Orientador: Maria Clementina Pereira Cunha / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-05T18:30:40Z (GMT). No. of bitstreams: 1 Ferlim_UlianaDiasCampos_M.pdf: 2613377 bytes, checksum: 2a42e8925ae8c0f1401c275882b0e915 (MD5) Previous issue date: 2006 / Resumo: Este trabalho dedica-se a avaliar a produção e circulação de canções na cidade do Rio de Janeiro dentre o final do século XIX e o início do século XX. Foram utilizados cancioneiros produzidos por diferentes autores e editoras (o mais antigo deles foi publicado em 1871). Assim como catálogos da mais importante casa de comercialização de fonogramas, a primeira do país, fundada em 1902, a Casa Edison. Esta casa, propriedade do empresário Fred Figner, passou a contratar artistas para a gravação de músicas e posterior comercialização. As músicas gravadas tinham intensa circulação no mercado mais amplo das diversões musicais da cidade. Pessoas de variada origem econômica e social disputavam espaço como artistas e desenvolviam estratégias para o seu reconhecimento individual e profissional. Através da pesquisa podemos entender as discussões estéticas como parte de um quadro social que tem ligações mais profundas com a ordem social e econômica mais geral. As questões racial e da identidade nacional são acionadas neste jogo de embates da vida cotidiana que é essencialmente político / Abstract: The present work focuses on the production and circulation of songs in the city of Rio de Janeiro between the end of Nineteenth century and the beginning of Twentieth. The research is based on collection of songs (cancioneiros), produced by different authors and publishers (the oldest is from 1871). It also investigates catalogs of Casa Edison, the most important phonogram store, the first of this kind in the country, founded in 1902. This store, owned by Frederico Figner, hired artists for song recording and subsequent trading. These song circulated widely in Rio de Janeiro, in theaters, music halls, circus and on the streets. People of different economic and social origins fought for territories as artists and developed diverse strategies to be recognized individually and professionally. Through these research one can relate the aesthetic debates as part of a social context deeply linked with the economic and social order. The racial problem and the problem of the national identity are part of these daily fights, which were essentially political / Mestrado / Historia Social / Mestre em História

Orientador: Liliana Rolfsen Petrilli Segnini / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-06T07:34:38Z (GMT). No. of bitstreams: 1 Pichoneri_DilmaFabriMarao_M.pdf: 947825 bytes, checksum: 1cf26c0788e09b0b4572eb74763df24a (MD5) Previous issue date: 2006 / Resumo: O objetivo deste trabalho é analisar o processo de formação profissional dos músicos que compõem a Orquestra Sinfônica do Theatro Municipal de São Paulo, buscando compreender a articulação desta formação com as condições e possibilidades de inserção no mercado de trabalho para esses profissionais. Olhar para a categoria profissional dos músicos, inserida no campo das artes e da cultura, pela ótica da sociologia do trabalho e da educação, informa a realidade de uma categoria até então pouco estudada no Brasil: a do artista trabalhador. As análises das relações sociais de sexo ou de gênero também constituem eixo estruturante norteador desta pesquisa / Abstract: The aim of this work is to analyse the professional education process of the musicians that are members of the Simphonic Orchestra at Sao Paulo City Theatre, in a search to understand the relationship of this education according to the work market participation conditions and possibilities for these professionals. A look at the musicians professional field, being part of the arts and culture universe, through the eyes of the Work and Education Sociology and to reveal the reality of a field that have not been the subject of many studies so far: the worker artist. The analysis of the sex and genre social realtionships also constitute the structure path followed by this research / Mestrado / Educação, Sociedade, Politica e Cultura / Mestre em Educação

