Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-03-10T20:36:59Z No. of bitstreams: 1 HeloisaHelenaPachecoDeSousa_DISSERT.pdf: 3557807 bytes, checksum: 671cb4fa22a00c730f1d8ff936b6e7ce (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-03-17T20:25:44Z (GMT) No. of bitstreams: 1 HeloisaHelenaPachecoDeSousa_DISSERT.pdf: 3557807 bytes, checksum: 671cb4fa22a00c730f1d8ff936b6e7ce (MD5) / Made available in DSpace on 2016-03-17T20:25:44Z (GMT). No. of bitstreams: 1 HeloisaHelenaPachecoDeSousa_DISSERT.pdf: 3557807 bytes, checksum: 671cb4fa22a00c730f1d8ff936b6e7ce (MD5) Previous issue date: 2015-03-05 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / Esta pesquisa trata das rela??es poss?veis entre o corpo e a vestimenta nos estados c?nicos perform?ticos cruzando a cena contempor?nea, a filosofia da moda e os argumentos filos?ficos de profana??o e dos dispositivos. Algumas obras foram observadas e citadas nesta disserta??o, para isso realizei entrevistas estruturadas com oito artistas da performance, como estrat?gia metodol?gica que pudesse trazer dados sobre as experi?ncias desses corpos vestidos e/ou despidos em cena, para al?m da pesquisa bibliogr?fica e revelando a a??o da vestimenta sobre o corpo, assim como sua influ?ncia nas subjetividades do performador e do p?blico. Essas rela??es podem ser experienciadas no processo de cria??o de figurinos na cena contempor?nea nomeando a possibilidade da exist?ncia de modos do corpo, como maneiras que emergem e que se constituem como alternativas est?ticas, criativas e discursivas. / This research deals with the possible relationships between the body and the garment in performative scenic states across the contemporary scene, the philosophy of fashion and the philosophical arguments of profanity and dispositive. Some works were observed and cited in this dissertation, for this I conducted structured interviews with eight artists of performance, as a methodological strategy that could bring data about the experiences of this dresses and/or naked bodies on the scene, in addition to literature and revealing the action of clothing on the body as well as its influence on the subjectivities of that whom performes and the public. These relationships can be experienced in the process of creating costumes in contemporary scene naming the possibility of modes of the body, as ways that emerge and constitute as creative, discursive and aesthetic alternatives.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-03-10T23:09:17Z No. of bitstreams: 1 FabianUbaranaLinsNascimento_DISSERT.pdf: 6414830 bytes, checksum: 776cff05dcbb2a42d79fd99aed0d8701 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-03-18T20:35:55Z (GMT) No. of bitstreams: 1 FabianUbaranaLinsNascimento_DISSERT.pdf: 6414830 bytes, checksum: 776cff05dcbb2a42d79fd99aed0d8701 (MD5) / Made available in DSpace on 2016-03-18T20:35:55Z (GMT). No. of bitstreams: 1 FabianUbaranaLinsNascimento_DISSERT.pdf: 6414830 bytes, checksum: 776cff05dcbb2a42d79fd99aed0d8701 (MD5) Previous issue date: 2014-08-20 / As caracter?sticas e necessidades dos usu?rios de dispositivos m?veis, o contexto que estes est?o inseridos, as limita??es e caracter?sticas desses aparelhos, s?o quest?es que influenciam na usabilidade e ergonomia, fatores determinantes do sucesso para intera??o entre os usu?rios e dispositivos. Buscamos com essa pesquisa identificar caracter?sticas do design em interfaces de aplicativos para o contexto do jornalismo em dispositivos m?veis, visando orientar a editora??o visual e de conte?do, e o processo de cria??o e desenvolvimento das interfaces de apps, com a inten??o de garantir a qualidade da intera??o por toque, respeitando-se as limita??es do usu?rio, possibilidades que o dispositivo proporciona e requisitos do aplicativo. A pesquisa tem como objetivo o estudo da interface do aplicativo Brasil 247, que ? utilizado para veicula??o de not?cias utilizando os conceitos de usabilidade e ergonomia que viabilizam projetos coerentes entre seus aspectos de necessidade de imers?o (flow) e mobilidade, tratando