Submitted by Morgana Silva (morgana_linhares@yahoo.com.br) on 2016-07-21T16:39:09Z No. of bitstreams: 1 arquivototal.pdf: 11677330 bytes, checksum: 6d04d33e8783570ff539ebd0f5bb1e7c (MD5) / Made available in DSpace on 2016-07-21T16:39:09Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 11677330 bytes, checksum: 6d04d33e8783570ff539ebd0f5bb1e7c (MD5) Previous issue date: 2015-04-30 / This study deals with a master's research in the music education area in the subject field of music education and religion. The overall objective of the research is to understand the ways in which the musical training of the individuals surveyed is concretized at the First Presbyterian Church of João Pessoa - Paraiba. The chosen method was the case study in a qualitative approach, using as techniques for the collection of data: document sources, interviews and observations. The research has as theoretical basis the conception of musical practices as social practices supported in the music sociology (KRAMER, 2000; SOUZA, 2000, 2014, etc). The Church, locus of this investigation, has four musical groups: the Youth Choir, Camerata, the Coral Society and Band. From a total of eighty-one participants in these groups, twelve people were interviewed . The results reveal that the songs practices that take place in the Church offer different possibilities and strategies of musical learning, which are established starting from the relationship between the group members. It is a musical learning that is intertwined with the other spaces, such as family, school, friends, Internet and media. Regarding the value assigned to the musical experience, in the interviewees reports three points emerged : strengthening of interpersonal relations among group participants; consider that musical practices contribute to a rapprochement with the divine; the pleasure of communicating with yourself and with one another through music. / O presente estudo versa sobre uma pesquisa de mestrado na área de educação musical no campo temático da educação musical e religiosidade. O objetivo geral da pesquisa consiste em compreender as formas pelas quais a formação musical dos sujeitos pesquisados se concretiza na Primeira Igreja Presbiteriana de João Pessoa - Paraíba. O método escolhido foi o estudo de caso em uma abordagem qualitativa, utilizando como técnicas para o levantamento dos dados: fonte documental, entrevistas e observações. A pesquisa tem como fundamentação teórica a concepção de práticas musicais como práticas sociais apoiadas na sociologia da música (KRAMER, 2000; SOUZA, 2000, 2014, entre outros). A Igreja, locus dessa investigação, tem quatro grupos musicais: o Coral Jovem, a Camerata, a Sociedade Coral e a Banda. De um total de oitenta e um participantes desses grupos, foram entrevistados doze pessoas. Os resultados revelam que as práticas musicas que acontecem na Igreja oferecem diferentes possibilidades e estratégias de aprendizagens musicais, que se estabelecem a partir das relações entre os integrantes dos grupos. É uma aprendizagem musical que está imbricada com os outros espaços, como a família, escola, amigos, Internet e as mídias. Em relação ao valor atribuído à experiência musical, nos relatos dos sujeitos entrevistados emergiram três pontos: fortalecimento das relações interpessoais entre os participantes dos grupos; considerar que as práticas musicais contribuem para uma aproximação com o divino; o prazer de se comunicar consigo e com o outro através da música.

Submitted by EDER RICARDO DA SILVA (ederprof.musica@gmail.com) on 2016-10-24T13:48:47Z No. of bitstreams: 1 DISSERTAÇÃO EDER RICARDO DA SILVA 2016 OFICIAL.pdf: 2272574 bytes, checksum: c0fa1d4b73ac6a332b6671576bb326be (MD5) / Approved for entry into archive by Juliano Benedito Ferreira (julianoferreira@reitoria.unesp.br) on 2016-10-31T13:11:53Z (GMT) No. of bitstreams: 1 silva_er_me_bauru.pdf: 2272574 bytes, checksum: c0fa1d4b73ac6a332b6671576bb326be (MD5) / Made available in DSpace on 2016-10-31T13:11:53Z (GMT). No. of bitstreams: 1 silva_er_me_bauru.pdf: 2272574 bytes, checksum: c0fa1d4b73ac6a332b6671576bb326be (MD5) Previous issue date: 2016-06-02 / Estudos demonstram que a música e o Treino Musical (TM) atuam em diversas áreas do desenvolvimento humano: cognição, linguagem, socialização e raciocínio lógico-matemático. Há evidências de que o Treino Musical propicia ganhos quanto à memória operacional e à numerosidade de crianças escolares. Supõe-se que o TM poderia contribuir para a estimulação destas habilidades cognitivas em crianças pré-escolares. Este estudo prospectivo investigou os efeitos do TM sobre as habilidades de numerosidade e memória operacional em 57 pré-escolares com desenvolvimento típico e com idade de cinco anos em uma cidade do interior paulista. A amostra foi dividida em dois grupos, a saber: GE (Grupo Experimental; n=25) que participou de oito sessões do TM e o GC (Grupo Controle; n=32) que não recebeu estimulação musical, ambos balanceados quanto ao sexo. Todos os participantes foram avaliados em duas etapas por meio de instrumentos para os seguintes domínios: Raciocínio Abstrato (MPC – Escala Especial); Cognição Numérica (Zareki-K – Bateria Neuropsicológica para Avaliação do Tratamento dos Números e do Cálculo para Crianças Pré-escolares); e Memória Operacional (AWMA-Short form – Avaliação Automatizada da Memória