Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2016-09-16T18:27:23Z No. of bitstreams: 1 Cícera Vanessa Maia.pdf: 2746848 bytes, checksum: 656dfad8f5f006c37ac062a59a97290e (MD5) / Made available in DSpace on 2016-09-16T18:27:23Z (GMT). No. of bitstreams: 1 Cícera Vanessa Maia.pdf: 2746848 bytes, checksum: 656dfad8f5f006c37ac062a59a97290e (MD5) Previous issue date: 2016-05-02 / The research initiated when observing a phenomenon in the classroom and when searching for understanding this processes that was taking place during classes of Performing Arts, through experiences of students in front of the mirrors. Therefore, there was the need to find scholars who could support such knowledge. It was then that the phenomenological method, from Goethe, expanded research offering students freedom in the process and intensifying the observation of the phenomena. Firstly, throughout a period of fifteen years the role of the mirror in the Theatre Group of Centro Federal de Educação Tecnológica (CEFET-MG) is reported by analyzing aspects of the context of each scene and the tool used by the group of actors. Supportive sources of knowledge and theatrical techniques that established the trajectory of the group during this first part, were theater’s authors, such as Boal, Brechet, Koudela, Spolin. Other authors being, Sartre, Ponty, Ostrower were examined to assist in the understanding of subjective interpretation processes, as well as to describe the object of research, to deepen in the concept of image and in the action of the students when seeing themselves in mirrors in the room. During the experiment, the adaptations to the process were taken note and the mirror tool described throughout the steps of formatting the class method. To this point, the methodology chosen was ethnography based on the autobiographical narrative that can take the phenomenon and its processes to an empirical research. Duvignaud, Morin, are authors who have made the languages of dialogue processes and phenomena. In phenomenology, the seven steps are very clear principles that have been experienced, first, by the researcher and then systematized into steps of enjoyment between students and mirrors, and, only later, to systematize the phases of method. The author that supported this study was Bach Jr., when clearly presenting, the phases of Goethe's phenomenological. The research, after presenting the method and its applicability proven in the past ten years, presents a format that might be a menu for the discipline of Performing Arts / A pesquisa partiu dos fenômenos observados em sala de aula e na busca do entendimento dos processos que ocorriam nas aulas de Artes Cênicas a partir das vivências dos alunos frente aos espelhos. Buscamos teorias que pudessem ampliar meus conhecimentos. Foi então que o método Fenomenológico, de Goethe, amparou a intensificação na observação da pesquisadora aos fenômenos. Primeiramente, durante quinze anos a função do espelho no Grupo de Teatro do Centro Federal de Educação Tecnológica (CEFET-MG), são analisados os aspectos do contexto da cena como a ferramenta utilizada pelos atores do grupo. Nesse percurso, os autores de teatro Boal, Brecht, Koudela e Spolin, como fontes de conhecimento e técnicas teatrais, estabeleceram a trajetória do grupo. Na segunda parte, a Fenomenologia e sua Epistemologia foram incorporadas como base para a compreensão dos passos, na sistematização do processo observado e a intuição como experimentação da pesquisadora. Outros autores, Ricoeu, Sartre, Ponty e Ostrower, foram visitados para auxiliar a compreensão da subjetividade, interpretar os processos, descrever o objeto da pesquisa e aprofundar o conceito de imagem, na ação dos alunos quando eles se veem nos espelhos na sala. Na ação do experimento, as adaptações ao processo iam sendo aferidas e a ferramenta espelho, descrita nas etapas das aulas, formatando um método. A metodologia escolhida foi a etnografia que, junto a narrativa autobiográfica pode descrever os fenômenos e seus processos e sub processos em uma pesquisa empírica. As análises de dados vão sendo apresentadas no estudo, em paralelo as adaptações do processo fenomenológico, até chegar à sistematização de sete passos, etapas do método quando da utilização dos espelhos. Duvignaud e Morin são autores que fizeram o diálogo das linguagens dos processos e os fenômenos. Na fenomenologia, as sete etapas têm princípios bem claros que foram vivenciados, primeiramente, pela pesquisadora para depois sistematizar as etapas de fruição dos alunos com os espelhos e, posteriormente, as fases do método. O autor que sustentou esse estudo foi Bach Jr., quando apresenta, de forma clara, as fases da fenomenológica de Goethe. A pesquisa, após apresentar o método e sua aplicabilidade conferida nestes dez anos, apresenta um formato que possa vir a ser uma ementa de disciplina em Artes Cênicas

I detta självständiga arbete undersöks upplevelsen av arrangering för stråkinstrument utifrån olika musikaliska parametrar. Syftet med arbetet är att analysera dessa upplevelser samt att studera hur inställningen och självförtroendet till arrangeringen varierar och utvecklas. Under tre månader skapas arrangemang av åtta låtar av varierande karaktär, där processen dokumenteras med hjälp av loggbok och analyseras med tematisk analys. Med stöd från det fenomenologiska perspektivet och vald litteratur presenteras ett resultat utifrån följande frågeställningar: Hur påverkar olika musikaliska parametrar så som gehör, rytmik och harmonisering vid arrangering? Hur upplevs arrangeringsprocessen utifrån inställning, självförtroende och utmaningar? Resultatet delas in i två teman som baseras på dessa frågeställningar, Musikaliska parametrar och Upplevelsen av arrangering. I resultatet framkommer att plankning och gehörsbaserad arrangering upplevs som lustfylld och utmanande. Utveckling vad gäller harmonisering och musikteori analyseras och vid arrangering för elever