The role of the first violinist in a professional symphony orchestra is rarely only to perform. The position of concertmaster, at the professional level, generally constitutes a wide range of responsibilities and activities, not necessarily restricted to the realm of music-making. The present research utilized interviews with five concertmasters of professional Brazilian symphony orchestras in order to respond to the following questions: What is the role of the professional concertmaster? What musical and educational experiences defined the paths of current professional concertmasters in Brazil? What is the scope of their responsibilities as concertmaster? Lastly, what are the expectations of these concertmasters for the future of their own careers, of their Orchestras and of professional Brazilian symphony orchestras in general? After a systematic categorization, twenty-eight professional Brazilian symphony orchestras were identified. The concertmasters of fifteen of these twenty-eight orchestras were contacted with an invitation to participate in a recorded interview. Ultimately, the invitation was accepted by two current and three former professional concertmasters. Analysis of the information gathered through the interviews was further expanded by an investigation into the careers of 16 additional professional concertmasters from various countries who were cited in the present research but not personally interviewed. Several trends were revealed within the life paths and professional perspectives of the concertmasters. Of the five concertmasters interviewed in Brazil, four received musical training outside of South America during their formative years. All five serve or served as music educators in addition to their orchestral work: three at the university level and two with younger students. Only one of the five interviewees passed through a strictly traditional audition process in order to assume the position of concertmaster. Of the 21 professional concertmasters about whom data was collected (including the five interviewees), at least sixteen held the position of concertmaster several times before assuming the role in a prominent orchestra. Five of the 21 concertmasters (including two of the five interviewees) eventually branched into the realm of symphonic conducting, while at least twelve of the 21 did not. Seventeen are or were employed as music professors at the university level. All 21 of the violinists cited within the present research performed solo and/or chamber music regularly throughout their orchestral careers. Ultimately, the interviewees emphasized the following four characteristics as the basic requirements of effective concertmastership at the professional level: (1) technical ability, (2) two-way respect of colleagues, (3) natural leadership/firmness, and (4) a supportive relationship with the conductor.

Made available in DSpace on 2015-05-14T12:52:26Z (GMT). No. of bitstreams: 1 Artquivototal_Parte1.pdf: 7920538 bytes, checksum: 552ff2db13912bc654c8d57525f9ae8f (MD5) Previous issue date: 2011-01-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work deals with the principles and compositional techniques employed in Cantoria, for ten-string Viola Sertaneja and String Orchestra, composed of three movements, with approximate duration of 14 minutes. The work uses a compositional language developed from stylistic, melodic and rhythmic elements from Cantoria de Viola Nordestina. In the musical discourse of the first two movements, the viola sertaneja and the string orchestra are treated as distinct dramatis personae that interact with each other in several ways simulating certain acoustic effects through orchestration. In the third movement, they interplay according to the principle contained in the Desafio (kind of Cantoria de Viola). / Este trabalho se refere aos princípios e técnicas composicionais empregados na peça Cantoria, para Viola Sertaneja de 10 cordas e Orquestra de Cordas, composta de três movimentos, com duração total aproximada de 14min. A obra utiliza uma linguagem composicional desenvolvida a partir de elementos estilísticos, melódicos e rítmicos da Cantoria de Viola Nordestina. No discurso musical dos dois primeiros movimentos, a viola sertaneja e a orquestra de cordas são tratadas como dramatis personae distintas que interagem mutuamente de diversas formas simulando determinados efeitos acústicos através de recursos de orquestração. No terceiro movimento, elas se contrapõem baseadas no princípio da disputa contida no Desafio (modalidade da Cantoria de Viola).