Operacional-Versão reduzida). Os resultados mostraram que o TM produziu modificações relacionadas ao processamento numérico, senso numérico, bem como em memória operacional verbal. / Studies demonstrate that music and Music Training (MT) act in various human development areas: cognition, language, socialization, and logical-mathematical thinking. Evidences show that Music Training affords gains in both working memory and numeracy of school children. It is supposed that MT may contribute to stimulation of these cognitive abilities in preschoolers. This prospective paper investigated the MT effects on numeracy and working memory in 57 5-year-old preschoolers with typical development from a city in the countryside of Sao Paolo state in Brazil. The sample was divided into two groups: EG (Experimental Group; n=25), which took part of eight TM sessions, and CG (Control Group), which had no musical stimulation; both groups are gender-balanced. All participants were assessed in two stages through instruments for the following domains: Abstract Reasoning (CPM – Raven’s Coloured Progressive Matrices); Numerical Cognition (Zareki-K – Neuropsychological test battery for number processing and calculation in primary school and kindergarten children, in English) and Working Memory (AWMA–Short form – Automated Working Memory Assessment – Short form). Results show that MT produced modifications related to number processing, number sense and verbal working memory.

Leitura musical à primeira vista é uma tarefa complexa que envolve a sobreposição de processos cognitivos, de execução motora, de memória e perceptuais. A habilidade demanda do músico uma ampla base de conhecimento em repertório, estilos e compreensão de códigos musicais. O desenvolvimento da habilidade de ler à primeira vista pode promover o melhoramento de muitas habilidades musicais, incluindo o aumento da consciência musical global. O objetivo deste trabalho é testar o uso de guias para o auxílio no desenvolvimento da tarefa de ler música à primeira vista com estudantes universitários, utilizando a análise musical como ferramenta de auxílio. Esta pesquisa contou com 23 participantes, organistas e pianistas, divididos em dois grupos (experimental e controle), os quais foram submetidos à performance de três trechos musicais inéditos. Os participantes do grupo experimental realizaram a interpretação do segundo trecho com interferência de guias de auxílio para a execução. A maioria dos estudantes demonstrou interesse em desenvolver estudos em leitura à primeira vista. A média de andamento dos sujeitos nos trechos da pesquisa foi 63,5% mais baixa do que o andamento sugerido na partitura A média de erros foi de 8,78 erros por trecho, e os tipos de erros mais cometidos foram os da voz do baixo. As melhores avaliações foram dadas aos estudantes de pós-graduação. 81,82% dos participantes do grupo experimental consideraram que os guias auxiliaram suas execuções. Os resultados mostram que o melhoramento em leitura à primeira vista possivelmente é mais efetivo em um estudo a longo prazo, envolvendo conhecimentos de análise musical, aspectos motores e conhecimento de repertório. Concluímos que o uso dos guias promoveu o melhoramento do andamento da execução dos trechos dos estudantes do grupo experimental e estes sujeitos obtiveram médias menores de erros e as melhores avaliações de juízes externos, além de cometerem menos erros na melodia e na voz do baixo depois de serem submetidos aos guias. / Sight-reading is a complex task that involves overlap of cognitive processes, motor execution, memory and perceptual process. This skill demands broad knowledge in repertory skills, styles and comprehension of musical codes. The development of sight-reading ability can improve several musical skills, including the increase of musical consciousness. The aim of this work is to test the use of musical guides in the development of sight-reading skills with undergraduate students, using musical analysis as a support tool. Twenty-three students participated in this research, among them organists and pianists, from undergraduate, graduate, and extension courses of Federal University of Rio Grande do Sul. The participants were included in two groups, experimental and control, and were asked to perform three unpublished musical excerpts. Those included in the experimental group performed the second excerpt with the use of musical guides. The majority of the students demonstrated interest in developing studies in sight-reading. The average overall tempo of the subjects in the excerpts was 63.5% lower than that suggested in the score The average of errors was 8.78%, and the most frequent errors occurred in the bass voice. The best evaluations were awarded to postgraduate students. 81.82% of the participants considered that the guides helped their performances. Results show that improvement in sight-reading is more likely to occur in a long term study involving, in addition to knowledge of musical analysis, motor aspects and repertory background. The use of guides improved the musical tempo in the students‟ performance in the experimental group. Moreover, the subjects in the experimental group obtained a lower error average and a better rate from the external evaluators. They also made fewer mistakes in the melodic line and the bass voice after using the musical guides.

