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.

Submitted by MAURO DOMENECH (mdomenech@ig.com.br) on 2018-09-28T00:31:10Z No. of bitstreams: 1 cópia de Dissertação Completa.pdf: 122313941 bytes, checksum: 9864e0889ff3f919e9002acc5fb49be6 (MD5) / Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2018-09-28T19:45:29Z (GMT) No. of bitstreams: 1 domenech_m_me_ia.pdf: 122293232 bytes, checksum: f053ca18b8c07324cb4ac8add6fdbff1 (MD5) / Made available in DSpace on 2018-09-28T19:45:29Z (GMT). No. of bitstreams: 1 domenech_m_me_ia.pdf: 122293232 bytes, checksum: f053ca18b8c07324cb4ac8add6fdbff1 (MD5) Previous issue date: 2018-07-30 / Este trabalho discute a música de câmara na formação do músico profissional, seus aspectos pedagógicos, a escolha e adaptação de seu repertório. Apresenta a prática da música de câmara como parte fundamental na formação do músico (instrumentista/cantor), com suas peculiaridades e características na educação musical, especialmente em relação à interpretação musical, às práticas de conjunto e à preparação para a performance. A metodologia consistiu em um estudo de caso de uma instituição de ensino profissionalizante representativa nacionalmente, situada na cidade de São Paulo, a Escola Municipal de Música de São Paulo – EMMSP, onde o pesquisador é professor de música de câmara. Envolveu coleta de dados de fontes disponíveis online e publicações, com aplicação do método teórico-reflexivo, implicando em revisão de literatura e estudo da estrutura pedagógica relacionada à disciplina música de câmara. O trabalho está organizado em três partes. Na primeira, apresenta-se uma revisão de literatura, discutindo o estado atual da questão no meio acadêmico. Na segunda, parte discute-se a função pedagógica da música de câmara enquanto disciplina na escola de formação profissional e faz-se uma proposta de metodologia para esta disciplina. Na terceira, discute-se a escolha e adaptação do repertório didaticamente orientado à disciplina, a disponibilidade de partituras e aplicabilidade da transcrição na adequação deste repertório em função da realidade cotidiana do professor. / This work discusses chamber music in the development of the professional musician, its pedagogical aspects and the choice and adaptation of its repertoire. The study presents the practice of chamber music as a fundamental part in the musician’s training (instrumentalist/singer) as well as its peculiarities and characteristics in musical education, especially as relative to musical interpretation, group practice and the preparation for performance. The methodology consists of a case study of a representative vocational training institution, located in the city of São Paulo, the Municipal School of Music of São Paulo – EMMSP, where the author of this study is a chamber music teacher. The research involved the collection of data from online sources and printed material, with application of the theoretical-reflexive method involving literature review and study of the pedagogical structure as related to the chamber music class. The work is organized in three parts. The first presents a literature review and a discussion of the state of the art in the academic environment. The second discusses the pedagogical function of chamber music as a discipline in the curriculum of the school and the proposed methodology in the class. The third discusses the choice and adaptation of the repertoire for use in the class, the availability of scores and the applicability of transcription for use in the daily routine of the teacher.

