Made available in DSpace on 2016-04-25T19:20:13Z (GMT). No. of bitstreams: 1 Luzia Maria de Oliveira Sena.pdf: 5567574 bytes, checksum: 664c8a39ea9a548e807beab4d1adb365 (MD5) Previous issue date: 2011-05-11 / The subject of this research is to analyze the catholic parties called cristotecas , promoted since 2003 by the group Movimento Eclesial Aliança de Misericórdia , in São Paulo city. It aims to know the origin, the objectives, the organizative structure of the cristotecas , as well as the intents of the young people who take part of them and the influence of these parties over the youth. The cristotecas are analysed from the point of view of their inclusion in a wider context, configured by social and cultural changes the modern contemporary societies are passing over, whose transformations fall over the religious field and rouse new forms of organization and religious expressions. The focus of the investigation aims to verify how the music and the dance both coexisting along the human existence with religious purposes are used by the cristoteca not only for youth‟s leisure and entertainment, but specially as an strategy of evangelization: to attract the young people, to provide them a religious experience and an encounter with God, and to bring them to the Catholic Church communitarian convivial / Esta pesquisa tem como objeto de estudo as baladas católicas, denominadas cristotecas, promovidas desde 2003 pelo Movimento Eclesial Aliança de Misericórdia, na cidade de São Paulo. Visa conhecer a origem, os objetivos, a estrutura organizativa das cristotecas, as motivações dos jovens que delas participam e a influência destas baladas na vida desses jovens. As cristotecas são analisadas a partir da sua inserção num contexto mais amplo, configurado pelas mudanças socioculturais por que passam as sociedades modernas contemporâneas, cujas transformações incidem sobre o campo religioso, suscitando novas formas de organização e expressões religiosas. O foco da investigação tem por objetivo verificar como a música e a dança  presentes no decorrer da história da humanidade com finalidade religiosa são utilizadas nas cristotecas, não apenas como um meio de lazer e entretenimento para a juventude, mas, especialmente, como uma estratégia de evangelização: atrair os jovens, proporcionar-lhes uma experiência religiosa, um encontro com Deus, e trazê-los para o convívio da Igreja Católica

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「漢唐樂府」將非物質文化遺產的南管音樂，結合梨園戲的科步，融淬成以「梨園樂舞」為表演訴求的嶄新團隊「漢唐樂府˙梨園舞坊」。本文即以「漢唐樂府˙梨園舞坊」所展演的作品：《梨園幽夢》、《教坊記》、《韓熙載夜宴圖》、《洛神賦》、《殷商王后》和《盤之古》為主要討論對象。以運用「文化資產」開創「文化創意產業」的研究觀點，結合「跨文化」與「環境劇場」等相關理論開展論述。旨在討論其如何透過文化創意思維，維護提升文化資產的符號價值，創新增添更多的符號元素於展演，使經典文化資產普及於現代視聽。結論透過漢唐樂府和其他新興南管表演團體的比較，突顯其透過多元取材和演出，轉化文化資產為文化創意產業的機制所在，並反思創作形式和內涵的拓展可能。

