nÃo hà / Este trabalho busca, atravÃs das entrevistas e fontes escritas, narrar a HistÃria de um movimento cultural e musical que se originou em Fortaleza, nos anos 60, envolvendo o rÃdio, o teatro, as artes plÃsticas e a polÃtica, especialmente a relaÃÃo, mÃsico e mÃsica, suas experiÃncias de vida e condiÃÃo social. A confluÃncia de movimentos culturais e espaÃos produtores, no inÃcio dos anos 60, ConservatÃrio, grupos como o Cactus e o Gruta, os Institutos de FÃsica e Arquitetura e a Faculdade de Direito. Os Bares, BalÃo Vermelho, Estoril e AnÃsio foram de fundamental importÃncia para a aproximaÃÃo dos jovens artistas e produÃÃo musical. Os Festivais produzidos na segunda metade dos anos 60, particularmente o IV Festival da MÃsica Popular do CearÃ, o I Festival da MÃsica Popular Aqui e os Festivais Nordestinos com eliminatÃrias em Fortaleza foram decisivos para que os jovens artistas acreditassem nos trabalhos, favorecidos tambÃm pelos programas de televisÃo, âPorque Hoje à SÃbadoâ e o âShow do Mercantilâ, incentivando-os em suas apresentaÃÃes no contato com artistas consagrados. Portanto, a preocupaÃÃo central serà a compreensÃo de como esses artistas moveram-se em busca do sucesso e suas inserÃÃes no ambiente musical, participando de programas como âPropostaâ, fazendo mÃsica por encomenda, usando o Festival de BrasÃlia e o III e o IV Festival UniversitÃrio da MÃsica Popular Brasileira como vitrine, vergando os entraves para alcanÃar uma maior receptividade no mercado fonogrÃfico a nÃvel local e nacional, conhecidos como âPessoal do CearÃâ. / This work aim is to tell about, through interviews and bibliographic sources, the history of a cultural and musical revolution that derived from Fortaleza, in the sixties. This movement involved the radio, theater, plastic arts and politics, specially in relacion to music and musician, his life experience and social condition. The confluence of cultural expressions and producing spaces, at the beginning of 60âs: Alberto Nepomuceno Conservatory, groups as Cactus and Gruta, Phisics and Arquitecture Institutes and the Law College. Some pubs as BalÃo Vermelho, Estoril and AnÃsio were of fundamental importance for congregating young artists and spread out their compositions. Famous festivals which happened in the second half of 60âs, particularly the IV Festival of CearÃâs Popular Music and other ones in those years attracted TV interest and put these composers in contact with great national names. So, the target of this study is to feed the comprehension of how these new artists moved, including composing by order and using important musical events as a spring-board for their careers. Fighting to get a place in the brazilian phonographic market, they became known, in the whole country as âPessoal do CearÃâ.

Studien undersöker hur kontrabaspedagoger på högskolenivå jobbar med undervisning i improvisation och vilka implikationer det kan få när undervisningen sker i en akademisk miljö. Förhoppningen var att studien, genom kvalitativa intervjuer med framstående jazzbasister, som även jobbar som kontrabaspedagoger, skulle ta fram en samling idéer för undervisning av improvisation som kan användas på jazzutbildningar och som kan vara till användning för framtida undervisning i improvisation på kontrabas. Med hjälp av begrepp från vedertagna läroteorier från främst sociokulturell tradition analyseras resultat för att försöka besvara forskningsfrågorna. Resultatet visar att ett bra gehör och god teknik är de två viktigaste idealen för den improviserande basisten och att kontrabaspedagoger lär ut verktyg för improvisation till sina studenter. Vidare visade resultatet att den stora fördelen med att jobba med jazzundervisning i en akademisk miljö är att den är, för studenter, en mötesplats för likasinnade. / This study asks the question how upright bass teachers work with teaching improvisation on the university level and what implications the academic environment could have for the students. The aim for this study was, through qualitative interviews with renowned bassists, to gather some ideas on teaching improvisation that can be used for future teachings of improvisation on the upright bass. With the use of terms from theories of learning, the results were analyzed to answer the research questions. The results show that a good ear and technique are the most important ideals among improvising bass players, and furthermore teachers of jazz bass improvisation saw it as their role to teach tools for improvisation to the students. Finally, the results show that the big advantage of learning jazz in the academic environment is that the student gets to meet peers with the same interests as they have.