Submitted by Angela Onnis (angelaonnis@gmail.com) on 2016-06-29T18:45:42Z No. of bitstreams: 1 DISSERTACAO ANGELA ONNIS.pdf: 1442646 bytes, checksum: 47818db28a1db4e740ced1cf92c6e9f8 (MD5) / Approved for entry into archive by Alda Lima da Silva (sivalda@ufba.br) on 2016-06-30T01:51:32Z (GMT) No. of bitstreams: 1 DISSERTACAO ANGELA ONNIS.pdf: 1442646 bytes, checksum: 47818db28a1db4e740ced1cf92c6e9f8 (MD5) / Made available in DSpace on 2016-06-30T01:51:32Z (GMT). No. of bitstreams: 1 DISSERTACAO ANGELA ONNIS.pdf: 1442646 bytes, checksum: 47818db28a1db4e740ced1cf92c6e9f8 (MD5) / O objetivo deste estudo é traçar um estudo sobre a trajetória histórica de criação e administração da Orquestra Sinfônica da UFBA até o ano de 2010, identificando suas estruturas administrativas e as realidades implementadas nela na tentativa de manter sua sobrevivência. Para atingir este propósito, foi fundamental também demonstrar sua trajetória como orquestra dentro de uma Universidade Federal, sua forma de gestão dentro da estrutura da administração pública e os diversos períodos de gestão da qual a Universidade Federal da Bahia passou. Destacou-se também a análise das diferentes ações cotidianas de organização do grupo orquestral e sua relevância para a prática de alunos. Para tanto também foi preciso discorrer também acerca da estrutura e organização da orquestra e como ela tem administrado seu corpo orquestral. O desenvolvimento desse estudo objetivou contribuir para o entendimento da finalidade da Orquestra Sinfônica da UFBA em particular, sob o aspecto organizacional, para que futuras estratégias sejam desenvolvidas no sentido de garantir a sua permanência e importância no corpo da Universidade Federal da Bahia.

Neste trabalho, analiso o Segundo Concerto para Piano e Orquestra (1946) de Camargo Guarnieri (1907-1993) tendo como pano de fundo uma contextualização sobre o nacionalismo e o neoclassicismo na obra de Guarnieri. Se, por um lado, o nacionalismo oriundo dos movimentos modernistas vinculava-se a uma proposta de "normalização dos caracteres étnicos permanentes da musicalidade brasileira" (Neves, 1981), também visava à inserção do país em um contexto mundial (Travassos, 1999), proposta refletida na adoção de uma estética musical neoclássica. Em minha análise, identifico no Segundo Concerto reflexos do ideário formado em torno desse nacionalismo e vinculações estéticas com as tendências da música produzida internacionalmente. / In this work, I present an analysis of Camargo Guarnieri's Segundo Concerto para Piano e Orquestra (1946) taking into account the manifestations of the nationalistic and neoclassical trends in the work of this composer. If, on the one hand, the nationalism steemed from Brazilian early twentieth-century modernists movements aimed to "normalize the permanent ethnical characteristics of the brazilian musicality" (Neves, 1981), on the other hand it also aspired to integrate the country in a global context (Travassos, 1999), a goal which can be detected in the influence of neoclassical aesthetics. In my analysis of the Segundo Concerto, elements which can be traced to the ideas and proposals of the nacionalismo modernista are identified, as well as aesthetical links with the international music trends.

Submitted by Marcelo de Oliveira Lopes (mlopes65@icloud.com) on 2016-05-10T14:55:12Z No. of bitstreams: 1 Marcelo Lopes - Dissertação - Versão Final (revisada).pdf: 1570989 bytes, checksum: 2fa88b8849df16b45558897844160b64 (MD5) / Approved for entry into archive by Joana Martorini (joana.martorini@fgv.br) on 2016-05-10T17:18:42Z (GMT) No. of bitstreams: 1 Marcelo Lopes - Dissertação - Versão Final (revisada).pdf: 1570989 bytes, checksum: 2fa88b8849df16b45558897844160b64 (MD5) / Made available in DSpace on 2016-05-10T17:32:43Z (GMT). No. of bitstreams: 1 Marcelo Lopes - Dissertação - Versão Final (revisada).pdf: 1570989 bytes, checksum: 2fa88b8849df16b45558897844160b64 (MD5) Previous issue date: 2016-04-06 / Partnerships between government and civil society institutions have proven an essential tool for the achievement of public policy. The 'National Program for Publicization', focusing on the non-exclusive public services, provided a good opportunity to make the management of those activities more flexible, calling the non-profit sector to play a leading role in the provision of public services in Brazil. The interaction between these agents creates the need for better understanding of their legal relationship and realign expectations and incentives, as well as better definition of risk allocation between partners. This paper analyzes the partnerships with social organizations in the culture sector in São Paulo. Particularly, the paper analyzes the Osesp Foundation management contract with the government, effective from 2005 to 2015. In this case, we analyzed opportunities and difficulties in the contractual relationship, the impact on the corporate governance of the institution, the risk allocation terms, its mitigation tools and economic and financial re-equilibrium. / As parcerias entre o governo e instituições da sociedade civil têm se mostrado um instrumento fundamental para a consecução das políticas públicas. O 'Programa Nacional de Publicização', focalizando os serviços públicos não-exclusivos, trouxe maior possibilidade de flexibilização da gestão dessas atividades, chamando as organizações do terceiro setor a um papel de protagonismo na oferta de serviços públicos no Brasil. A nova interação entre esses agentes cria a necessidade de melhor entendimento de suas relações jurídicas e de realinhamento de expectativas e incentivos, bem como melhor definição da alocação de riscos entre os parceiros. Este trabalho analisa as parcerias com as Organizações Sociais na área da Cultura no Estado de São Paulo. Mais especificamente, o contrato de gestão da Fundação Osesp no período de 2005 a 2015. A partir desse caso, analisamos as oportunidades e dificuldades encontradas na contratualização dos resultados, os impactos na governança corporativa da instituição, as condições de alocação dos riscos, suas formas de mitigação e as necessidades de reequilíbrio econômico-financeiro.

