This dissertation deals with the contribution of contemporary composer educators to the development of childrenʼs musicality. In the first chapter it touches on the theme of important pedagogical representatives in Bohemia, Moravia and Silesia in the 17th to 19th centuries, and briefly stops at our nation's teacher, Jan Ámos Komenský. The following chapters contain a questionnaire and the treatise on the life and educational activity of contemporary Czech composers and educators Eduard Douša, Emil Hradecký, Milan Dvořák, Jiří Pazour and Tomáš Sýkora. The main source of my information was a personal interview with each one. The goal of my work was to outline the key influences of music teachers on the child's spiritual and emotional development from the 17th century to the present and to answer the question "What personality features can be a positive influence on music students of any age?". Key words Czech composers, education, childrenʼs musicality, development, influence

Made available in DSpace on 2014-07-29T16:25:12Z (GMT). No. of bitstreams: 1 Dissertacao Keyla R de Oliveira.pdf: 548049 bytes, checksum: 5a91278f0159ef7fa275e4cf2002d9ee (MD5) Previous issue date: 2011-04-27 / This research aims to study the practice and teaching of music education of students aged between nine and twelve years, during the first year of activities in specific school of music. The aim of this study is to map the proposed methodology with respect to various pedagogical theories that an educator can use in the classroom. The theoretical knowledge of contemporary researchers shows and music educators as Edgar Morin, Keith Swanwick, Marisa de Oliveira Trench Fonterra and Ermelinda Peace program hopes to better understanding of the methodological approach used by each teacher - or even if it is integrated to some pedagogical theory And its stance in the classroom. Data analysis consists of interpretive readings of texts, questionnaires and semi-open held with educators involved in research. Thus, from the standpoint of the researcher and research context, it was realized the need to develop this work and may add knowledge to the professional lives of music educators, with a consequent reflection in the musical learning of their students. / A presente pesquisa destina-se ao estudo da prática pedagógica e da formação musical de alunos com idades entre nove e doze anos, no curso do primeiro ano de atividades na escola específica de música. O objetivo geral deste trabalho é mapear a proposta metodológica com relação às diversas teorias pedagógicas que um educador pode utilizar em sala de aula. A fundamentação teórica apresenta conhecimento de pesquisadores contemporâneos e educadores musicais como Edgar Morin, Keith Swanwick, Marisa Trench de Oliveira Fonterrada e Ermelinda Paz. Almeja-se melhor compreensão da abordagem metodológica utilizada por cada professor ou mesmo se ele está integrado a alguma teoria pedagógica, bem como sua postura em sala de aula. A análise dos dados é constituída de leituras interpretativas de textos, questionários e entrevistas semi-abertas realizadas com educadores envolvidos na pesquisa. Assim, a partir do olhar da pesquisadora e do contexto da pesquisa, percebeu-se a necessidade de se desenvolver esse trabalho, podendo acrescentar conhecimentos à vida profissional dos educadores musicais, com conseqüente reflexo no aprendizado musical de seus alunos.

<p>In this paper I have examined how aware teachers are of their influence on pupils development. The method I´ve used are interviews with three teachers and one pupil each about</p><p>Musicality - how do the teachers and pupils look at the concept musicality generally and personally?</p><p>Influence I- do the teachers believe that their thinking about musicality influence the pupils self-confidence and development?</p><p>Influence II- do the teachers think that other pedagogues have influenced them in their teaching and thinking?</p><p>My main results show that both the teachers and the pupils have similar apprehensions as their teachers, which points towards that influence can exist. The basis is however too limited to make any extensive generalizations.</p><p>The conclusion of the paper is that we have to be aware of how we influence our pupils. They carry this ”knowledge”, whether it is positive or negative, all their life.</p>

In this paper I have examined how aware teachers are of their influence on pupils development. The method I´ve used are interviews with three teachers and one pupil each about Musicality - how do the teachers and pupils look at the concept musicality generally and personally? Influence I- do the teachers believe that their thinking about musicality influence the pupils self-confidence and development? Influence II- do the teachers think that other pedagogues have influenced them in their teaching and thinking? My main results show that both the teachers and the pupils have similar apprehensions as their teachers, which points towards that influence can exist. The basis is however too limited to make any extensive generalizations. The conclusion of the paper is that we have to be aware of how we influence our pupils. They carry this ”knowledge”, whether it is positive or negative, all their life.