Occupational burnout is a concern to the health and longevity of clergy and musician careers. However, no known study has assessed occupational burnout among pastoral musicians. A literature review revealed pastoral musicians anecdotally experienced multi-tasking, workplace politics, inequality of workload, competing liturgical styles, lack of job security, lack of financial security, and lack of rest, among other indicators of burnout. Therefore, the aims of this paper were to: (1) describe pastoral musicians as a population; (2) identify the prevalence rate of burnout among pastoral musicians; (3) investigate the relationship between pastoral musicians' burnout and religious coping; and (4) investigate the relationships between pastoral musicians' burnout and depression, anxiety, and stress. In 2021, an online questionnaire was designed to assess burnout among pastoral musicians. Dissemination techniques included emails to members of the Hymn Society of North America and via social media to collect data from pastoral music directors in the United States of America. The survey yielded n = 1,050 respondents: 83.8% experienced one or more symptoms of burnout (41.3% with low efficacy; 12.4% with high emotional exhaustion; 21.3% with high cynicism; 8.8% with burnout). Ineffectiveness was positively correlated with negative religious coping. Emotional exhaustion and cynicism were positively correlated with negative religious coping. COVID-19 affected 91.3% (n = 936) of pastoral musicians. This study contributed quantitative and qualitative analysis to pastoral musician research. Findings demonstrate burnout is prevalent among American pastoral musicians.

Dissertation submitted in partial compliance with the requirements for the Master’s Degree in Technology: Chiropractic, Durban University of Technology, 2010. / Background: Professional orchestral string musicians are exposed to many physical and psychological stressors due to demands placed on them from playing their instruments. The prevalence of performance-related musculoskeletal disorders (PRMD’s) in this highly skilled group of individuals has been investigated internationally, consistently showing a high injury rate. There is however, a paucity of literature documenting the prevalence of musculoskeletal injuries in South African professional orchestral string players. It is hypothesized that South African trained orchestral string musicians may be at a greater risk for PRMD development due to the unique training and performance environments encountered in this country. Objectives: This study aimed to determine the demographic and injury profile; prevalence rate of current injury and risk factors for musculoskeletal injury in South African professional orchestral string musicians. Method: The study utilized a self administered quantitative questionnaire distributed to all string players in the three professional orchestras in South African in a semi-supervised fashion. SPSS version 15.0 (SPSS Inc., Chicago, Illinois, USA) was used to analyze the data. A p value < 0.05 was considered as statistically significant. iv v Results: There were 27 respondents, with the average participant being a Caucasian, right handed, non-smoking female, 37.11 years of age, 1.5631 meters tall, with a weight of 62.96 kilograms (BMI = 25.768) who exercised regularly (primarily in the gym). A bachelors degree in Music was the most commonly awarded qualification, obtained between the years 2000 and 2009, from a University outside of the Republic of South Africa. The prevalence of PRMD’s in the sample was 63% (n = 17), with a 95% confidence interval of 42.4% to 80.6%.In this study there was a high rate of injury (6.53 PRMD’s per player over a 12 month period), equating to 111 reported injuries in a population of 27 string players. The upper back (defined as the area between the shoulder blades) was the most commonly injured part of the body (77.8%, n = 21), followed by the upper extremity, mainly the shoulder (70.4%, n = 19). No statistically significant relationships were found in determining and confirming expected risk factors in the string players. Conclusion: Professional orchestral string musicians in South Africa suffer from a high rate of injury which is comparable to international studies of the same nature

James Caesar Petrillo, President of the American Federation of Musicians, called a strike effective July 31, 1942, prohibiting union members from making any disc recordings or electrical transcriptions. The present study recounts the history of that strike, including efforts to end it, reactions to it by various government and trade organizations and the circumstances under which it finally did end. The study focuses on the effect of the strike on radio broadcasters, both directly (through recordings they used) and indirectly (through the strike's effects on the recording and related industries), and concludes that it changed the character of radio's music somewhat, but had little detrimental effect on radio's profits.

