Many of the sources indicated in this work are classical and not updated due to the fact that the origins of Gestalt Philosophy are found in classical works / Verskeie van die geraadpleegde bronne in die literatuurhoofstukke verteenwoordig klassieke werke wat nie binne die erkende periode vir relevante wetenskaplike navorsing val nie. Die oorsprong van die Gestalt Filosofie wat in hierdie studie benut is, word in hierdie klassieke werke gevind en is ook in hierdie werke geraadpleeg / The Gestalt approach was used as the contextual framework to explore how music can be used as a therapeutic medium in the treatment of the emotionally traumatized child. Music as a sensory experience was used during the therapeutic process with each case study, to facilitate the child's process towards healing. The conceptual framework of music as a therapeutic medium was researched in depth to bring clarity to the influence it has on the emotional well-being of the child. The child who entered into therapy was selected according to specific criteria, with the experience of emotional trauma being priority. The researcher also studied the concept of emotional trauma in depth and the consequences it has on a child's overall functional ability. Music was used as an expressive technique during the therapeutic process with each child. The conclusion drawn from this study indicated that the gestalt approach can be applied effectively in using music as a therapeutic medium in the treatment of the emotionally traumatized child. / Die Gestalt benadering is gebruik in hierdie navorsing ten einde 'n kontekstuele raamwerk daar te stel waarbinne musiek as terapeutiese medium in die behandeling van emosionele trauma in kinders gebruik kon word. Musiek kan beskryf word as 'n sensoriese ervaring. Hierdie sensoriese ervaring is binne die terapeutiese proses toegepas ten einde die kind se herstelproses te fasiliteer. Die studie is binne die navorsingskonteks van gevallestudieprosedures gedoen. Musiek is binne die konseptuele raamwerk bestudeer en nagevors ten einde die terapeutiese waarde daarvan in diepte te ondersoek. Hierdie in-diepte ondersoek het aan die navorser 'n duidelike beeld gegee hoe dit toegepas kon word in terapie. Deur dit toe te pas in terapie is die invloed van musiek op die emosionele welsyn van die getraumatiseerde kind gedokumenteer. Die navorsingskriteria vir insluiting in die ondersoek was gegrond op die literatuurondersoek en het onder meer die belewing van trauma ingesluit. Die belewing van emosionele trauma en invloed op die kind se geheelfunksionering was dus 'n verdere eenheid van ontleding en is in diepte deur die navorser bestudeer. Musiek is dus gebruik as 'n ekspressiewe tegniek tydens die terapeutiese proses met elke gevallestudie. Die gevolgtrekking waartoe in hierdie studie gekom kon word is dat musiek binne die konteks van die gestalt benadering suksesvol in die hantering van emosionele trauma by die kind gebruik kan word. / Practical Theology / M.Diac. (Play Therapy)

Many of the sources indicated in this work are classical and not updated due to the fact that the origins of Gestalt Philosophy are found in classical works / Verskeie van die geraadpleegde bronne in die literatuurhoofstukke verteenwoordig klassieke werke wat nie binne die erkende periode vir relevante wetenskaplike navorsing val nie. Die oorsprong van die Gestalt Filosofie wat in hierdie studie benut is, word in hierdie klassieke werke gevind en is ook in hierdie werke geraadpleeg / The Gestalt approach was used as the contextual framework to explore how music can be used as a therapeutic medium in the treatment of the emotionally traumatized child. Music as a sensory experience was used during the therapeutic process with each case study, to facilitate the child's process towards healing. The conceptual framework of music as a therapeutic medium was researched in depth to bring clarity to the influence it has on the emotional well-being of the child. The child who entered into therapy was selected according to specific criteria, with the experience of emotional trauma being priority. The researcher also studied the concept of emotional trauma in depth and the consequences it has on a child's overall functional ability. Music was used as an expressive technique during the therapeutic process with each child. The conclusion drawn from this study indicated that the gestalt approach can be applied effectively in using music as a therapeutic medium in the treatment of the emotionally traumatized child. / Die Gestalt benadering is gebruik in hierdie navorsing ten einde 'n kontekstuele raamwerk daar te stel waarbinne musiek as terapeutiese medium in die behandeling van emosionele trauma in kinders gebruik kon