Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-05-11T20:22:07Z No. of bitstreams: 1 AlexandreMagnoAbreuDeGoes_DISSERT.pdf: 2457896 bytes, checksum: 8c274ded4e15bc4c58b0775af9eb4549 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-05-19T20:59:33Z (GMT) No. of bitstreams: 1 AlexandreMagnoAbreuDeGoes_DISSERT.pdf: 2457896 bytes, checksum: 8c274ded4e15bc4c58b0775af9eb4549 (MD5) / Made available in DSpace on 2016-05-19T20:59:33Z (GMT). No. of bitstreams: 1 AlexandreMagnoAbreuDeGoes_DISSERT.pdf: 2457896 bytes, checksum: 8c274ded4e15bc4c58b0775af9eb4549 (MD5) Previous issue date: 2015-08-05 / O trabalho de express?o empreendido pelo int?rprete recai, em grande parte, sobre a m?o direita do violonista. Conscientes deste fato, mestres do presente e do passado t?m deixado suas contribui??es para o desenvolvimento da t?cnica de m?o direita. Percebe-se, com exce??es, que as propostas pedag?gicas e interpretativas, at? o momento, t?m abordado o ataque ?s cordas a partir do movimento de flex?o dos dedos. Apresenta-se, entretanto, um recurso t?cnico denominado imalt, que inclui na a??o de ataque, o movimento de extens?o. Algumas t?cnicas empregadas em circunst?ncias espec?ficas, como o dedillo, a alzap?a, o tr?mulo e o rasgueado tamb?m utilizam movimentos de extens?o no ataque. Elas s?o postas em perspectiva, junto ao imalt, proporcionando uma vis?o panor?mica de suas caracter?sticas individuais. O emprego do imalt no repert?rio tradicional do viol?o ? exemplificado em Villa-Lobos, Ponce e Brower. Tr?s pe?as autorais foram compostas para esse trabalho: Shravana, Alegoria e Vandana. T?cnicas composicionais como a aplica??o de contorno mel?dico e ostinato, foram revisadas e empregadas na elabora??o destas composi??es. Um registro detalhado da trajet?ria composicional ? apresentado. Para tanto, empregou-se o vi?s anal?tico do Modelo de acompanhamento do processo Composicional (SILVA 2007). Alguns eventos que t?m deixado o imalt em evid?ncia s?o comunicados, como o lan?amento e distribui??o do CD Imalt, publica??o de partituras e entrevistas. Finalmente s?o apresentados coment?rios conclusivos, apontando perspectivas abertas pelo trabalho. / The task of expression undertaken by the performer falls largely on the right hand of guitarist. Aware of this fact, past and present masters have left their contributions to the development of right hand technique. It is clear, with rare exceptions, that educational and interpretative proposals, so far, have addressed the attack on the strings from the flexion of the fingers. This work, however, presents a technical resource called imalt, including in the attack action, the extension movement. Some techniques used in specific circumstances, such as the dedillo, the alzap?a, the tremulo and the rasgueado also use extension movements in the attack. They are put in perspective with the imalt providing a panoramic view of their individual characteristics. The use of imalt in the traditional guitar repertoire is exemplified in Villa Lobos, Ponce and Brouwer. Three pieces were composed for this work: Shravana, Alegoria and Vandana. Compositional techniques such as melodic contour applying and ostinato have been reviewed and used in the preparation of these compositions. A detailed record of compositional trajectory is presented. Therefore, the Model for the Compositional Process Accompaniment according Silva (2007) is used. Some events that have left the imalt in evidence are reported, as the launch and distribution of the Compact Disc (CD) Imalt, publishing scores and interviews. Finally is presented concluding comments, pointing possibilities opened up by this work.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2018-03-12T20:35:46Z No. of bitstreams: 1 FernandoFerreiraBatista_DISSERT.pdf: 5174276 bytes, checksum: 5382093101776e1087927ef3f685dd01 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2018-03-16T20:59:39Z (GMT) No. of bitstreams: 1 FernandoFerreiraBatista_DISSERT.pdf: 5174276 bytes, checksum: 5382093101776e1087927ef3f685dd01 (MD5) / Made available in DSpace on 2018-03-16T20:59:39Z (GMT). No. of bitstreams: 1 FernandoFerreiraBatista_DISSERT.pdf: 5174276 bytes, checksum: 5382093101776e1087927ef3f685dd01 (MD5) Previous issue date: 2017-12-15 / O presente trabalho aborda o processo criativo do autor na interpreta??o da su?te Remem?rias Opus 79 para viol?o solo do compositor