This Master thesis presents theoretical and practical research which addresses the role of the ethnical songs in the process of education of a piano player. The research was performed in order to assess the possible efficiency of this teaching method and to perform the comparison of this method against other methodologies applied in the process of piano player teaching. According the research performed by the Lithuanian and foreign scientists, .one of the main problems to be solved during the course of an efficient musicality development is the development of musical abilities. The aim of this work is to research and evaluate the role of the ethnical songs in intensifying the process of education, i.e. to define whether harmonizing the performance and singing of Lithuanian ethnical songs during piano lessons may qualitatively and quantitatively affect the efficiency of the process. The work was carried out by first performing theoretical study of pedagogical and psychological aspects of different study methodologies. As well, the role of the ethnical songs in the study process was evaluated, summarizing the results of both theoretical and practical studies. The teaching methodology, which applies the singing of the ethical songs in the process of the piano lessons, was developed. Experimental study was set-up with 1-3 grade piano students at Alytus Musical School. The experimental study consisted of four stages and was implemented during the years 2004-2006. During the course... [to full text]

Cette thèse se propose de mettre en relief des enjeux esthétiques et théoriques encore inaperçus du décor filmique, en prenant pour exemple le travail de Luchino Visconti, dont le cinéma fournit un cadre privilégié pour mener une telle recherche. Cinq grands films en costumes situés dans un XIXe siècle tardif, entre 1860 et 1911, constituent le corpus de l’étude, que vient compléter l’horizon réflexif des mises en scène de théâtre. On se donne pour tâche de relever et de faire ressortir les fonctions descriptive, historique et dramaturgique du décor. Le concept de scène ouvre ce décor XIXe à son extension la plus large : de l’espace au temps, du plus matériel au moins évidemment perceptible, du visuel au sonore. Le décor est cette scène, à la plasticité et la malléabilité remarquables, sur laquelle se met en place une poétique indissociable des perspectives temporelles. Comme scène, le décor est là où l’émergence du XIXe se noue, se joue et se structure selon trois niveaux : l’historicité, le drame, le temps. De la reconstitution historique à l’imagerie du siècle, des rhétoriques XIXe à la dramaturgie passionnelle, de la mise en scène du temps aux décors-temps en passant par les fictions et la corporéité du décor : voilà vers quelle poétique les scènes du décor acheminent le spectateur. Le distendant jusqu’à ses limites les plus élargies (le temps et ses mouvements, son anachronisme et sa fragmentation, ses fractures et sa musicalité), la réflexion aborde pour finir le décor XIXe comme cette forme cinématographique aspirant à une autre visibilité : telle une présence qui « inquiète le regard » (D. Païni). Cette approche du décor permet alors de repenser le travail de Visconti dans la modernité. / This doctoral thesis aims at highlighting aesthetic and theoretical aspects of film sets, throughout the work of Luchino Visconti. Five great costume films taking place in the late nineteenth century, between 1860 and 1911, complemented by the reflexive horizon of theatre stagings, constitute the corpus of the analysis. Descriptive, historical, and dramatic features of the film sets are identified and highlighted. The notion of scene enables us to consider the nineteenth century sets through a broad spatial and temporal scope; from the more substantial to the least clearly perceptible; from vision to audition. The film set is considered as a stage, with its characteristic plasticity and malleability, whereby the poetics is set up, indivisible from temporal perspectives. As a stage, the film set is the place where the emergence of the nineteenth century gets structured according to three levels: historicity, drama, and time. From the reconstruction of history to the imagery of the century, from the nineteenth century’s rhetoricity to the passionate drama, from the staging of time to temporal-settings, through film sets’ fictions and corporeality: this is the poetics towards which film sets’ scenes carry on the viewer. Distending the film set to its most extended limits (its time and movements, its anachronism and fragmentation, its fractures and musicality), towards the end, the reflection tackles the nineteenth century film sets as a cinematographic form aspiring to a new type of visibility — similar to a presence which "worries the sight" (D. Païni). This wide approach of the film set enables us to analyse Visconti’s work through the lens of modernity.

