica Habilita??o Artes C?nicas. A pesquisa sobre saberes constitui a forma??o docente fundamentada na uni?o entre a sensibilidade e a efici?ncia pedag?gica, buscando na Corporeidade, o aporte te?rico para as investiga??es. Nesse sentido, defende-se um princ?pio metodol?gico para a educa??o musical gerado a partir da viv?ncia dos saberes criar, brincar, sentir, pensar, que, ao interagirem entre si, levam o (a) aluno (a) n?o apenas ao saber musical, mas a um processo de forma??o humana. Adota-se como recurso metodol?gico, dentre os m?todos qualitativos, algumas das t?cnicas que s?o associadas ? pesquisa etnogr?fica, por terem como principal objetivo estudar o significado das a??es e dos eventos para o grupo investigado. A an?lise dos dados leva a concluir que quando o professor exp?e os seus saberes pedag?gicos num ambiente constru?do com afetividade, de forma l?dica e prazerosa, a assimila??o e constru??o dos conceitos musicais acontecem naturalmente, superando-se o tabu de que o aprendizado musical s? ? poss?vel ?s pessoas especialmente bem dotadas para a m?sica. Ciente de que o debate cient?fico torna-se fundamental para o fortalecimento de programas formativos comprometidos com o crescimento e consolida??o da ?rea do ensino e aprendizagem da m?sica, espera-se com esta pesquisa fomentar discuss?es e reflex?es na ?rea da educa??o em geral, bem como contribuir significativamente para o crescimento espec?fico da Educa??o Musical

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-04-01T19:33:09Z No. of bitstreams: 1 MarcusViniciusDeFreitas_DISSERT.pdf: 2921709 bytes, checksum: c221e6fe65b124aeefd56989d47bd52a (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-04-07T00:22:39Z (GMT) No. of bitstreams: 1 MarcusViniciusDeFreitas_DISSERT.pdf: 2921709 bytes, checksum: c221e6fe65b124aeefd56989d47bd52a (MD5) / Made available in DSpace on 2016-04-07T00:22:40Z (GMT). No. of bitstreams: 1 MarcusViniciusDeFreitas_DISSERT.pdf: 2921709 bytes, checksum: c221e6fe65b124aeefd56989d47bd52a (MD5) Previous issue date: 2015-02-13 / As igrejas no Brasil t?m demonstrado ser um espa?o importante na forma??o musical de muitos indiv?duos. No entanto, percebemos em muitas delas uma postura musical exclusivista e meramente perform?tica, com o argumento de que desejam prestar adora??o ao Ser Divino e que, assim, devem oferecer sempre o melhor. Al?m disso, a cultura do talento e do dom tem se mostrado determinante na sele??o de pessoas para as pr?ticas musicais eclesi?sticas. O teatro musical, tamb?m praticado neste contexto, tem sido realizado com os mesmo princ?pios. Entendendo que a pr?tica musical deve estar acess?vel a todos, vimos, atrav?s dos estudos de Santa Rosa, 2006 e 2012, o teatro musical, por suas in?meras possibilidades, como importante ferramenta para o ensino de m?sica nesse contexto, de maneira integradora, motivadora, interdisciplinar e libertadora. Por essa raz?o este trabalho procurou, por meio de uma pesquisaa??o, investigar a aplicabilidade do teatro musical enquanto pr?tica pedag?gica no contexto da Igreja Batista da Esperan?a, Natal-RN, verificando o impacto desta experi?ncia para os envolvidos. Para alcan?ar este objetivo, realizamos a constru??o de um musical com todos aqueles que desejassem participar, possuindo ou n?o experi?ncias musicais pr?vias. A coleta de dados foi realizada atrav?s de di?rio de campo, entrevistas semiestruturadas com os participantes do elenco e registros de imagens de ensaios e apresenta??es. As principais tem?ticas evidenciadas pelos alunos foram, ent?o, categorizadas e devidamente analisadas, o que nos mostrou o quanto o teatro musical pode ser usado como ferramenta pedag?gico-musical de modo eficaz tamb?m no contexto eclesi?stico. Desse modo, p?de ser trazida uma outra concep??o do fazer art?stico para as igrejas, contribuindo para a inser??o de novos part?cipes em suas pr?ticas musicais, al?m de expandir um pouco mais os estudos sobre o teatro musical e a presen?a da m?sica nestes espa?os, provocando outros estudos futuros. / The churches in Brazil have shown themselves as a very important space in the musical training of many individuals. However, we perceive in many of them an excluding and merely performatic musical posture. Their argument is the fact that they want to give worship to the Divine Being and, for that, they must always