Marlos Nobre (1939-). Na referente pesquisa, o int?rprete descreve seu processo criativo partindo de sua experi?ncia emp?rica na interpreta??o da referida obra. As ideias interpretativas foram fundamentadas em uma entrevista realizada com o compositor e nas influ?ncias da m?sica tradicional nordestina presentes na pe?a. Autores como, Andrade (1972, 1989), Alvarenga (1982), Corquer-Nobre (1994), Barancoski (1997), Azevedo (2000), Ferraz (2007), Silva (2007), Cavini (2009), Anjos (2013), nortearam nosso referencial te?rico. Foram elaborados exemplos musicais de trechos editados da partitura, exemplos audiovisuais e uma grava??o audiovisual completa da pe?a. / The present work deals with the creative process of the author in the interpretation of the Remem?rias Opus 79 suite for solo guitar by brasilian composer Marlos Nobre (1939-). In this research, the interpreter describes his creative process based on his empirical experience in interpreting the work. In order to provide a foundation for his interpretative ideas, the author made use of an interview with the composer and of the influences of traditional Northeastern music present in the piece. Authors like Andrade (1972, 1989), Alvarenga (1982), Corquer-Nobre (1994), Barancoski (1997), Azevedo (2000), Ferraz (2007), Silva (2007), Cavini (2009) and Anjos (2013), guided our theoretical reference. Musical examples of edited pieces of the score were developed, and use was made of audiovisual examples and a complete audiovisual recording of the piece.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2018-03-12T20:35:47Z No. of bitstreams: 1 JoseSimiaoSevero_DISSERT.pdf: 5433739 bytes, checksum: b1d762e3a198dfefbacc9590e20eb05e (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2018-03-19T11:02:52Z (GMT) No. of bitstreams: 1 JoseSimiaoSevero_DISSERT.pdf: 5433739 bytes, checksum: b1d762e3a198dfefbacc9590e20eb05e (MD5) / Made available in DSpace on 2018-03-19T11:02:53Z (GMT). No. of bitstreams: 1 JoseSimiaoSevero_DISSERT.pdf: 5433739 bytes, checksum: b1d762e3a198dfefbacc9590e20eb05e (MD5) Previous issue date: 2017-12-15 / O presente Trabalho discorre sobre as caracter?sticas do choro e do jazz nas obras Lamentos do Morro, Duas Contas e Benny Goodman no Choro, do compositor An?bal Augusto Sardinha, o Garoto (1915-1955). O objetivo principal foi buscar caracter?sticas dos aspectos r?tmicos, harm?nicos, de articula??o e interpretativos das obras citadas. Apresenta tamb?m uma s?ntese sobre Garoto e o viol?o brasileiro bem como ressalta as influ?ncias deixadas por ele a partir de sua particularidade interpretativa e composicional no contexto do viol?o instrumental brasileiro. O aporte te?rico baseia-se em entrevistas, estudos das Obras e referenciais te?ricos, tais como: Ant?nio; Pereira (1982), Delneri (2009), Junqueira (2010), Mello (2012), Albanese (2013) e Mello; Gomide; Teixeira (2017). Os resultados confirmam a aproxima??o da obra de Garoto com o choro e o jazz, destacando-se a influ?ncia dos aspectos r?tmicos e harm?nicos. Conclui-se que as informa??es apresentadas corroboram o entendimento da obra do compositor bem como para sua interpreta??o. / The present work deals with the characteristis of choro and jazz in the works Lamentos do Morro, Duas Contas and Benny Goodman no Choro by An?bal Augusto Sardinha, Garoto (The Boy 1915-1955). The main objective was to search the rhythmic, harmonic, accentuation and interpretative characteristics of these works. We also present a brief discussion about Garoto and the Brazilian guitar, as well as the influences left from his interpretive and compositional particularity in the context of the Brazilian guitar. The theoretical contribution is based on interviews, studies of the works, as well as theoretical references such as: Ant?nio; Pereira (1982), Delneri (2009), Junqueira (2010), Mello (2012), Albanese (2013) and Mello; Gomide; Teixeira (2017). The results confirm the approximation of the work of Garoto with choro and jazz styles, specially the influence of the rhythmic and harmonic aspects. We conclude that the information presented corroborates the understanding of the composer's work and its interpretation.