Orientador: Liliana Rolfsen Petrilli Segnini / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-19T11:52:19Z (GMT). No. of bitstreams: 1 Pichoneri_DilmaFabriMarao_D.pdf: 592863 bytes, checksum: dc6c897a9e481fc8204b226b0605d34d (MD5) Previous issue date: 2011 / Resumo: O objetivo desta investigação é pesquisar as relações de trabalho no campo artístico, com o intuito de compreender as mudanças nas formas e condições da organização do trabalho de músicos de orquestra no contexto de transformações na sociedade salarial. O processo de reestruturação do Theatro Municipal de São Paulo (TMSP), tendo como objeto de estudo a Orquestra Sinfônica Municipal (OSM), constitui o campo de pesquisa. Trata-se de um entre os cinco corpos estáveis deste teatro e representa um dos grupos artísticos que, ao contrário dos demais, conquistaram num passado recente direitos sociais vinculados ao trabalho (CASTEL, 1998). É sabido que se trata de uma exceção no mundo da arte. A singularidade deste grupo profissional é a inscrição, historicamente, em formas e vínculos instáveis de trabalho. A hipótese que orienta essa pesquisa é que nos últimos vinte anos a significativa perda de direitos desses trabalhadores, encontra como agente das mudanças o próprio Estado. Desta maneira, é possível observar como a adequação à lógica de mercado nas políticas neoliberais são implementadas nesse setor. Nesta configuração, propomo-nos a analisar as formas que assumem o financiamento que lhes dão suporte, as leis que determinam a sua organização, as mudanças nos contratos de trabalho e as implicações sociais que acarretam para os músicos, inclusive quanto a sua qualificação. As relações de gênero são consideradas na pesquisa. Utilizamos como instrumento de pesquisa a realização de entrevistas em profundidade, sob a forma de relatos orais e histórias de vida resumida para compreender as diversas dimensões do trabalho desse grupo específico de profissionais. / Abstract: The objective of this study is to research the labor relations in the field of arts, in order to understand the changes of forms and conditions of orchestra musicians' work organization, in the context of changes in the wage society. The restructuring process of the Theatro Municipal de São Paulo (TMSP), taking the Municipal Symphonic Orchestra (OrquestraSinfônica Municipal - OSM) as an object of study, constitutes our research field. The orchestra is one among the five permanent bodies in the theater and it represents one of the artistic groups which, unlike the others, earned social rights related to work in the recent past (CASTEL, 1998). It is known that this is an exception in the world of arts. The singularity of this professional group is its historical attachment to unstable kinds of working bonds. The guiding hypothesis to this research is that in the last twenty years there has been a significant loss of rights by these workers, and this loss has being induced by the State itself. Thus, it is possible to observe how the market logic of neoliberal politics suits this sector. Inside this spectrum, we considered the forms of funding which support these professionals, the laws which determine their organization, the changes of employment contracts, and the social entanglements the musicians may face, including the ones related to their qualifications. The gender relations were also taken into account in this research. In-depth interviews were used as a research tool, in form of oral reports and concise life stories, to understand the diverse work dimensions of this particular group of professionals. / Doutorado / Educação, Sociedade, Politica e Cultura / Doutor em Educação

Esta pesquisa pretende realizar um mapeamento e análise de artefatos cerâmicos da cultura Mochica que contenham personagens que tocam instrumentos sonoros (aerofones, membranofones e idiofones1) com vistas a encontrar nesses \"músicos\" atributos e características que os identificam como figuras que concentram poder político-religioso. O objetivo geral da pesquisa é compreender se haveria um espaço de atuação específico para os músicos nas estruturas de poder mochicas, bem como a relação dos mesmos com as elites durante o período Moche Médio. Este período foi marcado pela ascensão das elites dos vales mochicas ao sul de Jequetepeque, contexto em que surgem, na iconografia da cerâmica ritual arqueológica, muitos músicos portando atributos de indivíduos de elevado status social, como o o Senhor Noturno, o Senhor Solar e o Tomador de Coca, entre outros. O trabalho visa, também, discutir se havia ou não uma relação hierárquica entre grupos de músicos, e seus respectivos instrumentos (tocadores de antaras, quenas, tambores, chocalhos etc.) que reflita o status político-religioso de suas especializações. Foram analisados, além dos dados iconográficos, contextos e padrões funerários relacionados às estruturas de poder mochicas escavados nas últimas três décadas. / This research intends to survey and analyze Moche ceramic artifacts depicting characters associated to sound instruments (aerophones, membranophones and idiophones2). We search in these musicians attributes and features that identify them as political-religious power figures. The main goal of the research is to comprehend how these musicians were inserted in the moche power structures, and their relationship with the elites of the Middle Moche Period, marked by the ascension of political groups from the valleys south of Jequetepeque. In this context many musicians arise in moche ritual ceramic`s iconography holding the attributes of high status individuals, like the Nocturnal Lord, the Solar Lord, the Coca Taker, among others. We also intend to discuss if there was a hierarchical relationship between different categories of musicians and their respective instruments (panpipe players, quena players, drum players, rattle players etc.), which reflect their political-religious status. Besides iconographic data, funerary contexts related to the Moche power structures excavated in the last three decades were also analyzed.

Doctorat en philosophie et lettres, Orientation histoire de l'art et archéologie / info:eu-repo/semantics/nonPublished

This qualitative case study was undertaken in order to explore the experiences of drum set students who apply themselves to James Dreier’s Standard Tune Learning Sequence (STLS) in a self-directed learning environment. These experiences ultimately shed light on how best to implement Differentiated Instruction to the STLS. The study draws on the experience of three adult drum students under the instruction of the author. The students were provided with the STLS and left to proceed with it on their own. They were asked to keep a record of their progress in the form of a learning journal. These learning journals were used, in conjunction with transcribed interviews and learner profiles, as data for this study and as such were subjected to Interpretative Phenomenological Analysis. The study recognizes three factors which affect the student’s successful progression through the STLS: readiness, interest and meaning. Each factor is discussed in relation to literature on differentiated Instruction. Recommendations are made regarding the implementation of Differentiated Instruction to the STLS.