Este estudo teve como objetivo central compreender os processos de socialização musical e profissional pelos quais as duplas sertanejas passaram para se constituírem como profissionais da música. A investigação buscou compreender: Por que essas pessoas quiseram cantar sertanejo? Como se formaram? E como atuaram/am? Que experiências com essa "música sertaneja", com o universo sertanejo, ou não, fizeram ou fazem com que esses cantores cantem dessa maneira hoje? Como essas experiências músico-profissionais podem ser compreendidas sob o ponto de vista da educação musical? Como desvendar as aprendizagens musicais e vocais que se dão nas experiências profissionais desses cantores? Dentro da abordagem qualitativa, a pesquisa adota como metodologia o estudo de caso, utilizando como técnica de coleta de dados a entrevista semiestruturada. Foram realizadas entrevistas com oito duplas sertanejas localizadas na região do Triângulo Mineiro/MG. Além disso, são considerados os documentos audiovisuais produzidos pelas e sobre as duplas sertanejas, disponíveis em redes sociais. A compreensão da socialização musical e profissionalização das duplas fundamenta-se nos conceitos de socialização primária (SETTON, 2008, BERGER; LUCKMAN, 1999), socialização profissional (DUBAR, 2005) e socialização musical (MÜLLER, 1992). As análises revelam que as aprendizagens musicais se dão de forma difusa, em diversas instâncias de socialização - família, amigos, mídias -, quando aprendem sem saber, de forma espontânea, ou sem terem a consciência de que se está aprendendo. A profissionalização se dá na socialização profissional, sobretudo quando passam a construir suas carreiras na profissão em música, e nos momentos de socialização músico-profissional - shows, gravações em estúdio, ensaios e no aprendizado do cantar em dupla. Compreender a socialização musical e a profissionalização de duplas sertanejas, além de contribuir para a área de educação musical, pode incentivar outras reflexões sobre as possibilidades do ensino/aprendizagem do canto popular e, também, sobre aprendizagens que se dão nas experiências e vivências com práticas musicais sertanejas. / The main objective of this study was to understand processes of musical and professional socialization through which singers who sing in duet “música sertaneja” came to constitute themselves as music professionals. The study aimed to understand: Why these people wanted to sing “música sertaneja”? How they formed? And how did they acted/act? What experiences with this "música sertaneja", with the sertanejo universe or not, have made or make these singers sing this way today? How these musician-professional experiences can be understood from the point of view of music education? How to uncover the musical and vocal learning that take place in professional experiences of these singers? Within the qualitative approach the research adopts as methodology the case study, using as data collection technique the semi-structured interview. Interviews were conducted with eight singers who sing in duet “música sertaneja” located in the region of Triangulo Mineiro/MG - Brazil.In addition, are considered the audiovisual documents produced by and about singers who sing in duetthat are available in social network.Understanding the musical socialization and professionalization of singers the singing in duet is based on concepts of primary socialization (SETTON, 2008, BERGER; LUCKMAN, 1999), professional socialization (DUBAR, 2005) and musical socialization (MÜLLER, 1992).Analysis reveals that musical learning takes place diffusely in different instances of socialization - family, friends, media - when they learn without knowing, spontaneously or without being aware that they are learning.Professionalization takes place in professional socialization when they begin to build their careers in music professions and also occurs in moments of music-professional socialization - shows, studio recordings, rehearsals and the learning of sing in duet. Understand the musical socialization and the professionalization of singers who sing in duet as well as contributing to the area of music education can encourage other reflections on the possibilities of teaching/learning of popular sing and also about learning that occur in the experiences and livingness with “sertanejo” musical practices.

As result of the Contrapunctus European project the design of the Braille Music Mark-up as an XML representation of a music scores in Braille has been carried out. We propose a design of a prototype system for translating these kinds of files into spoken music encoded in DAISYXML. In this way any blind musician may be able to memorize any Braille score using a DAISY reader. Therefore the dependency of reading BMML files in front of a computer would be eliminated. This is a first work on feasibility which will be improved and managed by a working group.