word. Musiek kan beskryf word as 'n sensoriese ervaring. Hierdie sensoriese ervaring is binne die terapeutiese proses toegepas ten einde die kind se herstelproses te fasiliteer. Die studie is binne die navorsingskonteks van gevallestudieprosedures gedoen. Musiek is binne die konseptuele raamwerk bestudeer en nagevors ten einde die terapeutiese waarde daarvan in diepte te ondersoek. Hierdie in-diepte ondersoek het aan die navorser 'n duidelike beeld gegee hoe dit toegepas kon word in terapie. Deur dit toe te pas in terapie is die invloed van musiek op die emosionele welsyn van die getraumatiseerde kind gedokumenteer. Die navorsingskriteria vir insluiting in die ondersoek was gegrond op die literatuurondersoek en het onder meer die belewing van trauma ingesluit. Die belewing van emosionele trauma en invloed op die kind se geheelfunksionering was dus 'n verdere eenheid van ontleding en is in diepte deur die navorser bestudeer. Musiek is dus gebruik as 'n ekspressiewe tegniek tydens die terapeutiese proses met elke gevallestudie. Die gevolgtrekking waartoe in hierdie studie gekom kon word is dat musiek binne die konteks van die gestalt benadering suksesvol in die hantering van emosionele trauma by die kind gebruik kan word. / Philosophy, Practical and Systematic Theology / M.Diac. (Play Therapy)

This study explored the interaction between persons and songs in therapy, and was described according to the ideas of Social Constructionism and the Narrative Approach (Freedman & Combs, 1996; Gergen, 1985, 1994; Hoyt, 1998). The meanings around songs and the therapist-client interaction were explored. A flowing process evolved that allowed for new ideas to become part of the therapeutic conversations (Anderson & Goolishian, 1988; Hoffman, 1994). The research was qualitative as befits the above-mentioned epistemology. Therapeutic conversations evolved with a single client, in which songs and music were used to explore her life story. An unstructured interview was conducted to explore the therapeutic process underlying the incorporation of songs in therapeutic conversations. The hermeneutic method of analysis was employed to identify themes and meanings that encompassed the research participant's life story as well as the therapeutic process in which songs were utilised to facilitate therapeutic dialogues. It was found that the themes elicited in this study reflected the themes discussed in the literature. The following themes underlying the therapeutic process of songs were identified: songs created an emotional release; they elicited memories, feelings and imagery; they facilitated relaxation, coloured relationships and provided a new skill. This exploration of the themes allowed for rich descriptions of the participant's story and the therapeutic conversations, to emerge. / Clinical psychology / M.A. (Clinical psychology)

This study was aimed at exploring and describing the role of music as a medium in the Gestalt play therapy process with children who experience emotional distress and therefore suffer loss of healthy contact. The case study method was used as research strategy. A literature study of the Gestalt approach and Gestalt play therapy was carried out as well as a study of the child in middle childhood, the child experiencing emotional distress in the form of loss, and music as a medium. In implementing of this research study three case studies were described. The sampling method was based on a non-probability purposive sampling technique. The criteria for inclusion in this study were children who experience emotional distress in the form of loss and who, subsequently, do not make effective contact. Between seven and eight therapeutic sessions per child were conducted. The role of music was evident in all three cases. / SOCIAL WORK / MDIAC (PLAY THERAPY)

Thesis (MSocialWork)--Stellenbosch University, 2003. / ENGLISH ABSTRACT: An exploratory study was conducted to determine the nature and extent of the emotions and emotional experiences of alcoholics and chemically dependent adults. The study was also conducted to explore the theoretical field of music therapy and determine how music can be utilized to social group work with alcoholics and chemically dependent adults. The exploratory study was also conducted to determine how many knowledge social workers have about music therapy, and to what extent they believe it can practically be used in social group work with alcoholics and chemically dependent adults. The researchers' interest in group work and the importance of the use of creative aids during group work is the motivation for this study. The aim of the study is thus to establish guidelines for the use of music in social group work in order to provide effective intervention