Made available in DSpace on 2014-12-17T14:36:34Z (GMT). No. of bitstreams: 1 IsaacSCM_DISSERT.pdf: 1033076 bytes, checksum: f9f6061925aef56241a830fd983e7484 (MD5) Previous issue date: 2011-11-01 / This work aims to discuss and analyze the process of school inclusion of a blind person in the Bachelor's Degree in Music, at the School of Music at the Federal University of Rio Grande do Norte, as well as reflect on the importance of establishing systems of support and to ensure university inclusive process of people with visual impairments. In pursuit to achieve these objectives, this research chose a qualitative methodological approach, the case study, using as procedures for data construction an interview, observation, analysis of documents and photographs. Joined the group of participants in this study, a blind student in the class of 2009.1of the EMUFRN Bachelor's Degree in Music, teachers from two disciplines complied by the student, two classmates, a monitor support in music theory, the course coordinator and school principal, and two other individuals who contributed to the inclusion process in actions not formalized institutionally. The results indicate UFRN proposed initiatives that contribute to inclusion of students with disabilities in this institution, the main one is the creation of the Standing Committee of Support for Students with Special Educational Needs (CAENE), a group that guides administrative sectors, teachers, principals, coordinators and students on the measures needed to enter and remain in quality education for all. Physical accessibility is still under construction at UFRN, and many access and sectors see it being adapted for students with physical or visual disabilities, and those with mobility impairments, have access to various parts of the university, however, as shown in this study, some points need to be reconsidered, as there are several places where the installation of tactile floor does not fully follow the guidelines proposed in the legislation. The proposals for access to the curriculum, mediated by EMUFRN, are actions that propose the inclusion of the blind student, as the existence of an educational monitor to help in the study of music theory, however, we need to rethink these proposals to not became actions of reactive intervention. Assuming a more proactive posture, the EMUFRN will be prepared to receive the diversity of students that expects. The study also points out that the blind student is part of a group of students that are practical musicians, who must work in events and evening shows, and who have little knowledge in music theory, leading, respectively, in low frequency classes and learning difficulties in certain curricular components, which may cause the closing of such components. In this case, the challenge of EMUFRN, considering the inclusive perspective, it is not specifically fit for the academic host a blind student, but to develop an accessibility project curriculum to consider effectively the diversity of all its students, taking into account mainly the economic and cultural conditions. This implies a process of resizing academic practices that be guided for collaborative and coordinated actions involving the various educational actors at EMUFRN and UFRN / O presente trabalho tem como objetivos discutir e analisar o processo de inclus?o escolar de uma pessoa cega no curso de Licenciatura em M?sica, na Escola de M?sica na Universidade Federal do Rio Grande do Norte, bem como, refletir sobre a import?ncia da constitui??o de sistemas de apoio para assegurar o processo inclusivo universit?rio de pessoas com defici?ncia visual. Na busca de atingir tais objetivos, essa investiga??o opta por uma abordagem metodol?gica qualitativa, do tipo estudo de caso, utilizando como procedimentos de constru??o dados a entrevista, a observa??o, a an?lise de documentos e os registros fotogr?ficos. Integraram o grupo de participantes desse estudo, um aluno cego da turma 2009.1 do curso de Licenciatura em M?sica da EMUFRN, professores de duas disciplinas cumpridas por esse aluno, dois colegas de turma, um monitor de apoio em teoria musical, o coordenador do curso e o diretor da escola, al?m de outros dois sujeitos que contribu?ram com o processo de inclus?o em a??es n?o formalizadas institucionalmente. Os resultados encontrados indicam iniciativas propostas pela UFRN que contribuem com inclus?o de alunos com defici?ncia na institui??o, a principal delas ? a cria??o da Comiss?o Permanente de Apoio a Estudantes com Necessidades Educacionais Especiais (CAENE), grupo que orienta setores administrativos, professores, diretores, coordenadores e alunos quanto ?s medidas necess?rias para o acesso e a perman?ncia com qualidade para todos. A acessibilidade f?sica ainda est? em processo de constru??o na UFRN, v?rios acessos e setores v?em sendo adaptados para que os alunos com defici?ncia f?sica ou visual, al?m daqueles com dificuldades de mobilidade, possam ter acesso aos diversos pontos da universidade, entretanto, conforme apresentado nesse estudo, alguns pontos precisam ser reconsiderados, j? que existem diversos locais onde a instala??o do piso t?til n?o segue totalmente as orienta??es propostas na legisla??o. Quanto ?s propostas de acesso ao curr?culo, mediadas pela EMUFRN, tratam-se de a??es que prop?em a inclus?o do aluno cego, como a exist?ncia de um monitor pedag?gico para auxiliar no estudo da teoria musical, contudo, ? necess?rio repensar essas propostas para que n?o se resumam em a??es de interven??o reativas. Assumindo uma postura mais pr?