Submitted by FABIA HOLANDA DE BRITO (fabiaholanda27@gmail.com) on 2016-08-19T14:36:35Z No. of bitstreams: 1 dissertação mestrado.pdf: 6365437 bytes, checksum: 579e4a1ffbd6543b12bd9d30ef5dd18a (MD5) / Approved for entry into archive by Rafael Aguiar (rafael.aguiar@fgv.br) on 2016-08-25T19:04:12Z (GMT) No. of bitstreams: 1 dissertação mestrado.pdf: 6365437 bytes, checksum: 579e4a1ffbd6543b12bd9d30ef5dd18a (MD5) / Approved for entry into archive by Maria Almeida (maria.socorro@fgv.br) on 2016-08-26T20:10:00Z (GMT) No. of bitstreams: 1 dissertação mestrado.pdf: 6365437 bytes, checksum: 579e4a1ffbd6543b12bd9d30ef5dd18a (MD5) / Made available in DSpace on 2016-08-26T20:10:59Z (GMT). No. of bitstreams: 1 dissertação mestrado.pdf: 6365437 bytes, checksum: 579e4a1ffbd6543b12bd9d30ef5dd18a (MD5) Previous issue date: 2016-08-09 / Este trabalho discute mudanças que vêm ocorrendo no Bumba-meu-boi do Maranhão, decorrentes entre outras coisas do turismo cultural. Foca no chamado 'sotaque de orquestra' e toma como estudo de caso o grupo Brilho da Ilha, partindo das percepções dos brincantes acerca das transformações ocorridas no folguedo e da observação participante. Entende-se por mudanças as adequações e a introdução de novos elementos ou personagens em uma releitura do auto do bumba-meu-boi. O bumba-meu-boi se reinventa, não só por causa do turismo, mas também do mercado cultural, da própria dinâmica da sociedade e da demanda que é colocada pelos patrocinadores da brincadeira, geralmente o próprio estado, aos grupos. Essa reinvenção, porém, não desfaz o fato de se tratar de um folguedo tradicional.

Este trabalho tem como objetivo geral analisar como se configura um modo de ensinar música na escola através de uma orquestra escolar e, como objetivos específicos, investigar as dimensões envolvidas nesse processo de ensino (o que, como, quem, para quem, por que e para que se ensina música nesse grupo) e compreender os significados que constituem esse modo de ensinar música na escola. A cultura escolar foi tomada como construto teórico, possibilitando olhar para o campo e entender o que nele está sendo produzido, assim como as dimensões envolvidas no ensino, a partir da prática escolar. Adotando uma abordagem qualitativa, a pesquisa tem como método investigativo o estudo de caso e, como campo empírico, a orquestra de uma Escola Municipal de Ensino Fundamental da cidade de Porto Alegre-RS. Os dados foram coletados através de observações registradas em notas de campo; registros audiovisuais, mais especificamente fotografias e filmagens; e entrevistas semiestruturadas. A análise e interpretação dos dados indicou que o modo de ensinar música na escola através da Orquestra Villa-Lobos se configura a partir da prática musical em grupo, com referência na profissão, tendo as apresentações e espetáculos como a culminância da aprendizagem musical. Nesse processo, os vínculos afetivos vão sendo fortalecidos pelo convívio e pela prática coletiva, cultivando o que os próprios integrantes denominam como segunda família, criando a ambivalência entre a estrutura rígida e formal de uma orquestra com o ambiente acolhedor da segunda família. Essa prática coletiva foi fazendo sentido para a instituição por suas ações e resultados e o ensino na Orquestra Villa-Lobos se consolidou como um modo de ensinar música na escola, sobretudo, porque foi construído, articulado e sedimentado dentro da própria escola. / This study aims at analyzing a school orchestra sets up a way to teach music in schools. More specifically, the study aims to investigate the dimensions involved in this teaching process (what, how, who, to whom, why, and to what purpose music is taught to this group) and to understand the meanings that help to constitute this way of teaching music in schools. Taken as a theoretical construct, the school culture made it possible to understand what is being produced in the field, as well as the dimensions involved in music teaching, from the perspective of the school practices. Adopting a qualitative approach to research, a case study with the orchestra of a Municipal School of Basic Education of Porto Alegre-RS was carried out. Data were collected through observations recorded in field notes, audiovisual recordings, specifically photographs and footage, and semi-structured interviews. Data analysis indicates that the way of teaching music in the school orchestra is set up from the practice of making music together, taking the music profession as a reference, and public performances as the culmination of the process of music learning. In this process, the affective ties are strengthened both by participants’ interaction and collective practice, cultivating what the members themselves call a second family. This creates ambivalence between the rigid and formal structure of an orchestra and the welcoming atmosphere of the second family. Through its actions and outcomes, this teaching practice gradually became meaningful for the institution. The way of teaching music in the orchestra was consolidated as a way of teaching music in the school because it was built, articulated and settled within the school itself.