Este estudo teve como objetivo central compreender os processos de socialização musical e profissional pelos quais as duplas sertanejas passaram para se constituírem como profissionais da música. A investigação buscou compreender: Por que essas pessoas quiseram cantar sertanejo? Como se formaram? E como atuaram/am? Que experiências com essa "música sertaneja", com o universo sertanejo, ou não, fizeram ou fazem com que esses cantores cantem dessa maneira hoje? Como essas experiências músico-profissionais podem ser compreendidas sob o ponto de vista da educação musical? Como desvendar as aprendizagens musicais e vocais que se dão nas experiências profissionais desses cantores? Dentro da abordagem qualitativa, a pesquisa adota como metodologia o estudo de caso, utilizando como técnica de coleta de dados a entrevista semiestruturada. Foram realizadas entrevistas com oito duplas sertanejas localizadas na região do Triângulo Mineiro/MG. Além disso, são considerados os documentos audiovisuais produzidos pelas e sobre as duplas sertanejas, disponíveis em redes sociais. A compreensão da socialização musical e profissionalização das duplas fundamenta-se nos conceitos de socialização primária (SETTON, 2008, BERGER; LUCKMAN, 1999), socialização profissional (DUBAR, 2005) e socialização musical (MÜLLER, 1992). As análises revelam que as aprendizagens musicais se dão de forma difusa, em diversas instâncias de socialização - família, amigos, mídias -, quando aprendem sem saber, de forma espontânea, ou sem terem a consciência de que se está aprendendo. A profissionalização se dá na socialização profissional, sobretudo quando passam a construir suas carreiras na profissão em música, e nos momentos de socialização músico-profissional - shows, gravações em estúdio, ensaios e no aprendizado do cantar em dupla. Compreender a socialização musical e a profissionalização de duplas sertanejas, além de contribuir para a área de educação musical, pode incentivar outras reflexões sobre as possibilidades do ensino/aprendizagem do canto popular e, também, sobre aprendizagens que se dão nas experiências e vivências com práticas musicais sertanejas. / The main objective of this study was to understand processes of musical and professional socialization through which singers who sing in duet “música sertaneja” came to constitute themselves as music professionals. The study aimed to understand: Why these people wanted to sing “música sertaneja”? How they formed? And how did they acted/act? What experiences with this "música sertaneja", with the sertanejo universe or not, have made or make these singers sing this way today? How these musician-professional experiences can be understood from the point of view of music education? How to uncover the musical and vocal learning that take place in professional experiences of these singers? Within the qualitative approach the research adopts as methodology the case study, using as data collection technique the semi-structured interview. Interviews were conducted with eight singers who sing in duet “música sertaneja” located in the region of Triangulo Mineiro/MG - Brazil.In addition, are considered the audiovisual documents produced by and about singers who sing in duetthat are available in social network.Understanding the musical socialization and professionalization of singers the singing in duet is based on concepts of primary socialization (SETTON, 2008, BERGER; LUCKMAN, 1999), professional socialization (DUBAR, 2005) and musical socialization (MÜLLER, 1992).Analysis reveals that musical learning takes place diffusely in different instances of socialization - family, friends, media - when they learn without knowing, spontaneously or without being aware that they are learning.Professionalization takes place in professional socialization when they begin to build their careers in music professions and also occurs in moments of music-professional socialization - shows, studio recordings, rehearsals and the learning of sing in duet. Understand the musical socialization and the professionalization of singers who sing in duet as well as contributing to the area of music education can encourage other reflections on the possibilities of teaching/learning of popular sing and also about learning that occur in the experiences and livingness with “sertanejo” musical practices.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The research presented in this thesis is linked to the education and arts line of research at graduate program in education of the Federal University of Santa Maria. The research had as general objective to understand to what extent the concept of embodiment is present in teaching flute and piano narrated by teachers; and highlight specific objectives, one of the teachers narratives, those that refer to the attention with the health and welfare of the student; and analyze the narratives of teachers on their performance regarding the mind-body relationship in teaching flute and piano. I take ownership on embodiment concept from the theoretical perspective of Merleau- Ponty (2006), which bring to dialogue with researchers from the musician s health: Williamon and Thompson (2006); Brandfonbrener and Kjelland (2002); Wynn Parry (2004); Cowell and Hewitt (2011) among others. The research is presented starting from