The purpose was to investigate the career realities and occupational concerns of successful full-time performing instrumentalists. Four research problems were formulated; (1) the establishment of a demographic profile of musicians who perceived themselves successful; (2) the determination of the musicians' career realities; (3) the determination of the musicians' occupational concerns; and (4) a comparison of the relationship of the demographic profile to the career realities and occupational concerns. A pilot study was used to develop a questionnaire and an interview schedule. The sample for the main study was chosen by the questionnaire and consisted of twenty musicians, five each in the musical categories of jazz, classical, commercial and pop. To resolve research problem one, the questionnaire also collected general demographic data. Research problems two and three were fulfilled by an interview schedule based upon career realities and occupational concerns cited in previous sociological studies. The realities and concerns were either confirmed or refuted by each interviewee. The career realities were role conflict, career contingencies, musical labels, life style, hierarchies, audience relationships and environment. The occupational concerns were mobility, status, entrapment, personal contacts, dependency, security, competition, economic issues, working conditions, travel requirements, appearance, management control, auditions, maintenance of skills and training relevancy. The interviews were taped and transcribed by a court reporter and included in the text. An analysis of the interviews in relation to the demographic data fulfilled research problem four. Results showed that career contingencies, mobility and life style were positive influences for the sampled musicians. Also, a "hierarchy of expertise" appeared as the ultimate occupational hierarchy for the sampled musicians. Furthermore, a "hierarchy of dependency," based upon instrument played, affected the sampled musicians' attitudes toward their careers. It was concluded that performers who were devoting their full time to performance were more tolerant of imperfect career conditions than had been cited in previous studies .

Case study research allows for an in depth study of an individual and yields relevant insight and results while examining an individual in their entirety. This approach allows the researcher to capture the uniqueness of a subject and thus provide an interesting understanding of that individual. The study is a case study of Kurt Donald Cobain. Cobain (1967-1994) was an American musician who served as songwriter, lead singer and guitarist for the band, Nirvana. He struggled with drug addiction during the last years of his life, and died on 8 April 1994 from a self-inflicted gunshot wound to his head (Sandford, 1995). The study is a single case research design, utilizing both qualitative and quantitative data. It aimed to explore and describe Kurt Cobain’s personality according to the Five Factor Model of Personality. He was chosen as the research subject by means of purposive sampling on the basis of the researcher’s interest and on his uniqueness and inspirational influences on the general public. Collected data was analyzed in accordance with Huberman and Miles’s (1994) general approach which consists of data reduction, data display and conclusion drawing and verification. Descriptive tables from the NEO-PI-R personality measure were further interpreted to provide quantitative information regarding the personality traits of the subject. The findings of this study suggest that Kurt Cobain portrayed a complex personality profile as an individual, and it appears that he experienced much distress and emotional instability within his life. However, he was able to provide the youth a means of expressing themselves through his music.

Judith Butler’s writings on gender ostensibly changed the way gender is considered with regard to an individual’s subjectivity. Her writings expressed a discursive parameter that changed the theoretical standpoint of gender from that of performance, to that of performativity. In short, the notion of gender became understood as a power mechanism operating within society that compels individuals along the heteronormal binary tracts of male or female, man or woman. Within the strata of popular culture, this binarism is seemingly ritualized and repeated, incessantly. This treatise examines how rock music, as a popular and widespread mode of popular music, exemplifies gender binarism through a notable ndrocentrism. The research will examine how gender performativity operates within the taxonomy of rock music, and how the message communicated by rock music becomes translated into a listener’s subjectivity.

Psychobiographies use psychological theory as a paradigm within which to re-awaken an individual’s life story. The psychobiographical approach historically tended to be neglected within the South African context. The aim of the current study was to explore and describe the life of Ralph John Rabie through the use of psychobiography. Ralph John Rabie (1960 – 2002) was a South African Afrikaans singer-songwriter, journalist and playwright, also known as Johannes Kerkorrel. He challenged the cultural system and the government and was arguably the most prominent member of the Alternative Afrikaans Movement until his suicide on 12 November 2002. To some he betrayed the identity of post-apartheid Afrikanerdom and to others he became an icon in the homosexual community. No existing literature to date has adopted a psychological stance on this controversial South African figure. His own writings and published material by others were utilized to illuminate his life and its many dimensions. Richard C. Schwartz’s Internal Family Systems Model (1995) was used to analyze the multiplicity and inner workings of Rabie’s personality. The influence of external systems is also discussed. The data collection and analysis were conducted according to Yin’s (1994) analytic generalization, which consists of using theoretical guidelines as a framework to select relevant data and develop a matrix as a descriptive framework for organizing and integrating the data. Alexander’s (1988) nine proposed guidelines assisted in the process of data analysis, together with the Internal Family Systems Model (1995). The findings of the study indicate that subpersonalities in different roles could be identified in Rabie’s life as described by Schwartz (1995). The different subpersonalities interacted with each other and assumed roles to protect Rabie. The findings of the study also indicated that these subpersonalities used stories to obtain power and influence within Rabie’s personality structure. The subpersonalities were successful in making Rabie influential and famous within the Afrikaans music industry and they helped Rabie change rigid Afrikaans cultural beliefs that were present within the Apartheid system. The findings further indicate how important it is for subpersonalities to work together and how a fragmented system is difficult to contain.