for alcoholics and chemically dependent adults. The most general personality traits, emotions, defence mechanisms, communication and motivational problems of alcoholics and chemically dependent adults, have been enclosed in the literature study. The corresponding principles, goals and intervention processes of group work and music therapy was also highlighted. Focus was especially placed on the corresponding functions of group work and music namely the handling of defence mechanisms, the exploration and expression of emotions, the improvement of communication, the development of a positive self-esteem, socialisation and the facilitation of personal motivation. The value of group work and music in the addressing of alcoholics' and chemically dependent adults' problems and needs, has been investigated because of the specific corresponding functions of group work and music. The umversum IS social workers at institutions that make use of group work interventions in their treatment programmes for alcoholics and chemically dependent adults. A combination of quantitative and qualitative research methods was used, namely structured interviews as well as structured questionnaires. The results of this study generally confirmed the findings of the literature study. The recommendations can be divided into three areas namely recommendations concerning policy, programmes and training of social workers, recommendations concerning the corresponding functions of group work and music, and recommendations concerning future research. The importance of further research in the testing of the value of music in group work for specific client groups was especially recommended. / AFRIKAANSE OPSOMMING: 'n Verkennende studie is in hierdie ondersoek geïmplimenteer ten einde die aard en omvang van volwasse dwelmafhanklikes se emosies en emosionele belewenisse te beskryf, 'n teoretiese verkenning van musiekterapie te doen en dit in verband te bring met maatskaplike groepwerk, en te bepaal in watter mate musiek tydens groepwerk met volwasse dwelmafhanklikes toegepas kan word. Die verkennende studie is ook geïmplimenteer om te bepaal in watter mate maatskaplike werkers kennis oor bogenoemde vorm van intervensie het en in watter mate hulle van mening is dat die benutting van musiek in groepwerkprogramme vir dwelmafhanklikes in inrigtings uitvoerbaar is. Die motivering vir hierdie studie het na vore gekom weens die navorser se belangstelling in kreatiwiteit in die uitvoer van maatskaplike groepwerk. Die doel van hierdie studie is dus om riglyne daar te stel vir die benutting van musiek in maatskaplike groepwerk ten einde effektiewe intervensie aan dwelmafhanklikes in inrigtingsverband te lewer. Die literatuurstudie het die algemene persoonlikheidstrekke, emosies, verdedigingsmeganismes, kommunikatiewe en motiveringsprobleme van dwelmafhanklikes ingesluit. Die gemeenskaplike beginsels, doelstellings en intervensieproses van groepwerk en musiekterapie is ook in die literatuurstudie uitgelig. Daar is veral gefokus op die gemeenskaplike funksies van groepwerk en musiek naamlik die hantering van verdedigingsmeganismes, die eksplorering en uitdrukking van emosies, die bevordering van kommunikasie, die ontwikkeling van 'n positiewe selfbeeld, sosialisering en die fasilitering van persoonlike motivering. Weens die spesifieke gemeenskaplike funksies van groepwerk en musiek, is daar besluit om die waarde van groepwerk en musiek in die aanspreek van dwelmafhanklikes se probleme, te ondersoek. Die universum is maatskaplike werkers by inrigtings wat intervensie aan dwelmafhanklikes deur middel van groepwerk, bied. Die ondersoek is deur 'n kombinasie van gestruktureerde onderhoude sowel as gestruktureerde vraelyste, gerig. Kwalitatiewe en kwantitatiewe inligting is dus ingesamel. Die resultate van hierdie ondersoek het tot 'n groot mate die bevindinge van die literatuurstudie bevestig naamlik dat dwelmafhanklikes met sekere persoonlikheidseienskappe, emosies, verdedigingsmeganismes en kommunikatiewe probleme presenteer; dat groepwerk 'n gewenste metode om bogenoemde behoeftes en probleme aan te spreek en te hanteer, is; en dat die benutting van musiek in groepsituasies waardevol in die fasilitering van die uitdrukking van emosies, die afbreek van verdedigingsmeganismes en die fasilitering van onder andere ontspanning, kan wees. Die aanbevelings het op drie areas gefokus naamlik algemene aanbevelings rakende inrigtingsbeleid, programme en skoling van maatskaplike werkers, aanbevelings ten opsigte van die gemeenskaplike funksies van groepwerk en musiek, en aanbevelings ten opsigte van verdere navorsing. Daar word aanbeveel dat die benuttingswaarde van musiek in groepwerk met 'n spesifieke kliëntegroep, getoets moet word.