Made available in DSpace on 2016-06-02T19:39:02Z (GMT). No. of bitstreams: 1 2344.pdf: 10544774 bytes, checksum: 93725fbde8755139e67f8bd4a9be77d6 (MD5) Previous issue date: 2009-02-27 / Financiadora de Estudos e Projetos / This Master s Dissertation introduces a dialogue between music and dance languages in a collective music practice context, more specifically in a community orchestra. With this purpose, the researcher, dancer and dance educator shares her own experiences in the field of Music Education and discusses the interaction developed with some members of the Experimental Orchestra of the Federal University of São Carlos (São Paulo state). The aim of this research is to discuss how experiences and reflections of dance activities can contribute for self perception, perception of the other and perception of music practice in order to benefit humanizing Education. The research includes eight movement themes related to the Choreological study proposed by Preston-Dunlop. They are: Body - whole and parts; Space kinesphere; Space octahedron; Space Shape; Space Projection; Dynamics Time; Dynamics Weight; and Relationships. The interaction meetings included experiences and reflections of dance activities. The methodological approach for the interaction was the context-based Art in Education/ Dance which articulates authors as Paulo Freire and Rudolf Laban main references in this research as well as Fiori, Gainza, Kater, Koellreutter and Marques. Results discuss the speeches from conversation circles proposed at the end of each interaction meeting. Presented in a discursive way, results include the researchereducator s reflections articulated with theoretical references, and point out the contributions of this process for self perception, perception of the other and perception of music collective practice. / Esta dissertação de mestrado apresenta um diálogo entre as linguagens da música e da dança em contexto de prática musical coletiva, mais especificamente em uma orquestra comunitária. Para isso a pesquisadora, dançarina e educadora de dança compartilha suas experiências de inserção na Educação Musical e discute o processo de intervenção realizado com alguns integrantes da Orquestra Experimental da UFSCar Universidade Federal de São Carlos (SP) no primeiro semestre de 2008. A investigação qualitativa teve como objetivo discutir como a vivência e reflexão de atividades em dança podem contribuir para a percepção de si mesmo, do outro e do significado da prática musical em contexto de Orquestra Comunitária de modo a se constituir em uma Educação Humanizadora. A pesquisa aborda sete elementos do movimento relacionados ao estudo coreológico do movimento proposto por Valerie Preston-Dunlop. São eles: Corpo - partes e todo, Espaço - kinesfera, Espaço - Octaedro, Espaço Forma, Espaço - Projeção, Dinâmica -Tempo e Dinâmica - Peso. Estes temas foram selecionados pela pesquisadora a partir da sua inserção no campo onde teve oportunidade de identificar interfaces relevantes para a prática musical do grupo envolvido. Os encontros para intervenção incluíram vivência e reflexão de atividades de dança. Como base metodológica da intervenção foi adotada a Metodologia de Ensino Arte no Contexto/ Dança, que articula autores como Paulo Freire e Rudolf Laban referências centrais deste trabalho, bem como Fiori, Gainza, Kater, Koellreutter e Marques. Os procedimentos utilizados para registro dos dados foram diário de campo e filmagem. Os resultados discutem as falas presentes nas rodas de conversa propostas ao final de cada encontro de intervenção. Apresentados de forma discursiva, trazem reflexões da educadora-pesquisadora à luz do referencial teórico abordado ao longo do trabalho e apontam as contribuições desse processo para percepção de si mesmo, do outro e da prática musical coletiva.

The main focus of the dissertation is 15th century Italian court dance, which was one of the prime manifestations of the emerging aristocratic society all across renaissance Europe. The dissertation draws on a detailed research into original dance notations and works on dance theory of dance masters Domenico da Piacenza, Antonio Cornazana and Guglielmo Ebreo/Giovanni Ambrosio and contains first-time Czech translations of important parts of these works. The text first addresses general issues (occasions and locations for dancing, dance education and the role of the dance master, functions of dance in a given historical period, intellectual and philosophical framework of early dance treatises) and moves on to analyse specific features of period dance theory and provides a description of ractical aspects of the realization of dance choreography (basic steps and movements, figures, spatial dance forms etc.). The dissertation contains a reconstruction of one such dance choreography. A certain journey into related fields and later historical periods are chapters on the aesthetic of movement (required posture, position of the head, facial expression, hand gestures etc.) and period etiquette (acceptance of social hierarchy in dance and beyond, ways of showing respect and greetings, asking to dance and...

PhD (African Studies) / Centre for African Studies / It has been shown that indigenous music and dance can help one to vividly fathom the behaviour, values and morals of particular cultural groups, they perform their music and dance for various reasons. For instance, there are songs for hoeing, weeding, reaping, for children, of mockery, during game, protests, by the fireside interspersed with folktales, love songs and so on. All these songs are immersed in culture-bound indigenous music. The indigenous music and dance of the Vatsonga play a vital role, not only in their lives but also for others who enjoy indigenous Xitsonga music and dance. There exists, however gaps regarding documentation, preservation and notation of this music and dance practices. In this study, therefore, indigenous Xitsonga music and dance genres are analysed descriptively and documented (with notation of common songs) for posterity. A qualitative approach was used to conduct this musicological study. A study such as this one can also contribute towards African indigenous knowledge systems and be used by the Department of Education. / NRF