Made available in DSpace on 2017-07-21T20:31:58Z (GMT). No. of bitstreams: 1 Carla Irene Roggenkamp.pdf: 2019170 bytes, checksum: 9699b1b0d77b54df063e97318451d896 (MD5) Previous issue date: 2012-04-04 / This paper presents an analysis of the musical experiences developed by teenagers which find themselves at social and personal risk that are put under an institution’s care. The objective of this research was to investigate the relations between the teenagers and the classic, pop and mediatical emissions musical repertory, to reveal the contradictions inside the institution related to the functions granted to arts and music, also to verify in which measure the musical education techniques applied to this public can or not contribute to overcome this social reality. Were used as theoretical methodological references the Dialectical and Historic Materialism (MARX, ENGELS, 1999, 2008; MARX, 2006, 2008; MÉSZÁROS, 2002; CHAUÍ, 2007; KOSIK, 2010), authors that contributed with the bases for the State theories and that are related to the institution’s general aspects (GRUPPI, 1986; CARNOY, 1988; NETTO, 1992; PERONI, 2006; GRANEMANN, 2009; REZENDE, 2009; IAMAMOTO, 2010), and authors that write about the educational and aesthetics conceptions from critic perspective VÁZQUEZ, 1978; CANCLINI, 1984; FISCHER, 1987; PEIXOTO, 2003).The gathering and analysis of the data happened through the observation of the results achieved by the application of musical education techniques by the researcher, a music teacher, inside institution for a two years period. This paper assumes that musical education, and arts education in general, can and should contribute for a greater critical sense development among the attended population in order to lead to social transformation. / Este trabalho apresenta uma análise das práticas musicais no ambiente de uma instituição que acolhe adolescentes em situação de risco pessoal e social. O objetivo da pesquisa foi investigar as relações das adolescentes envolvidas com o repertório musical clássico, popular e midiático, desvelar as contradições do contexto institucional no que se refere às funções atribuídas à arte e à música, bem como verificar em que medida as práticas de educação musical voltadas a este público podem contribuir ou não para a superação da realidade social vivida. Utilizou-se como referencial teórico-metodológico o Materialismo Histórico e Dialético (MARX, ENGELS, 1999, 2008; MARX, 2006, 2008; MÉSZÁROS, 2002; CHAUÍ, 2007; KOSIK, 2010), autores que contribuíram para uma fundamentação das teorias de Estado e que envolvem os aspectos gerais da instituição (GRUPPI, 1986; CARNOY, 1988; NETTO, 1992; PERONI, 2006; GRANEMANN, 2009; REZENDE, 2009; IAMAMOTO, 2010), e autores que discorrem sobre as concepções estéticas e educacionais a partir de uma perspectiva crítica (VÁZQUEZ, 1978; CANCLINI, 1984; FISCHER, 1987; PEIXOTO, 2003). A coleta e a análise de dados deram-se através das práticas de educação musical realizadas pela pesquisadora, enquanto professora de música, no ambiente institucional, e da observação deste cenário ao longo de dois anos consecutivos. Este trabalho parte do pressuposto que a educação musical, e a educação para as artes em geral, podem e devem contribuir para um maior desenvolvimento do senso crítico da população atendida de modo a contribuir para a gestação da transformação social.

L'objet de la thèse est de faire une synthèse de la manière dont le droit est représenté dans la musique classique occidentale. Elle constitue une réponse à M. Carbonnier qui, dans son précis de Sociologie juridique, appelle de ses voeux une recherche sur la possibilité pour la musique de "suggérer" du droit. Un premier axe de recherche aura pour ambition - après une confirmation de la présence de phénomènes juridiques et d'acteurs du droit dans des oeuvres musicales - de circonscrire les raisons de la présence du droit dans une oeuvre, ainsi que la place du droit et les fonctions attribuées au droit dans cette oeuvre. Un second axe de recherche consistera, au décours des nombreux moyens utilisés par un compositeur (instrumentation et voix, harmonie et contrepoint, phrases et motifs musicaux) à identifier la façon dont l'écriture musicale représente le droit. Cette partie sera naturellement illustrée par des exemples musicaux. Ces deux premiers axes de recherche sont susceptibles de faire ressortir en facteur commun les différents caractères que la musique attribue au droit (l'importance de consensualisme, un monde contraignant, un cadre formaliste, un milieu conservateur,...) ainsi que la singularité du regard de la musique sur le droit. / This thesis, the subject of which is “Rights and law in according to music” is in response to Mr Carbonnier's “Précis de sociologie juridique” (Précis of legal Sociology) in which the writer suggest doing a research about the rights and law’s representation in music. The aim of this thesis, accordingly, is to enquire whether music does indeed involve rights and law – an associated legal phenomenon – and if so, what extent. In this context, all aspects covered by the terms “rights and law” are considered: the law, the judgement, the contract and the basis of authority – whether human or divine. As used here the term “music” represents solely that which falls within the scope of western classical music, be it of a religious or non-religious nature. The wording “in according to” refers therefore to the different aspects inherent in “the rights and law’s representation in music” which is the subject’s problematic: - rights and law for the use of music: after confirmation of the presence of rights, law and legal actors in the five hundred or so works reviewed, the purpose of this first part is to explain why these legal requirements exist in a musical work, what these requirements define and how they apply in this work. - rights and law concerning musical composition: this second part , based on many of the musical procedures used by composers (instrumentation and voices, the use of harmony and counterpoint, musical phrasing and motifs, expression and rhythm), aims at identifying how the musical composition represents rights and law.