Esta pesquisa investiga as possibilidades de iniciação aos instrumentos de cordas dedilhadas por meio da improvisação livre. Ela divide-se em três partes: fundamentação teórica, oficinas de improvisação livre e elaboração de um caderno de iniciação. A reflexão teórica tem como principais referências, as pesquisas de Rogério L. M. Costa e H. J. Koellreutter a cerca da Improvisação Livre, e as investigações de Flávia M. Cruvinel sobre o Ensino Coletivo de Instrumentos Musicais. Os diversos tipos de gestos musicais são descritos com enfoque no gesto instrumental, termo adotado na pesquisa para representar os elementos da técnica instrumental. Os gestos instrumentais foram selecionados através de seis oficinas de improvisação livre realizadas nos Conservatórios Estaduais de Música do Triângulo Mineiro, onde se procurou uma forma de registro gráfico musical que favorecesse a prática da improvisação livre e colaborasse no desenvolvimento de um caderno de iniciação aos instrumentos de cordas dedilhadas. Esta nova proposta de iniciação instrumental divide-se em seis partes através da sugestão de roteiros para improvisação livre, grafados de forma não tradicional, com o objetivo de estimular a exploração sonora e timbrística em sintonia com a música da contemporaneidade. Através da criação, da liberdade gestual e da expansão da escuta, permite ao aprendiz desenvolver habilidades instrumentais e musicais para a criação de seu próprio repertório, de acordo com sua identidade, sua biografia, sua experiência de vida. / This research investigates the possibilities of initiation to plucked strings instruments through free improvisation. It is divided into three parts: theoretical foundation, free improvisation workshops and notebook initiation. The theoretical reflection has as main references the research of Rogério L. M. Costa and H. J. Koellreutter about Free Improvisation and Flávia M. Cruvinel investigations on Collective Teaching of Musical Instruments. The various kinds of musical gestures are described focusing on instrumental gesture, term adopted in the research to represent the elements of instrumental technique. The instrumental gestures were selected during six free improvisation workshops held in music conservatories in the state of Minas Gerais, where he sought a form of musical graphic record favoring the practice of free improvisation and collaborate into the development of a notebook initiation to plucked strings instruments. This new instrumental initiation proposal is divided into six parts that suggest a guide for free improvisation, written in a nontraditional way, with the aim of stimulating sound and timbre exploration combined with the contemporary music. Through the creation of the gestural freedom and the expansion of listening abilities, it seems likely that could develop musical and instrumental skills to create his/her own repertoire, according to his identity, his biography and life experience.

Trataremos de posturas composicionais e interpretativas que abordam a questão da fisicalidade presente na atuação instrumental, em situações nas quais as potencialidades do conjunto executante - instrumento são levadas a situações limite. Isso se dará levando-se em consideração as seguintes variáveis: características intrínsecas do instrumento; interação do intérprete com o instrumento; elementos mecânicos de interferência nessa relação. Serão abordadas, especialmente, obras dos compositores Helmut Lachenmann, Iannis Xenakis, Brian Ferneyhough, Aaron Cassidy e Simon Steen-Andersen. Também será abordada a produção artística do autor do trabalho. / In this work we deal with music, both from the composition as well as from the performance viewpoints, in which the potentials of the relationship between performer and musical instrument are taken to limit situations. This is done with an analysis of the following elements: specific and intrinsic characteristics of an instrument; interaction between performer and instrument; mechanical elements of interference in this relationship. We will approach, specially, works of Helmut Lachenmann, Iannis Xenakis, Brian Ferneyhough, Aaron Cassidy and Simon Steen-Andersen. Recent musical pieces of the author of this work will also be mentioned.