offer their best. Besides that, the culture of the talent and the gift has provoked the selection of people in the ecclesiastical musical practices. The musical theatre, also practiced in this context, has been following the same principles. Understanding that musical practices must be accessible to all people, we have seen, through the studies of Amelia Santa Rosa, 2006 and 2012, the musical theatre, for its various possibilities, as an important tool for the music teaching in this context in an integrating, motivating, interdisciplinary and liberating way. For this reason, through an action research, this work has aimed to investigate the applicability of the musical theatre as a pedagogical practice in the context of the Igreja Batista da Esperanca (Hope Baptist Church), in Natal-RN, verifying the impact of this experience to the ones involved. In order to accomplish this, we carried out the construction of a musical with all of the ones who wanted to be a part of this research, having or not having previous musical experiences. The data collection was made through the field diary, semi-structured interviews with the cast of the musical and pictures and videos of rehearsals and presentations. The main issues highlighted were categorized and properly analyzed, which showed us how much the musical theatre can be used as a musical pedagogical tool also effective in the ecclesiastical context. Thus, another conception of artistic endeavor could be brought to churches, contributing to the inclusion of new participants in their musical practices, expanding the studies on the musical theatre and the presence of music in these spaces a bit more, causing other future studies.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2018-03-12T20:35:45Z No. of bitstreams: 1 CamilaLarissaFirminoDeLuna_DISSERT.pdf: 2257293 bytes, checksum: 447ec1fffb9bc2d92b17118181f2a3cd (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2018-03-16T20:54:08Z (GMT) No. of bitstreams: 1 CamilaLarissaFirminoDeLuna_DISSERT.pdf: 2257293 bytes, checksum: 447ec1fffb9bc2d92b17118181f2a3cd (MD5) / Made available in DSpace on 2018-03-16T20:54:08Z (GMT). No. of bitstreams: 1 CamilaLarissaFirminoDeLuna_DISSERT.pdf: 2257293 bytes, checksum: 447ec1fffb9bc2d92b17118181f2a3cd (MD5) Previous issue date: 2017-12-01 / A presente pesquisa teve como objetivo compreender as concep??es e pr?ticas que caracterizam a a??o pedag?gica de professores que tem a criatividade como processo e objetivo de sua proposta de educa??o musical dentro do contexto escolar da cidade do Natal/RN. As reflex?es que nortearam a investiga??o est?o fundamentadas em autores que abordam os aspectos referentes ? criatividade em geral, o indiv?duo criativo, o processo de cria??o (NACHMANOVICTH, 1993; GARDNER, 1996) ? incluindo o processo criativo musical ?, as motiva??es envolvidas nesse processo (REEVE, 2006), e a forma??o e atua??o pedag?gica do professor criativo (ABRAH?O, 2015; SCHAFER, 1991). As concep??es constru?das a partir da fundamenta??o te?rica baseiam-se na ideia de que, para criar, o indiv?duo necessita ter o dom?nio sobre os elementos a serem usados na cria??o, assim como a viv?ncia de experi?ncias que lhe subsidiam na a??o de gerar novos produtos, e o conhecimento sobre o processo criativo, que lhe permite persistir na trajet?ria at? que chegue ao produto final. Sobre a quest?o pedag?gico-musical especificamente, as ideias que fundamentam a investiga??o s?o aquelas que tratam a criatividade como um elemento fundamental para o exerc?cio da profiss?o. O m?todo de pesquisa escolhido foi o estudo de caso, utilizando como ferramentas de coleta de dados o question?rio, a observa??o direta e a entrevista semiestruturada. A an?lise dos dados se deu, primeiramente, de forma quantitativa e qualitativa, quando analisadas as respostas colhidas a partir do question?rio. Posteriormente, a abordagem qualitativa se sobrep?s na an?lise das etapas seguintes, quando os dados foram organizados em tr?s categorias: 1. As concep??es dos professores; 2. As caracter?sticas dos professores; e 3. As pr?ticas criativas realizadas. Os resultados apresentam alguns fatores relevantes sobre o processo criativo do professor, a fim de possibilitar a reflex?o de que todos possuem a condi??o e a possibilidade de criar, desde que se permita e possua o conhecimento sobre