The role of the first violinist in a professional symphony orchestra is rarely only to perform. The position of concertmaster, at the professional level, generally constitutes a wide range of responsibilities and activities, not necessarily restricted to the realm of music-making. The present research utilized interviews with five concertmasters of professional Brazilian symphony orchestras in order to respond to the following questions: What is the role of the professional concertmaster? What musical and educational experiences defined the paths of current professional concertmasters in Brazil? What is the scope of their responsibilities as concertmaster? Lastly, what are the expectations of these concertmasters for the future of their own careers, of their Orchestras and of professional Brazilian symphony orchestras in general? After a systematic categorization, twenty-eight professional Brazilian symphony orchestras were identified. The concertmasters of fifteen of these twenty-eight orchestras were contacted with an invitation to participate in a recorded interview. Ultimately, the invitation was accepted by two current and three former professional concertmasters. Analysis of the information gathered through the interviews was further expanded by an investigation into the careers of 16 additional professional concertmasters from various countries who were cited in the present research but not personally interviewed. Several trends were revealed within the life paths and professional perspectives of the concertmasters. Of the five concertmasters interviewed in Brazil, four received musical training outside of South America during their formative years. All five serve or served as music educators in addition to their orchestral work: three at the university level and two with younger students. Only one of the five interviewees passed through a strictly traditional audition process in order to assume the position of concertmaster. Of the 21 professional concertmasters about whom data was collected (including the five interviewees), at least sixteen held the position of concertmaster several times before assuming the role in a prominent orchestra. Five of the 21 concertmasters (including two of the five interviewees) eventually branched into the realm of symphonic conducting, while at least twelve of the 21 did not. Seventeen are or were employed as music professors at the university level. All 21 of the violinists cited within the present research performed solo and/or chamber music regularly throughout their orchestral careers. Ultimately, the interviewees emphasized the following four characteristics as the basic requirements of effective concertmastership at the professional level: (1) technical ability, (2) two-way respect of colleagues, (3) natural leadership/firmness, and (4) a supportive relationship with the conductor.