-ativa a EMUFRN estar? preparada a receber a diversidade de alunos que espera. O estudo aponta, ainda, que o aluno cego faz parte de um grupo de estudantes que s?o m?sicos pr?ticos, os quais precisam trabalhar em eventos e shows ? noite, e que apresentam pouco conhecimento em teoria musical, acarretando, respectivamente, baixa frequ?ncia nas aulas e dificuldades de aprendizagem em determinados componentes curriculares, podendo ocasionar o trancamento de tais componentes. Nesse caso, o desafio da EMUFRN, considerando a perspectiva inclusiva, n?o ?, especificamente, adequar-se para o acolhimento acad?mico de um aluno cego, mas desenvolver um projeto de acessibilidade curricular que considere, efetivamente, a diversidade da totalidade dos seus alunos, levando em conta, principalmente, as condi??es econ?micas e culturais. Isso implica em um processo de redimensionamento das pr?ticas acad?micas que se orientem por a??es articuladas e colaborativas que envolvam os diversos agentes educacionais da EMUFRN e da UFRN

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-05-11T20:22:07Z No. of bitstreams: 1 JacoSilvaFreire_DISSERT.pdf: 1558930 bytes, checksum: f0d868b15fdba587a709e44944b547ca (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-05-19T21:11:25Z (GMT) No. of bitstreams: 1 JacoSilvaFreire_DISSERT.pdf: 1558930 bytes, checksum: f0d868b15fdba587a709e44944b547ca (MD5) / Made available in DSpace on 2016-05-19T21:11:25Z (GMT). No. of bitstreams: 1 JacoSilvaFreire_DISSERT.pdf: 1558930 bytes, checksum: f0d868b15fdba587a709e44944b547ca (MD5) Previous issue date: 2015-03-27 / O ensino do instrumento no Brasil tem sido mais amplamente estudado pela educa??o musical nos ?ltimos anos, constituindo um campo significativo de investiga??o cient?fica. Este trabalho se at?m a an?lise de uma realidade do ensino de instrumento, considerando de maneira mais espec?fica o ensino de viol?o. De maneira pontual, aborda a realidade do ensino de viol?o da Universidade Federal do Rio Grande do Norte (UFRN), considerando cursos espec?ficos do instrumento nesta institui??o. Assim, o presente trabalho foi pautado pelo objetivo de compreender as concep??es, conte?dos e perspectivas did?ticas e metodol?gicas que constituem o ensino e aprendizagem de viol?o na UFRN. Para alcan?ar este objetivo principal, buscou-se verificar, em linhas gerais: 1) as perspectivas te?ricas, metodol?gicas e de conte?dos que embasam forma??o em viol?o nos cursos de m?sica da UFRN; 2) as fun??es e objetivos das disciplinas de viol?o nos Cursos; 3) o perfil dos professores das disciplinas de viol?o; 4) as demandas dos sujeitos diretamente envolvidos nessas propostas de ensino musical; e, 5) as concep??es acerca das pr?ticas de forma??o e das metodologias de ensino que caracterizam a a??o docente. Em conson?ncia com os objetivos, o norteamento metodol?gico se pautou pelo paradigma qualitativo. Assim, os procedimentos de coleta de dados envolvidos foram: pesquisa bibliogr?fica e documental e realiza??o de entrevistas com tr?s professores que ministraram disciplinas de viol?o durante o semestre de 2014.1 nos cursos mencionados. Posteriormente, esses dados foram sistematicamente organizados e analisados em sintonia com as caracter?sticas da pesquisa aqui apresentada. Portanto, os resultados desta pesquisa evidenciaram as concep??es, conte?dos e perspectivas did?ticas e metodol?gicas no contexto de ensino e aprendizagem de viol?o no campo emp?rico estudado. Neste contexto, pudemos perceber uma rela??o existente entre as demandas de ensino e aprendizagem de instrumento no campo estudado e as evidenciadas na literatura pesquisada. Deste modo, foram percebidos, analisados e demonstrados quais as perspectivas para o ensino de instrumento na contemporaneidade, com especial aten??o para o ensino de viol?o. Assim, este estudo traz relevante contribui??o para a educa??o musical, sobretudo, atrav?s de suas reflex?es sobre a pedagogia do viol?o. / The instrumental teaching in Brazil has been more widely studied by music education in the last years, becoming a significative scientific investigation field. This work is focusing on analysis of the instrument teaching reality, considering more specifically the guitar teaching. In a timely manner, approaches the reality of the guitar teaching from the Universidade Federal do Rio Grande do Norte (Federal University of Rio Grande do Norte ? UFRN), considering specific instrument courses in this institution. Thus, the present work was guided by the aim of understanding conceptions, contents and didactic and methodological perspectives that constitute the teaching and learning of the guitar at UFRN. To reach this main aim, we sought to verify, in general: 1) the theoretical, methodological and content perspectives that underlie guitar formation in the music courses of the UFRN; 2) the functions and the aims of the guitar disciplines in the Courses; 3) the profile of the guitar disciplines' professors; 4) the demands of the subjects directly involved in these proposals of musical education; and, 5) the conceptions about formation practices and teaching methodologies that characterize the docent action. In accordance with the aims, the methodological guidance was based on the qualitative paradigm. Thus, data collection procedures involved were: bibliographical and documentary research and interviews with three professors who taught in guitar disciplines during the semester of 2014.1 on the mentioned courses. Then, these data were systematically organized and analyzed in line with the research characteristics presented here. The results of the research evidenced the concepts, contents and didactic and methodological