Teses em Artes (Doutorado) - PPGARTES/ICA
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Navegando Teses em Artes (Doutorado) - PPGARTES/ICA por Orientadores "COHEN, Líliam Cristina Barros"
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Tese Acesso aberto (Open Access) Diálogo e tradução na obra de Sebastião Tapajós: traços de um percurso e encontro criativo(Universidade Federal do Pará, 2021-11-05) BEZERRA, José Maria Carvalho; COHEN, Líliam Cristina Barros; http://lattes.cnpq.br/0286644614789784This doctorate research aims to understand how the translation of rhythmic patterns of the musical culture of Pará into the guitar is carried out in the work of composer and guitarist Sebastião Tapajós, through the study of his authorial work registered in phonograms from 1962 and how this understanding and daily study were translated, resulting in the creation of a new work, the “Rio Surubiú Suite”, composed by me, based on the study and understanding of musical characteristics found in the researched work. It shows how much research contributes to the insertion of the artist's name and work to the academy. In this musical universe, I try to show the compositional facets of Sebastião Tapajós, which I name as: The Concertist Performer, the Brazilian Composer and the Amazônida. The Amazônida is the place where I seek to highlight aspects of musical creation, performance, use of techniques guitar and style in the artist's work. The authors who helped me in understanding and writing are: Castro (2011), Copland (2011), Ferraz (2007), Ferreira (2016), Freitas, Garcia (2007), Loureiro (2000), Padovani and Ferraz (2011), Ribeiro (2006), Nascimento (2013), Oliveira (2000), Rezende (2007), Salles (2005), Saraiva (2018), Sena (2014), Sebastião Tapajós (2019), Silva and Rolkouski and Thompson (2004). The methodology used in the research was the fieldwork, with meetings and interviews with the artist, musicians, friends, and producers who are, somehow, connected to Sebastião Tapajós and his work; listening to the work, and reading scores of part of this work. Along with the thesis, a YouTube channel was launched with interviews, performances, rehearsals, which took place during the field research, with the composer himself and other artists.Tese Acesso aberto (Open Access) Diálogos Atemporais de Música e Imagem: Ressignificando a obra de Clemente Ferreira Júnior (1864-1917)(Universidade Federal do Pará, 2023-01-26) VENTURIERI, Leonardo Vieira; COHEN, Líliam Cristina Barros; http://lattes.cnpq.br/0286644614789784In the present thesis, ‘Timeless dialogues between music and image: resignifying Clemente Ferreira Júnior’s work (1864-1917)’, the author aims to promote a dialogue between Clemente Ferreira Júnior’s work (his great grandfather), composer, pianist and conductor, with his own work, considering epistemologies in the study of music and image. The author presents a historical summary, presenting an overview of the composer’s sociocultural surroundings, subsequently making an analysis of his pianistic work, utilizing an semiologic and semiotic perspective (musical and visual), aiming do unveil creative (poietic) and perceptive (estesic) aspects, considering its covers, the musical object and a few historical aspects. Develops, therefore, a musical product as a result of the epistemological and phenomenological dialogue, the Imaginary landscapes catalog, throughout artistic and compositional processes (“transmelodies” e “pictoscores”), transforming and resignifying Clemente’s work, to be released in parallel as this thesis. The author aimed to establish, therefore, a transdisciplinary artistic and epistemological dialogue, combining musical semiology and semiotics, proposing an outline for a kinesthetic sign, grounded in different notions from various authors: Nattiez (1990), Molino (1990), Tarasti (1994).Tese Acesso aberto (Open Access) Ecologia de um Sukiya Sonoro: discurso poético polifônico na música tradicional japonesa.(Universidade Federal do Pará, 2021-06-29) CANTO, Ednésio Teixeira Pimentel; COHEN, Líliam Cristina Barros; http://lattes.cnpq.br/0286644614789784The research aims to understand musical discourse in the repertoire of traditional Japanese music. This objective is developed through an idea of polyphonic poetic discourse, observed through the interrelationships between elements from various Japanese sociocultural domains representatively transversalized in the two repertoires in vogue: the tsugaru shamisen repertoire and the sōkyoku repertoire, for Koto. These aspects are organically constituted as elements of multiplicity and diversity that inhabit various Japanese cultural domains (ethical- aesthetic principles present in the tea ceremony, in Japanese literature, in music, in literature, etc.). Thus, the research perspective aims to understand elemental notions and modes of organization understood and observed from a perspective in which the interrelationships can be observed in the various domains of Japanese culture. The methodological construction developed in the research is similar to (or even acts as) the methodological construction in artistic creative processes, pre-establishing the Musecological one, which is defined as the research concept that is built by the search for an understanding beyond knowledge as objectivity and starting from an organicity built in the process and in the relationship with the research object, establishing as a guiding element the knowledge of the object from the exercise, submersion, insertion and non-distant learning of the studied musical practices. The research operates through a principle constituted by multiple elements, bringing this explicitly in the format that ends, deriving in notebooks. This idea is based on Gumbrecht's (2016) notions about the relationship between art and the production of knowledge, and achieves maximum strength within the research by being used as a skeletal structure for the organization of the other elements of this research. It can then be explained by saying that in this research, more than building systematically rationalized knowledge, the aim is to produce sensitive knowledge.Tese Acesso aberto (Open Access) O Ensino de música nas escolas públicas do município de Soure : um estudo de caso do Instituto Stella