principalmente quest?es de adapta??o, busca e leitura desse conte?do no uso do aplicativo, bem como esclarecer sobre os processos e t?cnicas necess?rios para a realiza??o desses ensaios de intera??o que buscam avaliar a usabilidade da interface. / The different characteristics and needs of mobile device users, the situations in which these devices are operated and the limitations and characteristics of these devices are all factors which influence usability and ergonomics; two elements highly required for achieving successful interaction between users and devices. This research aims to identify characteristics of interface design for apps in mobile device applications, focussing on design, visual publishing and content editing, and the actual process of creation of these interfaces, with a view to guarantee quality interaction through touch technology, in observance of service limitations, the opportunities offered by the devices and the application requirements. The study will examine the interface of the mobile device application titled ?Brasil 247? which provides news broadcasts using the concept of usability and ergonomics mainly in the field of adaptation, searching and browsing informative articles, as well as clarifying the processes and techniques necessary to carry out interaction tests which seek to evaluate the usability of interface.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-03-10T23:09:18Z No. of bitstreams: 1 IvanaDosSantosDeLimaESouza_DISSERT.pdf: 155054076 bytes, checksum: f793cc695719a110f862375615021f04 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-03-18T21:41:19Z (GMT) No. of bitstreams: 1 IvanaDosSantosDeLimaESouza_DISSERT.pdf: 155054076 bytes, checksum: f793cc695719a110f862375615021f04 (MD5) / Made available in DSpace on 2016-03-18T21:41:19Z (GMT). No. of bitstreams: 1 IvanaDosSantosDeLimaESouza_DISSERT.pdf: 155054076 bytes, checksum: f793cc695719a110f862375615021f04 (MD5) Previous issue date: 2014-08-25 / Esta pesquisa tem como objetivo sistematizar uma proposta preliminar para o desenvolvimento de um aplicativo mobile tablet, com o intuito de auxiliar na aplica??o da t?cnica de Diferencial Sem?ntico ? DS, sob a abordagem do Design Participativo. A t?cnica de Diferencial Sem?ntico, idealizada por Osgood et al. (1957), vem sendo utilizada para medir a percep??o afetiva de indiv?duos a objetos e conceitos por meio de escalas compostas por adjetivos bipolares, a partir dos modelos te?ricos em que a t?cnica est? apoiada. Durante a aplica??o da t?cnica com os usu?rios em potencial, o pesquisador precisa administrar contextos diversos, simultaneamente, com uso de equipamentos, quando autorizado, e observar e registrar relatos espont?neos do usu?rio/respondente. Observa-se que h? uma sobrecarga cognitiva durante esse evento. Dessa maneira, utiliza-se um ?nico aplicativo cuja interface ? elaborada com a finalidade de melhorar o grau de satisfa??o dos usu?rios da t?cnica de DS, isto ?, os pesquisadores e colaboradores respondentes. A presente pesquisa, objetivando entender os processos inerentes ? tarefa de aplica??o da t?cnica de Diferencial Sem?ntico, seguiu as seguintes etapas: a) a capacita??o de usu?rios; b) question?rio de background; c) entrevista com Grupo de Foco; d) desenvolvimento de prot?tipos; e e) Avalia??o Cooperativa. Foram observadas e registradas as rea??es e impress?es dos usu?rios a partir da experi?ncia com a t?cnica de DS. Com base nessas observa??es, a hip?tese da pesquisa confirmou-se em rela??o ? viabilidade de utiliza??o de um aplicativo para mobile tablet, como mediador na aplica??o da t?cnica de Diferencial Sem?ntico, ? medida que convergem as etapas para um s? dispositivo, melhora a execu??o da tarefa entre o usu?rio/pesquisador e o usu?rio/respondente, promovendo a satisfa??o dos envolvidos. / This research aims to systematize a proposal of developing a mobile tablet application in order to help implementing the Semantic Differential technique ? SD, under the approach of Participatory Design. In 1975, Osgood et al. created the Semantic