Submitted by Cássia Santos (cassia.bcufg@gmail.com) on 2017-07-06T11:39:27Z No. of bitstreams: 2 Dissertação - Breno Gervásio Bragança - 2017.pdf: 16896954 bytes, checksum: cd58f68997b0f749202787ff6eed6467 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-07-10T14:35:42Z (GMT) No. of bitstreams: 2 Dissertação - Breno Gervásio Bragança - 2017.pdf: 16896954 bytes, checksum: cd58f68997b0f749202787ff6eed6467 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-07-10T14:35:42Z (GMT). No. of bitstreams: 2 Dissertação - Breno Gervásio Bragança - 2017.pdf: 16896954 bytes, checksum: cd58f68997b0f749202787ff6eed6467 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-03-31 / Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG / This research is divided in two parts: (1) Artistic Production and (2) Article. The first part presents the repertoire and programs notes of pieces chosen for two recitals needed for the conclusion of the research - the first on July fifteen, two thousand sixteen at seven p.m, and the second on March thirty-one, two thousand sixteen at twelve p.m - and other concerts and performances related to the research. The second part propose to approach issues related to the preparation and performance of pieces for percussion and technological mediation, with emphasis in the relationship between the percussionist and the live electronics, starting from preparation and performance of two chosen pieces, namely, `Vibraphone and Electronics' (2012), from Baljinder Sekhon and `SprachSchlag' (2000), from Hans Tutschku. Practical issues, both of relationship between percussionist and electronics as between the percussionist and the instrumental part will be addressed. We also discuss some conceptual issues of the performance, not only the referenced pieces per si, but the repertoire for percussion and live electronics raise. We conclude that the preparation and performance of the chosen works offered challenges regarding both instrumental performance and electronic mediation, but they provided interesting and valid aesthetic experiences and proved to be a response to the technology and society of our time. The historical parallels between the classical western percussion and electronic music, such as aesthetic interest and mutual important composers, jointly with the learning of new techniques and the handling of different instruments and objects present in the canonical repertoire of the percussion are of great value to the musician who works with the repertoire with electronics, which leaves the percussionist in a position of privilege, where some of the skills developed in his metier are also shared with the metier of electronic music. / A pesquisa é dividida em duas partes: (1) Produção Artística e (2) Artigo. A primeira parte apresenta o repertório e notas de programas das obras escolhidas para os dois recitais necessários à conclusão da pesquisa - o primeiro realizado no dia vinte e cinto de Junho de dois mil e dezesseis às dezenove horas e o segundo realizado no dia trinta e um de Março de dois mil e dezessete às doze horas - e demais concertos e performances relacionadas à pesquisa. A segunda parte propõe abordar questões referentes à preparação e performance de obras para percussão e mediação tecnológica, com ênfase na relação entre o percussionista e a eletrônica em tempo real, a partir da preparação e performance de duas obras escolhidas, a saber: Vibraphone and Electronics (2012), do compositor Baljinder Sekhon e SprachSchlag (2000), do compositor Hans Tutschku. Questões de caráter prático tanto da relação do percussionista com a eletrônica quanto com a parte instrumental são abordados. Discutimos também algumas questões conceituais que a performance, não só das obras referenciadas acima, mas do repertório para percussão e eletrônica em tempo real levanta. Concluímos que a preparação e performance das obras escolhidas ofereceram desafios referentes, tanto à performance instrumental quanto à mediação eletrônica, porém proporcionaram experiências estéticas interessantes e válidas e se mostraram como uma resposta à tecnologia e à sociedade de nosso tempo. Os paralelos históricos entre a percussão erudita ocidental e a música eletrônica, tais como interesses estéticos e compositores importantes comuns, juntamente como o aprendizado de novas técnicas e o manuseio de diferentes instrumentos e objetos presentes no repertório canônico da percussão são de grande valia ao músico que trabalha com o repertório com eletrônica, o que deixa o percussionista em uma posição de privilégio, onde algumas habilidades desenvolvidas em seu métier são compartilhadas também com o métier da música eletrônica.

Music performance anxiety (MPA) is a significant concern for musicians of all ages, levels of mastery, and genders (Kenny, 2011). Whereas the anxiety-performance relationship has been well researched in athletes, similar research with musicians is sparse (Nordin-Bates, 2012). In the present research, video feed-forward self-modeling (FF-SM video) was explored as an intervention for use by musicians. FF-SM involves video-editing, typically, to depict a level of master performance higher than that yet attained by the individual. Although video FF-SM has been used successfully with athletes (Ste-Marie, Rymal, Vertes, & Martini, 2011) to increase self-efficacy and improve performance, its use has not yet been explored with musicians. In the present study, Bandura’s Self-efficacy Theory (1977) was used as a framework to explore whether FF-SM videos would increase self-efficacy, lower anxiety, and improve performance in adolescent musicians who self-reported MPA. Twelve string musicians, aged 13 to 18 years, who self-reported MPA took part in a two-week intervention where in one week they practiced with the use of a FF-SM video and in the alternate week they practiced without the video. At the end of each week, participants performed the selected repertoire from their video. Video FF-SM significantly increased musicians’ self-efficacy but only for those musicians who viewed the video in the second week. No changes in anxiety or performance levels were observed. Zimmerman’s triadic self-regulation model is used to explain the cyclical pattern of self-efficacy benefits. It is concluded that the FF-SM video can be an effective tool to increase self-efficacy for musicians who self-report MPA, but that an enactive experience is first needed for those benefits to occur. Research extended over a longer time frame is recommended in order to examine whether influences on anxiety and performance would emerge at a later time.

Ce mémoire explore comment la médiation de la musique et les nouvelles modalités du concert s’intègrent dans la carrière des chanteurs lyriques québécois. Le corpus de la recherche est composé d’une analyse documentaire des activités de médiation dans les institutions lyriques nord-américaines et de la formation des chanteurs, ainsi que d’une enquête qualitative auprès de 12 chanteurs québécois. Cette étude dresse un portrait des activités de médiation afin d’en faire ressortir l’apport des chanteurs par les fonctions qu’ils occupent au sein de la médiation de l’art lyrique. Même si tous les chanteurs rencontrés ont fait des activités de médiation dans leur carrière, il y a de nombreux facteurs qui agissent sur la poursuite des activités de médiation. Il y a des contraintes sociales qui sont liées à la notoriété des chanteurs influencé par la valeur symbolique plus faible du point de vue réputationnel des activités de médiation comparée à la prestation comme soliste. Mais aussi des contraintes économiques qui obligent les chanteurs à avoir plusieurs activités pour vivre de leur art. Il se dégage de cette étude que la médiation de la musique est un outil supplémentaire aux chanteurs, car ils deviennent polyvalents s’ils font de la médiation au côté d’un concert. Elle peut être aussi un moyen de diversifier leurs activités pour les chanteurs qui décident de créer des ateliers et des concerts dans de nouvelles modalités. Par contre, la médiation peut devenir une obligation dans la carrière des chanteurs, et ce malgré qu’ils n’y soient pas formés pendant leurs études. / This master thesis proposes to explore how the music mediation and the new modalities of the concert fit into the careers of lyric singers in Quebec. The corpus of my research is made up of a documentary analysis of mediation activities in North American lyrical institutions and the analysis of the singer’s training, as well as a qualitative survey of 12 Quebec singers. This study draws up a portrait of the mediation activities and the new modalities of the concert which are used to make opera accessible, then to highlight the contribution of the singers by the functions they occupy within the mediation of lyrical art. Even though all the singers we met have done mediation activities in their career, there are many factors that influence the continuation of mediation activities. There are social constraints which are linked to the notoriety of the singers influenced by the lower reputational value of the mediation activities compared to the performance as a soloist. But also economic constraints, which oblige the singers to have several activities to make a living from their art. It emerges from this study that music mediation is an additional tool for singers, as they become versatile if they mediate alongside a concert. It can also be a way to diversify their activities if the singers decide to create mediation workshops and concerts that are presented in new modalities. On the other hand, mediation can become an obligation in the career of singers, despite the fact that they were not trained for it during their studies.