o processo criativo (NACHMANOVICTH, 1993). Al?m disso, as reflex?es realizadas a partir da rela??o entre a abordagem dos autores te?ricos e os dados emp?ricos coletados, visam promover uma inquieta??o no que tange a forma??o inicial dos educadores musicais, e a sua posterior atua??o pedag?gica. / The present work had the purpose of understanding the conceptions and practices that characterizes the pedagogical action of teachers that has the creativity as a process and aim of their musical education proposal in Natal/RN school context. The reflections that guided us are based on authors who deal with aspects related to creativity in general, the creative individual, the creative process (NACHMANOVICTH, 1993; GARDNER, 1996) - including the creative musical process - the motivations involved in this process (REEVE, 2006), and the training and pedagogical performance of the creative teacher (ABRAH?O, 2015; SCHAFER, 1991). Our concepts, built from the theoretical background, are based on the idea that, to create properly, the individual needs to have control over the elements to be used in creation, as well as the grasp of experiences that support him in the action of generating new products, and knowledge about the creative process, which allows it to persist in the path until it reaches the final product. On the pedagogical-musical question specifically, the ideas the investigation are based upon are those that treat the creativity as a basilar element for the exercise of the profession. The research method chosen was the case study, using as a data collection tool the questionnaire, direct observation and semi-structured interview. Data were analyzed first, in a quantitative and qualitative way, when the answers collected from the questionnaire were analyzed. Afterwards, the qualitative approach was set before in the analysis of the following stages, when the data were organized into three categories: 1. The conceptions of teachers; 2. The characteristics of teachers; and 3. The creative practices. The results present some relevant factors on the creative process of the teacher that allow us to reflect that all have the condition and the possibility of creating, if the knowledge about the creative process is endowed and permitted (NACHMANOVICTH, 1993). Furthermore, the reflections based on the relationship between the theoretical authors' approach and the empirical data collected, drive us to prosecute a concern about the initial formation of musical educators and their subsequent pedagogical performance.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-02-02T14:51:09Z No. of bitstreams: 1 EdibergonVarelaBezerra_DISSERT.pdf: 1834187 bytes, checksum: d49f7c961fa29775c716f5a17e40eab6 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-02-09T17:40:57Z (GMT) No. of bitstreams: 1 EdibergonVarelaBezerra_DISSERT.pdf: 1834187 bytes, checksum: d49f7c961fa29775c716f5a17e40eab6 (MD5) / Made available in DSpace on 2017-02-09T17:40:57Z (GMT). No. of bitstreams: 1 EdibergonVarelaBezerra_DISSERT.pdf: 1834187 bytes, checksum: d49f7c961fa29775c716f5a17e40eab6 (MD5) Previous issue date: 2016-03-29 / A Escola de M?sica da Universidade Federal do Rio Grande do Norte ? EMUFRN, desde 2011, vem desenvolvendo o ensino musical com as pessoas com defici?ncia visual, por meio de a??es de extens?o universit?ria. Para tanto, a presente pesquisa objetivou identificar quais e como se d?o os processos de aprendizagem musical dos alunos com defici?ncia visual no Projeto Esperan?a Viva. Para melhor compreens?o do universo investigado, utilizou-se o estudo de caso e a entrevista semiestruturada. Para a realiza??o da entrevista, escolheram-se quatro alunos do Projeto Esperan?a Viva, utilizando como crit?rio de sele??o dois alunos com cegueira e dois com baixa vis?o. Como resultado desta pesquisa, identificaram-se seis processos de aprendizagem musical: percep??o musical, leitura musical, escrita musical, imita??o/repeti??o, memoriza??o e execu??o/pr?tica instrumental, bem como os caminhos did?ticos envolvidos nesses processos: estrat?gias, atividades, motiva??es, conhecimento pr?vio, diversidade de atividades e coopera??o. Portanto, ? importante salientar a necessidade de maiores investiga??es acerca do ensino-aprendizagem musical das pessoas com defici?ncia visual, objetivando ampliar as