the vision of teaching music conservatorial (VASCONCELOS, 2002) and the teacher-student relationships (KINGSBURRY, 1988; LOURO, 2008; DEWEY, 2011). The methodology adopted is the Thematic Oral History (ROBERTS, 2002; MEIHY, 2005; PEREIRA DE QUEIROZ, 2008; MEIHY and HOLANDA, 2011), through narrative interviews (LOURO, 2004; JOVCHELOVITCH and BAUER, 2012) that were contextualized with the daily record (ALBERTI, 2005; FLICK, 2009) and data analysis was made from the Grounded Theory (CHARMAZ, 2009). Interviews were held with ten teachers of transverse flute and piano public universities in the South region of Brazil. Research approaches of research conducted by Louro (2004), Borba (2011) and Machado (2012) the methodology adopted for the same locus of research higher education of music and also by addressing issues of traditions and innovations in the teaching of music. As a result, we can highlight that respondents: (i) are anxious to look at the student as a unique individual, providing a personalized education, despite guidelines and repertories in common; (ii) seeking to be attentive to bad habits and physical wellbeing posture central to the good relationship with the instrument and the music, but not everyone knows how to guide the students, whereas there are limits on the formation of a music teacher; (iii) the concept of embodiment is present in some teaching practices, but others have a more traditional look, concerned only with good posture and health, being this thought directly related with the performance of the teachers in the mind-body relationship in teaching flute and piano. The embodiment of students and teachers is one of the main challenges encountered in the imbrication of traditions and innovations in narratives about flute and piano teaching for teachers of higher education. Although there is no unanimity on how to take this theme, there is consensus on the crucial importance of the subject among the teachers. It is expected that the findings of this thesis can benefit musicians, music students, instrument teachers, educators and researchers, in the areas of education, music education, music and musician's health. / A pesquisa apresentada nesta tese está vinculada à Linha de Pesquisa Educação e Artes LP4 do Programa de Pós-Graduação em Educação, da Universidade Federal de Santa Maria. A pesquisa teve como objetivo geral compreender em que medida o conceito de corporeidade está presente no ensino de flauta e piano narrados pelos professores; e, como objetivos específicos destacar, dentre as narrativas dos professores, aquelas que se referem à atenção com a saúde e bemestar do aluno, bem como analisar as narrativas dos professores sobre sua atuação no que tange à relação mente-corpo no ensino de flauta e piano. Aproprio-me do conceito de corporeidade partindo da perspectiva teórica de Merleau-Ponty (2006), que trago para dialogar com pesquisadores da saúde do músico: Williamon e Thompson (2006); Brandfonbrener e Kjelland (2002); Wynn Parry (2004); Cowell e Hewitt (2011) dentre outros. A pesquisa é apresentada partindo da visão do ensino conservatorial da música (VASCONCELOS, 2002) e da relação professor-aluno (KINGSBURRY, 1988; LOURO, 2008; DEWEY, 2011). A metodologia adotada é da História Oral Temática (ROBERTS, 2002; MEIHY, 2005; PEREIRA DE QUEIROZ, 2008; MEIHY e HOLANDA, 2011), através de entrevistas narrativas (LOURO, 2004; JOVCHELOVITCH e BAUER, 2012) que foram contextualizadas com o registro de Diários de Campo (ALBERTI, 2005; FLICK, 2009) e a análise de dados foi feita a partir da Teoria Fundamentada (CHARMAZ, 2009). Foram realizadas entrevistas com dez professores de flauta transversal e piano das universidades públicas da região Sul do Brasil. A pesquisa se aproxima das pesquisas realizadas por Louro (2004), Borba (2011) e Machado (2012) pela metodologia adotada, pelo mesmo lócus de pesquisa ensino superior de música e também por abordar questões de tradições e inovações no ensino da música. Como resultados, pode-se destacar que os entrevistados: (i) estão preocupados em olhar para o aluno como um indivíduo único, proporcionando um ensino personalizado, apesar das diretrizes e repertórios em comum; (ii) procuram estar atentos a maus hábitos posturais e consideram o bem-estar físico fundamental para o bom relacionamento com o instrumento e a música, porém nem todos sabem como orientar os alunos, considerando que há limites na formação do professor de música; (iii) o conceito de corporeidade está presente em algumas práticas de ensino, porém outros têm um olhar mais tradicional, preocupados apenas com boa postura e saúde, sendo este pensamento relacionado diretamente com a atuação dos professores na relação mente-corpo, nos ensinos de flauta e piano. A corporeidade de alunos e professores é um dos principais desafios encontrados no imbricamento de tradições e inovações nas narrativas sobre ensino de flauta e piano por professores de ensino superior. Muito embora, não haja unanimidade no como encarar este tema, existe consenso sobre a importância crucial do assunto entre os professores entrevistados. Espera-se que as conclusões desta tese possam beneficiar músicos, estudantes de música, professores de instrumento, educadores e pesquisadores das áreas de Educação, Educação Musical, Música e Saúde do Músico.