Detta examensarbete är en studie i hur ett multifunktionellt behandlingsrum kan utformas. I behandlingsrummet ska det finnas möjligheter att utföra ett flertal olika aktiviteter, och det ska vara smidigt att skifta mellan dessa. Målsättningen har varit att skapa goda förutsättningar för att utföra rehabiliteringsaktiviteter, genom att underlätta terapeuternas arbete men också kundernas möjlighet att tillgodogöra sig behandlingen.   Arbetet har utgått från ett FMT- behandlingscenters lokaler i Eskilstuna. De har bland annat efterfrågat en gestaltning som hjälper till att reducera ljud, och optimera ljusförhållanden.   Studien har baserats på teorier om färg, ljus, akustik, ergonomi, designprinciper och gestaltlagar. I arbetet har följande metoder utförts: intervju, platsanalys, observation och introspektion. Behandlingsrummet har blivit mer avskalat i och med den avskärmning som blivit nyckeln i denna flexibla lösning. / This is a study on how to design multi-functional treatment rooms. In this case the particular treatment room must support the possibility to perform a variety of activities, and it should be easy to switch between those. The goal is to provide favorable conditions to carry out rehabilitation, by facilitating the therapists' work, but also the customers’ ability to benefit from the treatment. This work has developed out of a FMT treatment centers premises in Eskilstuna. The request was a design that could help to reduce noise and optimize lighting conditions, this has also been the main focus for the choice of spatial elements that are included in the design. The study is based on the theories on color, light, acoustics, ergonomics, design principles and gestalt psychology. Methods in use were: interview, site analysis, observation and introspection. The treatment room has become more uncluttered thanks to the foreclosure that became a key in the new a key in this flexible design.

Made available in DSpace on 2014-07-29T15:25:24Z (GMT). No. of bitstreams: 1 TESE Doutorado CLAUDIA ZANINI.pdf: 1721705 bytes, checksum: 987d65104fccd2a473cae238b42052a5 (MD5) Previous issue date: 2009-06-22 / INTRODUCTION: Arterial Hypertension (AH) is a mass disease, with consequences for the cardiocirculatory system. It may result in an increase in morbidity and mortality rates. Controlling blood pressure (BP) lessens complications and helps preserve quality of life (QL). Studies have shown the positive effects of music as a coadjuvant in the treatment of various pathologies. OBJECTIVES: To evaluate the effect of music therapy on QL and in the control of BP in hypertensive patients. METHODS: This project was approved by the Ethics Committee of the UFG Clinical Hospital. A controlled clinical trial evaluated patients of both sexes, over 50 years old, AH stage 1, under medication and enrolled in a multidisciplinary AH treatment program. They were divided into experimental (EG) and control (CG) groups. In addition to conventional treatment, the EG participated in weekly music therapy sessions over 12 weeks. The CG continued with the program&#8223;s regular treatment. Before and after the intervention, two QL-evaluation instruments, the SF-36 and Bulpitt and Fletcher questionnaires, were administered to the two groups. Change in BP was also measured. The voice, an important element in communication and a reflection of physical, psychological and emotional state, was the main therapeutic resource used. The t-student, Mann-Whitney, Wilcoxon, Chi-Squared and Fisher tests were used for statistical analysis. The Pearson or Spearman correlations were used to analyze the correlation between the QL instruments. Data were analyzed using the SPSS program. Values of p<0.05 were considered significant. RESULTS: The groups were initially homogeneous as regards sex, age, education level, QL. In the before-and-after comparison, the EG patients showed a significant improvement in BP control and QL. The CG registered no significant change. We find good correlation