possibilidades de desenvolvimento musical desses alunos. / The school of music of the Federal University of Rio Grande do Norte-EMUFRN, from 2011, has been developing the musical education to people with visual disabilities, through actions of University extension. To this end, the present research aimed to identify where and how to give the musical learning processes of students with visual impairments in the project hope alive. For better understanding of the universe investigated, the case study and the semi-structured interview. For the interview, chose four students of the project hope alive, using as a criterion for selecting two students with blindness and two with low vision. As a result of this research, identified six musical learning processes: music perception, music reading, musical writing, imitation/repetition, memorization and execution/instrumental practice, as well as educational pathways involved in these processes: strategies, activities, motivations, previous knowledge, diversity of activities and cooperation. Therefore, it is important to highlight the need for further investigation on the teaching and learning of music people with visual deficiency, in order to enlarge the possibilities of musical development of these students.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-04-04T00:24:31Z No. of bitstreams: 1 MagnoAugustoJobDeAndrade_DISSERT.pdf: 1292280 bytes, checksum: ed8572f5b5fc60bc8470092f76c3ce81 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-04-12T21:13:13Z (GMT) No. of bitstreams: 1 MagnoAugustoJobDeAndrade_DISSERT.pdf: 1292280 bytes, checksum: ed8572f5b5fc60bc8470092f76c3ce81 (MD5) / Made available in DSpace on 2017-04-12T21:13:13Z (GMT). No. of bitstreams: 1 MagnoAugustoJobDeAndrade_DISSERT.pdf: 1292280 bytes, checksum: ed8572f5b5fc60bc8470092f76c3ce81 (MD5) Previous issue date: 2016-12-20 / O presente trabalho tem como objetivo identificar/revelar e refletir sobre as representa??es sociais que mediam as rela??es entre a adultez e o ensino de instrumentos musicais de tradi??o conservatorial. O interesse ? a investiga??o da dimens?o simb?lica envolvida no processo de musicaliza??o de adultos e as t?cnicas e m?todos que fazem parte dos processos de musicaliza??o ou ensino de m?sica. Para tanto, foram entrevistados alunos e professores da Escola de M?sica da Universidade Federal do Rio Grande do Norte (UFRN), que atuam no ?mbito dos cursos de forma??o em instrumento. Foi utilizado como referencial te?rico o conceito de representa??o social de Moscovici (2009) e Jodelet (2001), para definir o objeto de pesquisa; a teoria de Bourdieu (2008, 2010), e sua aplica??o por Pereira (2012), para dar conta das intera??es entre as representa??es estudadas e as estruturas nas quais est?o inseridas; e a teoria sociol?gica da adultez de Sousa (2012), para definir o adulto em di?logo com as representa??es em que ele est? inserido. Como metodologia, foi utilizado um levantamento bibliogr?fico referente ao tema, que nos forneceu elementos para a aplica??o de entrevistas semiestruturadas, segundo a proposta de Spink (2013) de pesquisa qualitativa e an?lise das representa??es sociais. Dentre os resultados, foram encontradas diversas evid?ncias de representa??es expressas e explicitadas em v?rios trabalhos acad?micos ao longo do levantamento bibliogr?fico, bem como evid?ncias de representa??es sociais a respeito da musicaliza??o de adultos dentre alunos e professores da Escola de M?sica da UFRN. Tais representa??es aparecem fortemente associadas ? percep??o do tempo de estudo (em anos e em horas cotidianas), e de profissionaliza??o (segundo os ideais e pr?ticas conservatoriais), que orientam a valora??o da inicia??o musical na idade mais precoce poss?vel (?melhor idade para inicia??o?), de modo, a garantir o cumprimento das demandas associadas a forma??o musical representada pelos entrevistados. Sendo assim, a inicia??o de adultos ? representada socialmente no meio pesquisado como uma inicia??o problem?tica que requer a supera??o de diversos obst?culos e que n?o se d? em conson?ncia com o modelo de aluno e de profissional almejado pelos cursos de forma??o e pelo meio profissional. / The present work aims to identify/reveal and reflect on the social representations that mediate the relationships between adulthood and the teaching of musical instruments