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A percepção de docentes sobre a formação continuada em educação musical, apoiada pela educação a distância, em um contexto orquestralKrüger, Susana Ester 19 May 2010 (has links)
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Previous issue date: 2010-05-19 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research is included within the scope of the Postgraduate Program in Education:
Curriculum of the PUC-SP, in the fiel of research New Technologies in Education. The
investigation was conducted within the scope of the Education Program Coordination of the
São Paulo State Symphony Orchestra (CPE/Osesp). The central aim was to analyze the
perception of teachers who provided continuing education in music education based on
Distance Education, as regards the management of pedagogical and organizational processes.
The research was specifically focused on investigation of their perceptions of the benefits and
difficulties of the CPE/Osesp courses in terms of organizational management and pedagogical
management (before and after incorporation of Distance Education); to investigate how they
understood the continuous changes in the courses; and how they noticed their own instruction
and action and those of other participating teachers. One of the reasons for conducting this
research is the need to extend studies on Distance Education in music education, especially
those conducted in cultural environments. Theoretical reference was found in the fields of
education, music education, continued education, technologies on education and music. The
methodology adopted was case study research, and the subjects of the research were five
teachers who worked at CPE/Osesp during the period of investigation. The focal group
technique was employed with four teachers who worked in the courses; and semi-structured
interviews with these teachers and another teacher were conducted. The data were analyzed
and classified in three categories: the situation definition , the strategies and materials and
the processes . The analyses have revealed that pedagogical and organization management
aspects go beyond the scope of the courses and specific teaching actions, which are
characterized by the higher institutional views and objectives. The research has shown that it
is important to establish an identity for the department by means of the education proposal
(especially as regards the repertoire of the orchestra and the theoretical and practical rationale)
and the integration of the different activities allowed by such identity. It has further shown
more benefits are possible upon actual involvement and commitment of all subjects of
orchestra education programs: managers, musicians, teachers, participating teachers and
partner institutions. The results of the research offer some suggestions for similar programs:
the creation of projects based on collective musical practice (including writing and
performing music, and not only appraising it), enhancement of continued education of
teachers, with a deeper follow-up on the work carried out in class via Distance Education a
great ally to pedagogical and organizational mediation. For the instruction to offer more
benefits, it is also necessary that all the people involved are qualified to make use of the
technological and educational resources related to distance education. The interaction
provided by distance education could also extend to musicians and maestros, so as to deepen
the knowledge and appreciation of the areas and foster musical and educational practices.
Finally, the results indicate higher benefits in the establishment of views that allow the offer
of musical and educational activities to the public of cultural institutions, which would be the
center of the actions / A presente pesquisa insere-se no Programa de Pós-Graduação em Educação: Currículo da PUC-SP, na
linha de pesquisa Novas Tecnologias em Educação. A investigação foi realizada no contexto da
Coordenadoria de Programas Educacionais da Fundação Orquestra Sinfônica do Estado de
São Paulo (CPE/Osesp). O objetivo principal consistiu na análise da percepção de docentes
que ministraram cursos de formação continuada em educação musical, apoiados pela
Educação a Distância, quanto à gestão de processos pedagógicos e organizacionais. Procurei,
especificamente, investigar suas percepções quanto aos ganhos e às dificuldades dos cursos da
CPE/Osesp em termos de gestão organizacional e gestão pedagógica (antes e com a
incorporação da EaD via Internet); como compreenderam o processo de mudanças contínuas
empreendido nos cursos; e como perceberam a formação e ação delas mesmas e dos
professores participantes. Dentre as justificativas para a realização da presente pesquisa está a
própria necessidade de expansão dos estudos sobre os cursos na modalidade de Educação a
Distância em educação musical, principalmente os conduzidos em ambientes culturais. O
referencial teórico foi encontrado nas áreas de educação, educação musical, formação
continuada, tecnologias educacionais e música. Como metodologia, empreguei o estudo de
caso, considerando como sujeitos da pesquisa cinco docentes que atuaram na CPE/Osesp no
período investigado. Empreguei a técnica de grupo focal com quatro docentes que atuaram
nos cursos; e conduzi entrevistas semiestruturadas individuais com elas e outra docente. Os
dados foram analisados e compilados em três categorias: as definições das situações , as
estratégias e materiais e os processos . As análises permitiram constatar que os aspectos de
gestão pedagógica e organizacional transcendem o contexto dos cursos e ações pontuais de
formação, moldados pelas visões e objetivos maiores da instituição. A pesquisa demonstrou a
importância do estabelecimento da identidade do departamento por meio da proposta
educacional (principalmente em relação ao repertório orquestral e fundamentação teóricoprática)
e da integração entre as diversas atividades, proporcionada por esta identidade.
