Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-04-01T19:33:09Z No. of bitstreams: 1 AndersonnHenriqueSimoesDeAraujo_DISSERT.pdf: 1873089 bytes, checksum: 5f6493521069afa1f4890c7c60a46e2f (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-04-06T23:31:54Z (GMT) No. of bitstreams: 1 AndersonnHenriqueSimoesDeAraujo_DISSERT.pdf: 1873089 bytes, checksum: 5f6493521069afa1f4890c7c60a46e2f (MD5) / Made available in DSpace on 2016-04-06T23:31:54Z (GMT). No. of bitstreams: 1 AndersonnHenriqueSimoesDeAraujo_DISSERT.pdf: 1873089 bytes, checksum: 5f6493521069afa1f4890c7c60a46e2f (MD5) Previous issue date: 2015-02-20 / Com o tema ensino de m?sica em projetos sociais governamentais, este trabalho discute as concep??es do ensino de m?sica que permeiam as pr?ticas educativo-musicais presentes no Servi?o de Conviv?ncia e Fortalecimento de V?nculos, do Complexo Dom Bosco, em NatalRN. Objetiva-se refletir sobre as concep??es do ensino de m?sica e as rela??es entre as trocas de conhecimentos musicais e a cultura. Para isso, problematizam-se as concep??es de ensino e aprendizado de m?sica nos projetos sociais governamentais atrav?s de pesquisa de referenciais te?ricos e da investiga??o em campo. Ap?s essa etapa, estudam-se os aspectos culturais que participam do cotidiano das institui??es que influenciam no aprender m?sica no Servi?o de Conviv?ncia e Fortalecimento de V?nculos, e como tais aspectos se fazem presentes na constitui??o dos paradigmas que envolvem o ensino de m?sica. Para isso, foi empregada a abordagem qualitativa e o estudo de caso como tipo de pesquisa. Como ferramenta de capta??o de dados utilizou-se o registro etnogr?fico, fotogr?fico, realiza??o de entrevistas com a Facilitadora de m?sica e com os usu?rios do servi?o, grava??es de ?udio e v?deo de situa??es de aprendizagem musical. Para o aporte te?rico, buscaram-se autores que estudam a complexidade, cultura e ensino de m?sica em projetos socioassistenciais. Por fim, conclui-se que a aprendizagem musical, dentro do SCFV, ? envolto em concep??es culturais que se remetem ao espa?o do Orat?rio Dom Bosco e ao mesmo tempo a pol?tica p?blica socioassistencial. Sendo por vezes conflitantes, as concep??es como disciplina, protagonismo e combate ? exclus?o social se remetem ao holograma cultural dial?gico das institui??es envolvidas no processo educativo. / This present research focus at the teaching of music in social programs, it discuss about the teaching concepts that permeates the educational-musical practice presents in Servi?o de Conviv?ncia e Fortalecimento de V?nculos (SCFV), of Complexo Dom Bosco, in Natal-RN. The Objective is to reflect upon the music teaching concepts and the relations between musical knowledge and culture. For this, it was problematized the concepts of music teaching and learning in governmental social projects through theoretical and empirical research. After this step, it was studied the cultural aspects involving the routine in the institutions the influenced the music learning at Servi?o de Conviv?ncia e Fortalecimento de V?nculos, furthermore, and how these aspects are present in the constitution of the paradigms that involve music teaching. For this, it was used a qualitative approach and a case study as type of research. As data capture tool it was used the ethnographic write, photography, interviews as a Facilitator of music with the students of the program, and video recordings of musical learning situations. Theoretical support it was used authors who study the complexity, culture and music teaching in social projects. Finally, the conclusion is that musical learning, in the SCFV context, is involved of cultural conceptions steeped to the Orat?rio Dom Bosco space and the same time the Brazilian Social Assistance Policy. Sometimes these concepts are contradictory: discipline, leadership and combat social exclusion refer to dialogical cultural hologram of the institutions involved in the music education process.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-06-23T20:37:08Z No. of bitstreams: 1 GueidsonPessoaDeLima_DISSERT.pdf: 3461910 bytes, checksum: 4631ed5f23c75690db6741d51d776e70 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-06-27T21:52:36Z (GMT) No. of bitstreams: 1 GueidsonPessoaDeLima_DISSERT.pdf: 3461910 bytes, checksum: 4631ed5f23c75690db6741d51d776e70 (MD5) / Made available in DSpace on 2016-06-27T21:52:36Z (GMT). No. of bitstreams: 1 GueidsonPessoaDeLima_DISSERT.pdf: 3461910 bytes, checksum: 4631ed5f23c75690db6741d51d776e70 (MD5) Previous issue date: 2015-07-31 / O presente estudo centra-se no desenvolvimento de atividades pedag?gicas no Ensino de M?sica, a fim de viabilizar o conhecimento musical de alunos surdos e ouvintes, sob uma perspectiva bil?ngue, na escola regular. Os poucos estudos existentes na ?rea da M?sica e Surdez est?o centrados nos contextos de educa??o especial, direcionando o trabalho especificamente ao aluno surdo, havendo, no entanto, a emerg?ncia para a perspectiva de apreender tal quest?o em contexto inclusivo, atuando