Made available in DSpace on 2016-03-15T19:43:50Z (GMT). No. of bitstreams: 1 Jorge Wilson da Conceicao.pdf: 1329948 bytes, checksum: 8a8e05250acaf2ac2c516f33f7a24f66 (MD5) Previous issue date: 2010-03-17 / Secretaria da Educação do Estado de São Paulo / Our focus on this research are on Spolin Theatre Game System and Art teachers procedures at public school. In order to better understand the universe in which this system belongs, we first present a study about games and improvisational games. Then we verify if teachers graduated in Theatre Arts work with theatre games, as well as how teachers work with them. With this in mind, we interviewed six teacher from different schools about issues concerning Spolin‟s system theory, academic education in Art, continuing education, and their practice with the games. This research took place in the City of Guarulhos, with Theatre teachers from Regional Department of Teaching named Guarulhos North which belongs to The Education Department of the State of São Paulo. In order to gain the data we talked to participant teachers of the research by the means of semi-structured interviews in two different moments: December, 2008 and October, 2009. Besides, we have also interviewed the specialist in theatre studies Professor Mariana Muniz from Federal University of Minas Gerais, and the actress and clown Rhena de Faria member of Cia. do Quintal. The datas from the search showed us important issues teachers have to deal with to work with improvisational games in the public school, such as: the graduating degree in Art; the role of continuing education; school structure and culture difficulties; how familiar teachers are with improvisational games and theatre games as well as Art teaching on contemporary theatre. / Esta pesquisa tem como foco o Sistema de Jogos Teatrais de Viola Spolin, e a prática de professores de Arte na escola pública. Para um melhor entendimento do universo em que esta categoria de jogos está inserida, apresentamos inicialmente um estudo sobre o jogo, e sobre os jogos de improvisação. A partir disso, buscamos verificar se os professores que possuem especialização em Teatro trabalham com os jogos teatrais, e como se dá essa prática. Com esse objetivo, entrevistamos seis professores de diferentes escolas sobre questões acerca da teoria do sistema de Spolin, a formação acadêmica e contínua, e suas práticas com jogos. A investigação foi realizada na Cidade de Guarulhos, com professores que possuem formação em Artes Cênicas da Diretoria Regional de Ensino Guarulhos Norte da Secretaria de Estado da Educação. A coleta de dados se deu por meio de entrevista semiestruturada que aconteceu em dois momentos diferentes: Dezembro de 2008 e Outubro de 2009. Além disso, e com o intuito de entender a contribuição dos jogos teatrais para práticas contemporâneas, também realizamos entrevistas com especialistas em jogos de improvisação: a estudiosa em assuntos teatrais Profª Mariana Muniz da Universidade Federal de Minas Gerais e a atriz e palhaça Rhena de Faria do Grupo Jogando no Quintal. A análise dos dados nos apontou questões importantes que permeiam as práticas dos professores com jogos de improvisação na escola pública, como: a formação acadêmica da licenciatura em Artes Cênicas; o papel da formação continuada; as dificuldades impostas pela estrutura e cultura escolares; e a familiaridade ou não dos professores com jogos de improvisação, com o sistema de Spolin, e o ensino de teatro contemporâneo.