between the instruments of QL evaluation. CONCLUSION: Music therapy contributed to better BP control and QL improvement. The two QL evaluation instruments correlated well, with the possibility of a more holistic view of the patient. This therapeutic modality may represent an important contribution to multidisciplinary programs serving hypertensive patients / INTRODUÇÃO - A Hipertensão Arterial (HA) é uma doença de massa, com conseqüências para o aparelho cardiocirculatório, podendo gerar elevação das taxas de morbi-mortalidade. Controlar a pressão arterial (PA) diminui complicações e deve preservar a qualidade de vida (QV). Estudos têm evidenciado os efeitos positivos da música como coadjuvante no tratamento de diversas patologias. OBJETIVOS: Avaliar o efeito da musicoterapia na QV e no controle da PA de pacientes hipertensos. MÉTODOS: Projeto aprovado pelo Comitê de Ética do Hospital das Clínicas da UFG. Ensaio clínico controlado avaliou pacientes de ambos os sexos, maiores que 50 anos, HA estágio 1, medicados e matriculados em serviço multiprofissional para tratamento da HA. Divididos em grupos experimental (GE) e controle (GC). O GE, além do tratamento convencional, participou de sessões musicoterápicas semanais por doze semanas. O GC permaneceu sob tratamento padrão do serviço. Antes e após a intervenção foram aplicados em ambos os grupos dois instrumentos para avaliação da QV (Questionário SF-36 e de Bulpitt e Fletcher) e avaliado o nível da PA. A voz, importante elemento da comunicação, reflexo do estado físico, psíquico e emocional, foi o principal recurso terapêutico utilizado. Para a análise estatística foram utilizados os testes T-Student, de Mann-Whitney, de Wilcoxon, Qui-Quadrado e de Fisher. Para analisar a correlação entre os instrumentos de QV foram utilizadas as correlações de Pearson ou de Spearman. Dados analisados através do Programa SPSS. Valores de p<0,05 considerados significantes. RESULTADOS: Grupos inicialmente homogêneos quanto a sexo, idade, escolaridade e QV. Na comparação inicial e final dos pacientes do GE observou-se diminuição significativa da PA e melhora na QV enquanto no GC não se verificou alterações significativas. Houve correlação positiva entre os dois instrumentos utilizados para avaliação da QV. CONCLUSÃO: A Musicoterapia contribuiu para a melhora do controle da PA e para a melhora da QV. Os dois instrumentos de avaliação da QV tiveram boa correlação, com possibilidade de uma visão mais integral do paciente. Esta modalidade terapêutica pode representar importante contribuição em programas de atendimento multidisciplinar ao paciente hipertenso

Made available in DSpace on 2014-07-29T16:25:09Z (GMT). No. of bitstreams: 1 Dissertacao Fernanda Valentin.pdf: 2823445 bytes, checksum: db1117c32895e2b31e0c7b26ae54d6e2 (MD5) Previous issue date: 2010-03-30 / When taking knowledge of the existence of institutions of internment for adolescent authors of infracionais acts, appeared the interest in knowing them and investigating the reality of the social educators who act there. In a generalized manner, it is noticed that these professionals are citizens diverse anxiogenic situations e, on the other hand, is not given the had attention to the personal dimension of the same ones. Ahead of this, one perceived that the potential of the Music Therapy could contribute in the social education context, since this therapeutical one privileges the interaction between body, sound and music. Thus, the present study it had as objective generality to investigate as the Music Therapy can contribute in the production of sonorous bodies and subjectivities of social educators who act in centers of internment and attendance for adolescent authors of infracionais acts, aiming at to identify the music therapeutics experiences as field of the representational. One is about a qualitative research, with characteristic to interdisciplinary, having as referential theoretician workmanships of the areas of Social Education, Social Psychology, Cultural