Este trabalho relata a organização do meu processo de aprendizagem motora do Estudo Pour les Octaves de Claude Debussy. Nele, são descritos o planejamento, a implementação e a avaliação da prática através do modelo tripartido de Fitts e Posner (1979). A prática foi organizada da seguinte forma: a peça foi segmentada e foram definidos os movimentos necessários à sua execução através dos ciclos de movimento (PÓVOAS, 1999). O estudo da peça iniciou-se pelos segmentos, os quais foram gradativamente integrados. As sessões de prática foram documentadas através de relatos escritos e gravações em vídeo e algumas foram supervisionadas pela orientadora. Os dados coletados foram avaliados tanto ao longo da implementação da prática, quanto a posteriori, através de uma reflexão retrospectiva do processo.

Este trabalho relata a organização do meu processo de aprendizagem motora do Estudo Pour les Octaves de Claude Debussy. Nele, são descritos o planejamento, a implementação e a avaliação da prática através do modelo tripartido de Fitts e Posner (1979). A prática foi organizada da seguinte forma: a peça foi segmentada e foram definidos os movimentos necessários à sua execução através dos ciclos de movimento (PÓVOAS, 1999). O estudo da peça iniciou-se pelos segmentos, os quais foram gradativamente integrados. As sessões de prática foram documentadas através de relatos escritos e gravações em vídeo e algumas foram supervisionadas pela orientadora. Os dados coletados foram avaliados tanto ao longo da implementação da prática, quanto a posteriori, através de uma reflexão retrospectiva do processo.

Made available in DSpace on 2015-11-10T01:04:19Z (GMT). No. of bitstreams: 1 000476035-Texto+Completo-0.pdf: 1278773 bytes, checksum: 43d03cf50e5a823d41fc4a4e2de0a598 (MD5) Previous issue date: 2015 / This Master’s thesis aims to address the relevance of Claude Geffré’s theological hermeneutics for the understanding of the phenomenon of revelation from the perspective of religious pluralism. According to Geffré, a theology with hermeneutical orientation designates the very fate of theological reason in the context of contemporary thinking, as it relates to a new position in today’s religious pluralism. Given the current religious polyphony found among the plurality of world religions, Christianity is called to express and to redefine its unique identity. To Geffré, the sacred can only be conceived as a multifaceted phenomenon. There is an enigma within this plural otherness of religious conceptions, whose manifestation expresses the spiritual richness of the human experience of the divine. The confessions of faith emerge from tradition, whose settings cannot be conceived only as an instance of juridical acts, but as the very translation of acts of interpretation that seek to address existential crisis situations, where the element of faith is called into question. Changing the contextual situations causes an adaptation of the original sense of the reality at stake. The reception dynamic brings about an opening of the statements of faith revealed and elaborated dogmatically. The willingness to recast creatively the meaning of faith in view of the new historical experience brings in a vitality to the statements of faith. Catholic theology has sought to overcome an ecclesiocentric standpoint so as to embrace a more ecumenical and kingdom-centered sense of God’s revelation in history. / Esta dissertação de mestrado pretende abordar a relevância da teologia hermenêutica de Claude Geffré para a leitura do fenômeno da revelação na perspectiva do pluralismo religioso. Segundo Geffré, uma teologia com orientação hermenêutica designa o próprio destino da razão teológica no contexto do pensável contemporâneo, pois diz respeito a uma nova postura diante do pluralismo religioso hodierno. Diante da atual polifonia religiosa entoada pela multiplicidade de religiões do mundo, o cristianismo é chamado a expressar e a redefinir a sua identidade singular. Para Geffré, o sagrado só pode ser concebido como um fenômeno multifacetado. Há um enigma presente na alteridade plural das concepções religiosas, cuja manifestação expressa a riqueza espiritual da vivência humana do divino. As confissões de fé emergem da tradição, cujas definições não podem ser concebidas apenas como atos de jurisprudência, mas sim como a tradução de atos de interpretação que buscam responder às situações existenciais de crise, onde o elemento da fé é questionado. A mudança das situações contextuais provoca uma adequação do sentido original à realidade em questão. A dinâmica da recepção provoca uma abertura de sentido aos enunciados da fé revelada e elaborada dogmaticamente. A disposição em retomar de modo criativo o sentido da fé em vista das novas experiências históricas, traz uma vitalidade aos enunciados da fé. A teologia católica tem buscado superar uma postura eclesiocêntrica para abraçar um sentido mais ecumênico e reinocêntrico da revelação de Deus na história.