Differential technique. Since then, many experiments use it to measure the affective perception of individuals concerning objects and concepts by means of compounded scales of bipolar adjectives, based on the theoretical models that support the technique: the conductible, spatial and metric models. During the application of the technique with potential users, the researcher must simultaneously manage several contexts, that is, audio recorder, when authorized, and observe and record spontaneous reports of the respondent. It is noticeable that often occurs a cognitive overload during this event. Thus, the use of a single application whose interface is assigned to its users and respondents could assist researchers in applying the SD technique. This research aimed to understand the processes inherent to the task of implementing the Semantic Differential technique and obeyed the following steps: a) training of users, b) background questionnaire c) interview with Focus Group, and d) cooperative evaluation. Besides these procedures, one can also observe the degrees of facilitation or difficulty concerning the use of the conventional model, which is the development and application of scales with the aid of printed material, pencil, pens, clipboards, and recorder software for editing the document and data analysis. This paper comprises reactions and impressions from the experiences of users of SD technique. Considering the data recollected from the user?s observation, the hypothesis of the experiment proved to be right. It means that the development of the application for mobile tablet employing the technique of Semantic Differential is viable, since it assembles all the steps in one only tool, increases the accomplishment of the task between user/researcher and user/respondent resulting in their mutual satisfaction.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-03-18T21:55:11Z No. of bitstreams: 1 KleberDessolesMarques_DISSERT.pdf: 2847376 bytes, checksum: 46f24e70f118ab99ec0b8aa3bbaa95af (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-03-19T00:12:57Z (GMT) No. of bitstreams: 1 KleberDessolesMarques_DISSERT.pdf: 2847376 bytes, checksum: 46f24e70f118ab99ec0b8aa3bbaa95af (MD5) / Made available in DSpace on 2016-03-19T00:12:57Z (GMT). No. of bitstreams: 1 KleberDessolesMarques_DISSERT.pdf: 2847376 bytes, checksum: 46f24e70f118ab99ec0b8aa3bbaa95af (MD5) Previous issue date: 2015-02-27 / Esta disserta??o aborda o uso de t?cnicas estendidas para saxofone na obra Minus, para saxofone soprano em Bb solo, composta por meio de colabora??o compositor-int?rprete, entre Agamenon de Morais e o saxofonista Kleber Dessoles. O texto est? organizado da seguinte maneira: a primeira parte traz um apanhado hist?rico do repert?rio de m?sica de concerto para saxofone, desde o in?cio do s?culo XX, passando pelo uso de t?cnicas estendidas para o instrumento e pelos principais personagens e fatos hist?ricos desse per?odo de tempo, dados esses obtidos a partir de pesquisa bibliogr?fica e documental; a segunda parte trata da colabora??o compositorint?rprete, desde os casos documentados nos s?culos XVIII e XIX at? chegarmos aos dias de hoje, explorando de que maneiras as colabora??es podem acontecer e as suas motiva??es, por meio de pesquisa bibliogr?fica; a terceira e ?ltima parte versa sobre a obra em si, seguida de um relato pormenorizado da colabora??o entre o compositor e o int?rprete, bem como explica??es minuciosas das t?cnicas estendidas que constam na obra (multif?nicos e flatterzunge), por meio de pesquisa bibliogr?fica, documental e relatos dos encontros entre compositor e int?rprete. Ao final do processo de colabora??o, pode-se dizer que o resultado final da obra foi derivado da soma dos conhecimentos do compositor e do int?rprete, combinados, quase como se a composi??o tivesse uma dupla autoria. O documento resultante do relato do processo pode auxiliar compositores e int?rpretes a comporem para saxofone, bem como a nortear futuras experi?ncias de colabora??o. / This dissertation deals with the use of extended