perspectives in the context of teaching and learning guitar in the studied empirical field. In this context, we perceive a relation between the demands of teaching and learning tool in the study field and the ones evidenced in the literature. The results demonstrated that the professors? professional tragetory is associated with their influences from the initial musical formation and their guitar learning since they related conceptions that reflected aspects formation, sometimes converging sometimes divergente. The contentes, methodologies and general aspects are made based on parameters that demonstrate alignment with the perspectives of guitar teaching and learning in the contemporary world to the instrumental player formation. Thus, the study gave a broader diagnosis about the guitar teaching reality, demonstrating the diferences and the singularities between the Technical Course and the Course of Bachelor in Music at UFRN. Thereby, this study provides importante contribution to music education, mainly, through its reflections about the guitar pedagogy.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-03-21T00:03:22Z No. of bitstreams: 1 AnneCharlyenneSaraivaCampos_DISSERT.pdf: 1032724 bytes, checksum: 8712c823a7144d4d35bed9ba85230164 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-03-27T19:21:51Z (GMT) No. of bitstreams: 1 AnneCharlyenneSaraivaCampos_DISSERT.pdf: 1032724 bytes, checksum: 8712c823a7144d4d35bed9ba85230164 (MD5) / Made available in DSpace on 2017-03-27T19:21:51Z (GMT). No. of bitstreams: 1 AnneCharlyenneSaraivaCampos_DISSERT.pdf: 1032724 bytes, checksum: 8712c823a7144d4d35bed9ba85230164 (MD5) Previous issue date: 2016-11-25 / O Est?gio Supervisionado ? uma quest?o discutida no campo da Educa??o Musical como forte instrumento na forma??o docente, em raz?o de aproximar o licenciando com a realidade profissional. Partindo dessa premissa, esta Pesquisa teve como objetivo analisar o processo de constru??o da identidade profissional do docente, especificamente daquele licenciado em M?sica pela Escola de M?sica da Universidade Federal do Rio Grande do Norte (EMUFRN). A metodologia aplicada foi de abordagem qualitativa atrav?s do m?todo do estudo de caso. Como t?cnicas de pesquisa, trabalhou-se com an?lise de documentos, aplica??o de question?rio e entrevista semiestruturada. O referencial te?rico foi embasado nos estudos de Mizukami (2005-2006), N?voa (2009), Pimenta (2012), complementados por autores da Educa??o Musical, como Bellochio (2003), Mateiro; Souza (2014a), Buchmann (2008), Azevedo (2007) e Tourinho (1995), cujas pesquisas focam na forma??o docente. Os participantes da pesquisa foram 4 docentes selecionados das redes p?blica e privada de ensino da cidade de Natal/RN, egressos do curso de Licenciatura em M?sica da EMUFRN formados entre os anos de 2010 e 2014. A an?lise dos dados foi realizada por meio da an?lise de conte?do, abordando quest?es que remetem a uma reflex?o acerca do modelo e procedimentos do Est?gio Supervisionado na EMUFRN. Espera-se com esse Trabalho contribuir de forma significativa na constru??o da identidade do professor de M?sica reconhecendo no Est?gio Supervisionado o espa?o formativo fundamental desse processo. / The Supervised Internship is a question discussed in the field of music education as a powerful tool in teacher training, because of the licensing approach with the professional reality. From this premise, this study aimed to analyze the teaching of professional identity construction process, specifically that graduation of music by Music School of the Federal University of de Rio Grande do Norte (EMUFRN). The methodology was qualitative approach through the case study method. Research techniques, worked with document analysis, quiz and semi-structured interview. The theoretical framework was based on studies of Mizukami (2005-2006), N?voa (2009), Pimenta (2012), supplemented by authors of Music Education as Bellochio (2003), Mateiro; Souza (2014a), Buchmann (2008), Azevedo (2007) and Tourinho (1995), whose research focus on teacher training. The participants were 4 teachers selected from public and private schools in the city of Natal / RN, Music Licensing course of EMUFRN formed between the years 2010 and 2014. Data analysis was performed through content analysis addressing issues that refer to a reflection on the model and procedures of supervised internship in EMUFRN. It is expeceted that with this work significantly contribute in the building of the music teacher recognizing the Supervised Internship elementary formative space of this process.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-04-04T00:24:31Z No. of bitstreams: 1 RodrigoAlvesDeMelo_DISSERT.pdf: 2854650 bytes, checksum: cc9d2efea197cf9ebdab7418f25378c2 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-04-12T21:19:57Z (GMT) No. of bitstreams: 1 RodrigoAlvesDeMelo_DISSERT.pdf: 2854650 bytes, checksum: cc9d2efea197cf9ebdab7418f25378c2 (MD5) / Made available in DSpace on 2017-04-12T21:19:57Z (GMT). No. of bitstreams: 1 RodrigoAlvesDeMelo_DISSERT.pdf: 2854650 bytes, checksum: cc9d2efea197cf9ebdab7418f25378c2 (MD5) Previous issue date: 2016-12-20 / A educa??o infantil ? um campo rico de descobertas, onde a aprendizagem ? constru?da de forma simples e l?dica, de modo a facilitar a compreens?o das crian?as. Em especial, as aulas de m?sica nessa faixa et?ria s?o proporcionadas para uma aprendizagem pr?tica e prazerosa, onde o que importa n?o ? a crian?a decodificar s?mbolos musicais, mas sim, vivenciar a m?sica atrav?s do corpo e da emo??o. Nesse contexto, h? ainda o fato de que existem muitos estudos que tratam