empiricamente no ch?o da escola. Desse modo, desenvolvemos nosso estudo em uma escola da rede municipal da cidade de Natal, junto a uma turma do 6? ano do Ensino Fundamental, composta por 37 alunos, sendo 3 surdos; tendo por objetivo, desenvolver uma proposta de interven??o pedag?gica no Ensino de M?sica, sob a perspectiva bil?ngue, contemplando alunos surdos e ouvintes, em um contexto de escola regular, respaldados nos aportes te?ricos apresentados por Penna (2010), Brito (2001) e Fonterrada (2008), no que tange ? educa??o musical; e Haguiara-Cervellini (2003), Finck (2009) e Louro (2006), no que se refere ? perspectiva do ensino inclusivo de m?sica. Na busca de atingir tal objetivo, desenvolvemos uma proposta de interven??o, com base nos ditames metodol?gicos da pesquisa interven??o, fundamentados nos estudos de Jobim e Souza (2011), ? luz das concep??es te?ricas de Mikhail Bakhtin, reconhecendo que o conhecimento ? produzido pela intera??o entre sujeitos, de maneira dial?gica e alterit?ria. Tal metodologia foi materializada na realiza??o de oficinas pedag?gicas, entendidas como espa?os de constru??o de saberes que mobilizam ludicamente todos os envolvidos em atividades de experimenta??o musical. Do ponto de vista do conte?do, tais oficinas centraram-se no Pulso e no Ritmo, elementos b?sicos da educa??o musical, enfocando que a percep??o e a sensibiliza??o, centradas em tais elementos, n?o se limitam ? condi??o sensorial auditiva do aluno, na medida em que se elege o corpo como agente de apreens?o e de express?o. Assim, iniciamos nosso percurso de trabalho partindo da identifica??o e da percep??o do pulso, a partir do pr?prio corpo e do corpo do colega, representando-o por meio de express?es e movimentos. A partir da?, esse pulso, do corpo foi expandido para um instrumento r?tmico, o qual, em seguida, foi representado graficamente em fichas r?tmicas, num processo de leitura e de produ??o; at? chegarmos ? aula-apresenta??o do grupo musical De Pau e Lata. Em nossas an?lises, frente aos desafios e possibilidades do estudo, pudemos constatar a participa??o, de maneira satisfat?ria, de todos os alunos, realizando as atividades propostas nas aulas, questionando quando n?o compreendiam, se posicionando quando achavam necess?rio, opinando sobre o trabalho realizado, avaliando as oficinas ministradas, interagindo, auxiliando-se nas atividades, construindo conhecimento juntos, experimentando e experienciando corporalmente elementos musicais em atividades aplicadas a ambos os grupos. Tais indicativos nos conduzem a explicitar a viabilidade do ensino de m?sica para surdos e ouvintes, em uma perspectiva bil?ngue, tendo como refer?ncia as experi?ncias corporais e o respeito ?s singularidades comunicativas e culturais dos envolvidos, assegurando, tamb?m, o agenciamento da L?ngua de Sinais como mediadora do processo ensino-aprendizagem. / The present study focuses on the development of pedagogical activities in Music Teaching, aiming to enhance the accessibility of musical knowledge for both deaf and hearing students, using a bilingual approach in regular schools. Few studies address Music and Deafness, and those that do focus exclusively on the context of special education, and specifically the deaf student, which signals the urgent need for conducting research on this issue in the context of inclusion ? empirically and carried out on school grounds. Therefore, we developed our study at a Natal City Public Elementary school, in a class of 6th graders, comprised of 37 students, 3 of whom were deaf. The objective of the study was to develop a proposal for a pedagogical intervention in Music Teaching, using a bilingual approach, with deaf and hearing students, in the context of regular school classes. The research is based on the theoretical framework presented in Penna (2010), Brito (2001) and Fonterrada (2008), with reference to music education, and Haguiara-Cervellini (2003), Finck (2009) and Louro (2006), with reference to inclusion in teaching music. To achieve this objective, we developed a proposal for intervention based on the methodological dictates of intervention research, presented in studies by Jobim and Souza (2011) in light of the theoretical concepts posited by Mikhail Bakhtin, which assert that knowledge is produced through interaction between subjects, dialogically and through alterity. This methodology was carried out in pedagogical workshops, conceived as spaces for the construction of knowledge, mobilizing participants to engage in ludic activities of musical experimentation. Content covered in these workshops focused on Pulse and Rhythm ? basic elements in music education ? demonstrating that awareness about and sensitivity to these elements is not limited to the auditory sensory perception of the student, once the entire body is used as an agent of acquisition and expression. Thus, we began the trajectory of our research from the starting point of the identification and perception of ?Pulse?, using one?s own body and the body of classmates, representing