techniques for the saxophone in the piece Minus (for solo saxophone in Bb), composed through a composer-performer collaboration between Agamenon de Morais and the saxophonist Kleber Dessoles. The text is organized in the following manner: the first part brings the historical background of the concert music written for the saxophone since the beginning of the 20th-century, exploring the use of extended tehcniques and the main characters and historical facts of this period, with data obtained through a literature review; the second part deals with the issue of the composer-performer collaboration, since cases documented in the 18th and 19th centuries until nowadays, exploring in which different ways collaborations may happen and the motivations behind them; the third and final part is about the specific work, followed by a detailed description of the collaboration between the composer and the interpreter, as well as detailed explanations about the extended techniques present in the work (multiphonics and flatterzunge), through bibliographic and documental research, as well as descriptions of the meetings between composer and interpreter. At the end of the collaborative process, one may say that the final result was created from a sum of the composer's knowledge with the interpreter's, almost as if the composition had double authorship. The document describing this process may help composers and interpreters in composing for the saxophone, as well as guide future collaborative experiences.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-03-18T21:55:11Z No. of bitstreams: 1 NiltonDaSilvaSouza_DISSERT.pdf: 958277 bytes, checksum: 19bfc382cf705d57c47c4e9d73066b74 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-03-21T19:20:38Z (GMT) No. of bitstreams: 1 NiltonDaSilvaSouza_DISSERT.pdf: 958277 bytes, checksum: 19bfc382cf705d57c47c4e9d73066b74 (MD5) / Made available in DSpace on 2016-03-21T19:20:38Z (GMT). No. of bitstreams: 1 NiltonDaSilvaSouza_DISSERT.pdf: 958277 bytes, checksum: 19bfc382cf705d57c47c4e9d73066b74 (MD5) Previous issue date: 2015-02-19 / Este trabalho foi fruto da pesquisa de mestrado desenvolvida no Programa de P?s-Gradua??o em M?sica da Escola de M?sica da UFRN sob a orienta??o do Dr. Andr? Luiz Muniz de Oliveira que buscou uma reflex?o acerca do gesto regencial e suas implica??es no que tange aos elementos objetivos e subjetivos da performance atrelados a uma gama de ferramentas regenciais concebidas de acordo com a tradi??o da m?sica hist?rica. Como ferramenta de an?lise gestual foi utilizado o m?todo PatternCube de Harold Farbermann. Foram utilizados v?deos dos regentes Pierre Boulez e Valery Gergiev, ambos regendo A Sagra??o da Primavera de Igor Stravinsky. Na an?lise dos v?deos observamos o uso t?cnico do aparato gestual dos regentes em detrimento do gesto musical fundamentado em Hatten. A pesquisa nos revelou a import?ncia do uso de ferramentas anal?ticas no aux?lio a subsidiar um direcionamento a performance na reg?ncia. / This work is the result of a master?s program research developed in the post graduation program in music at the Music School of the UFRN ( Federal University of Rio Grande do Norte) under the orientation of Dr. Andre Luiz Muniz de Oliveira which aimed at making a reflexion about regency gestures and its implications about the objective and subjective elements of the performance connected to a number of regency tools concieved in accordance with the tradition of historic music. As a tool for gestual analysis we?ve used the Harold Farbermann PatternCube method. We?ve used videos from conductors Pierre Boulez e Valery Gergiev, both conducting Igor Stravinsky?s Rite of Spring. In the analysis of the videos we?ve observed the technical use of the gestual aparatus instead of the use of musical gestures fundamented in Hatten. The research showed us the importance of the use of analitical tools in helping subsidise a direction in performance in regency.