History, Music, Music Therapy and, still, the Theories of the Social Representations evidenced mainly in the thoughts of Moscovici and Chartier. The field research was carried through next to two groups formed for social educators of two units of internment, both located in the city of Goiânia. It was possible, to the end of the research, to verify that the participant educators had tried a rescue of its proper sounds, the creation of new noises and subjectivities, and a corporeity connected to different the sensible ones and the proper life. When taking knowledge of the existence of institutions of internment for adolescent authors of infracionais acts, appeared the interest in knowing them and investigating the reality of the social educators who act there. In a generalized manner, it is noticed that these professionals are citizens diverse anxiogenic situations e, on the other hand, is not given the had attention to the personal dimension of the same ones. Ahead of this, one perceived that the potential of the Music Therapy could contribute in the social education context, since this therapeutical one privileges the interaction between body, sound and music. Thus, the present study it had as objective generality to investigate as the Music Therapy can contribute in the production of sonorous bodies and subjectivities of social educators who act in centers of internment and attendance for adolescent authors of infracionais acts, aiming at to identify the music therapeutics experiences as field of the representational. One is about a qualitative research, with characteristic to interdisciplinary, having as referential theoretician workmanships of the areas of Social Education, Social Psychology, Cultural History, Music, Music Therapy and, still, the Theories of the Social Representations evidenced mainly in the thoughts of Moscovici and Chartier. The field research was carried through next to two groups formed for social educators of two units of internment, both located in the city of Goiânia. It was possible, to the end of the research, to verify that the participant educators had tried a rescue of its proper sounds, the creation of new noises and subjectivities, and a corporeity connected to different the sensible ones and the proper life. / Ao tomar conhecimento da existência de instituições de internação para adolescentes autores de atos infracionais, surgiu o interesse em conhecê-las e investigar a realidade dos educadores sociais que ali atuam. De maneira geral, nota-se que esses profissionais estão sujeitos a diversas situações ansiogênicas e, por outro lado, não é dada a devida atenção à dimensão pessoal dos mesmos. Diante disso, percebeu-se que o potencial da Musicoterapia poderia contribuir no contexto socioeducativo, já que esta terapêutica privilegia a interação entre corpo, som e música. Assim, o presente estudo teve como objetivo geral investigar como a Musicoterapia pode contribuir na produção de corpos sonoros e subjetividades de educadores sociais que atuam em centros de internação e atendimento para adolescentes autores de atos infracionais, visando identificar as experiências musicoterapêuticas como campo do representacional. Trata-se de uma pesquisa qualitativa, com característica interdisciplinar, tendo como referencial teórico obras das áreas de Educação Social, Psicologia Social, História Cultural, Música, Musicoterapia e, ainda, as Teorias das Representações Sociais evidenciada principalmente nos pensamentos de Moscovici e Chartier. A pesquisa de campo foi realizada junto a dois grupos formados por educadores sociais de duas unidades de internação, ambas localizadas na cidade de Goiânia. Foi possível, ao final da pesquisa, verificar que os educadores participantes experimentaram um resgate de seus próprios sons, a criação de novas sonoridades e subjetividades, e uma corporeidade conectada aos diferentes sentidos e à própria vida. Palavras-chave: Educação Social; Musicoterapia; Música; Representações Sociais.