da afetividade na aprendizagem de crian?as que s?o assistidas em creches. O presente trabalho buscou mergulhar no universo espec?fico da educa??o musical que acontece em dois Centros de Refer?ncia em Educa??o Infantil da cidade de Jo?o Pessoa-PB analisando a presen?a e o papel da afetividade nas rela??es entre as professoras de educa??o musical e seus alunos. Como aporte te?rico, compreendemos que, segundo Gutman (2015), as crian?as s?o seres fusionais, o que significa que elas se misturam emocionalmente com as pessoas que as cercam. J? as diretrizes, termos e leis que regem a educa??o infantil e defendem a import?ncia de uma educa??o baseada no afeto para o desenvolvimento e aprendizagem da crian?a, ressaltam que a educa??o infantil tem como finalidade o desenvolvimento integral da crian?a em todos os seus aspectos. Al?m destas, encontramos muitas teorias que dissertam acerca da afetividade na aprendizagem, como Piaget e Wallon, que afirmam que quanto menor a crian?a, maior a import?ncia da afetividade para o processo da aprendizagem. Como procedimentos para a investiga??o, observaram-se aulas de m?sica de duas professoras atrav?s de uma pesquisa de campo, com ?nfase qualitativa. Utilizou-se ainda ferramentas como entrevistas com as professoras e grava??es em ?udio das aulas com as crian?as. Ap?s a an?lise dos dados, foram constru?das quatro categorias para descrever o papel da afetividade dentro dos contextos pesquisados: concep??es iniciais sobre afetividade, sobre a afetividade na forma??o do educador musical, a pr?tica docente enquanto espa?o construtor da afetividade, a afetividade presente nas intera??es entre professor e aluno. Os resultados advindos da pesquisa revelam que os professores atuantes nos CREIs, mesmo com pouca forma??o acad?mica sobre o tema, interagem com seus alunos de forma afetuosa, fazendo com que a aprendizagem ocorra em um ambiente onde os alunos se sentem respeitados e acolhidos nas aulas de m?sica. / Early childhood education is a rich field of discovery, where learning is constructed in a simple and playful way, so as to facilitate the understanding of children. In particular, music classes in this age group are provided for practical and enjoyable learning, where it is not the child's job to decode musical symbols but to experience music through the body and emotion. In this context, there is still the fact that there are many studies that deal with the affectivity in the learning of children who are assisted in kindergartens. The present work sought to delve into the specific universe of musical education that takes place in two Reference Centers for Infantile Education in the city of Jo?o Pessoa-PB, analyzing the presence and the role of affectivity in the relations between music education teachers and their students. As a theoretical contribution, we understand that, according to Gutman (2015), children are fusion beings, which means that they mix emotionally with the people that surround them. The guidelines, terms and laws that govern children's education and defend the importance of it for the development and learning of children emphasize that the education of children aims at the integral development of the child in all its aspects. In addition to these, we find many theories that teach about affectivity in learning, such as Piaget and Wallon, which affirm that the smaller the child, the greater the importance of affectivity for the learning process. As procedures for the investigation, music lessons of two teachers were observed through a field research, with qualitative emphasis. We also used tools such as interviews with teachers and audio recordings of classes with children. After analyzing the data, four categories were constructed to describe the role of affectivity within the contexts studied: Initial conceptions about affectivity, affectivity in the formation of the musical educator, the teaching practice as a constructive space of affectivity, the affectivity present in the interactions between teacher and student. The results of the research reveal that teachers who work in CREIs, even with little academic training on the subject, interact with their students affectionately, making learning happen in an environment where students feel respected and welcomed in the classes. music.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-07-04T14:35:27Z No. of bitstreams: 1 MidiamDeSouzaFernandes_DISSERT.pdf: 1201679 bytes, checksum: f412ea839a14182403614443f220d35d (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-07-14T13:50:57Z (GMT) No. of bitstreams: 1 MidiamDeSouzaFernandes_DISSERT.pdf: 1201679 bytes, checksum: f412ea839a14182403614443f220d35d (MD5) / Made available in DSpace on 2017-07-14T13:50:57Z (GMT). No. of bitstreams: 1 MidiamDeSouzaFernandes_DISSERT.pdf: 1201679 bytes, checksum: f412ea839a14182403614443f220d35d (MD5) Previous issue date: 2017-03-31 / Esta disserta??o tem como objetivo analisar o processo de autonomia docente constru?do pelo educador musical egresso do Curso de Licenciatura Plena em M?sica (CLPM) da UFRN, a partir do Est?gio Supervisionado. ? uma Pesquisa de base qualitativa, com fundamenta??o te?rica baseada no di?logo com autores como Freire (2014), Pimenta (2012), Contreras (2002) e Zatti (2007). A inser??o da pesquisadora no campo deu-se a partir do cumprimento do componente curricular Est?gio Supervisionado I pelo CLPM ofertado pela UFRN, no per?odo de 2014.1, tendo assim por via desta viv?ncia, adquirido certa experi?ncia para com o p?blico alvo referido. Esta pesquisa foi realizada com 6 egressos do referido Curso que cumpriram o componente curricular