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-05-11T20:22:07Z No. of bitstreams: 1 JacoSilvaFreire_DISSERT.pdf: 1558930 bytes, checksum: f0d868b15fdba587a709e44944b547ca (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-05-19T21:11:25Z (GMT) No. of bitstreams: 1 JacoSilvaFreire_DISSERT.pdf: 1558930 bytes, checksum: f0d868b15fdba587a709e44944b547ca (MD5) / Made available in DSpace on 2016-05-19T21:11:25Z (GMT). No. of bitstreams: 1 JacoSilvaFreire_DISSERT.pdf: 1558930 bytes, checksum: f0d868b15fdba587a709e44944b547ca (MD5) Previous issue date: 2015-03-27 / O ensino do instrumento no Brasil tem sido mais amplamente estudado pela educa??o musical nos ?ltimos anos, constituindo um campo significativo de investiga??o cient?fica. Este trabalho se at?m a an?lise de uma realidade do ensino de instrumento, considerando de maneira mais espec?fica o ensino de viol?o. De maneira pontual, aborda a realidade do ensino de viol?o da Universidade Federal do Rio Grande do Norte (UFRN), considerando cursos espec?ficos do instrumento nesta institui??o. Assim, o presente trabalho foi pautado pelo objetivo de compreender as concep??es, conte?dos e perspectivas did?ticas e metodol?gicas que constituem o ensino e aprendizagem de viol?o na UFRN. Para alcan?ar este objetivo principal, buscou-se verificar, em linhas gerais: 1) as perspectivas te?ricas, metodol?gicas e de conte?dos que embasam forma??o em viol?o nos cursos de m?sica da UFRN; 2) as fun??es e objetivos das disciplinas de viol?o nos Cursos; 3) o perfil dos professores das disciplinas de viol?o; 4) as demandas dos sujeitos diretamente envolvidos nessas propostas de ensino musical; e, 5) as concep??es acerca das pr?ticas de forma??o e das metodologias de ensino que caracterizam a a??o docente. Em conson?ncia com os objetivos, o norteamento metodol?gico se pautou pelo paradigma qualitativo. Assim, os procedimentos de coleta de dados envolvidos foram: pesquisa bibliogr?fica e documental e realiza??o de entrevistas com tr?s professores que ministraram disciplinas de viol?o durante o semestre de 2014.1 nos cursos mencionados. Posteriormente, esses dados foram sistematicamente organizados e analisados em sintonia com as caracter?sticas da pesquisa aqui apresentada. Portanto, os resultados desta pesquisa evidenciaram as concep??es, conte?dos e perspectivas did?ticas e metodol?gicas no contexto de ensino e aprendizagem de viol?o no campo emp?rico estudado. Neste contexto, pudemos perceber uma rela??o existente entre as demandas de ensino e aprendizagem de instrumento no campo estudado e as evidenciadas na literatura pesquisada. Deste modo, foram percebidos, analisados e demonstrados quais as perspectivas para o ensino de instrumento na contemporaneidade, com especial aten??o para o ensino de viol?o. Assim, este estudo traz relevante contribui??o para a educa??o musical, sobretudo, atrav?s de suas reflex?es sobre a pedagogia do viol?o. / The instrumental teaching in Brazil has been more widely studied by music education in the last years, becoming a significative scientific investigation field. This work is focusing on analysis of the instrument teaching reality, considering more specifically the guitar teaching. In a timely manner, approaches the reality of the guitar teaching from the Universidade Federal do Rio Grande do Norte (Federal University of Rio Grande do Norte ? UFRN), considering specific instrument courses in this institution. Thus, the present work was guided by the aim of understanding conceptions, contents and didactic and methodological perspectives that constitute the teaching and learning of the guitar at UFRN. To reach this main aim, we sought to verify, in general: 1) the theoretical, methodological and content perspectives that underlie guitar formation in the music courses of the UFRN; 2) the functions and the aims of the guitar disciplines in the Courses; 3) the profile of the guitar disciplines' professors; 4) the demands of the subjects directly involved in these proposals of musical education; and, 5) the conceptions about formation practices and teaching methodologies that characterize the docent action. In accordance with the aims, the methodological guidance was based on the qualitative paradigm. Thus, data collection procedures involved were: bibliographical and documentary research and interviews with three professors who taught in guitar disciplines during the semester of 2014.1 on the mentioned courses. Then, these data were systematically organized and analyzed in line with the research characteristics presented here. The results of the research evidenced