Também indicou a possibilidade de maiores ganhos quando efetivado o envolvimento e o
compromisso de todos os sujeitos dos programas educacionais das orquestras: gestores,
músicos, docentes, professores participantes e instituições parceiras. Os resultados oferecem
algumas sugestões para programas semelhantes: a elaboração de projetos baseados na prática
musical coletiva (incluindo composição e execução, não apenas apreciação), a valorização da
formação continuada dos professores, realizada com maior acompanhamento do trabalho em
sala de aula, via Educação a Distância uma grande aliada na mediação pedagógica e
organizacional. Para que a formação ofereça maiores ganhos, é igualmente necessário que
todos sejam capacitados nos recursos tecnológicos e educacionais relacionados à educação a
distância. A interação proporcionada pela educação a distância pode ser estendida também a
músicos e regentes, de modo a ampliar o conhecimento e a valorização das áreas e fomentar
as práticas educativo-musicais nas escolas. Finalmente, os resultados apontam para maiores
ganhos no estabelecimento de visões que possibilitem o oferecimento de vivências educativo musicais
práticas e variadas ao público das instituições culturais, colocando-o no centro das
ações
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O processo de escolarização da viola caipira: novos violeiros inventano modas e identidades / The scholarization process of the viola caipira: new players (inventing) trend and identitiesSaulo Sandro Alves Dias 09 April 2010 (has links)
Este trabalho estuda o processo de escolarização da viola caipira. Considerando que se trata de um processo que vem se constituindo nas últimas décadas na região centro-sul do Brasil, analisa suas dimensões e implicações em relação ao instrumento, bem como em relação aos tocadores e às representações identitárias que se formaram ao longo do século XX. A tese a ser desenvolvida é a de que a formalização de práticas musicais e a sistematização de técnicas de execução do instrumento junto a diversas instâncias de consagração têm contribuído para forjar as identidades culturais de ambos, viola caipira e violeiro. Nesse sentido, afirma-se que, no âmbito de instituições provedoras de cultura e instituições escolares, está sendo gerada o que se pode considerar a técnica moderna de viola caipira. Por outro lado, mostra-se que esse processo tem se dado em função das ações socioculturais de novos violeiros, cuja formação teórico-musical é sistematizada na academia ou fora dela, por meio de processos híbridos que envolvem, especialmente, a técnica de viola caipira da tradição oral e de outros instrumentos. / This work studies the scholarization process of the viola caipira. Considering that this is a process, which is being constituted on the centre-south area of Brazil in the last decades; the dimensions and implications of the process regarding the instrument, as well as its relation to the players and the identitarian representations formed throughout the 20th century are analyzed. The theory to be developed claims that the formalization of musical practices and the systematisation of the instruments techniques of execution, along with several consecration instances, have contributed to forge the cultural identities of both, viola caipira and player. In that sense, it is asserted that, in the field of culture-provider institutions and scholar institutions, it is being generated what can be considered the modern technique of the viola caipira. On the other hand, it is shown that the process mentioned has occurred as a result of the socio-cultural actions of the new players, whose theoretical-musical formation is systematized inside or outside the academy, through hybrid processes that involve, especially, the technique of the viola caipira from oral tradition, and techniques of other instruments.