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-03-18T21:55:11Z No. of bitstreams: 1 ThiagoLucion_DISSERT.pdf: 9016145 bytes, checksum: 5b10dc31327871d2356e7160c338f0e8 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-03-21T19:38:17Z (GMT) No. of bitstreams: 1 ThiagoLucion_DISSERT.pdf: 9016145 bytes, checksum: 5b10dc31327871d2356e7160c338f0e8 (MD5) / Made available in DSpace on 2016-03-21T19:38:17Z (GMT). No. of bitstreams: 1 ThiagoLucion_DISSERT.pdf: 9016145 bytes, checksum: 5b10dc31327871d2356e7160c338f0e8 (MD5) Previous issue date: 2015-02-26 / O violoncelo ocupa um lugar de destaque na produ??o de Roberto Victorio, isso se deve ao fato do compositor ser violoncelista e conhecer os aspectos idiom?ticos e t?cnicos do instrumento. Este trabalho analisa as habilidades e conhecimento necess?rio para execu??o das obras Aztlan e Chronos III para violoncelo solo. A pesquisa foi constru?da em tr?s etapas: em primeiro lugar foi realizado um estudo sobre a nota??o nas obras de Victorio e como o compositor aplica os conceitos de despercep??o, timbre, tempo e espa?o. Em um segundo momento foi realizado uma entrevista com o compositor e finalmente foram realizadas apresenta??es e grava??es das obras utilizando os conceitos coletados nas duas primeiras etapas. / The cello has a prominent place in the music of Roberto Victorio, due to the fact the composer is a cellist and knows the idiomatic and technical aspects of the instrument. This article analyzes the skills and knowledge necessary to the performance of the works Aztlan and Chronos III for solo cello. As methodological procedure the work was built in three stages: at first a study on notation in the works of Victorio was develeped and how the concepts of desperception, timbre, time and space influence his writing. In a second moment the author made an interview with the composer and finally held performances and recordings of works using the concepts researched in the first two steps.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-04-01T19:33:09Z No. of bitstreams: 1 FredericoArantesNable_DISSERT.pdf: 898485 bytes, checksum: 6e98b154b756c77b06de731a02976916 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-04-07T00:07:52Z (GMT) No. of bitstreams: 1 FredericoArantesNable_DISSERT.pdf: 898485 bytes, checksum: 6e98b154b756c77b06de731a02976916 (MD5) / Made available in DSpace on 2016-04-07T00:07:52Z (GMT). No. of bitstreams: 1 FredericoArantesNable_DISSERT.pdf: 898485 bytes, checksum: 6e98b154b756c77b06de731a02976916 (MD5) Previous issue date: 2015-06-12 / A pe?a Sept Papillons de Kaija Saariaho ? considerada uma obra de destaque na produ??o atual para violoncelo. O presente trabalho busca contextualiz?-la e oferecer reflex?es sobre as dificuldades t?cnicas encontradas em seu estudo, discorrendo tamb?m sobre conceitos importantes para a interpreta??o. Como procedimento metodol?gico foram estudados autores como MOISALA (2009) e VICTORIO (2015) que d?o fundamenta??o ao entendimento do processo composicional e ? an?lise dos gestos propostos pela compositora. Em um segundo momento foi realizada uma entrevista com Natasha Farny, uma violoncelista reconhecida por sua performance da obra, a qual utilizamos como refer?ncia junto ? performance da coreana Seung Ri Jung e a grava??o do violoncelista Anssi Karttunen, a quem foi dedicada a pe?a. Concomitantemente ao estudo do material bibliogr?fico e realiza??o das entrevistas, a pe?a foi trabalhada e apresentada no ?mbito do PPGMUS-UFRN. A experi?ncia obtida pelos recitais e pela pesquisa da obra resultou em sugest?es para violoncelistas interessados no estudo e na performance da mesma. / Sept Papillons by Kaija Saariaho is a relevant piece in the contemporary cello repertoire. This research aims to study the context of the piece and approaches the technical and musical challenges presented in the work. As a methodological procedure, authors like MOISALA (2009) and VICTORIO (2015) were studied, giving basis to the understanding of the compositional process and to the analysis of the gestures proposed by the composer. Following, an interview was carried out with Natasha Farny, a cellist recognized for her performance of the work and utilized as reference, together with the Korean cellist Seung Ri Jung?s performance and the recording of Anssi Karttunen, to whom the piece was dedicated. Whilst the research of the bibliographical material and the interviews were taking place, the piece was studied and performed at the Masters of Music Program at UFRN. The experience obtained by the recitals and the research resulted in suggestions for cellists interested in its study and performance.