Este trabalho relata a organização do meu processo de aprendizagem motora do Estudo Pour les Octaves de Claude Debussy. Nele, são descritos o planejamento, a implementação e a avaliação da prática através do modelo tripartido de Fitts e Posner (1979). A prática foi organizada da seguinte forma: a peça foi segmentada e foram definidos os movimentos necessários à sua execução através dos ciclos de movimento (PÓVOAS, 1999). O estudo da peça iniciou-se pelos segmentos, os quais foram gradativamente integrados. As sessões de prática foram documentadas através de relatos escritos e gravações em vídeo e algumas foram supervisionadas pela orientadora. Os dados coletados foram avaliados tanto ao longo da implementação da prática, quanto a posteriori, através de uma reflexão retrospectiva do processo.

To most flutists, Paul Taffanel is known for his Method and as the "Father" of the French school of flute playing. Considering the import of this title, little research has been done on him. It is the goal of this researcher to present a more complete picture of Taffanel than has previously been seen. To understand the significance of some of the things Taffanel did, it is necessary to know what study at the Paris Conservatoire was like. Lessons were given in classes in which all levels of playing were represented. There was no individual study, and until 1945, there was only one flute class. The number in the class was usually 12, and entry into it was by competitive audition. These auditions were held every October, and the Concours (public exam) was held each July. Requirements for the Concours included a set piece for each instrument (called Morceau de Concours) and a piece of accompanied sightreading. The jury was chaired by the Director of the Conservatoire, with both internal and external jurors. Taffanel sat in on at least two of these juries before he became professor of flute at the Conservatoire. The awards given were First or Second Prize or First or Second Certificate of Merit. A prize means playing against a certain standard, not competition between individual candidates. As a result, more than one First Prize could be awarded, or it could be withheld altogether. A First Prize was really necessary for a successful musical career. In Paris, there were many theatre and concert orchestras. There were also salons in which to play chamber music, but the best positions available were in the Paris Opéra and Opéra- Comique. These were government subsidised and had full -time employment and state pension on retirement. There was also the Société des Concerts du Conservatoire which gave annual Sunday concerts between November and April. Membership into this orchestra was by election. The most successful flutist therefore was one who had gained a First Prize and held positions at the Paris Opera and Société des Concerts.

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This study responds to the need for an understanding of the relation of form and political critique within the sonnet form, and hopes to demonstrate that the sonnet can be used to effectively articulate the experience of racism, especially the Du Boisian concept of "double- consciousness," a sense of two-ness born of being both black and American. The fundamental structure of the sonnet (octave, volta, sestet) is dialectical; it "contests the idea it just introduced" (Caplan, Poetic Form: An Introduction 75). The sonnet's self-reflexive structure has been adopted and adapted by poets such as McKay, Cullen, Hughes, and Brooks. The formal and social characteristics of sonnets by African-Americans function synergistically: the way that the octave and the sestet respond to each other in a single poem is also similar to the "call-and- response" movement of African American oral culture. Its tendency to mix two unlike things is like Harlem itself: a compressed space where the street sweeper rubs shoulders with the business tycoon. Perhaps most importantly, the sonnet can be a Trojan horse, a genteel container that conceals a potentially subversive message. This study is constructed around related lines of questioning: First, why did African American poets, in an era usually associated with free verse, choose to adopt a traditional form? Second, how do African American poets adapt a European form as a lens into African American experience? Sonnets by African Americans reflect the complexity of a seemingly simple triangulation between the traditional requirements of form, the promise of equality, and the reality of racism. African American poets infuse "Harlem in Shakespeare," pouring black consciousness into the European form, and they raise "Shakespeare in Harlem," elevating the status of African American forms to the highest levels of literary art. At the same time, this study demonstrates the value of a prosody-based approach for examining how small formal details contribute substantially to the reader's impression of the sonnet. These poets deploy the "rules" of the sonnet ingeniously and unexpectedly. Additionally, the sonnet is a way to separate from and simultaneously be a part of the dominant culture by writing a critical message in a recognizable form. Black culture can criticize white culture, while at the same time acknowledging the mutual, inescapable relationship that binds blacks and white Americans together. Additionally, the sonnet is a way to separate from and simultaneously be a part of the dominant culture by writing a critical message in a recognizable form. Black culture can criticize white culture, while at the same time acknowledging the mutual, inescapable relationship that binds blacks and white Americans together.

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Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.