referente ao Est?gio Supervisionado I (na Educa??o Infantil) nos per?odos de 2013.1 e 2014.1. A partir do est?gio realizado em contextualiza??es diversas de Educa??o Infantil, foi investigado como se estruturou o processo inicial de autonomia docente do educador musical que fez o seu Est?gio Supervisionado direcionado ? Educa??o Infantil nestes contextos. Dessa forma, o Est?gio Supervisionado ? percebido como uma pr?tica que proporciona posturas aut?nomas e que ressignifica a??es da pr?tica pedag?gica, compondo assim um repert?rio did?tico que favorece a a??o do estagi?rio junto ao compromisso com a qualidade do trabalho que desenvolver? ap?s sua forma??o inicial. Como t?cnica de pesquisa, foi aplicado um question?rio aberto acerca da contextualiza??o entre seus est?gios e o locus aonde os est?gios foram cumpridos, bem como atrav?s da an?lise de relat?rio de est?gio e da pr?pria estrutura curricular do CLPM / UFRN. Os resultados da pesquisa deram-se por uma an?lise de conte?do baseada nas fundamenta??es de Bardin (2011). Por meio desta investiga??o, conhecemos as experi?ncias profissionais vivenciadas pelos egressos do CLPM da UFRN, que contribu?ram para a constru??o de uma autonomia docente a partir da inser??o destes estagi?rios nas escolas de Educa??o Infantil, experi?ncias estas, que marcaram a vida inicial destes (as) educador (as). Os (as) participantes desta pesquisa s?o jovens rec?m-formados (as) que est?o agora a adentrar oficialmente no universo da doc?ncia. Esta pesquisa tamb?m traz considera??es sobre a inf?ncia, onde s?o tra?ados di?logos com autores envolvidos no processo do educar nesta fase de aprendizagem. Os di?logos tra?ados apontam a crian?a como um ser social, bem como tra?a um breve hist?rico sobre o per?odo da Educa??o Infantil. / This dissertation aims to analyze the process of teacher autonomy built by the musical educator graduated from the course of Full Licenciate in Music (CLPM) of UFRN, from the supervised stage. It is a qualitative research, with a theoretical basis based on dialogue with authors such as Freire (2014), Pimenta (2012), Contreras (2002) and Zatti (2007). The insertion of the researcher in the field was based on the completion of the curricular component Supervised Stage I by CLPM offered by UFRN, in the period of 2014.1. Of this experience, acquired certain experience with the target public referred to. This research was carried out with six graduates of this Course who fulfilled the curricular component related to Supervised Internship I (in Early Childhood Education) in the periods of 2013.1 and 2014.1. From the stage realized in diverse contextualizations of Early Childhood Education, it was investigated how the initial process of teacher autonomy of the Musical Educator was structured that made its supervised stage directed to Early Childhood Education in these contexts. In this way, the supervised stage is perceived as a practice that provides autonomous postures and that resigns actions of the pedagogical practice, thus composing a didactic repertoire that favors the action of the trainee along with the commitment to the quality of the work that will develop after his initial formation. As a research technique, an open questionnaire was used about the contextualization between is stages and the locus where the stages were fulfilled, as well as through the analysis of the internship report and the CLPM / UFRN curriculum structure. The results of the search were based on a content analysis based on the foundations of Bardin (2011). Through this research we know the professional experiences experienced by the graduates of the undergraduate CLPM of UFRN, who contributed to the construction of a teaching autonomy from the insertion of these trainees in the schools of Early Childhood, impressions these, which marked the initial life of these educators. The participants of this research are young graduates who are now officially entering the universe of teaching. This research also brings considerations about childhood, where dialogues are drawn with authors involved in the process of educating in this phase of learning. The dialogues traced the child as a social being, as well as a brief history about the period of Early Childhood Education.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-04-26T21:11:19Z No. of bitstreams: 1 WashingtonNogueiraDeAbreu_DISSERT.pdf: 2669178 bytes, checksum: 114705635bc5ae06f5c42f6f44a70fe9 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-04-29T23:23:10Z (GMT) No. of bitstreams: 1 WashingtonNogueiraDeAbreu_DISSERT.pdf: 2669178 bytes, checksum: 114705635bc5ae06f5c42f6f44a70fe9 (MD5) / Made available in DSpace on 2016-04-29T23:23:10Z (GMT). No. of bitstreams: 1 WashingtonNogueiraDeAbreu_DISSERT.pdf: 2669178 bytes, checksum: 114705635bc5ae06f5c42f6f44a70fe9 (MD5) Previous issue date: 2015-05-27 / A Educa??o Musical est? presente na Educa??o B?sica em seus diversos n?veis de aprendizagem. Neste trabalho, destaca-se o ensino de m?sica no ensino fundamental, ministrado por professores especialistas em m?sica. Este trabalho tem como objetivo geral identificar e analisar concep??es dos educadores musicais sobre o ensino de m?sica no Ensino Fundamental em escolas p?blicas municipais da Cidade do Natal/RN. Os objetivos espec?ficos s?o: identificar como se constitui o ensino de m?sica nas escolas p?blicas municipais da cidade do Natal; identificar o perfil dos professores de m?sica que atuam no ensino fundamental da cidade do Natal; relacionar as experi?ncias da forma??o do educador musical com o ensino de m?sica. A fundamenta??o te?rica est? embasada em