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Análise da estrutura atonal da Primeira Sinfonia para duas orquestras de cordas de Cláudio Santoro / -Rafael Fajiolli de Oliveira 22 September 2017 (has links)
Cláudio Santoro (1919-1989) compôs, ao todo, quatorze sinfonias ao longo de toda a sua vida. A Primeira Sinfonia para duas orquestras de cordas (1940), além de possuir uma formação instrumental curiosa, também representa uma das obras inaugurais de sua primeira etapa como compositor, procurando ao lado de Koellreutter, novos paradigmas para a composição musical de seu tempo, tendo influenciado uma geração de compositores brasileiros. Este trabalho pretendeu desenvolver uma atenta e inédita análise da Primeira Sinfonia de Cláudio Santoro, procurando demonstrar sobre qual estética atonal, sendo ela dodecafônica ou livre, a obra foi escrita. Além da identificação sugerida, propõe-se também a averiguação de possíveis hibridismos estéticos que podem ter ocorrido na Primeira Sinfonia de Santoro. A análise atenta dos movimentos que constituem essa obra, utilizando métodos como a Teoria dos Conjuntos desenvolvido por Allen Forte, a Teoria dos Contornos Musicais de Robert Morris e a relação parcimoniosa entre diferentes coleções tal como proposto por Dmitri Tymoczko, nos permitiu identificar alguns processos pós-tonais, que indicam influencias de autores como Claude Debussy, Paul Hindemith e Heitor Villa-Lobos no primeiro movimento Allegro Majestoso da Primeira Sinfonia de Santoro. A manutenção de algumas sonoridades como a coleção pentatônica, a escala de tons inteiros e a coleção acústica, são alguns dos indícios que nos permite identificar tais influencias na obra de Santoro. No segundo movimento Andante quasi adagio, podemos observar um processo serial tradicional, que se desenvolveu a partir de duas séries que se relacionam. Tal apontamento foi possível a partir do método da identificação e contagem serial, tal como proposto por autores como Kostka e Francolí. No terceiro movimento, observamos uma estrutura que é engendrada a partir de coleções simétricas como a coleção eneatônica e a escala octatônica paradigmática, além de outras formatações simétricas que ocorrem a partir de sobreposições entre camadas, procedimento que também é encontrado na obra de Villa-Lobos. Nesse sentido, a Primeira Sinfonia para duas orquestras de cordas de Cláudio Santoro, foi engendrada através de procedimentos pós tonais considerados livres e sistêmicos, sendo possível observar hibridismos estilísticos nesta obra. / Cláudio Santoro (1919-1989) composed, in all, fourteen symphonies throughout his life. The First Symphony for two stringed orchestras (1940), in addition to possessing a curious instrumental formation, also represents one of the inaugural works of his first stage as composer, looking alongside Koellreutter, new paradigms for the musical composition of his time, having influenced a generation of Brazilian composers. This work developed a complete, attentive and unpublished analysis of the First Symphony of Claudio Santoro, trying to demonstrate on which atonal aesthetic, being it dodecaphonic or free, had written the work in question. Besides the suggested identification, it is also proposed the investigation of possible aesthetic hybridity that may have occurred in the First Symphony of Santoro. The careful analysis of the movements that constitute this work, using methods such as the Theory of Sets developed by Allen Forte, Robert Morris\'s Theory of Musical Constraints and the parsimonious relation between different collections as proposed by Dmitri Tymoczko allowed us to identify some post Which indicate influences by authors like Claude Debussy, Paul Hindemith and Heitor Villa-Lobos in the first Allegro Majestic movement of the First Symphony of Santoro. The maintenance of some sonorities such as the pentatonic collection, the whole-tone scale and the acoustic collection are some of the indications that allowed us to identify such influences in Santoro\'s work. In the second Andante quasi adagio movement, we can observe a traditional serial process, which developed from two series that relate, such an approach was possible from the method of serial identification and counting, as proposed by authors such as Kostka and Francolí. In the third movement, we observe a structure that is generated from symmetrical collections such as the eneatonic collection and the paradigmatic octatonic scale, as well as other symmetrical formations that occur from overlaps between layers, a procedure that is also found in the work of Villa-Lobos. In this sense, the First Symphony for two chord orchestras by Claudio Santoro was conceived through postural procedures considered free and systemic, being possible to observe stylistic hybrids in this work.