Made available in DSpace on 2016-04-28T18:22:36Z (GMT). No. of bitstreams: 1 Nilton Mendes.pdf: 1115919 bytes, checksum: 06cc844b484bacbf81f397758e4dee26 (MD5) Previous issue date: 2012-10-24 / The objective of this research is to understand critically the role of Improvisation in the activity of teaching and learning in English. This research seeks to understand critically the concept of performance proposed by Holzman on student participation in classroom scenes of improvisation. It also discusses their post discussion on the outcome of this activity to a critical-reflexive action in the world, from the production of shared meanings. The theoretical basis lies in the Activity Theory as initiated by the work of Vygotsky, along with Leontiev and Engeström, Play and the concepts of Vygotsky's ZPD. This work is a Critical Collaboration Research to design transformation through active participation and joint negotiation of meanings. The focus of this type of research is to know, observe, make it possible to enable interventions, contributing to references in the production of argumentative students and teachers. The data were produced by video recordings. Four classes were selected for their excerpts compose the corpus for analysis. The categories of analysis and interpretation were created from Pontecorvo, Magalhães, Vygotsky, Bahktin and Muniz. The analysis indicates that students produce knowledge collaboratively among the participants in the classroom. Moreover, students develop argumentation in English to externalize knowledge that can be reflected in experiences outside of school / O objetivo desta pesquisa é compreender criticamente o papel da Performance na atividade de ensino-aprendizagem em Língua Inglesa. Esta investigação busca entender criticamente o conceito de performance proposto por Holzman na participação de alunos em sala de aula em de cenas de Improvisação. Também aborda a sua pós discussão sobre o resultado desta atividade para um agir crítico-reflexivo no mundo, a partir da produção de significados compartilhados. O eixo teórico reside na Teoria da Atividade como iniciada pelos trabalhos de Vygostsky, além Leontiev e Engeström, o brincar e os conceitos de ZPD de Vygotsky. Este trabalho é uma Pesquisa Crítica de Colaboração por conceber a transformação por meio de uma participação ativa e conjunta na negociação dos sentidos e significados. O foco deste tipo de pesquisa é conhecer, observar, transformar para viabilizar possíveis intervenções, contribuindo com referenciais na produção argumentativa de alunos e professores. Os dados foram produzidos por meio de gravações de vídeo, sendo selecionadas 4 aulas para que seus excertos compusessem o corpus para análise. As categorias de análise e interpretação foram organizadas a partir de Pontecorvo, Magalhães, Vygostsky, Bahktin e Muniz. A análise indica que os alunos produzem conhecimento de forma colaborativa entre os participantes da sala. Além disso, desenvolvem a argumentação em inglês para externalizar conhecimentos que refletirão em vivências fora do contexto escolar

O presente trabalho objetiva elaboraruma edição de performance da Improvisação Coral sobre Victimae Paschali de Charles Tournemire, transcrita pelo seu aluno Maurice Duruflé. A edição de performance foi construída através da análise, escolha de registração e elaboração de exercícios técnicos para os trechos difíceis. O livro Guidelines to Style Analysis de Jan La Rue (1970) foi usado como ferramenta analítica, enfocando os cinco parâmetros fornecidos pelo autor: Som, Harmonia, Melodia, Ritmo e Crescimento. A escolha da registração foi delineada a partir de um estudo do órgão da Igreja Sainte Clotilde de Paris e do órgão da Capela São José do Centro Universitário La Salle (Unilasalle) em Canoas, RS (Brasil). Os exercícios técnicos para os trechos difíceis foram gerados a partir de passagens que apresentaram maior demanda durante meu estudo. Por fim, a edição de performance reúne essas informações junto à partitura de maneira sucinta como síntese do trabalho e da construção da minha performance da obra para recital. / The purpose of this study is to present a performance edition of the Choral Improvisation on Victimae Paschali by Charles Tournemire, transcribed by his pupil Maurice Duruflé. The performance edition was constructed based on analysis, choice of registration and the elaboration of technical exercises for the difficult passages. The book Guidelines to Style Analysis by Jan La Rue (1970) was used as an analytical tool, focusing on the five parameters presented by the author: Sound, Harmony, Melody, Rhythm and Growth. The choice of registration was decided based on a study of the organ at the Sainte Clotilde Church in Paris and the organ at St. Joseph´s Chapel of the La Salle University Center (Unilasalle) in Canoas, RS (Brazil). Technical exercises were generated from the passages that proved to be more demanding for me during my practice. Finally, the performance edition contains all of this information as a summary of my work and the preparation of the piece for performance.