L’amusie congénitale est un trouble neurodéveloppemental qui affecte la perception mélodique, malgré une ouïe et une intelligence normale. Un déficit de la discrimination des fines variations de hauteur des sons serait à l’origine de ces difficultés. Les études ayant permis de caractériser les corrélats neuronaux de ce trouble ont mis en lumière des anomalies anatomiques et fonctionnelles du réseau fronto-temporal droit dans l’amusie. Notamment, les processus tardifs et conscients de détection des fines variations de hauteur sonore apparaissent perturbés chez les amusiques, alors que le traitement plus précoce et automatique de ces mêmes variations de hauteur serait normal. À ce jour, la vaste majorité des études sur l’amusie congénitale ont été effectuées auprès d’adultes et nous détenons peu d’informations sur la façon dont ce trouble se manifeste au cours du développement. La présente thèse vise ainsi à caractériser les corrélats comportementaux et neuronaux de l’amusie congénitale chez l’adolescent, pour ensuite explorer les perspectives de réhabilitation de ce trouble neurodéveloppemental. Dans une première étude, nous avons tenté de mieux comprendre comment le cerveau d’adolescents amusiques traite les fines variations de hauteur des sons, tant en ce qui a trait aux processus précoces et automatiques (associés à la composante de potentiel évoqué mismatch negativity; MMN) qu’au niveau du traitement conscient et plus tardif (associé à la composante de potentiel évoqué P300), en comparaison aux contrôles. Nous avons étudié les effets d’un mois d’écoute musicale quotidienne chez ces participants. Une deuxième étude a ensuite été effectuée, afin d’examiner l’impact de trois mois de leçons de guitare sur le traitement des fines variations de hauteur sonore chez des adolescents ii amusiques et leurs témoins. Nous nous sommes intéressés aux effets de cette formation musicale sur diverses composantes des potentiels évoqués, dont la P300 et la MMN. Les résultats de cette thèse révèlent que l’amusie peut se manifester à part entière à l’adolescence. Plus précisément, les adolescents amusiques présentent un profil hautement similaire à celui documenté chez l’adulte, soit une incapacité à détecter consciemment les fines variations de hauteur des sons, associée à l’absence de la composante P300, en dépit d’un traitement précoce et automatique normal tel que reflété par une MMN comparable aux contrôles. En outre, il appert qu’un mois d’écoute musicale quotidienne ne constitue pas une technique de réhabilitation efficace dans l’amusie, dont les manifestations sont demeurées inchangées suite à cette intervention. Par ailleurs, nos résultats révèlent qu’il est possible pour de jeunes amusiques d’apprendre à jouer d’un instrument de musique et que cette formation musicale a le potentiel d’engendrer des phénomènes de plasticité cérébrale prometteurs chez certains d’entre eux. Plus précisément, nous observons l’émergence de la composante P300 associée à une amélioration des capacités de discrimination des fines variations de hauteur chez trois amusiques sur quatre suite à cette intervention. Ces résultats enrichissent notre compréhension de l’amusie et de sa trajectoire développementale, en plus de motiver de futurs travaux de recherche qui pourraient mener au développement d’interventions optimales dans une perspective de réhabilitation de ce trouble neurodéveloppemental. / Congenital amusia is a neurodevelopmental disorder that specifically impairs melodic perception despite normal hearing and intelligence. The disorder is thought to arise from a deficit in perceiving fine-grained pitch changes. Studies that aimed to characterize the neural correlates of congenital amusia have highlighted anatomical and functional anomalies along the right fronto-temporal pathways. Notably, the amusic brain has been shown to perceive fine-grained pitch distinctions at an early and automatic level of processing, but this does not reach higher levels of conscious processing. To date, the majority of research on amusia has been performed with adults and consequently little information has been acquired on how this disorder manifests itself during development. The goal of this thesis is therefore to characterize the behavioral and neural correlates of congenital amusia during adolescence, and then to explore different rehabilitation strategies in an attempt to attenuate the perceptual deficits. In a first study, we documented how amusic adolescents process fine-grained pitch changes using event-related potentials, both in terms of early and automatic processing (as indexed by the mismatch negativity component; MMN) and conscious processing (associated with the P300 component) compared to controls. We also explored the effects of a month of daily music listening among these participants. A second study was then conducted to explore the impact of three months of weekly guitar lessons on fine-grained pitch processing in amusic adolescents and controls. In particular, we investigated the effects of musical training on various evoked-potential components, including the P300 and the MMN. The results show that amusia can be fully expressed in the developing brain with manifestations that are similar to those observed in adults. Specifically, the amusic adolescent brain does not elicit a normal positivity (P300) in response to small pitch changes, while early and automatic processing of these pitch deviations appears normal (as indexed by the MMN). In addition, it appears that a month of daily music listening is not an effective amusia remediation strategy, since all electrophysiological and behavioral manifestations were unchanged following this intervention. Furthermore, we show that it is possible for amusic adolescents to learn to play a musical instrument despite their perceptual deficit and this intervention as the potential to induce promising brain plasticity phenomena for some of them. Specifically, a P300 response elicited by fine-grained pitch changes was seen after three months of guitar lessons in three out of four amusic adolescents. Importantly, the emergence of the P300 was paralleled by an improved perceptual ability to detect fine-grained pitch changes. These findings add to our understanding of congenital amusia and its developmental trajectory, while motivating future research that could lead to the development of optimal interventions to help young people with amusia engage with music.