autores que tratam da fun??o da m?sica na escola, saberes docentes, concep??es do educador musical na educa??o b?sica. A metodologia utilizada foi ? abordagem qualitativa que esclareceu a problem?tica da pesquisa: quais s?o as concep??es dos educadores musicais sobre o ensino de m?sica no ensino fundamental em escolas p?blicas municipais da Cidade do Natal? Essa pesquisa foi feita com educadores musicais, formados em licenciatura em m?sica ou educa??o art?stica com habilita??o em m?sica, da rede municipal de ensino da cidade do Natal/RN. O levantamento dos dados foi constru?do atrav?s de question?rio e entrevista semiestruturada. Os resultados foram sinalizados a partir da an?lise do discurso dos educadores, dialogando com autores que cujos estudos versam sobre as concep??es do educador musical na Educa??o B?sica. Eles apontam para uma diversidade de concep??es relacionadas ao ensino e aprendizagem de m?sica no ensino fundamental, em todas as suas dimens?es: planejamento, conte?dos, pr?tica, avalia??o e forma??o humana. O ensino de m?sica na cidade do Natal est? se solidificando por ter educadores musicais que se preocupam com sua forma??o, reflex?o e a??o na aprendizagem do educando, sendo contextualizado com a realidade de cada escola. / Music education is present in basic education at various levels of learning and this essay stands out teaching music in elementary school taught by specialist music teachers. This essay has as its main purpose to identify and analyze conceptions of music educators on teaching music in elementary public schools in Natal/RN. The specific goals are: identify how consists the music teaching in Natal public schools; identify the profile of music teachers working in Natal elementary schools; the experiences of music educator?s formation with music education. The theoretical foundation is based on authors that deal with the function of music in school, teaching knowledge and notions of music educator in basic education. The methodology used was the qualitative approach that clarified the issue of research: what are the ideas of music educators on teaching music in elementary public education in Natal schools? This research was done with music educators teaching in Natal with a music degree or art education with major in music. The data collection was built through a questionnaire and semi-structured interview. The results were expressed from the analysis of educators' discourse while in dialogue with authors who study the conceptions of music educator in basic education. They point to a variety of concepts related to teaching and learning music in primary education in all its dimensions: planning, content, practice, evaluation and human formation. The music education in Natal is improving by having music educators who care about their education, thoughts and action on the students? learning, contextualized with the reality of each school.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2018-02-15T12:58:33Z No. of bitstreams: 1 FranciscoCanindeDeMedeirosSena_DISSERT.pdf: 1837045 bytes, checksum: de4804deff52b6480ce966358267ce75 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2018-02-19T23:32:14Z (GMT) No. of bitstreams: 1 FranciscoCanindeDeMedeirosSena_DISSERT.pdf: 1837045 bytes, checksum: de4804deff52b6480ce966358267ce75 (MD5) / Made available in DSpace on 2018-02-19T23:32:14Z (GMT). No. of bitstreams: 1 FranciscoCanindeDeMedeirosSena_DISSERT.pdf: 1837045 bytes, checksum: de4804deff52b6480ce966358267ce75 (MD5) Previous issue date: 2017-12-01 / Este Trabalho apresenta um estudo sobre a Educa??o Musical t?cnica, de n?vel m?dio, no Rio Grande do Norte (RN), atrav?s das a??es de interioriza??o da Escola de M?sica da Universidade Federal do Rio Grande do Norte (EMUFRN) em Flor?nia / RN, por meio do Curso T?cnico em Instrumento Musical do Programa Nacional de Acesso ao Ensino T?cnico e Emprego (PRONATEC). Pesquisa sobre a forma??o musical de estudantes participantes da disciplina de Linguagem e Estrutura??o Musical, ofertada dentro do referido Programa e o impacto dessa forma??o no cotidiano das suas vidas na regi?o Serid? norte-rio-grandense. Este Programa tem propiciado ? difus?o da cultura musical de pequenas comunidades e artistas no interior do RN, possibilitando reconhecimento ampliado do valor art?stico e cultural de pr?ticas e servi?os. O m?todo de investiga??o utilizado foi a Pesquisa-A??o e os instrumentos de coleta de dados empregados foram a aplica??o de question?rios, entrevistas e a an?lise de conte?do. Como fundamenta??o te?rica, foi realizada uma pesquisa bibliogr?fica sobre a literatura relacionada ? Educa??o Musical t?cnica de n?vel m?dio, sobre o processo de interioriza??o, sobre o PRONATEC e sobre o estudo da linguagem e estrutura??o musical. Entre outros autores estudados, destaca-se Oliveira (2013), Carmona (2017), Thiollent (2011), Esperidi?o (2002) e Correia (2011). Este estudo traz, como contribui??o para a ?rea da Educa??o Musical, novas abordagens para o ensino da linguagem e estrutura??o musical, bem como abre caminhos para outras pesquisas na ?rea da forma??o musical obtida em programas destinados ao ensino t?cnico musical. Para a ?rea de Educa??o Musical, este Trabalho vem abrir expectativas para novos horizontes de pesquisa, partindo de investiga??es sobre novos espa?os poss?veis para a forma??o musical, a exemplo das filarm?nicas e dos Cursos T?cnicos, de n?vel m?dio, em M?sica. / This work presents a study on the technical Music Education, of middle level, in Rio Grande do Norte (RN), through the internationalization actions of Escola de M?sica da Universidade Federal do