Orientador: Jorge Luiz Schroeder / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-28T00:01:50Z (GMT). No. of bitstreams: 1 Oliveira_CarolineLadeirade_M.pdf: 1526609 bytes, checksum: 988bf2105419130daa89a08b260750b1 (MD5) Previous issue date: 2014 / Resumo: Esta pesquisa tem a intenção de compartilhar algumas aproximações percebidas entre as obras do educador brasileiro Paulo Freire, do teatrólogo Augusto Boal e reflexões sobre o fazer artístico de cantoras brasileiras contemporâneas. Através de entrevistas com quatro cantoras e a experiência de trabalho da autora, alguns alinhavos são tecidos entre as reflexões das profissionais e conceitos presentes na obra freireana: Palavra, Diálogo e Inéditos Viáveis / Abstract: This research intent is to share some approaches perceived between the works of Brazilian educator Paulo Freire, the play writer Augusto Boal and reflections on the artistic work of contemporary Brazilian songstresses. Through interviews with four singers and work experience of the author, some alignment is woven between the reflections of these professionals and the concepts presented in Paulo Freire¿s work: Word, Dialogue and Unprecedent Viable / Mestrado / Teatro, Dança e Performance / Mestra em Artes da Cena

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Popular music is ever-present and widely available in students’ lives and the value of it as a factor in the language learning process has been a part of the pedagogical literature for many years. One of the often-discussed benefits is the potential for vocabulary learning through songs; however, few researchers have examined whether songs are a suitable source of input for vocabulary learning for English language learners. To address this need, this corpus-driven study investigated the vocabulary demands of popular English songs. A comprehensive corpus of popular English song lyrics was created for this study. Songs for the corpus were selected according to their impact and influence on culture. A song’s impact on culture was determined by its ranking from experts in the music industries in the United States and the United Kingdom and by its popularity based on radio airplay, sales data, and streaming data in the United States and sales and streaming data in the United Kingdom. The corpus contained 2,175 songs and 678,309 tokens. The total listening time was 135 hours and 22 minutes. The lyrics in the corpus were analyzed to determine the vocabulary size necessary to reach 95% and 98% coverage of the words in songs. The songs in the corpus were divided into two varieties of English—American and British, six decades—1950s to 2000s, and four genres—Urban Roots, Formative Rock, Progressive Rock, and Mainstream Listening. An analysis was first completed over the whole corpus and then over the songs from each variety of English, decade, and genre. This study also examined the potential to incidentally learn vocabulary from listening to songs and whether songs are more similar to spoken or written discourse. The results showed that knowledge of the most frequent 2,000 word families, proper nouns, and marginal words provided 96.05% coverage, and knowledge of the most frequent 5,000 word families, proper nouns, and marginal words provided 98% coverage of songs. Both American and British songs reached 95% coverage at the 2,000 word frequency level. However, the British songs reached 98% coverage at the 5,000 word frequency level, while the American songs reached 98% coverage at the 6,000 word frequency level. A vocabulary of the most frequent 2,000 word families, proper nouns, and marginal words was sufficient to reach 95% coverage in all six decades. However, the vocabulary size needed to reach 98% coverage in the six decades ranged from the most frequent 4,000 to 8,000 word families plus proper nouns and marginal words. A vocabulary of the most frequent 2,000 word families, proper nouns, and marginal words was adequate to reach 95% coverage in all four genre categories. However, the vocabulary size necessary to reach 98% coverage in the different genres ranged from the most frequent 5,000 to 6,000 word families plus proper nouns and marginal words. The results indicated that there would be a relatively low number of meetings of the same low-frequency word families if learners listened to a small or large number of popular songs. However, there would be a relatively high number of encounters of the same mid-frequency and high-frequency word families if learners listened to a large number of popular songs. This result suggests that there is a greater potential for incidental vocabulary learning of mid-frequency and high-frequency vocabulary through songs. Lastly, in terms of vocabulary, songs are more similar to unscripted spoken discourse than written discourse. Overall, the findings indicate that songs have the potential to be an appropriate source of input for English language learners and might be beneficial for incidental vocabulary learning, especially when listening to a large number of songs. This study provides insights into the kinds of vocabulary used in popular songs and suggests implications for teaching and learning with songs. / Language Arts

Nosso trabalho procurou recolher os textos das canções de massa e populares russas relacionadas ao Exército Vermelho no período de 1918 a 1945. Abordaram-se as épocas da Guerra Civil, o período entre guerras e a Grande Guerra Patriótica. Foram coletadas as variações das canções surgidas, caracterizando sua natureza posfolclórica. Finalmente, registraram-se gravações destas canções / Our work tried to compilate the texts of russian masse and popular songs related to the Red Army during the period from 1918 to 1945. Aproaching the ages of Civil War, the period between wars and the Great Patriotic War. Collecting the variations of the rising songs, describing its post-folkloric nature. Finally, the records of the songs were registered

Nosso trabalho procurou recolher os textos das canções de massa e populares russas relacionadas ao Exército Vermelho no período de 1918 a 1945. Abordaram-se as épocas da Guerra Civil, o período entre guerras e a Grande Guerra Patriótica. Foram coletadas as variações das canções surgidas, caracterizando sua natureza posfolclórica. Finalmente, registraram-se gravações destas canções / Our work tried to compilate the texts of russian masse and popular songs related to the Red Army during the period from 1918 to 1945. Aproaching the ages of Civil War, the period between wars and the Great Patriotic War. Collecting the variations of the rising songs, describing its post-folkloric nature. Finally, the records of the songs were registered