Jerusalem - the third holiest city in Islam - is home to some 300,000 Muslims. But due to Israel’s occupation, they live difficult and disrupted lives. What might it mean for Muslims to practice their faith - on the ground, day by day - in such a conflicted place? One way religion becomes a meaningful category in people’s lives is through ritual. Scholars of Muslim religious practice have been attuned to this insight and observed it in various contexts. But their analyses have often been predicated on an implicit and unquestioned assumption - that people who desire to perform rituals have the means to act on their intention in regular and routine ways. Scholars have also shown that when societies are in rapid transition - be they weakened or threatened - their rituals often evolve with them. In this project, therefore, I ask: what happens in Jerusalem when Muslims live under the existential threat of occupation and their ability to routinely perform religious rituals cannot be assumed? I argue that when rituals are disrupted, Muslims are forced to improvise. Religious rituals - like the performances of skilled jazz musicians - are spontaneous and dynamic but also practiced and deliberate. Rituals are spontaneous in that they respond to the occupation’s disruptions, making physical and discursive adjustments. They are practiced in that Muslims draw from an established repertoire of themes that includes Islam and sacred space, nationalism and resistance, local culture and geography. I term the coalescence of these dynamics the “improvisation thesis” and explore three case studies where specific improvisations have different levels of resonance. The Naqshbandi improvise rituals to make peace, but they are discordant with other established themes; Ramadan rituals have resonance that define specific moments; and the improvisations of the Murabitat are deeply resonant, influencing Muslim rituals throughout the city.

A autora conceitua e sistematiza a metodologia brasileira de sociopsicodrama Teatro de Reprise, criada em 1993 pelo Grupo Reprise, do qual era integrante. Diferencia a prática de seu método inspirador, o Playback Theatre (1975) americano, criado por Jonathan Fox, principalmente pelo acento na grupalidade, apresentando-a como facilitadora/mediadora de interação e aprendizagem para público adulto. Para tanto, define seus fundamentos baseado na abordagem sociopsicodramática de Jacob L. Moreno (1889-1974), na qual há um \"homem moreniano\" aludido, que possui um alto grau de espontaneidade, que cria sempre e que se orienta para a busca de uma utopia de saúde mental e social, que escape da doença social da cristalização e das conservas culturais. O trabalho descreve as inovações práticas e teóricas brasileiras do sociopsicodrama, especialmente quanto às noções de coconsciente, coinconsciente e de campo télico, e mostra as especificidades da modalidade Teatro de Reprise como uma intersecção entre o individual e o coletivo pela ressonância estética de seus ego-atores e ego-músicos. A partir dessa fundamentação, a autora constrói a conceituação e as diversas etapas do Teatro de Reprise, e exemplifica o impacto da transformação/aprendizagem grupal, resultante da utilização do método em organizações, políticas públicas, instituições etc. Além disso, uma intervenção demonstrativa com o uso do Teatro de Reprise e com um grande grupo, no espaço de um centro cultural em São Paulo, é relatada e processada pela leitura do fenômeno, no viés da sociodinâmica grupal. / The author defines and systematizes the Brazilian methodology of socio-psychodrama: Reprise Theatre, created in 1993 by the Reprise Group, of which she was a member. She distinguishes the practice from its motivational method, the American Playback Theatre (1975), created by Jonathan Fox, mainly due to the emphasis on groupality, presenting it as facilitator/mediator of interaction and learning for adult audiences. In order to do so, she defines its foundations based on the sociopsychodramatic approach of Jacob L. Moreno (1889-1974), in which there is a \"Morenian man\" alluded to, who has a high degree of spontaneity, who always creates and who is oriented towards the search for a utopia of mental and social health, who gets away from the social disease of crystallization and from the cultural preserves. This paper describes the Brazilian practical and theoretical innovations on sociopsychodrama, especially regarding the notions of co-conscious and co-unconscious states and of telic field. It shows the particularities of the modality Reprise Theatre as an intersection between the individual and the collective, by the aesthetic resonance of its ego-actors and ego-musicians. From this grounding, the author builds up the concepts and the various stages of the Reprise Theatre and exemplifies the impact of the group transformation/learning, resulting from the use of the method in organizations, public policies, institutions, etc. In addition, a demonstrative intervention with the use of the Reprise Theatre and with a large group in the space of a cultural center in São Paulo is reported and processed by reading the phenomenon, in bias of the group sociodynamics.