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-04-01T19:33:09Z No. of bitstreams: 1 JoseRenatoAcciolyBezerra_DISSERT.pdf: 13908057 bytes, checksum: a692c35b582f76f038491556152f41e2 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-04-07T00:13:30Z (GMT) No. of bitstreams: 1 JoseRenatoAcciolyBezerra_DISSERT.pdf: 13908057 bytes, checksum: a692c35b582f76f038491556152f41e2 (MD5) / Made available in DSpace on 2016-04-07T00:13:30Z (GMT). No. of bitstreams: 1 JoseRenatoAcciolyBezerra_DISSERT.pdf: 13908057 bytes, checksum: a692c35b582f76f038491556152f41e2 (MD5) Previous issue date: 2014-12-08 / Esse trabalho tem como objetivo realizar um estudo sobre os elementos t?cnicos, est?ticos e hist?ricos, que possa contribuir para uma interpreta??o mais consciente e consistente da GRANDE MISSA NORDESTINA, do compositor Cl?vis Pereira. Escrita para coro, solistas e orquestra em 1977, essa obra se destaca por ser uma das principais composi??es produzidas em Pernambuco durante o Movimento Armorial nos anos de 1970. Pretendemos na primeira parte, expor como uma cadeia consequente de elos a partir da experi?ncia de vida do compositor, aliada ? sua viv?ncia musical, assim como, ao conhecimento t?cnico e est?tico junto a nomes como C?sar Guerra-Peixe e Ariano Suassuna, geraram uma pr?xis musical, tornando essa obra uma esp?cie de s?ntese da produ??o do compositor nesse per?odo. Na segunda parte apresentaremos um conjunto de sugest?es interpretativas a partir das ideias musicais extra?das entre a compara??o das duas grava??es realizadas pelo compositor, assim como, do relato de experi?ncias adquiridas pelo autor desse trabalho durante os processos de interpreta??o dessa obra.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-04-01T19:33:09Z No. of bitstreams: 1 MarcusViniciusDeFreitas_DISSERT.pdf: 2921709 bytes, checksum: c221e6fe65b124aeefd56989d47bd52a (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-04-07T00:22:39Z (GMT) No. of bitstreams: 1 MarcusViniciusDeFreitas_DISSERT.pdf: 2921709 bytes, checksum: c221e6fe65b124aeefd56989d47bd52a (MD5) / Made available in DSpace on 2016-04-07T00:22:40Z (GMT). No. of bitstreams: 1 MarcusViniciusDeFreitas_DISSERT.pdf: 2921709 bytes, checksum: c221e6fe65b124aeefd56989d47bd52a (MD5) Previous issue date: 2015-02-13 / As igrejas no Brasil t?m demonstrado ser um espa?o importante na forma??o musical de muitos indiv?duos. No entanto, percebemos em muitas delas uma postura musical exclusivista e meramente perform?tica, com o argumento de que desejam prestar adora??o ao Ser Divino e que, assim, devem oferecer sempre o melhor. Al?m disso, a cultura do talento e do dom tem se mostrado determinante na sele??o de pessoas para as pr?ticas musicais eclesi?sticas. O teatro musical, tamb?m praticado neste contexto, tem sido realizado com os mesmo princ?pios. Entendendo que a pr?tica musical deve estar acess?vel a todos, vimos, atrav?s dos estudos de Santa Rosa, 2006 e 2012, o teatro musical, por suas in?meras possibilidades, como importante ferramenta para o ensino de m?sica nesse contexto, de maneira integradora, motivadora, interdisciplinar e libertadora. Por essa raz?o este trabalho procurou, por meio de uma pesquisaa??o, investigar a aplicabilidade do teatro musical enquanto pr?tica pedag?gica no contexto da Igreja Batista da Esperan?a, Natal-RN, verificando o impacto desta experi?ncia para os envolvidos. Para alcan?ar este objetivo, realizamos a constru??o de um musical com todos aqueles que desejassem participar, possuindo ou n?o experi?ncias musicais pr?vias. A coleta de dados foi realizada atrav?s de di?rio