Este estudo teve como objetivo central compreender os processos de socialização musical e profissional pelos quais as duplas sertanejas passaram para se constituírem como profissionais da música. A investigação buscou compreender: Por que essas pessoas quiseram cantar sertanejo? Como se formaram? E como atuaram/am? Que experiências com essa "música sertaneja", com o universo sertanejo, ou não, fizeram ou fazem com que esses cantores cantem dessa maneira hoje? Como essas experiências músico-profissionais podem ser compreendidas sob o ponto de vista da educação musical? Como desvendar as aprendizagens musicais e vocais que se dão nas experiências profissionais desses cantores? Dentro da abordagem qualitativa, a pesquisa adota como metodologia o estudo de caso, utilizando como técnica de coleta de dados a entrevista semiestruturada. Foram realizadas entrevistas com oito duplas sertanejas localizadas na região do Triângulo Mineiro/MG. Além disso, são considerados os documentos audiovisuais produzidos pelas e sobre as duplas sertanejas, disponíveis em redes sociais. A compreensão da socialização musical e profissionalização das duplas fundamenta-se nos conceitos de socialização primária (SETTON, 2008, BERGER; LUCKMAN, 1999), socialização profissional (DUBAR, 2005) e socialização musical (MÜLLER, 1992). As análises revelam que as aprendizagens musicais se dão de forma difusa, em diversas instâncias de socialização - família, amigos, mídias -, quando aprendem sem saber, de forma espontânea, ou sem terem a consciência de que se está aprendendo. A profissionalização se dá na socialização profissional, sobretudo quando passam a construir suas carreiras na profissão em música, e nos momentos de socialização músico-profissional - shows, gravações em estúdio, ensaios e no aprendizado do cantar em dupla. Compreender a socialização musical e a profissionalização de duplas sertanejas, além de contribuir para a área de educação musical, pode incentivar outras reflexões sobre as possibilidades do ensino/aprendizagem do canto popular e, também, sobre aprendizagens que se dão nas experiências e vivências com práticas musicais sertanejas. / The main objective of this study was to understand processes of musical and professional socialization through which singers who sing in duet “música sertaneja” came to constitute themselves as music professionals. The study aimed to understand: Why these people wanted to sing “música sertaneja”? How they formed? And how did they acted/act? What experiences with this "música sertaneja", with the sertanejo universe or not, have made or make these singers sing this way today? How these musician-professional experiences can be understood from the point of view of music education? How to uncover the musical and vocal learning that take place in professional experiences of these singers? Within the qualitative approach the research adopts as methodology the case study, using as data collection technique the semi-structured interview. Interviews were conducted with eight singers who sing in duet “música sertaneja” located in the region of Triangulo Mineiro/MG - Brazil.In addition, are considered the audiovisual documents produced by and about singers who sing in duetthat are available in social network.Understanding the musical socialization and professionalization of singers the singing in duet is based on concepts of primary socialization (SETTON, 2008, BERGER; LUCKMAN, 1999), professional socialization (DUBAR, 2005) and musical socialization (MÜLLER, 1992).Analysis reveals that musical learning takes place diffusely in different instances of socialization - family, friends, media - when they learn without knowing, spontaneously or without being aware that they are learning.Professionalization takes place in professional socialization when they begin to build their careers in music professions and also occurs in moments of music-professional socialization - shows, studio recordings, rehearsals and the learning of sing in duet. Understand the musical socialization and the professionalization of singers who sing in duet as well as contributing to the area of music education can encourage other reflections on the possibilities of teaching/learning of popular sing and also about learning that occur in the experiences and livingness with “sertanejo” musical practices.