Jan Pelar is an integral part of the cultural heritage of Wallachia. He personally represented Wallachian culture at Ethnographic Exhibition in Prague in 1895. On this occasion he obtained his first musician concession. Reportedly, he composed the Wallachian anthem, "My sme Valaši" on his way to Prague. This work will focus on his musical career and his personal life which was extraordinary. This work will focus on his musical career, his extraordinary personal life and his legacy to younger musicians.

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.

I detta arbete undersöks instrumentalpedagogers syn på musikalisk bredd och dess betydelse för undervisningen. Genom intervjuer med yrkesverksamma instrumentalpedagoger och musiker utforskas frågor kring yrkesidentitet och yrkesroll med fokus på hur pedagogerna uppfattar sig själva som både pedagoger och musiker på sina huvud- och biinstrument, och hur detta påverkar deras undervisning. Resultaten från intervjuerna visade att en gemensam grundidé var att läraren bör behärska instrumenten de undervisar på, samtidigt som det är viktigt att förebilda och utstråla självförtroende på instrumenten för att skapa positiva upplevelser för eleverna. / This work examines instrumental educators views on musical breadth of musical knowledge and skills and its significance for teaching. Through interviews with professional instrumental pedagogues and musicians, questions regarding professional identity and role are explored, with a focus on how pedagogues perceive themselves as both educators and musicians on their main- and secondary instruments, and how it affects their teaching. Results from the interviews indicate a common idea: that pedagogues should be skilled on their instruments, but put more emphasis on the idea that you should be a role model and show self-confidence on the instruments to create positive experiences for their students.

Digitaliseringen har förändrat stora delar av musikbranschen med nya programvaror, tjänster och hjälpmedel för att skapa och släppa musik själv. Detta har fått mig att vilja undersöka hur och i vilken utsträckning gymnasieskolan tagit hänsyn till digitaliseringens utveckling och anpassar undervisningen efter dagens kunskapsläge kring musikbransch och det som kallas independent. Independent betyder i musiksammanhang att yrkesmusiker och upphovspersoner självständigt har ansvar över samtliga delar i sin musikkarriär. Tre verksamma gymnasielärare i Stockholms län har intervjuats och resultatet i detta arbete visar deras förhållningssätt till independent i gymnasieskolan. Arbetet har använt en kvalitativ metodologi och insamlat material har analyserats utifrån ett fenomenologiskt perspektiv. Resultatet redogör lärarnas åtskilda förhållningssätt till gymnasiets kursplaner och dess centrala innehåll med hänsyn till independent. I och med digitaliseringen och internets utveckling är independent redan förankrat hos gymnasieeleverna enligt intervjuade lärare. Resultatet visar även att det kollaborativa är essensen av independent där samarbetsmöjligheterna utgör det största syftet. Att verklighetsförankra undervisningen gör att elever begriper kontentan av musikbranschens krav och är förberedda när de väl ger sig ut i sina musikkarriärer. Med verklighetsbaserade uppgifter, samarbeten och det kollaborativa skapas verktyg för att vara independent. / Digitization has changed large parts of the music industry by enabling music creators to make and release music independently with new software, services, and tools. This has made me interested in how upper secondary schools have kept up with the digitization and knowledge of today’s music industry. Independent in a musical context means that you are responsible for all parts of your music career. Three working teachers in Stockholm County have been interviewed and the result shows their perspective on independent in upper secondary school. The work has used a qualitative methodology, and collected material has been analysed based on a phenomenological perspective. The result describes the teachers' divided approach to the high school curriculum and its central subject concerning independent. According to the interviewed teachers, the development of the internet and digitization independent already is embedded in high school students. The result also shows that collaboration is the essence of independent where the opportunity for collaboration is the purpose. Reality-based teaching means that the students understand the content of the music industry's demands and are prepared when they embark on their music careers. Reality-based tasks and collaboration creates tools to be independent.