de campo, entrevistas semiestruturadas com os participantes do elenco e registros de imagens de ensaios e apresenta??es. As principais tem?ticas evidenciadas pelos alunos foram, ent?o, categorizadas e devidamente analisadas, o que nos mostrou o quanto o teatro musical pode ser usado como ferramenta pedag?gico-musical de modo eficaz tamb?m no contexto eclesi?stico. Desse modo, p?de ser trazida uma outra concep??o do fazer art?stico para as igrejas, contribuindo para a inser??o de novos part?cipes em suas pr?ticas musicais, al?m de expandir um pouco mais os estudos sobre o teatro musical e a presen?a da m?sica nestes espa?os, provocando outros estudos futuros. / The churches in Brazil have shown themselves as a very important space in the musical training of many individuals. However, we perceive in many of them an excluding and merely performatic musical posture. Their argument is the fact that they want to give worship to the Divine Being and, for that, they must always offer their best. Besides that, the culture of the talent and the gift has provoked the selection of people in the ecclesiastical musical practices. The musical theatre, also practiced in this context, has been following the same principles. Understanding that musical practices must be accessible to all people, we have seen, through the studies of Amelia Santa Rosa, 2006 and 2012, the musical theatre, for its various possibilities, as an important tool for the music teaching in this context in an integrating, motivating, interdisciplinary and liberating way. For this reason, through an action research, this work has aimed to investigate the applicability of the musical theatre as a pedagogical practice in the context of the Igreja Batista da Esperanca (Hope Baptist Church), in Natal-RN, verifying the impact of this experience to the ones involved. In order to accomplish this, we carried out the construction of a musical with all of the ones who wanted to be a part of this research, having or not having previous musical experiences. The data collection was made through the field diary, semi-structured interviews with the cast of the musical and pictures and videos of rehearsals and presentations. The main issues highlighted were categorized and properly analyzed, which showed us how much the musical theatre can be used as a musical pedagogical tool also effective in the ecclesiastical context. Thus, another conception of artistic endeavor could be brought to churches, contributing to the inclusion of new participants in their musical practices, expanding the studies on the musical theatre and the presence of music in these spaces a bit more, causing other future studies.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-04-15T22:16:29Z No. of bitstreams: 1 GirlaneCristinaSiqueiraDaSilva_DISSERT.pdf: 2824798 bytes, checksum: 44f2645561691b38af07ce7a3b225505 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-04-20T20:54:15Z (GMT) No. of bitstreams: 1 GirlaneCristinaSiqueiraDaSilva_DISSERT.pdf: 2824798 bytes, checksum: 44f2645561691b38af07ce7a3b225505 (MD5) / Made available in DSpace on 2016-04-20T20:54:15Z (GMT). No. of bitstreams: 1 GirlaneCristinaSiqueiraDaSilva_DISSERT.pdf: 2824798 bytes, checksum: 44f2645561691b38af07ce7a3b225505 (MD5) Previous issue date: 2015-03-10 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior (CAPES) / Esta pesquisa investigou a atua??o feminina no teatro pernambucano durante a ditadura milita r brasileira na d?cada de 1970 , analisando os trabalhos de quatro atrizes dos grupos Teatro Hermilo Borba Filho, Vivencial e Express?o , que atuaram no per?odo. Lan?a - se um olhar sobre o corpo feminino no teatro a partir de uma transgress?o c?nica corporal : a consci?ncia de uma insubordin a??o corp?rea em resposta a um determinado contexto. No entanto, antes delineou - se um panorama sobre a posi??o art?stica e sociocultural da mulher no teatro, nos per?odos que antecedem a ditadura no Brasil e em Pernambuco, abrangendo refer?ncias teatrais e hist?ricas, com o objetivo de refletir sobre como estas