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Influência acústica de concha orquestral na área da plateia de teatro de múltiplo uso / Acoustic influence of orchestra shell at audience area in a multipurpose theaterMaiorino, Alexandre Virginelli, 1972- 23 August 2018 (has links)
Orientador: Stelamaris Rolla Bertoli / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia Civil, Arquitetura e Urbanismo / Made available in DSpace on 2018-08-23T06:13:27Z (GMT). No. of bitstreams: 1
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Previous issue date: 2013 / Resumo: A construção de Teatros para Múltiplo uso tem se tornado cada vez mais comum devido à necessidade de abrigar diversos tipos de espetáculos em um único espaço. Para adequar à acústica destes espaços para a música orquestral é necessário o uso de elementos que possibilitem a variação acústica do espaço como é o caso de conchas de orquestra. O principal objetivo das conchas de orquestra é melhorar a acústica no palco para os músicos e para o maestro, melhorando a sensação de conjunto e fazendo com que os músicos ouçam melhor seus instrumentos e o grupo em geral. Entretanto, a concha de orquestra pode também melhorar o desempenho acústico da área da platéia. A hipótese deste trabalho foi o de analisar a diferença do desempenho acústico percebido na área da platéia devido à inclusão de uma concha de orquestra no palco de um teatro de múltiplo uso. Medições acústicas foram realizadas em cinco diferentes tipos de montagem da concha de orquestra no palco. As medições foram feitas de acordo com a norma ISO 3382-1 (2009). Os parâmetros acústicos medidos foram o Tempo de Reverberação, Tempo Inicial de Decaimento e Índice de Clareza. Os resultados mostraram que a concha de orquestra pode de fato mudar o desempenho acústico na área da platéia, modificando a percepção acústica subjetiva do ambiente / Abstract: The construction of multiple use theatres is becoming more common due to the need to accommodate different kinds of performances at the same space. In order to acoustically adequate this space to concert music, the inclusion of an orchestra shell becomes necessary. The main objective of an orchestra shell is to improve the acoustic quality on stage, both for musicians and for the conductor. The goal is to improve balance of the group allowing musicians to hear themselves and the orchestra better. However, the orchestra shell can also improve the acoustic quality for the audience. The objective of this study was to analyze the difference of the acoustic performance perceived at the audience area with the inclusion of a lightweight orchestra shell with diffuse surface in a proscenium theatre. Acoustic measurements were done in five different assembles of the orchestra shell. Measurements were done using the impulse response technique according to ISO3382-1 (2009). Measured parameters were Reverberation Time, Early Decay Time and Clarity index. Results showed that the orchestra shell can in fact modify the acoustic performance at audience area, changing the subjective acoustic perception of the space / Mestrado / Arquitetura e Construção / Mestre em Engenharia Civil
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Edukační programy orchestrů v Praze / Educational programmes of orchestras in PragueCetlová, Alexandra January 2017 (has links)
This diploma thesis deals with educational programmes of orchestras in Prague. Having dealt with two selected Prague orchestras, namely PKF - Prague Philharmonia and the Czech Philharmonic Orchestra, the history of these orchestras is elaborated in the first chapter, followed by the chronological overview of already completed educational programmes. Furthermore, the thesis deals with the contemporary approach of the orchestras to this matter, their future vision and also the organizational aspects that lie behind the realization of the programmes. Part of the thesis is also a comparison of some selected factors of both orchestras and the results of a questionnaire survey among the orchestras'members. Keywords Education programmes Orchestras in Prague Orchestra history PKF - Prague Philharmonic Czech Philharmonic Orchestra
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The history of horn playing in Los Angeles from 1920 to 1970: a lecture recital, together with three recitals of selected works for horn by M. Haydn, Franz, Britten, Mozart, Koetsier, Hindemith, Herzogenberg, Rossini, Stevens and othersHilliard, Howard (Howard Louis) 05 1900 (has links)
The History of Horn Playing in Los Angeles from 1920 to 1970 begins with the horn players who played in the silent film orchestras and the Alfred Brain's tenure with the Los Angeles Philharmonc. This study details the introduction of sound tracks, the early studio orchestras, the contact studio orchestras, the musician union's role in structuring the work environment, the horn players who played in both the Los Angeles Philharmonicand the studios, major figures from the subsequent freelance perios such as Vincent de Rosa, and the local and international influence of the Los Angeles Horn Club.
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The history of the Cape Town Orchestra : 1914-1997Gollom, Ingrid 01 1900 (has links)
The Cape Town Orchestra has exerted a major influence on the development of
orchestral music and musical culture not only in Cape Town but throughout South Africa.
It was the first professional orchestra in South Africa and came into existence on 28
February 1914.
The Orchestra's history has been divided into two main periods. During the first period,
from 1914 to 1968, the Orchestra was known as the Cape Town Municipal Orchestra.