it through physical expressions and movement. Subsequently, this Pulse was extended from the body to a percussion instrument, and was then represented graphically as lines of rhythm, constituting a process of reading and writing; ultimately the intervention culminated in the class presentation with the musical group De Pau e Lata (Stick and Can). In our analysis, faced with the challenges and possibilities presented in our study, findings showed satisfactory results with regard to the participation of all of the students: completing the activities proposed in the class, asking questions when they did not understand, positioning themselves when they thought it necessary, expressing opinions about the work completed, evaluating the workshops given, interacting, helping in the activities, constructing knowledge collaterally, experimenting and experiencing musical elements through the body in activities that applied to both groups (deaf and hearing) in the one class. These indications elucidate the viability of teaching music to deaf and hearing students, using a bilingual approach, and based on experiences with the body and communicative and cultural specificities involved, confirming, as well, the role of Sign Language as a mediator in the teaching/learning process.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-04-01T19:33:10Z No. of bitstreams: 1 PriscilaGomesDeSouza_DISSERT.pdf: 2467052 bytes, checksum: 4ccb84b9097135272dc9211c135c14a7 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-04-07T19:18:09Z (GMT) No. of bitstreams: 1 PriscilaGomesDeSouza_DISSERT.pdf: 2467052 bytes, checksum: 4ccb84b9097135272dc9211c135c14a7 (MD5) / Made available in DSpace on 2016-04-07T19:18:09Z (GMT). No. of bitstreams: 1 PriscilaGomesDeSouza_DISSERT.pdf: 2467052 bytes, checksum: 4ccb84b9097135272dc9211c135c14a7 (MD5) Previous issue date: 2015-02-25 / Este estudo tem como objetivo investigar a m?sica e a educa??o musical existente no Templo Central da Igreja Evang?lica Assembleia de Deus do Natal/RN. A quest?o da pesquisa indaga sobre como s?o as pr?ticas musicais, o ensino e a aprendizagem musical que acontece neste local. Utilizei a abordagem qualitativa realizando um estudo de caso. O referencial te?rico amparou-se em Arroyo (1999, 2000a, 2000b, 2002), Kraemer (2000), Souza (1996), Souza (2000, 2008, 2009), Green (1997), Queiroz (2004a, 2004b, 2005, 2007, 2010, 2011, 2013), Geertz (1989), Nettl (1992) e Merrian (1964). Realizei entrevistas semiestruturadas e observa??o participante com a dire??o do departamento de m?sica, coordena??o pedag?gica, alunos, professores, m?sicos e regentes da igreja. O estudo revelou que a rela??o entre m?sica e ensino est? al?m de apenas uma forma??o musical, existem muitas rela??es que se estabelecem, como f?, cren?a em Deus e devo??o. Identificou-se que as concep??es de m?sicos e regentes pensam o ensino de m?sica na igreja para tocar nos cultos e louvar a Deus. Na forma??o musical dos alunos, foi trabalhado n?o apenas conte?dos musicais; compreendeu-se que a m?sica ? mediadora de significados que v?o al?m de viv?ncias e pr?ticas musicais; que a adora??o a Deus e o culto religioso caracterizam as pr?ticas musicais e seus reflexos s?o diretos nas aulas de m?sica. A pesquisa contribui para uma reflex?o e entendimento da m?sica e a educa??o musical que acontece na igreja evang?lica e uma compreens?o maior na rela??o entre a educa??o musical e o contexto cultural onde acontece. / This study aims to investigate the music and the existing music education in Central Temple of the Evangelical Assembly of God Church of Natal/RN. The research question asks how are the musical practices, teaching and learning music that happens in this place. I used the qualitative approach conducting a case study. The theoretical framework were Arroyo (1999, 2000a, 2000b, 2002), Kraemer (2000), Souza (1996), Souza (2000, 2008, 2009), Green (1997), Queiroz (2004a, 2004b, 2005, 2007, 2010, 2011, 2013), Geertz (1989), Nettl (1992) and Merrian (1964). I conducted semi-structured interviews and participant observation with the direction of the music department, teaching coordination, students, teachers, musicians and conductors of the church. The study revealed that the relationship between music and education is beyond just a musical training, there are many relationships established as faith, belief in God and devotion. It was found that the views of musicians and conductors think the music teaching in the church to play in worship and praise God. In the musical training of students, he was working not only musical content; It was understood that music is a mediator of meanings that go beyond experiences and musical practices. The worship of God and the worship featuring musical practices and their effects are direct music classes. The research contributes to reflection and understanding of music and music education happens in the evangelical church and a greater understanding in the relationship between music education and the cultural context where it happens.