Orientador: Élide Rugai Barros / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-16T08:53:26Z (GMT). No. of bitstreams: 1 LimaRezende_GabrielSampaioSouza_M.pdf: 3439693 bytes, checksum: 6e177a6b042284816d7e6f7447d8a2ab (MD5) Previous issue date: 2010 / Resumo: Este trabalho é o resultado de um estudo sobre o papel que a música cumpre dentro da obra de Max Weber, centrado essencialmente em uma interpretação de seu texto Os fundamentos racionais e sociológicos da música. Tomando-o como um ponto de intersecção entre os "universos" das ciências humanas e dos estudos sobre música, buscamos verificar como Weber se apropriou das análises e reflexões apresentadas nas obras que lhe serviram de base para a construção de sua narrativa sobre o processo de racionalização da música ocidental; ou seja, tentamos compreender como o estudioso, a partir das bases teóricas e epistemológicas que sustentavam a sua teoria sociológica, se aventurou no universo de estudos sobre música que o circundava. Nossa análise se desenvolveu em três partes. Primeiramente, discutimos os pressupostos teórico metodológicos sobre os quais estaria assentado o estudo weberiano. Em seguida, acompanhamos as principais etapas da narrativa que o sociólogo constrói sobre a racionalização da música ocidental, para, finalmente, traçarmos as linhas de uma possível interpretação dos significados dessa narrativa dentro do contexto mais amplo de sua obra. / Abstract: This work is the result of a study on the role that music plays in the work of Max Weber, focused in an interpretation of his text The rational and sociological foundations of music. Assuming it as an intersection point between the "universes" of the human sciences and of the music studies, we tried to verify how Weber appropriated himself of the analyses and reflections presented in the works that served him as a basis for the construction of his narrative about the rationalization process of the Western music; in other words, we tried understand how the author, from the theoretical and epistemological bases that underlies his sociological theory, ventured himself in the universe of studies about music that surrounded him. Our analysis is developed in three parts. Firstly, we discuss the theoretical and methodological tenets that underlies Weber's study. In following, we investigate the main steps of the narrative that he builds about the rationalization of the Western music and, finally, we draw the lines of a possible interpretation of the meanings of this narrative in the wider context of his work / Mestrado / Cultura / Mestre em Sociologia

Thesis (Ph. D.)--University of Texas at Austin, 2005. / Vita. Includes bibliographical references.

Orientador: Adriana Maria Bernardes da Silva / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Geociências / Made available in DSpace on 2018-08-26T21:45:22Z (GMT). No. of bitstreams: 1 Alves_CristianoNunes_D.pdf: 14914085 bytes, checksum: 9a44c55771357ece44ec9508f7058561 (MD5) Previous issue date: 2014 / Resumo: Intenta-se contribuir para o entendimento das dinâmicas territoriais na metrópole atual por meio de um estudo dos fixos e fluxos movimentados para a produção e a difusão da música na cidade de Recife-PE. Toma-se o período desde o final dos anos 1980 até os dias atuais, quando se inicia uma intensa difusão da variável informacional no território brasileiro associada à alocação de um espesso sistema técnico funcional a sua circulação. No período adensa-se ainda uma efervescência na produção cultural recifense, em especial aquela mais ligada à música. Aborda-se a topologia-tipologia das cenas musicais recifenses, fecunda empiria para a problematização em torno das espessuras comunicacionais nos lugares, bem como se analisa o circuito sonoro contemporâneo. Busca-se aclarar quais são as conexões entre os circuitos informacionais descendentes, fundamentados em lógicas e normas estranhas aos lugares, e circuitos informacionais ascendentes, fundamentados na organização própria dos lugares. Estariam nas cenas musicais, movimentadas por interesses comuns, possíveis agentes de um projeto urbano que se sobreponha à desigualdade socioterritorial característica de nossas cidades? Propõe-se a noção de errância sonora, cara à análise das manifestações musicais no cotidiano dos lugares. Trata-se de um estudo com o intuito de compreender as condições geográficas da cidade de Recife, uma busca por alternativas para adensar a circulação de informações ascendentes no território / Abstract: Intends to contribute to the understanding of territorial dynamics in the current metropolis through a study of the fixed and flows moved to the production and dissemination of music in the city of Recife-PE. It¿s our interest the period from the late 1980s to the present day, when starting an intense dissemination of informational variable in Brazilian territory associated with the allocation of a thick technical system functional for your movement. In the period still thickens an effervescence in Recife cultural production, particularly that related more to the music. Is studied the topology-typology of musical scenes in Recife, empirical fruitful for questioning around the communicational thicknesses in places, as well as analyzes the contemporary sound circuit. Seeks to clarify what are the connections between the descendants informational circuits, based on logics and norms unrelated to places, and rising informational circuits, based on the organization itself places. Would be in musical scenes dynamized by common interests, potential agents of an urban project that overlaps the socioterritorial inequality characteristic of our cities? Proposes the notion of wandering sound, operational to the analysis of musical expressions in everyday places. It is a study in order to understand the geographical conditions of the city of Recife, a search for alternatives to increase the movement of upward informations in the territory / Doutorado / Análise Ambiental e Dinâmica Territorial / Doutor em Ciências