During the second period, from 1969 until its final performance in 1997, the Orchestra
was known as the Cape Town Symphony Orchestra.
The Orchestra received financial support from the Cape Town Municipality throughout
its existence. After receiving its final municipal grant in 1996 the Orchestra could not
survive without financial assistance, and merged with the Capab Orchestra to become
the Cape Town Philharmonic Orchestra. The Cape Town Philharmonic Orchestra gave.
its inaugural performance on 1 April 1997. / Musicology / M.Mus.
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The history of the Cape Town Orchestra : 1914-1997Gollom, Ingrid 01 1900 (has links)
The Cape Town Orchestra has exerted a major influence on the development of
orchestral music and musical culture not only in Cape Town but throughout South Africa.
It was the first professional orchestra in South Africa and came into existence on 28
February 1914.
The Orchestra's history has been divided into two main periods. During the first period,
from 1914 to 1968, the Orchestra was known as the Cape Town Municipal Orchestra.
During the second period, from 1969 until its final performance in 1997, the Orchestra
was known as the Cape Town Symphony Orchestra.
The Orchestra received financial support from the Cape Town Municipality throughout
its existence. After receiving its final municipal grant in 1996 the Orchestra could not
survive without financial assistance, and merged with the Capab Orchestra to become
the Cape Town Philharmonic Orchestra. The Cape Town Philharmonic Orchestra gave.
its inaugural performance on 1 April 1997. / Musicology / M.Mus.
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La construction du collectif dans les orchestres classiques professionnels. Représentations et coulisses des pratiques orchestrales / Constructing the Collective in Professional Classical Orchestras. Orchestral Practices On and Off StageBlanc, Delphine 14 June 2018 (has links)
Il existe aujourd’hui, peut-être plus encore que par le passé, de multiples façons de faire de l’orchestre. Orchestres symphoniques permanents, orchestres dit « par projet », orchestres associatifs, ensembles ayant une démarche historisante, les formes de pratiques orchestrales se répartissent en des catégories complexes, organisées selon leurs constructions juridiques, les modes de recrutements de leurs artistes et bien entendu, leurs projets musicaux. Les conventions ayant lieu au sein de ces structures diffèrent totalement, tant du point de vue musical que social. Cette thèse propose d’observer ces pratiques orchestrales en questionnant les différents modes de construction du collectif à l’œuvre dans les orchestres professionnels. Par-delà cette interrogation, mon but est d’observer comment et dans quelle mesure l’organisation de chaque orchestre peut influencer l’engagement des musiciens (socialement mais aussi musicalement) et la prestation artistique. Cette recherche puise son influence dans les travaux anglo-saxons, en s’intéressant notamment aux interactions entre le cadre organisationnel propre à chaque orchestre et les stratégies qu’y développent les individus. Pour cela je questionne, outre les artistes, ceux qui travaillent à leurs côtés : l’orchestre est envisagé en tant que processus de coopération entre techniciens, administrations et musiciens. L’observation de ces mécanismes met en relief les relations particulières que les orchestres et les individus entretiennent avec l’idée d’un engagement artistique obligatoirement corrélé au risque social. / The orchestra exists in many forms today, perhaps even more so than in the past. Permanent symphony orchestras, so-called "project" orchestras, self-governing orchestras, historically informed performance ensembles, the forms of orchestral practice are divided into complex categories, organized according to their legal status, recruitment procedures and, of course, musical mission. The agreements within these structures are totally different, as much from the musical as the social point of view.This thesis aims to observe these orchestral practices by questioning the various modes of constructing the collective in the professional orchestras. Beyond this interrogation, my purpose is to observe how and to what extent the organization of every orchestra can influence the commitment of the musicians (socially but also musically) and the artistic performance. This research draws its influence from Anglo-Saxon sources, focusing particularly on the interactions between the organizational framework specific to each orchestra and the strategies which the individuals develop therein. For this I question not only the artists but those who work by their side: the orchestra is envisaged as a process of cooperation between technicians, administrations, and musicians.The observation of these mechanisms emphasizes the particular relations which the orchestras and the individuals maintain with the idea of an artistic commitment necessarily correlated with social risk.
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A Comparative Analysis of Rehearsal Techniques for Instrumental Ensembles During Group PlayingO'Connor, Alexander J. January 2020 (has links)
No description available.
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