coloca??es interferiram na imagem social da atriz no contexto ditatorial. Os grupos s?o revisitados pe los olhares das int?rpretes, onde foi percebido que a visada feminina busca as rela??es, e neste contexto, as rela??es com os outros grupos de teatro da ?poca, com os outros artistas do s grupo s em que estavam inseridas, com o contexto ditatorial, com a censura, com o teatro engajado e transgressor, com o corpo. Em paralelo, desenvolve - se uma reflex?o sobre o corpo c?nico que se opunha ? ditadura, um corpo que viola as normas esta b elecidas, o Corpo Transgressor. A pesquisa discorre ainda sobre uma analogia entre o trabalho das atrizes que se opunham ao regime militar e as mulheres militantes. Partindo d e an?lises feitas com as entrevistas realizadas com as atrizes, a partir das metodologias da Hist?ria Oral e da An?lise do Discurs o , o estudo ? desenvolvido construindo - se conex?es entre as falas das artistas e os pressupostos filos?ficos de Henri Bergson , acerca do corpo e da mem?ria. ? tamb?m elaborada uma reflex?o sobre as mudan?as do corpo feminino no teatro na Hist?ria, em conson?ncia com o conceito tamb?m filos?fico do Devir M ulher de Fel ix Guattari. Constatou - se, assim, que as atrizes , desde o s?culo XIX, constitu?ram um dos grupos de atores sociais femininos que modificaram a posi??o da mulher na Hist?ria ; que a estigmatiza??o da profiss ?o d e atriz, considerada como indecente nos s?culos anteriores , deixou resqu?cios em alguns ?mbitos na atualidade e que a ideia da liberta??o do corpo feminino propagada pelo feminismo nos anos de 1970, configurou - se na ?poca como a melhor forma de protesto e vai influencia r, em alguns contextos, na representa??o feminina em seu fazer teatral. / This research investigated the female performance in Pernambuco theater during the Brazilian military dictator ship in the 1970s, analyzing the works of four actresses of theater groups Hermilo Borba Filho, Experiential and Expression, who acted in the period. Launches a look at the female body in the theater from a body scenic transgression: the conscience of a body insubordination in response to a given context. However, before delineated an overview of the artistic and socio - cultural position of women in the theater, in the periods prior to the dictatorship in Brazil and Pernambuco, covering theatrical and historical references, in order to reflect on how these settings interfered in the picture Social actr ess under the dictatorship. The groups are revisited by the looks of interpreters, which was perceived that female targeted search relationships, and in this context, relations with other theater groups of the time, with other artists of the groups that we re inserted with the dictatorial context with censorship, with the offender engaged and theater, with the body. In parallel, it develops a reflection on the scenic body that opposed the dictatorship, a body that violates the established norms, the Transgre ssor Body. The research also discusses an analogy between the work of the actresses who opposed the military regime and militant women. Starting from analyzes with interviews with the actresses from the methodologies of Oral History and Discourse Analysis, the study is developed by building up connections between the testimonies of the artists and the philosophical assumptions of Henri Bergson, on the body and memory. It is also designed to reflect on the changes of the female body in the theater in history , also in line with the philosophical concept of Becoming Woman Felix Guattari. It was found, therefore, that the actresses from the nineteenth century, were a group of female social actors who changed the position of women in history; the stigmatization o f the actress by profession, considered indecent in previous centuries, left traces in some areas today and the idea of the liberation of the female body propagated by feminism in the 1970s, was configured at the time as the best way to protest and will influence, in some contexts, the representation of women in their theatrical make.