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ÁUDIO 7.mp3: 381177 bytes, checksum: 7bc2bbe3b2a710578f7c47553042d742 (MD5) Previous issue date: 2012-03-30 / This research was conducted in the Music School and Performing Arts Postgraduate Program/UFG, in the research line Music, Education and Health of the Master's Degree in Music. We attempted to investigate normative children with learning difficulties in reading, proposing music therapeutic actions as mediation to expand the understanding of these cases. The field research, a case study of qualitative approach, was developed in an elementary public school in the city of Goiania, through which data were collected in many ways: music therapeutic visits to the learners, semi-structured interviews with teachers, student's family and the school context observations. The analysis was performed using data triangulation, establishing three periods (Beginner, Intermediate and Final) considering the musical sound expressions and the inter-and intrapersonal relationship aspects of these students and the perceptions aspects of the other actors (teachers and family members), and data on the dynamics of the school, generating analytical categories. The theoretical framework that subsidized this analysis was the Complexity Theory in dialogue with theoretical references of the music therapy, education and socio-historical psychology. The results of research showed that the homogeneity characteristic of the teaching/traditional school can lead to noncompliance of the students in situations of free expression and/or creative character, tending to the manifestation of misconduct and disorder. We understand, according to the complexity, that the disorder is a necessary phenomenon and concomitant to the order, since you need to learn to build, rebuild and/or deconstruct ideas, experiences and values. Music therapy in the school allowed a space for expression of the relations and intrapersonal and interpersonal conflicts of learners. We believe that, to provide significant new experiences the subject (and do experiment) therapeutic musicians from experience, it is possible to facilitate to internalization of new knowledge and, consequently, the development. Complexity theory has enabled the contextualization of learning disabilities in reading favoring the understanding of the multiple factors that are mutual. / A presente pesquisa foi desenvolvida no Programa de Pós-Graduação da Escola de Música e Artes Cênicas/UFG, na linha de Pesquisa Música, Educação e Saúde do Mestrado em Música. Buscou-se investigar sobre crianças normativas com dificuldade de aprendizagem em leitura, propondo-se ações musicoterapêuticas como mediação à ampliação da compreensão desses casos. A pesquisa de campo, um Estudo de Caso de caráter qualitativo, foi desenvolvida em uma escola do ensino fundamental pública do município de Goiânia, por meio do qual foram coletados dados sob diversas formas: atendimentos musicoterapêuticos aos educandos, entrevistas semiestruturadas com docentes e familiares dos alunos e observações do contexto escolar. A análise foi realizada através da triangulação dos dados, estabelecendo três momentos à exposição (Inicial, Intermediário e Final) considerando-se a expressão sonoro-musical e os aspectos do relacionamento inter e intrapessoal dos alunos participantes, aspectos das percepções dos demais atores (educadores e familiares), bem como dados sobre a dinâmica do contexto escolar, gerando as categorias analíticas. A fundamentação teórica que subsidiou a análise foi a Teoria da Complexidade em diálogo com referenciais teóricos da Musicoterapia, da Educação e da Psicologia Sócio-histórica. Os resultados encontrados na pesquisa evidenciaram que a homogeneidade característica do ensino/escola tradicional pode levar a não adesão dos educandos em situações de expressão livre e/ou de caráter criativo, tendendo à manifestação de condutas inadequadas e de desordem. Entendemos, à luz da Complexidade, que a desordem é um fenômeno necessário e concomitante à ordem, visto que, para aprender é preciso construir, reconstruir e/ou desconstruir ideias, experiências e valores. A Musicoterapia no contexto escolar possibilitou um espaço de expressão das relações e conflitos intra e interpessoais dos educandos. Acreditamos que, ao proporcionar novas e significativas experiências ao sujeito (fazer e experimentar) a partir das experiências musicoterapêuticas, é possível favorecer a internalização de novas aprendizagens e, consequentemente, o desenvolvimento. A teoria da Complexidade permitiu a contextualização das dificuldades de aprendizagem em leitura favorecendo a compreensão sobre os múltiplos e mútuos fatores que as constituem.