At times creative writing has been employed by Tanzanians in order to demonstrate the progress of African peoples and to reflect the changes, or lack of them, in this society. Popular songs are another continually vibrant medium of intellectual exchange which appeals to various sectors of the Tanzanian populace. Such oral and written works, directed as they are to local and intra-national audiences, are most often created in the Swahili language. The relatively young age of Tanzania’s population, with nearly 65 percent of the population under 25 years of age has brought about a situation in which this young and dynamic population is increasingly seeing their voice and interests represented in literary and aural/oral works. What are the themes and strategies utilized by such songwriters and literary artists and what are their trajectories of dissemination, consumption and activation within Tanzanian social contexts?

Much has been said, from various perspectives, about the Engaged Song in Brazil: the composers and songs consecrated in the national mainstream, the insertion in the music industry, the privileged themes, such as the dia-que-virá , the resistance feature and its central role in the process of institutionalization of the MPB music as important complexo sociocultural in the musical life of the country between the mid 1960‟s and the 1970‟s. This research intends to debate in a different way, interconnected to that history, starting from the assumption that the proceeding of these songs expressed himself quite unevenly throughout the Brazilian territory and therefore its parameters need to be revisited and examined in the light of other historical experiences, which are not restricted to the hegemonic centers which have concentrated the most significant researches. During this period, it was also developed in Belém an effervescent renewal process in different artistic languages, such as in art, in poetry, film, theater and popular music, in which stood the concerning to focus in aspects of local reality, without cling to a narrow regionalism. Thus, the MPB music composers born at Pará expressed a sense of commitment to the popular song, while also shaped the production and dissemination of their art. In the musical field, they dialogued with national movements (bossa nova, song of protest and tropicalism) and applied the diverse array of popular, urban and rural musical expressions (merengue, bolero, carimbó) in his workshop work. Sought thus to critically demonstrate and convey their message in a context in which they faced the harsh reality of dictatorship, the limitations of individual and collective freedoms, censorship, arbitrary arrests and development and integration projects, which interfered in the way of life of many people at Pará. This all contributed to the new aesthetic and political meanings of the Engaged Song. This research aims to give them greater visibility and help in their understanding. / Muito já se falou, sob diversos ângulos, a respeito da canção engajada no Brasil: os compositores e as músicas consagradas no mainstream nacional, a inserção na indústria fonográfica, as temáticas privilegiadas, a exemplo do dia-que-virá , o caráter de resistência e o papel central desempenhado no processo de institucionalização da MPB como importante complexo sociocultural na vida musical do país entre meados dos anos 1960 e a década de 1970. Esta pesquisa pretende trazer para o debate um viés diferente, mas interconectado a essa história, partindo do suposto de que esse proceder cancional expressou-se de forma bastante heterogênea por todo o território brasileiro e por isso seus parâmetros precisam ser revisitados e examinados à luz de outras experiências históricas, que não se restringem aos centros hegemônicos onde têm se concentrado as pesquisas mais significativas. Nesse período, também estava em curso em Belém um efervescente processo de renovação em distintas linguagens artísticas, como nas artes plásticas, na poesia, no cinema, no teatro e na música popular, no qual sobressaiu a preocupação de enfocar aspectos da realidade local, sem se prender a um regionalismo estreito. Nesse diapasão, os compositores paraenses afinados com a MPB imprimiram um sentido de engajamento à canção popular, ao mesmo tempo em que forjaram espaços de produção e disseminação de sua arte. No plano musical, eles dialogaram com os movimentos nacionais (bossa nova, canção de protesto e tropicalismo) e valeram-se do diversificado leque de expressões musicais populares, urbanas e rurais (o merengue, o bolero, o carimbó), em sua oficina de trabalho. Procuraram, assim, se posicionar criticamente e transmitir o seu recado num contexto no qual pesava sobre eles a dura realidade da ditadura, das limitações das liberdades individuais e coletivas, da censura, das prisões arbitrárias e dos projetos desenvolvimentistas e de integração nacional, que mexia com o modo de vida de muitos paraenses. Isso tudo contribuiu para que se conferissem novos sentidos, estéticos e políticos, à canção engajada. Esta investigação visa dar a eles maior visibilidade e ajudar na sua compreensão. / Doutor em História

At times creative writing has been employed by Tanzanians in order to demonstrate the progress of African peoples and to reflect the changes, or lack of them, in this society. Popular songs are another continually vibrant medium of intellectual exchange which appeals to various sectors of the Tanzanian populace. Such oral and written works, directed as they are to local and intra-national audiences, are most often created in the Swahili language. The relatively young age of Tanzania’s population, with nearly 65 percent of the population under 25 years of age has brought about a situation in which this young and dynamic population is increasingly seeing their voice and interests represented in literary and aural/oral works. What are the themes and strategies utilized by such songwriters and literary artists and what are their trajectories of dissemination, consumption and activation within Tanzanian social contexts?