A presente pesquisa acompanha o processo de aprendizagem da flauta doce de um grupo de dezessete sujeitos, com idades entre nove e treze anos, que participa de um projeto de extensão oferecido por uma escola pública de Ensino Fundamental e Médio em Porto Alegre, buscando compreender como se dá o desenvolvimento da musicalidade. Apóia-se na concepção de musicalidade como uma característica humana, constituída pela capacidade de geração de sentido musical através de uma performance expressiva. A metodologia de pesquisa possui abordagem qualitativa, com a realização de um estudo de caso em grupo por meio de observações de aulas e apresentações coletivas de flauta doce. Foram realizadas entrevistas semi-estruturadas como procedimento complementar. A coleta de dados aconteceu entre setembro de 2007 e agosto de 2008, totalizando 16 encontros, registrados em diário de campo e em arquivos de áudio. A observação dos indicadores sonoridade, fraseado, fluência na execução instrumental e interação musical otimizou a análise e interpretação dos resultados. O desenvolvimento da musicalidade dos sujeitos caracterizou-se por ser um processo dinâmico de aquisição gradativa de conhecimentos e habilidades musicais que promovem, a cada avanço, uma totalidade nova do saber-fazer que favorece a expressividade na performance. Os resultados demonstraram que o repertório, a prática e estudo, o contexto sociocultural, o acesso à técnica, criação e leitura musical e a ocorrência de apresentações musicais são fatores que influenciam o desenvolvimento da musicalidade. / The present research traces the recorder learning process in a group of seventeen people, between the ages of nine and thirteen, which participate in an extension program held by a public school in Porto Alegre city. This research aims to understand how musicality is developed, based on the concept that this is a human characteristic, constituted by the capacity of creating musical meaning through expressive performance. The methodology applied has a qualitative approach. A group case study was made through class observation and collective recorder presentations. Semi-structured interviews were conducted as a complementary procedure. Data collection occurred between September 2007 and August 2008 by a total of 16 meetings registered in a field diary and in audio files. The observation of indicators such as sonority, musical phrasing, instrumental fluency and musical interaction optimized the analysis and interpretation of the results. The development of musicality in these seventeen people was characterized by the dynamic process of gradual acquisition of musical knowledge and ability, which promotes, at every progress, a new know-how wholeness that favors performance expressivity. The results demonstrated that: repertoire; practice and study; sociocultural context; access to technique, composition, improvisation, and musical reading; and the occurrence of musical presentations are factors that influence musicality development.

A presente dissertação busca compor possíveis interlocuções entre o campo psicanalítico e musical a partir da temática da voz. Para tanto, explora, primeiramente, as referências à voz e à musicalidade encontradas nas teorizações psicanalíticas, dando especial ênfase à concepção lacaniana de voz como objeto a e à pulsão invocante. Em seguida, a pesquisa se aproxima do campo musical, buscando situar transformações sofridas no emprego da voz ao longo da história da música. Finalmente, através das obras do compositor Gilberto Mendes, possíveis articulações e tensionamentos entre as áreas psicanalítica e musical são tecidos, buscando ainda, pontos de encontro entre sua arte de vanguarda e os potentes estudos utópicos. / The possibility of Interlocution between music and psychoanalysis through the theme voice is the focus of the present dissertation. Towards this goal references to voice and musicality as found in psychoanalytical theory are explored with emphasis on the Lacanian concept of voice as object a as well as on vocal drive. Changes in voice use along the history of music, and Brazilian composer Gilberto Mendes’ works are analyzed in view of probable interfaces with psychoanalysis, and of points of contact between his vanguard art work and today’s promising utopian studies.