of conservatory tradition. The interest is the investigation of the symbolic dimension involved in the process of adult musicalization and the techniques and methods that are part of the processes of musicalization or teaching of music. Therefore, students and professors from the School of Music of the Federal University of Rio Grande do Norte (UFRN) were interviewed, who work in the basic, technical, higher (baccalaureate) and postgraduate ( Master's degree). The concept of social representation of Moscovici (2009) and Jodelet (2001) was used as a theoretical reference, to define our research object; Bourdieu's theory (2008, 2010), and its application in the field of musical education by Pereira (2012), to account for the interactions between the representations studied and the structures in which they are inserted; And Sousa's sociological theory of adulthood (2012), to define the adult in dialogue with the representations in which he is inserted and with the social context that surrounds him. As a methodology, a bibliographic survey was used, which provided us with elements for the application of semi-structured interviews, according to Spink's (2013). Among the results, we found several evidences of explicit and explicit representations in several academic works along the bibliographical survey, as well as evidences of social representations regarding the musicalization of adults among students and professors of the School of Music of UFRN. These representations are strongly associated with the perception of study time (in years and in daily hours), and professionalization (according to conservatory ideals and practices), which guide the valuation of musical initiation at the earliest possible age ("better age for initiation "), so as to guarantee the fulfillment of the demands associated with the musical formation represented by the interviewees. Therefore, adult initiation is represented socially in the researched environment as a problematic initiation that requires the overcoming of several obstacles and that is not in accordance with the model of student and professional sought by the training courses and the professional environment.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-07-04T14:35:26Z No. of bitstreams: 1 ArturPessoaPorpinoDias_DISSERT.pdf: 1808857 bytes, checksum: 2ce1044e2bc3c2b729b9c84b6c1b2086 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-07-14T13:42:09Z (GMT) No. of bitstreams: 1 ArturPessoaPorpinoDias_DISSERT.pdf: 1808857 bytes, checksum: 2ce1044e2bc3c2b729b9c84b6c1b2086 (MD5) / Made available in DSpace on 2017-07-14T13:42:09Z (GMT). No. of bitstreams: 1 ArturPessoaPorpinoDias_DISSERT.pdf: 1808857 bytes, checksum: 2ce1044e2bc3c2b729b9c84b6c1b2086 (MD5) Previous issue date: 2016-04-19 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior (CAPES) / Este trabalho busca contribuir com o fortalecimento das correntes educacionais e educativo-musicais contempor?neas que creem no reconhecimento dos educandos como indiv?duos sociais, como seres integrantes de cultura(s) e portadores de subjetividades. Nessa perspectiva, defendo que a aproxima??o ? din?mica do contexto sociocultural dos alunos e a escuta de suas concep??es configuram-se como importantes contribuintes para um bom desenvolvimento pedag?gico. Assim, por interm?dio de uma experi?ncia compartilhada com jovens educandos de uma escola localizada em uma periferia de Natal/RN, busquei identificar concep??es dos alunos sobre m?sica e ensino de m?sica e relacion?-las com seu(s) contexto(s). Compreendo contexto a partir da representa??o de tr?s c?rculos conc?ntricos, cada qual simbolizando os temas espa?o, cultura e sujeitos, que associam-se e configuram dinamicamente uma atmosfera, uma realidade. Para o cumprimento do objetivo da pesquisa, pensei em estrat?gias para uma compreens?o panor?mica do contexto escolar (segundo os c?rculos espa?o, cultura e sujeitos) e estrat?gias para o mergulho em experi?ncias culturais de uma amostragem de alunos, buscando enfatizar o di?logo com suas experi?ncias musicais. Assim, foi realizada uma pesquisa bibliogr?fica e documental no que se refere ? regi?o da cidade e ao bairro ao qual a escola faz parte, bem como observa??es participantes pelas depend?ncias da escola, entrevistas com a professora de Artes e com a diretora e forma??o de grupos focais com duas turmas de nono ano. Refletindo acerca das informa??es coletadas, pude compreender os alunos e situ?