This thesis discusses music's role in utopian community-building by using a case study of a specific composer, Pauline Oliveros, who believed her work could provide a positive "pathway to the future" resembling other utopian visions. The questions of utopian intent, potential, and method are explored through an analysis of Oliveros's untraditional scores, as well as an exploration of Oliveros's writings and secondary accounts from members of the Deep Listening community. This document explores Oliveros's utopian beliefs and practices and outlines important aspects of her utopian vision as they relate to three major utopian models: the traditional "end-state" model, the anarchical model, and the postmodern "method" utopian model. Oliveros exhibits all three models within her work, although this thesis argues that she is, for the most part, a method utopian. While her ceremonial group improvisations like Link/Bonn Feier resemble anarchical works by John Cage, they exhibit a greater interest in the past and in process than most anarchical models allow. Likewise, while her visions of a future aided by AI and bio-technologies appear end-state, her improvisational works with her Electronic Instrument System (EIS) suggest a more process-based, method utopian approach. Her Deep Listening practice is deeply method-utopian, and her Center for Deep Listening can be viewed as an attempt at bringing these method utopian principles to the real world.

This thesis studies the phenomenon "physical contact in dance" through two perspectives: how dance students experience it and the norms that exist around it in a dance context. The research has been carried out via half-structured lifeworld interviews of four dance students in Sweden. The interviews have been analyzed with the help of thematic analysis. The results have then been discussed together with existing literature about the subject. The conclusions have been that the participants generally appreciated physical contact but that some factors such as its association with sexuality or the non-respect of personal boundaries led to discomfort. The interaction with another person has been deemed an important component of the experience of touch, which led to the devising of an interpretation of physical contact as the intersection between the dancer and the private individual. The norms regarding touch that have appeared are that dancers are expected to be comfortable touching each other, that the topic is seldom discussed in dance and that physical contact is associated with sexuality in dance in the same way as in the rest of society.

基於單一文化之困境與美學意識之衰微，台灣另類教育在二元對立的邏輯運作下，常遭受負面的誤解或打壓，普羅大眾對於另類學校學生最常見的質疑便是：「以後要怎麼跟人家競爭？」、「如何考基測？」、「出去有辦法適應嗎？」，為探究另類學校學生的生活世界及其進入體制內學校的跨體制經驗，本篇論文嘗試以敘說探究開採夏天—一位華德福學校學生的生命故事，從而了解其學習世界的變遷及內在的適應歷程。研究發現，華德福學校具備自由、對話、創造之特徵，以即興的學校圖像作為陶養創造性人格之可能條件，促使夏天在面對基測和進入體制的衝突中展現出自我組織的生命樣態，而即興美學中的自由遊戲精神與複雜思維，不僅啟示了教育引發創造的本質，同時也為另類教育學提供更多元的定位基礎。 / Because of the conformity of culture and the lack of aesthetics, alternative education in Taiwan is usually misunderstood or suppressed in the logic of binary dualism. The most common questions to alternative schools’ students are “How do they compete with others in the future?”, “How do they prepare for the basic competence test?”, and “Are they able to adapt to the life outside?” To investigate the life world of an alternative school’s student, Summer, and her experience of transferring to normal school, narrative inquiry is adopted in this research to understand the changes of the learning environments and her state of mind. According to the conclusion, the Waldorf school contains the characters of freedom, dialogue, and creation. And its picture of improvisation provides Summer with possible conditions for developing creative personality. As a result, she shows the attitude of self-organization when facing conflicts in the cross-boarder process. In addition, improvisation’s spirit of free play and complex not only reveal the essence of education as creation, but also provide alternative education with more diverse orientation.