Made available in DSpace on 2016-03-15T19:43:02Z (GMT). No. of bitstreams: 1 Priscila Bernardo Mulin.pdf: 2087435 bytes, checksum: 8c5c76fa888872496f60575ee0938212 (MD5) Previous issue date: 2015-02-12 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research aimed to describe different relationships established between music and human experience, investigating how people perceive, experience and make sense of this kind of experience. Therefore, at first it was held an exploratory research on the subject, in which it resorted to literature from different areas that study the music. This step led to important reflections about the possibilities and difficulties of investigating the musical experience, with the conductor axis of reflection and subsequent design of the research method, three references: Types of Musical behaviors described by Theodor W. Adorno, Music Therapy as na educational course and favoring of musical experience and the Phenomenology of Maurice Merleau-Ponty perception. Secondly, trying to get even closer to the experience, it was adopted a phenomenological perspective, which was placed in suspension possible theoretical frameworks that explain the musical experience. For this, it was used for investigation the musical experience the Sound-Musical History, a material in which the research subjects recorded their musical experiences from a chronological organization (family descendants to adult life) and specific questionnaires about their habits and musical preferences. The research subjects were three students of the specialization course in Music Therapy aged from 29 to 33 years. Four aspects quite present in the research subjects' reports stood constituting an interesting cutout for description of musical experiences of the subjects, the places where the musical experiences were favored, people who shared or generated these experiences, the sound sources and references to artistic and cultural universe. All these four aspects were called Sound-Musical Context. How nomothetic analysis results that laced the musical experiences of the subjects, it was observed that the elements of the Sound-Musical Context provide direct contact of the subject with the music, and so these aspects can be considered as the "objective factors "the musical experience, while the way that subjects relate and attach meaning to them, the" subjective aspects "of the experience. A trajectory of continuity in the musical experience that starts from the contact with the music and the sounds of the surroundings, from the musical actions and constituting the preferred musical experiences of each subject, were also observed. Therefore, the Sound-Musical Context, when designed from a chronological perspective, can clarify some nuances of the complex relationship between music and human experience, helping to get the structure of the phenomenon of musical experience. / Esta pesquisa teve por objetivo descrever diferentes relações estabelecidas entre música e experiência humana, investigando como as pessoas percebem, vivenciam e atribuem sentido a este tipo de experiência. Para tanto, num primeiro momento realizou-se uma pesquisa exploratória sobre o tema, na qual se recorreu a literatura de diversas áreas que estudam a música. Este passo conduziu a importantes reflexões sobre as possibilidades e as dificuldades de se investigar a experiência musical, tendo como eixo condutor da reflexão e posterior delineamento do método de pesquisa, três referenciais: os tipos de comportamentos musicais descritos por Theodor W. Adorno, a Musicoterapia enquanto campo de estudo e favorecimento da experiência musical e a Fenomenologia da Percepção de Maurice Merleau-Ponty. Num segundo momento, tentando aproximar-se ainda mais da experiência vivida, adotou-se uma perspectiva fenomenológica, na qual colocou-se em suspensão possíveis referenciais teóricos que explicariam a experiência musical. Para isso, utilizou-se para investigação da experiência musical o Histórico Sonoro-Musical, um material no qual os sujeitos de pesquisa registraram suas vivências musicais a partir de uma organização cronológica (da descendência familiar a vida adulta) e questionários específicos sobre seus hábitos e preferências musicais. Os sujeitos de pesquisa foram três alunos do curso de especialização em Musicoterapia com idades entre 29 e 33 anos. Quatro aspectos bastante presentes se destacaram constituindo um interessante recorte para descrição das experiências musicais, os lugares em que as experiências musicais foram favorecidas, as pessoas que compartilharam ou geraram estas experiências, as fontes sonoras e as referências ao universo artístico-cultural. O conjunto destes quatro aspectos foi denominado Contexto Sonoro-Musical. Como resultados da análise nomotética que entrelaçou as experiências musicais dos sujeitos de pesquisa, pôde-se verificar que os elementos do Contexto Sonoro-Musical propiciam o contato direto do sujeito com a música, e assim, tais aspectos podem ser considerados como os fatores objetivos da experiência musical, enquanto que a forma que os sujeitos se relacionam e atribuem sentido aos mesmos, os aspectos subjetivos da experiência. Uma trajetória de continuidade na experiência musical que se inicia a partir do contato com a música e os sons do entorno, passando às ações musicais e constituindo as experiências musicais preferenciais de cada sujeito, também pôde ser observada. Dessa forma, o Contexto Sonoro-Musical, quando concebido a partir de uma perspectiva cronológica, pode esclarecer algumas nuances da complexa relação entre música e experiência humana, contribuindo para se chegar a estrutura do fenômeno da experiência musical.