Neste trabalho, analiso o Segundo Concerto para Piano e Orquestra (1946) de Camargo Guarnieri (1907-1993) tendo como pano de fundo uma contextualização sobre o nacionalismo e o neoclassicismo na obra de Guarnieri. Se, por um lado, o nacionalismo oriundo dos movimentos modernistas vinculava-se a uma proposta de "normalização dos caracteres étnicos permanentes da musicalidade brasileira" (Neves, 1981), também visava à inserção do país em um contexto mundial (Travassos, 1999), proposta refletida na adoção de uma estética musical neoclássica. Em minha análise, identifico no Segundo Concerto reflexos do ideário formado em torno desse nacionalismo e vinculações estéticas com as tendências da música produzida internacionalmente. / In this work, I present an analysis of Camargo Guarnieri's Segundo Concerto para Piano e Orquestra (1946) taking into account the manifestations of the nationalistic and neoclassical trends in the work of this composer. If, on the one hand, the nationalism steemed from Brazilian early twentieth-century modernists movements aimed to "normalize the permanent ethnical characteristics of the brazilian musicality" (Neves, 1981), on the other hand it also aspired to integrate the country in a global context (Travassos, 1999), a goal which can be detected in the influence of neoclassical aesthetics. In my analysis of the Segundo Concerto, elements which can be traced to the ideas and proposals of the nacionalismo modernista are identified, as well as aesthetical links with the international music trends.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-04-15T23:24:47Z No. of bitstreams: 1 AnaClaudiaSilvaMorais_DISSERT.pdf: 3567877 bytes, checksum: 0148480a75e269365fb7dae01e718135 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-04-20T22:25:06Z (GMT) No. of bitstreams: 1 AnaClaudiaSilvaMorais_DISSERT.pdf: 3567877 bytes, checksum: 0148480a75e269365fb7dae01e718135 (MD5) / Made available in DSpace on 2016-04-20T22:25:06Z (GMT). No. of bitstreams: 1 AnaClaudiaSilvaMorais_DISSERT.pdf: 3567877 bytes, checksum: 0148480a75e269365fb7dae01e718135 (MD5) Previous issue date: 2015-05-22 / A m?sica e a educa??o musical est?o presentes no cotidiano das pessoas de diversas forma s e em m?ltiplos contextos. Nest e estudo, destaca - se a forma??o musical no contexto orquestral objetivando compreender como acontece a aprendizagem musical na Orquestra Sinf?nica da Universi dade Federal do Rio Grande do Norte ? OSUFRN. Para atingir esse objetivo, buscou - se identificar quais atividades s?o inerentes ? OSUFRN, assim como sua estrutura e funcionamento; observar o desenvolvimento das atividades do grupo, verificando as intera??es presentes entre os participantes da orquestra e compreender as diferentes maneiras de se aprender m?sica no contexto orquestral. O trabalho baseia - se em discuss?es de autores acerca d a pr?tica musical coletiva , d a forma??o instrumental na educa??o musical , a aprendizagem em si e as rela??es entre jovens e m?sica no contexto da aprendizagem na pr?tica musical coletiva. Os procedimentos metodol?gicos adotados nes ta investiga??o correspondem ? abordagem qualitativa e ao estudo de caso com participantes da orquestra sinf?nica da referida institui??o. A coleta de dados foi estabelecida por meio de observa??es in loco das atividades desempenhadas pelo grupo, de acordo com sua agenda de ensaios e apresenta??es , e de entrevistas semiestruturadas realizadas com o maestro e com participantes que possu?am mais tempo de experi?ncia na orquestra . Al?m disso, o uso de fotografias e filmagens auxiliou em todo o processo de coleta e constru??o dos dados, permitindo an?lises posteriores. A an?lise e interpreta??o desses dados fo ram efetivadas pela t?cnica de A n?lise de C onte?do apresentando categorias que revelam a aprendizagem musical atrav?s de inst?ncias de aprendizagem percebidas nos ensaios, concertos, na conviv?ncia com o maestro e entre m?sicos , com professores colaboradores do projeto e m?sicos convidados, individualmente, nas viagens e interc?mbios com outros grupos orquestrais . Desse modo, as atividades desenvolvidas pelo grupo possibili ta m uma forma??o musical integral que orienta seus componentes a adquirir autonomia de sua aprendizagem , preparando - os para o futuro profissional. / Music and music education are present in the daily lives of people in different ways and in multiple contexts. In this study, we highlight the musical training in the orchestral context aiming to understand how learning music happens in the Symphony Orches tra of the Universidade Federal do Ri o Grande do Norte ? OSUFRN. To achieve this goal, we identified all the activities, structure and functioning in OSUFRN; we have observed the development of activities of the group by checking the interactions among the participants of the orchestra and the different ways to learn music in that orchestral context. The research is based on discussions about collective musical practice, instrumen tal training in music education, the process of learning and the relationship between young people and music in the context of collective musical practice learning. Qualitative approach and case study were used as methodological procedures. Data collection was established by means of on - site observations, accompanying of the activities, rehearsals and performances of group and semi - structured interviews with the conductor and some participants with more time in the orchestra. We have also used photographs a nd footage that helped us in the procedure collection and construction of data. The analysis and interpretation of these data were enforced by Content Analysis featuring. It reveals the musical learning, through learning instances perceived in rehearsals, concerts, in living with the conductor and between musicians, teachers, employees and guest musicians, individually in travel and exchanges with other orchestral groups. In this way the activities developed by the group enable a comprehensive musical educa tion that guides to acquire autonomy in their learning and preparing them for future careers.