Rio Grande do Norte (EMUFRN) in Flor?nia / RN, through the Technical Course in Musical Instrument of the National Program of Access to Technical Education and Employment (PRONATEC). Research also on the musical training of the students participating in the Language and Structural Musical discipline, offered within the said Program and the impact of this training in the daily life of their lives in the region Serid? norte-rio-grandense. This Program has promoted the diffusion of the musical culture of small communities and artists within the RN, allowing for an expanded recognition of the artistic and cultural value of practices and services. The research method used was Action Research and the instruments of data collection used were the application of questionnaires, interviews and content analysis. Theoretically, a bibliographical research was carried out on the literature related to the technical musical education of medium level, on the process of internalization, on PRONATEC and on the study of language and musical structuring. Among other authors, stands out Oliveira (2013), Carmona (2017), Thiollent (2011), Esperidi?o (2002) and Correia (2011). This study brings as a contribution to the area of Music Education, new approaches to language teaching and musical structuring, as well as opens paths to other researches in the area of musical training obtained in Programs intended for musical technical education. For the musical education area, this work opens up expectations for new horizons of research, starting from investigations into new possible spaces for musical formation, such as the philharmonic and the technical, middle level, courses in Music.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-04-04T00:24:32Z No. of bitstreams: 1 ValdierRibeiroSantosJunior_DISSERT.pdf: 2137409 bytes, checksum: 9ecf83751a3832b44931b211e7718a1a (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-04-12T21:34:25Z (GMT) No. of bitstreams: 1 ValdierRibeiroSantosJunior_DISSERT.pdf: 2137409 bytes, checksum: 9ecf83751a3832b44931b211e7718a1a (MD5) / Made available in DSpace on 2017-04-12T21:34:25Z (GMT). No. of bitstreams: 1 ValdierRibeiroSantosJunior_DISSERT.pdf: 2137409 bytes, checksum: 9ecf83751a3832b44931b211e7718a1a (MD5) Previous issue date: 2016-12-19 / Os diversos espa?os em que os m?sicos transitam em busca da sua forma??o s?o assuntos em debate na atualidade. Diante disso, a Educa??o Musical, pensada como a ?rea que contempla o estudo e os processos de forma??o em m?sica, certamente est? atenta em perceber os distintos ambientes em que acontece a aprendizagem musical. Com foco nessa busca, o presente trabalho tem o objetivo de aprofundar a compreens?o acerca das distintas dimens?es formativas dos m?sicos populares. Nesse sentido, proponho compreender a forma??o musical dos instrumentistas Eduardo Taufic e Jubileu Filho, sujeitos da pesquisa. O trabalho traz uma revis?o de literatura com o fito de evidenciar o estado do conhecimento sobre o tema. A fundamenta??o te?rica proporciona uma media??o no debate, apontando as infer?ncias dos autores em constantes interlocu??es com o campo. O estudo de caso com a abordagem qualitativa ? o procedimento metodol?gico proposto. Na fase de coleta de dados, foram usados o question?rio eletr?nico, a observa??o direta, o caderno de campo e a entrevista semiestruturada. A organiza??o e, posteriormente, a an?lise dos dados foram materializadas sob a ?tica da an?lise textual discursiva. A constru??o textual das an?lises foi objetivada a partir de tr?s pontos centrais: forma??o musical inicial, forma??o musical em distintos espa?os e forma??o musical em contextos de profissionaliza??o. Diante disso, a categoriza??o oportunizou a compreens?o sobre os diversos espa?os formativos em que m?sicos populares transitam desde os seus primeiros contatos espont?neos com a m?sica at? a fase da atua??o profissional. Os resultados obtidos revelam que os m?sicos populares est?o imersos em diferentes espa?os formativos, assumindo caracter?sticas sazonais. Esses espa?os est?o acess?veis desde os primeiros contatos com o material sonoro at? a fase formativa. / The diverse environments that musicians transit when in search for their formation are subjects debated nowadays. Considering that the Music Education thought as an area that contemplates the study and the process of music graduation certainly perceives the different environments in which the musical learning occurs. Focusing on it, this paper aims to deepen the understanding about the formative environment of popular musicians. In that sense, I submit to understand the musical formation of the instrumentalists Eduardo Taufic and Jubileu Filho, both subjects of this study. This paper brings a literature revising that aims to highlight the knowledge about the subject. The theoretical foundation provides a mediation on the debate, pointing the authors? inferences in constant interlocutions with the field. The case study with qualitative approach is the methodological procedure used. During the data collection, electronic questionnaires, direct observation, a notebook and an open-ended interview were used. The organization, and eventually, the analysis of the data were materialized under the discursive textual analysis. The textual analysis construction was thought from three central points: initial musical formation, musical formation in different environments and musical formation in professionalization contexts. In light of this, the classification allowed the understanding about the different formative environments in which popular musicians transit through from their first spontaneous contact with music to their professional performance. The results reveal the complexity of the formation of popular musicians. That formation is utterly connected to the practice in different environments. In this case, the social environment revealed itself as a strong motivating agent, especially for the spontaneous treatment that music assumed in those spaces. In addition, family, friends, teacher, technological resources, work environment, musical tests were certainly the great responsible for the musical formation of the popular musicians studied in this paper.