A presente dissertação de mestrado propõe uma investigação sobre as possibilidades de aplicação das práticas de musicalização corporal desenvolvidas pelo grupo Barbatuques na educação musical do artista teatral. Este grupo, referência em percussão corporal, possui uma sólida pesquisa artística e pedagógica, iniciada em 1997, na qual utiliza o corpo como instrumento musical, através de atividades nas quais o aspecto lúdico é preponderante. O objetivo principal desta dissertação é apresentar os principais jogos desenvolvidos pelo grupo, propondo uma análise reflexiva sobre seu uso e aplicação no ensino de teatro. Esta pesquisa pretende colaborar como uma ferramenta possível para a educação musical do artista teatral. / This master\'s degree dissertation investigates into the possibilities to apply the corporal musicalization practices developed by the body percussion group Barbatuques in music education for theater artists. This leading group has a solid artistic and pedagogical research, started in 1997, based on the use of the body as a musical instrument through activities in which the ludic aspect is preponderant. The main objective of this dissertation is to present the most important games developed by the group, proposing a reflexive analysis on its use and application in theater teaching. This research also intends to collaborate as a possible tool in musical education for theater artists.

A presente dissertação de mestrado propõe uma investigação sobre as possibilidades de aplicação das práticas de musicalização corporal desenvolvidas pelo grupo Barbatuques na educação musical do artista teatral. Este grupo, referência em percussão corporal, possui uma sólida pesquisa artística e pedagógica, iniciada em 1997, na qual utiliza o corpo como instrumento musical, através de atividades nas quais o aspecto lúdico é preponderante. O objetivo principal desta dissertação é apresentar os principais jogos desenvolvidos pelo grupo, propondo uma análise reflexiva sobre seu uso e aplicação no ensino de teatro. Esta pesquisa pretende colaborar como uma ferramenta possível para a educação musical do artista teatral. / This master\'s degree dissertation investigates into the possibilities to apply the corporal musicalization practices developed by the body percussion group Barbatuques in music education for theater artists. This leading group has a solid artistic and pedagogical research, started in 1997, based on the use of the body as a musical instrument through activities in which the ludic aspect is preponderant. The main objective of this dissertation is to present the most important games developed by the group, proposing a reflexive analysis on its use and application in theater teaching. This research also intends to collaborate as a possible tool in musical education for theater artists.