dras slutsatsen att balansen mellan utmaningar och tydlighet i arrangemanget är en utmaning även för arrangören. Struktur lyfts som en betydelsefull faktor i processen och inställningen till arbetet är mestadels positiv. Motgångar ger ny drivkraft och inspiration till nya idéer och självförtroendet växer under arbetets gång. Avslutningsvis följer en diskussion kring arbetets resultat i relation till vald litteratur och det fenomenologiska perspektivet. / In this self-study the experience of arranging for string instruments is examined based on different musical parameters. The purpose of this study is to analyze these experiences and to examine how the attitude and self-confidence varies and develops. During three months, arrangements of eight songs of varying character are created, where the process is documented with the help of a journal and analyzed with thematic analysis. With support from the phenomenological perspective and selected literature, a result is presented based on the following questions: How do different musical parameters such as hearing, rhythm and harmonization affect when arranging? How is the arrangement process experienced based on attitude, self-confidence and challenges? The results are divided into two themes based on these issues, musical parameters and the experience of arrangement. The results show that an aural-based arrangement is experienced as pleasurable and challenging. Development in terms of harmonization and music theory is analyzed and when arranging for students, it is concluded that the balance between challenges and clarity in the arrangement is indeed a challenge for the arranger as well. Structure is highlighted as a significant factor in the process and the attitude to the study is mostly positive. Adversity provides new impetus and inspiration to new ideas and self-confidence grows during the study. In conclusion, a discussion follows about the results of the study in relation to selected literature and the phenomenological perspective.

Denna självobservationsstudie undersöker hur övande av instrument påverkar det psy- kiska måendet samt hur det psykiska måendet påverkar övningen. Syftet med arbetet är att undersöka hur mycket övning som ska planeras i för väg så att det gynnar mitt mående samtidigt som övningen är effektiv. Under tre veckors tid användes tre olika sätt att pla- nera övning för att senare kunna hitta mönster i mående och övningskvalitet. En vecka planerades övningen i för väg, en vecka planerades ingen övning utan all övning var spon- tan och baserad på motivation och lust, och en vecka kombinerades dessa sätt genom att planera en del övning i för väg men även lämna utrymme för spontan övning. Studien ut- går från det fenomenologiska perspektivet och frågeställningarna lyder Upplever jag att övningens kvalitet påverkar mitt psykiska mående, och i sådana fall på vilka sätt? Upplever jag att det finns psykiska aspekter som påverkar min övning, och i sådana fall på vilka sätt? och I vilka situationer upplever jag att jag har en bra balans mellan planerad respektive spontan övning som gynnar både min övning och mitt psykiska mående? I undersökningen dokumenterades tankar kring övningen i en ljudloggbok i samband med övningstillfällena och mitt psykiska mående dokumenterades i en applikation, i form av en digital dagbok. Detta dokumenterade material bearbetades med hjälp av tematisk analys. Det framkom- mer i resultatet att mitt mående ofta speglar hur övningen har gått och har jag mått dåligt innan övningen så har det ofta varit svårt att fokusera, vilket påverkade övningens kvali- tet. Det framkommer också att det fanns väldigt lite motivation till övning under veckan där jag planerade all övning i för väg samt veckan där ingen övning planerades i för väg. Under veckan där en del övning planerades i förväg och en del övning skedde spontant visade sig att spontan övning ofta skedde till följd av planerad uppvärmning/övning tidi- gare samma dag. / This self-observation study examines how practicing an instrument affects the mental state and how the mental state affects the practice. The purpose of the study is to investi- gate how much exercise should be planned in advance so that it benefits my well-being while the exercise is effective. During three weeks, three different ways of planning exer- cise were used in order to later find patterns in mood and exercise quality. One week the exercise was planned in advance, one week no exercise was planned but all exercise was spontaneous and based on motivation and desire, and one week these ways were com- bined by planning some exercise in advance but also leaving room for spontaneous exer- cise. The study is based on the phenomenological perspective and the questions are: Do I feel that the quality of the exercise affects my psychological well-being, and if so, in what ways? Do I feel that there are psychological aspects that affect my practice? If so, in what ways? and In which situations do I feel that I have a good balance between planned and spontaneous practice that benefits both my practice and my mental well-being? Thoughts about the exercise were documented in an audio log book in connection with the exercise sessions and my mental state was documented in an application, in the form of a digital diary. This documented material was processed using thematic analysis. It appears in the results that my mood often reflects how the exercise went and if I felt bad before the ex- ercise, it was often difficult to focus, which affected the quality of the exercise. It also ap- pears that there was very little motivation for exercise during the week where I planned all exercise in advance and the week where no exercise was planned in advance. During the week where some exercise was planned in advance and some exercise happened spontaneously, it turned out that spontaneous exercise often happened as a result of planned warm-up/exercise earlier the same day.