the concepts, contents and didactic and methodological perspectives in the context of teaching and learning guitar in the studied empirical field. In this context, we perceive a relation between the demands of teaching and learning tool in the study field and the ones evidenced in the literature. The results demonstrated that the professors? professional tragetory is associated with their influences from the initial musical formation and their guitar learning since they related conceptions that reflected aspects formation, sometimes converging sometimes divergente. The contentes, methodologies and general aspects are made based on parameters that demonstrate alignment with the perspectives of guitar teaching and learning in the contemporary world to the instrumental player formation. Thus, the study gave a broader diagnosis about the guitar teaching reality, demonstrating the diferences and the singularities between the Technical Course and the Course of Bachelor in Music at UFRN. Thereby, this study provides importante contribution to music education, mainly, through its reflections about the guitar pedagogy.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-04-04T00:24:31Z No. of bitstreams: 1 LucasFerreiraPiccoli_DISSERT.pdf: 560519 bytes, checksum: b01c59a0549963ddb0e82b8d97451b78 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-04-12T20:46:45Z (GMT) No. of bitstreams: 1 LucasFerreiraPiccoli_DISSERT.pdf: 560519 bytes, checksum: b01c59a0549963ddb0e82b8d97451b78 (MD5) / Made available in DSpace on 2017-04-12T20:46:45Z (GMT). No. of bitstreams: 1 LucasFerreiraPiccoli_DISSERT.pdf: 560519 bytes, checksum: b01c59a0549963ddb0e82b8d97451b78 (MD5) Previous issue date: 2016-12-16 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior (CAPES) / O presente trabalho investiga a pr?tica individual enquanto contexto tradicional de aprendizagem da m?sica de concerto, buscando compreender sobretudo as possibilidades de engajamento pessoal dos indiv?duos nos seus pr?prios processos de desenvolvimento. O percurso investigativo iniciou-se por meio de uma pesquisa explorat?ria sobre o tema, intensificada no estudo cr?tico dos conceitos de ensino conservatorial, pr?tica deliberada e autorregula??o da aprendizagem, e com base em autores como Ericsson, Krampe e Tesch- Romer (1993), Bandura (1989; 1999; 2012) e Zimmerman (1989; 2002). Em sequ?ncia, passou-se ? realiza??o de um estudo de caso com os alunos violonistas do curso de Bacharelado em M?sica da UFRN, que culminou em uma an?lise dos h?bitos de pr?tica dos discentes ? luz da literatura. Tendo em vista o car?ter te?rico-pr?tico da presente pesquisa, e de modo a sistematizar as intera??es promovidas entre as diferentes dimens?es investigativas utilizadas no percurso, empreendeu-se tamb?m um prot?tipo de modelo de engajamento pessoal na pr?tica individual, o Protomodelo. Enquanto resultados da pesquisa, figuram as an?lises acerca das din?micas de aprendizagem dos alunos investigados, sobretudo quanto ? presen?a de comportamentos relativos aos conceitos abordados, e a conclus?o de que o engajamento pessoal dos indiv?duos na aprendizagem pode atuar de forma positiva frente as debilidades do modelo conservatorial. / This work investigates musical learning in the context of individual practice session, and seeks to elucidate the possibilities of personal engagement by students in their own development processes. The present research started through an exploratory research about the topic, that was intensified in a critical study of conservatory system, deliberate practice and self-regulation of learning concepts, and based on the works of Ericsson, Krampe e Tesch-Romer (1993), Bandura (1989; 1999; 2012) and Zimmerman (1989; 2002). In sequence, it was performed a case study with undergraduate guitar students of UFRN university, that culminated in an analysis of students' practice habits. Since this research has a theoretical and practical approach, the way chosen to illustrate this interaction was the construction of a personal engagement in the individual practice prototype model: the Protomodelo. As results of this research, figures the analysis of students' learning habits, mostly of the behaviors related with studied concepts, as well as the conclusion that personal engagement in musical learning can act in a positive way to minimize some debilities of conservatory system.