Des études suggèrent que certaines capacités sensorielles peuvent être augmentées chez l’humain, soit i) à la suite d’un entraînement ou ii) à la suite de privation sensorielle précoce. Des études suggèrent qu’une telle altération sensorielle peut être retrouvée chez les personnes ayant subi un entraînement musical. L’interaction entre ce qui est entendu et ressenti est spécialement importante lorsqu’un individu joue d’un instrument de musique. L’entraînement musical est reconnu comme étant une forme d’entraînement multisensoriel incluant des interactions entre des composantes auditives, visuelles et tactiles. Celui-ci peut mener à des réorganisations anatomiques et structurelles dans les régions corticales associées à ces modalités sensorielles. Plusieurs études comportementales ont révélé des habiletés de détection tactile améliorées chez les musiciens. Il est toujours incertain que ces améliorations puissent être retrouvées lors de processus plus complexes tels que la reconnaissance des émotions. Une autre population d’étude pourrait aussi révéler une altération des capacités tactiles, soit les personnes sourdes de naissance. Des études en imagerie ont révélé que les stimuli vibrotactiles activaient les régions auditives chez les personnes sourdes, suggérant ainsi une importante réorganisation tactile chez ces individus. Pourtant, au niveau comportemental, les capacités de détection tactile semblent similaires aux contrôles. Récemment, il a été suggéré que des processus tactiles plus complexes pourraient permettre de révéler des différences comportementales entre les personnes sourdes et entendantes. Malheureusement, tout comme chez les musiciens, ces processus n’ont toujours pas été évalués à ce jour. L’objectif principal de cette thèse est donc d’évaluer i) la perception unisensorielle tactile, auditive ainsi que multisensorielle chez les musiciens et ii) la perception unisensorielle tactile chez les sourds à l’aide de tâches non-musicales et musicales. Chez les musiciens, les résultats de cette thèse suggèrent des capacités de discrimination fréquentielle auditive, tactile et audiotactile améliorées (étude 1) ainsi que des améliorations de la perception d’émotions musicales complexes auditive et tactile (étude 2). Ces études supportent l’hypothèse qu’une formation musicale à long terme : i) entraîne une amélioration des capacités unisensorielles auditives et tactiles, mais surtout que celle-ci s’étend à des processus tactiles complexes, ii) a un impact à tous les niveaux hiérarchiques du traitement sensoriel et cognitif. Chez les individus sourds, les résultats ont révélé un plus haut taux d’erreurs lors de la tâche de détection d’ordre temporel tactile (étude 3). Ce résultat suggère que la cartographie spatiale du toucher est altérée chez les individus sourds. De plus, l’étude ayant mesuré la perception des émotions tactiles a révélé que ceux-ci sont capables d’identifier des émotions via la modalité tactile seule et ont même une capacité améliorée à identifier la joie (étude 4). Cette capacité accrue à percevoir la joie dans une mélodie via la modalité tactile illustre que des habiletés tactiles complexes peuvent être améliorées suite à une privation auditive de longue date. Ces deux études mises en commun illustrent que des capacités tactiles complexes non-musicales et musicales sont altérées chez l’individu sourd, ce qui supporte les études suggérant une réorganisation corticale des aires auditives et tactiles chez les individus sourds. / Studies suggest that some sensory abilities may be increased in humans, either i) following training or ii) following early sensory deprivation. Studies suggest that such sensory alteration can be found in people who have undergone musical training. The interaction between what is heard and felt is especially important when an individual is playing a musical instrument. Musical training is well-known as a form of multisensory training that includes interactions between auditory, visual and tactile modalities. This can lead to anatomical and structural reorganizations in the cortical regions associated with these sensory systems. Several behavioral studies have revealed improved tactile perception skills in musicians. It is still unclear whether these improvements can be found for more complex processes, such as recognition of emotions. Similar alteration of tactile abilities may also be found in another population, namely early-deaf individuals. Imaging studies have shown that vibrotactile stimuli activate auditory regions following deafness, suggesting a significant tactile reorganization of their cortex. Yet, from a behavioral point of view, tactile perception in deaf seems similar to controls. Recently, it has been suggested that more complex tactile processes may reveal behavioral differences between deaf and normal-hearing individuals. Unfortunately, similarly to musicians, these processes have not been investigated to date. The main objective of this thesis is therefore to evaluate via non-musical and musical tasks i) tactile, auditory and multisensory perception of music among musicians and ii) tactile perception of music among deaf individuals. For musicians, results of this thesis suggest enhanced auditory, tactile and audio-tactile frequency discrimination capabilities (Study 1). Also, results suggest an increase perception of emotions in music, which suggests improvements for complex auditory and tactile abilities (Study 2). These studies support the hypothesis that long-term musical training: i) leads to improved auditory and tactile perception, but especially that it extends to complex tactile processes, ii) has an impact at all hierarchical levels of sensory and cognitive processing For deaf individuals, results revealed a higher error rate during the tactile temporal order detection task (Study 3). This result suggests that spatial mapping of touch is impaired in deaf individuals. In addition, the study measuring tactile perception of emotion in music revealed that they are able to identify emotions via tactile modality solely. Also, improvements were found for the identification of happy emotion via tactile modality solely (Study 4). This increased ability to perceive happiness in a melody via the tactile modality illustrates that complex tactile skills can be improved following longstanding hearing deprivation. These two studies together suggest that complex non-musical and musical tactile abilities are altered in the deaf individual, which supports studies suggesting a cortical reorganization of auditory and tactile areas following long-term auditory deprivation.