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

Black choral music composers in South Africa, inspired by the few opportunities available to them until recent times, have nonetheless attempted to establish, perhaps subconsciously, some choral tradition and, in doing so, incorporate African musical elements in their works. My research traces the foundations and historical development of choral music as an art amongst Vhavenda, and the contributions made thereto by a number of past and present Venda composers that this researcher could manage to identify and trace, to the music of the people. The selected composers are Stephen Maimela Dzivhani, Matthew Ramboho Nemakhavhani, Derrick Victor Nephawe, Joseph Khorommbi Nonge, Israel Thinawanga Ramabannda and Fhatuwani Hamilton Sumbana. Through the application of multiple methodological lenses, the study sets out to analyse, describe, and interpret Venda choral music. Of particular interest is the exploration of the extent to which the ”formal” education that was brought by the Berlin Missionaries influenced Venda choral musicians, particularly the selected Venda choral music composers. Also crucial to this research is the exploration and identification of elements peculiar to indigenous Venda traditional music in the works of these composers. The question is whether it was possible for these composers to realize and utilize their potentials fully in their attempt to evoke traditional Venda music with their works, given the very limiting Western tonic sol-fa notational system they were solely working with. The project also briefly traces the place of Venda choral music within the South African music context and its role within the search for cultural identity. The research has found that the majority of Venda choral music written so far has generally not been capable of evoking indigenous Venda traditional music. Whilst these composers choose themes that are akin to their culture, social settings, legend and general communal life, the majority of the music they set to these themes does not sound African (Venda in particular) in terms of the rhythms and melodies. The majority of the compositions under scrutiny have inappropriate settings of Venda words into the melodies employed. This can be attributed to the limitations imposed by the tonic sol-fa notational system, which was the only system they were taught in the missionary schools established around Venda and which, itself, was flawed as well as the general lack of adequate music education on the part of the composers themselves. Despite these limitations and the very few opportunities available to them, Venda choral music composers nonetheless managed to lay a foundation for choral music as an art amongst their people (Vhavenda). / Art history, Visual Ars and Musicology / D. Mus

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