Submitted by Sandra Pereira (srpereira@ufrrj.br) on 2016-10-25T11:52:39Z No. of bitstreams: 1 2016 - JEANE COLARES DA SILVA.pdf: 2303490 bytes, checksum: caa6d64d65e5cd48174ecbf66393cd63 (MD5) / Made available in DSpace on 2016-10-25T11:52:39Z (GMT). No. of bitstreams: 1 2016 - JEANE COLARES DA SILVA.pdf: 2303490 bytes, checksum: caa6d64d65e5cd48174ecbf66393cd63 (MD5) Previous issue date: 2016-03-23 / This essay is a research that shows some experiences with Ticuna indigenous groups, from Tabatinga city, Amazonas, in Alto Solim?es region, on the triple frontier between Brazil, Peru and Colombia. It describes, through the music aspect, how the educational practices transmit the cultural values,like language, habits, mythology, cosmology and all the elements which determines their culture and define their ethnicity. In this cultural universe the song from the young lade ritual was elected, for being a child song and a rite of passage from childhood to adulthood specific for girls from Mag?ta community, because it essentially presents a pedagogical character. At first, some ethnological concepts were used to understand and distinguish the indigenous education and the indigenous scholar education. Among the bibliographic reference consulted, there are important information sources to study Mag?ta people, written by authors like Jo?o Pacheco de Oliveira, Roberto Cardoso e Abel Ant?nio Santos. Many different methodology instruments of research such as bibliographic research and the observation of the participants were used. Were examined the historical processes inside the social movements and the indigenous movements which contributed to guarantee the educational rights to the Brazilian autochthones people. The music taught at school is historically a conquest of innumerous social movements. This research will talk about all this issues in the music teach, verifying its convergence about the indigenous scholar emancipation. The aim is to study deeply specific educational issues and analyze the conceptual ways of education that could be presented in the teach-learning practices. The indigenous song and specifically the Mag?ta indigenous song, were analyzed contextualizing the current musical practices concepts in the national culture. At last, it is possible to verify that the music educational practice that many educators fight to be installed in the Brazilian educational system is extensively involved in Mag?ta?s educational practice in Alto Solim?es region, because the music is an important pedagogical way to transmit the knowledge practiced by them. / Apresentamos neste trabalho uma pesquisa que visa expor experi?ncias com grupos ind?genas da etnia Ticuna, no Amazonas, na regi?o do Alto Solim?es, especificamente no munic?pio de Tabatinga, localizado na tr?plice fronteira entre Brasil, Col?mbia e Peru. Trata da descri??o de como se d? a pr?tica de ensino no sentido da transmiss?o dos valores culturais que definem essa etnia identitariamente como a l?ngua, costumes, mitologia, cosmologia e demais elementos determinantes em sua cultura, atrav?s da m?sica. Nesse universo cultural elegemos a m?sica ritual da festa da mo?a nova, por apresentar essencialmente um car?ter pedag?gico, sendo este um ritual de passagem para meninas da comunidade e a m?sica infantil Mag?ta, que ? amplamente utilizada como ferramenta de ensino entre os ind?genas. Como ponto de partida utilizamos conceitos etnol?gicos para compreender e diferenciar a educa??o ind?gena e a educa??o escolar ind?gena. Entre os autores consultados nas refer?ncias bibliogr?ficas constam importantes fontes para o estudo especificamente do povo1 Mag?ta como Jo?o Pacheco de Oliveira, Roberto Cardoso e Abel Ant?nio Santos. Foram utilizadas v?rias ferramentas de metodologia de pesquisa como a pesquisa bibliogr?fica e o trabalho de campo com observa??o participante. Procuramos conhecer os processos hist?ricos contidos a partir de movimentos sociais e os movimentos ind?genas que em muito contribu?ram para garantir o direito a educa??o dos povos aut?ctones brasileiros. No caso do ensino de m?sica na escola, historicamente ? fruto de conquista de in?meros movimentos sociais e partindo dessa tem?tica gostar?amos de abordar tais quest?es para o ensino de m?sica, verificando sua converg?ncia quanto a quest?o da emancipa??o escolar ind?gena. Buscamos estudar com maior profundidade quest?es espec?ficas da educa??o. Neste sentido, fomos analisar todas as formas conceituais de educa??o que poderiam estar contidas nesta pr?tica de ensino-aprendizagem. Analisamos a m?sica ind?gena, e a m?sica ind?gena Mag?ta, de forma a contextualizar com os conceitos vigentes do fazer musical, na cultura nacional. Enfim temos verificado que a pr?tica da Educa??o Musical, que muitos educadores lutaram para que fosse implantado no sistema de ensino brasileiro, est? muito presente na pr?tica de educa??o do povo Mag?ta aqui no Alto Solim?es, pois a m?sica ? um caminho de grande valor pedag?gico para transmiss?o de conhecimentos praticados por eles