No description available.

This study records the history and activities of the South African Society of Music Teachers (SASMT) from its founding in 1922 until 2015, concentrating on the contribution it has made to music education in South Africa and the extent to which it has adapted to changing socio-political circumstances. Within the context of South African history and its education system, a study of the SASMT's Constitution, journal and other archival material was undertaken. The SASMT's reaction to changing trends in music education, including multiculturalism and the praxial philosophy, was contrasted with the activities of the South African Music Educators' Society (SAMES) and comparable overseas organisations. The mission and activities of ISME and PASMAE were used as a yardstick for determining the extent to which the SASMT fulfills the music educational needs of post-apartheid South Africa. Initially the SASMT provided a link between Europe and South Africa, focusing almost exclusively on Western Art Music. With an arguably colonial-based outlook, the organisation helped to unite music teachers by means of various projects and activities, as well as through its magazine and by forming a strong relationship with the overseas examining bodies and Unisa. Throughout its history, the SASMT has grappled with determining exactly what aspects of music education it represents, and consequently who should be admitted to membership. This became particularly pertinent in the 1980s with the formation of the South African Music Educators' Society, which highlighted the need for a more open organisation in the context of the fragmented education system of the times. The SASMT has a long, stable history, with a network of centres and institutional members, and in the late 1990s was appointed as the National Affiliate of ISME. Currently the SASMT is characterised by reduced participation in its activities and a membership that does not adequately reflect South Africa's demographics. The study concludes with recommendations as to how the SASMT might transform its vision to serve fully the needs of South African music education. / Art History, Visual Arts and Musicology / D. Litt. et Phil. (Musicology)

by Law Bing Kuen Anthony. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2002. / Includes bibliographical references (leaves 100-105). / Discography: p. 107. / Abstracts in English and Chinese. / List of Tables --- p.iii / Abbreviations --- p.iv / Introduction --- p.1 / Concepts --- p.5 / Previous Studies on Xianshiyue --- p.6 / Fieldwork --- p.10 / PART ONE: CULTURAL AND SOCIAL BACKGROUND --- p.19 / Chapter Chapter One: --- Hong Kong --- p.20 / The Rise of Modern Hong Kong: Hong Kong in the Nineteenth Century --- p.21 / Formation of Norms and Values --- p.27 / Chapter Chapter Two: --- The Chaozhou Community of Hong Kong --- p.30 / The Name --- p.30 / The Area --- p.31 / The People and Culture --- p.32 / Migration of Chaozhou People to Hong Kong --- p.35 / Social Organization of the Chaozhou Community --- p.41 / The Chiu Chow Merchants Mutual Assistance Society --- p.43 / PART TWO: XIANSHIYUE --- p.48 / Chapter Chapter Three: --- Xianshiyue in Hong Kong --- p.49 / "The Music Division of the Hong Kong Chiu Chow Merchants Mutual Assistance Society (the ""MD"")" --- p.51 / From Waijiang Traditions to Chaozhou Traditions --- p.56 / Performances in the Music Club Context --- p.61 / Performances in the Concert Hall Context --- p.72 / Performances in the Chaoju Context --- p.76 / Performances in the Gatherings of the Parent Organization --- p.80 / Summary of the Performance Contexts of Xianshiyue in Hong Kong --- p.82 / Chapter Chapter Four: --- The Music of Xianshiyue --- p.84 / Setting Up the Temperament --- p.86 / Tuning Process as Social Process --- p.90 / Conclusion --- p.93 / Glossary of Chinese Characters --- p.96 / Bibliography --- p.100 / Appendix A: An Inquiry on the Place of Origin of Hong Kong Chinese People --- p.109 / Appendix B: Newspaper cutting Showing Ethnic Stereotypes --- p.110