Submitted by Júlio António Aponto Té Aponto Té (apontote2008@yahoo.com.br) on 2016-02-25T19:15:19Z No. of bitstreams: 1 PDF TESE CORREÇÃO 02-VALIDO.pdf: 3040135 bytes, checksum: 9e209f8505896d9af8e59b65fac4a437 (MD5) / Approved for entry into archive by Juliano Benedito Ferreira (julianoferreira@reitoria.unesp.br) on 2016-02-25T19:52:39Z (GMT) No. of bitstreams: 1 apontote_ja_me_mar_par.pdf: 448731 bytes, checksum: daf2804694d5072d8fb3cd837ad248d0 (MD5) / Made available in DSpace on 2016-02-25T19:52:39Z (GMT). No. of bitstreams: 1 apontote_ja_me_mar_par.pdf: 448731 bytes, checksum: daf2804694d5072d8fb3cd837ad248d0 (MD5) Previous issue date: 2016-01-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Esta dissertação analisa as contribuições da música e da mídia para a formação da identidade nacional na Guiné-Bissau em dois momentos históricos: da Revolução Armada à independência e a fase pós- independência. Para tanto, foi necessário mostrar a trajetória do PAIGC (Partido Africano para Independência da Guiné e Cabo Verde) neste processo com base tanto em estudos bibliográficos como em entrevistas gravadas a fim de mostrar como os processos da comunicação a partir da musicalidade (por meio da mídia - Rádio) eram projetados por este partido para a construção do Estado-nação, que por sua vez visava promover a “resistência cultural” para a construção de uma unidade nacional no contexto de uma sociedade culturalmente heterogênea, socialmente estratificada e inserida no contexto de globalização e de assimilação da cultura do colonizador (português). Para tanto, se tornou necessário analisar a trajetória e a produção intelectual de Amílcar Cabral, líder do PAIGC. Em seus escritos destacaram-se os textos sobre o surgimento dos movimentos de libertação nas colônias portuguesas no continente Africano - seus fundamentos político-ideológicos, bem como os caminhos traçados para constituir a união étnica no interior da Guiné e simultaneamente a adesão destes com Cabo Verde, isto com a perspectiva de superar o chamado tribalismo do povo guineense, que representava um grande obstáculo para o projeto de unidade nacional. Também, foram utilizadas entrevistas com alguns participantes da luta de libertação, incluindo djidius1, e líderes das vilas guineenses. / This dissertation aims at highlighting the two main historical moments in which Music and Media have subsidised Guinea-Bissau with important contribution for the formation of country´s National Identity; these moments are those of Armed revolution against the colonial force domination and the Post-independence period. It will be necessary though, to tell about the trajectory made by PAIGC (The African Party for Independence of Guinea and Cape Verde) in the two processes I mentioned, but also with supports on available bibliographic studies, records of interviews as well as vídeo tapes; all to show how much contributive the communication via Musicality and Media helped to project the Party´s sucess in paving the way for a peacefull living ( among the indiginous-culturally heterogeneous) despite the presence colonialists´. Thus, a call for a National Unity, for building a stratified society inserted in a context of globalization and assimilation of the colonizer's culture (Portuguese). For this purpose it was necessary to analyze the studies of Amílcar Cabral, leader of the PAIGC on the emergence of liberation movements in the Portuguese colonies on the African continent - highlighting their political and ideological foundations on the way of ethnic unity in the interior of Guinea-Bissau and simultaneously their accession with Cape Verde, as the so-called tribalism of the Bissau-Guinean, which represented a major obstacle to national unity Project today. Interviews were also used with some participants of the liberation struggle, including djidius, and leaders of the Guinean villages.

A presente pesquisa acompanha o processo de aprendizagem da flauta doce de um grupo de dezessete sujeitos, com idades entre nove e treze anos, que participa de um projeto de extensão oferecido por uma escola pública de Ensino Fundamental e Médio em Porto Alegre, buscando compreender como se dá o desenvolvimento da musicalidade. Apóia-se na concepção de musicalidade como uma característica humana, constituída pela capacidade de geração de sentido musical através de uma performance expressiva. A metodologia de pesquisa possui abordagem qualitativa, com a realização de um estudo de caso em grupo por meio de observações de aulas e apresentações coletivas de flauta doce. Foram realizadas entrevistas semi-estruturadas como procedimento complementar. A coleta de dados aconteceu entre setembro de 2007 e agosto de 2008, totalizando 16 encontros, registrados em diário de campo e em arquivos de áudio. A observação dos indicadores sonoridade, fraseado, fluência na execução instrumental e interação musical otimizou a análise e interpretação dos resultados. O desenvolvimento da musicalidade dos sujeitos caracterizou-se por ser um processo dinâmico de aquisição gradativa de conhecimentos e habilidades musicais que promovem, a cada avanço, uma totalidade nova do saber-fazer que favorece a expressividade na performance. Os resultados demonstraram que o repertório, a prática e estudo, o contexto sociocultural, o acesso à técnica, criação e leitura musical e a ocorrência de apresentações musicais são fatores que influenciam o desenvolvimento da musicalidade. / The present research traces the recorder learning process in a group of seventeen people, between the ages of nine and thirteen, which participate in an extension program held by a public school in Porto Alegre city. This research aims to understand how musicality is developed, based on the concept that this is a human characteristic, constituted by the capacity of creating musical meaning through expressive performance. The methodology applied has a qualitative approach. A group case study was made through class observation and collective recorder presentations. Semi-structured interviews were conducted as a complementary procedure. Data collection occurred between September 2007 and August 2008 by a total of 16 meetings registered in a field diary and in audio files. The observation of indicators such as sonority, musical phrasing, instrumental fluency and musical interaction optimized the analysis and interpretation of the results. The development of musicality in these seventeen people was characterized by the dynamic process of gradual acquisition of musical knowledge and ability, which promotes, at every progress, a new know-how wholeness that favors performance expressivity. The results demonstrated that: repertoire; practice and study; sociocultural context; access to technique, composition, improvisation, and musical reading; and the occurrence of musical presentations are factors that influence musicality development.