-los em seu(s) contexto(s), desvelando aspectos como: problemas sociais, perspectivas de vida, escolha religiosa, atividades extra-escolares, conhecimentos musicais, contatos musicais na escola e fora dela, prefer?ncias musicais, concep??es sobre m?sica e percep??es e expectativas de ensino de m?sica na escola. Ao vincular os indiv?duos a seus contextos, apresento que nenhum aluno com o qual nos deparamos em sala de aula cresce em um v?cuo cultural. Na medida em que os alunos s?o compreendidos pelo educador como cidad?os, parte de uma classe, grupo, cultura, propostas pedag?gicas significativas podem ser pensadas e postas em pr?tica. / This essay seeks to contribute to the strengthening of educational and contemporary educational and musical currents that believe in recognition of students as social and cultural beings, holders of subjectivities. From this perspective, I argue that the approach to the students' socio-cultural context and listening to their voices are configured as important contributors to a good pedagogical development. Thus, through a shared experience with young students of a school located in a suburb of Natal / RN, I intend to identify students' conceptions about music and music education and relate them to their(s) context(s). I understand context as a combination of three concentric circles, representing space, culture and subjects, which are associated and dynamically configure an atmosphere. To ensure the essay achieve it's goal, I thought of strategies for a panoramic understanding of the school context (according to the vertices space, culture and subjects) strategies for diving in cultural experiences of a sample of students, seeking to emphasize the dialogue with their musical experiences. Thus, I've presented a bibliographical and documentary research about the region of the city and the district which the school belongs. Participant observations of the school life, interviews with the Arts teacher, the principal, and formation of focus groups with two ninth grade classes complemented the methodological strategies. Reflecting on the information collected, I could understand the students and place them in their context(s), revealing aspects such as social problems, perspectives of life, religious choices, musical knowledge, musical contacts at school and beyond, musical preferences, conceptions of music and music education and their expectations of music classes in school. By linking individuals to their context, I present that no student grows into a cultural vacuum. When students are understood by educators as citizens, part of a class, group, culture, significant educational proposals can be designed and implemented.

Made available in DSpace on 2014-12-17T14:36:26Z (GMT). No. of bitstreams: 1 MaristelaOM_DISSERT.pdf: 2808377 bytes, checksum: 8176dbd9c513c0dc571d98c929697080 (MD5) Previous issue date: 2010-07-14 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / The present work concerns an auto-ethnographic study based on life experiences and reflections of an educator at Escola Viva Preschool and Elementary-Middle School, located in the city center of Natal, Rio Grande do Norte. As a cognitive model of operation, we use the metaphor of the Circle Dance. The objective of this study is to identify, interpret and describe the ludopoetics that are achieved through a Musical Education program, which we denominate, Humanescent. The data of this investigation was derived from the music making by Preschool and Elementary-Middle School students at Escola Viva during 2007, 2008 and 2009, from which 20 learners were selected to form the corpus, along with the description and interpretation of photos of their experiences and sand tray scenes. We justify the methodological systemization of the research based on our own pedagogical practice, which supports Musical Education in the schools based on the principals of Embodiment, Autopoesis and Flow. The methodological systemization was developed through an Action Research model and on the concepts of Systemic Development, with the goal of re-reading the context investigated through the structuring of categories of Ludopoesis: Self-esteem, Self-territory, Self-connectivity, Self-realization and Selfworth. We used an observant-participant research approach with regard to the perception of emergent knowledge, the surroundings, the experience lived and the contextual and vibration of the circumstances. Besides this, we used projection to interpret the experiences lived, in the form of drawings, short poems, letters or sand tray scenes as symbolic interpretations of experience. In the unfolding of the Ludopoetic Process (Selfesteem, Self-territory, Self-connectivity, Self-realization and Selfworth) we draw conclusions about the relevance of the ludic musical experience, which foments the formation of the self based on music learning, and which is demonstrated in the Embodiment of the learners. In the auto-formative process (of learners and educators) we observe the importance of pedagogical work based on Musical Humanescent Education that gives value to the music making path to the construction of music and performance in play, creativity, and sensibility. The experience of making music in a playful way allows for organization of the self and its autonomous production in the joy of living within a ludopoetic process. These findings highlight the educator as in a permanent state of selfformation, which generates moments of flow. However, in Musical Humanescent Education, music is learned collectively, doing a circle dance, experiencing love, fostering an expansion of the creative spirit, and giving recognition to playfulness as a necessary condition for education and to the value of music made with the true nature and sensibilities of the educators / Trata-se de um estudo autoetnogr?fico com base nas viv?ncias e reflex?es de uma educadora na Escola Viva, uma escola de Educa??o Infantil e Ensino Fundamental, localizada na ?rea Central do munic?pio de Natal/RN. Como operador cognitivo utilizamos a Met?fora da Ciranda. O objetivo do estudo foi identificar, interpretar e descrever os processos ludopoi?ticos que se revelam na Educa??o Musical, a que adjetivamos de Humanescente. Os registros desta investiga??o foram pautados nas viv?ncias musicalizadoras de alunos da Educa??o Infantil e do Ensino Fundamental nos anos de 2007, 2008 e 2009, sendo selecionados os registros de 20 educandos, al?m da descri??o e interpreta??o de fotos das viv?ncias e dos cen?rios trabalhados na caixa de areia. Justificamos a sistematiza??o da pesquisa a partir de nossa pr?tica pedag?gica, que defende a Educa??o Musical na escola a partir dos pressupostos da Corporeidade, da Autopoiese e do Fluxo. A sistematiza??o metodol?gica se desenvolveu a partir dos princ?pios da Pesquisa-A??o e nos pressupostos do Desenvolvimento Sist?mico, procurando fazer uma (re)leitura do contexto investigado com as categorias estruturantes da Ludopoiese: Autotelia, Autoterritorialidade, Autoconectividade, Autofrui??o e Autovalia. Utilizamos como t?cnica de pesquisa a observa??o participante, enquanto condi??o na percep??o das emerg?ncias, do entorno, do vivido e das circunst?ncias vibracionais e contextuais. Al?m disso, utilizamos a proje??o ao interpretarmos o vivido em forma de desenhos, pequenos poemas, cartas ou cen?rios na caixa de areia como interpreta??o simb?lica do vivenciado. No revelar dos Processos Ludopoi?ticos (Autotelia, Autoterritorialidade, Autoconectividade, Autofrui??o e Autovalia) conclu?mos sobre a relev?ncia da viv?ncia musical com ludicidade, proporcionado a autoforma??o do ser a partir da aprendizagem musical que se revela na Corporeidade dos educandos. Nos processos autoformativos (dos educandos e da educadora) observamos a import?ncia de um trabalho pedag?gico a partir da Educa??o Musical Humanescente, que valoriza o percurso musicalizador para a constru??o musical e a performance na ludicidade, criatividade e sensibilidade. O vivenciar a m?sica com ludicidade permitiu a autoorganiza??o do ser e sua autoprodu??o na alegria de viver enquanto processo ludopoi?tico. Neste sentido, destacamos que o educador se encontra em permanente processo autoformativo que gera momentos de fluxos. Portanto, na Educa??o Musical Humanescente se aprende m?sica na coletividade, dan?ando a ciranda, vivenciando a amorosidade, permitindo a expans?o do esp?rito criativo, o reconhecimento da ludicidade como condi??o na educa??o e a valoriza??o do fazer musical na naturalidade e sensibilidades dos educandos