Maris(Universidade Federal do Pará, 2023-04-28) CONCEIÇÃO, Juliano Cássio da Silva; COHEN, Líliam Cristina Barros; http://lattes.cnpq.br/0286644614789784This research was developed in the research line of Epistemic Theories and Interfaces in Arts and it aims to analyze how the music teaching is being developed in public schools of basic education in the county of Soure-Marajó-Pa, in a instance study of Stella Maris Institute, taking into account some features such as the implementation of the legislation, the use of regional musicality aspects in teaching as well as interdisciplinary way and the elaboration and implementation of public policy about the music teaching. From an ethnomusicological perspective, it is intended to observe whether regional musical expressions, although the musical experiences of students, are taking in consideration during the process of music teaching. It was used in the theoretical framework authors in the field of ethnomusicology such as Blacking (1974; 1981; 1995), Nettl (1983; 2005), Lühning (2014), Lühning; Tugny (2016) and Queiroz (2004; 2020). The experimentation is descriptive and exploratory in nature and it uses both primary data, through fieldwork activities and conducting interview, and secondary data, through bibliographic and documentary research. It is expected that the research results can offer a diagnosis of music teaching in schools in the countryside of Soure from this case study and can lead to reflection and evaluation of public policies aimed at music education in this county.Tese Acesso aberto (Open Access) Klitores Kaos e o grito das mulheres: o Punk/HC desemboca numa cena musical feminista em Belém do Pará(Universidade Federal do Pará, 2023-03-20) MONTEIRO, Keila Michelle Silva; COHEN, Líliam Cristina Barros; http://lattes.cnpq.br/0286644614789784This research focuses on the punk/hc music scene, a subgenre of rock, in Belém do Pará, made up of women as a necessary musical practice in combating existing prejudices among people who perform or frequent environments of this genre, in which predominates , still, the male sex, because rock and its aspects, despite representing transgression and going against oppression and violence from the State and society, sometimes make female production invisible and its actors still practice machismo, misogyny, among other attitudes that offend women. In this ethnography, I approach the trajectory of punk/hc in Belém do Pará, emphasizing female/feminist musical production, making it necessary to value this production and emphasize the need to respect women in this scenario, because, according to Rosa and Nogueira, “poetry and music are born of the ruptures and the pain they transform. It is a creative process in the broadest sense where, by creating artistic paths and producing our own knowledge, we also reinvent ourselves as people” (2015, p. 27). I will analyze the trajectory, performance, aesthetics and musical compositions of the band Klitores Kaos, which works to claim rights and empower women, in a dialogue with Chada (2011), Béhague (1992, 1999), Blacking (1973) and Merriam (1964) to deal with socioeconomic factors present in the songs; O´Hara (2005) and Caiafa (1985) to address the context of the punk rock genre. In addition to the studied bibliography, I used media files and field research material before the pandemic. According to the analysis of the band's performance and aesthetics, its trajectory and mainly the musical analysis in this research, the data point to a production of protest, a 'cry' to combat femicide, sexism, misogyny and racism with women taking up spaces and the growing respect for the female gender in the punk/hc scene, which is often confused with the private lives of these women.Tese Acesso aberto (Open Access) ONDE ESTÁ AQUELE POVO BARULHENTO? Uma etnografia musical para compreender os corinhos pentecostais da Assembleia de Deus em Maracanã-PA.(Universidade Federal do Pará, 2024-01-31) LUZ, Jefferson Aloysio de Melo; COHEN, Líliam Cristina Barros; http://lattes.cnpq.br/0286644614789784In this work, of ethnomusicological nature, the author casts a look at his memories with the aim of understanding the nature, meanings, liturgical function, and musical structures of Pentecostal choruses in worship. Through a cartography of memory mixed with an autoethnographic approach, the paths taken traversed the notions of acoustemology, by Feld (2015, 2020) combined with the doctrine of musical Ethos (SILVA, 2019; GROUT and PALISCA, 2007), connected to the notion of founding myth (SALDANHA, 2018), taking into account the trajectory of the Pentecostal movement and the Assembly of God Church in history (FRESTON, 1994; MATOS, 2006; OLIVEIRA 2013), in addition to seeking to understand the iconic dynamics of ritual elements in Pentecostal liturgy that leads the believer to the experience of religious enthusiasm (STEPHENSON, 2019; ALBRECHT, 1999). His conclusion is that Pentecostal choruses are structuring elements of Pentecostal liturgy arranged among fixed liturgical elements in order to dynamize the path to religious enthusiasm or ecstasy, which is the main goal of Pentecostal spirituality; and that the simplicity of the structure, musical contours, and lyrics configures a strategy of symbolic conversion that transmutes the fundamental values and beliefs of Pentecostal faith into ritual sound icons to perform a function analogous to that of medieval icons.Tese Acesso aberto (Open Access) Uirapurus Paraenses: O legado histórico e a prática artístico-musical dos cantores líricos paraenses Helena Nobre (1888-1965) e Ulysses Nobre (1887-1953)(Universidade Federal do Pará, 2023-06-16) MAIA, Gilda Helena Gomes; COHEN, Líliam Cristina Barros; http://lattes.cnpq.br/0286644614789784The doctoral thesis Musician Wrens: the historical legacy and the artistic-musical practice of the opera singers from Pará Helena Nobre (1888-1965) and Ulysses Nobre (1887-1953) proposes to reflect on the historical legacy of these artists, identifying their artistic-musical practice from the public and private collections of Belém. As public collectins there are: Museum of The State of Pará, Arthur Vianna Library (Sections of Rare Works, Microfilms and Newspapers); Museum of Federal University of Pará (Vicente Salles Collection); Theater of Peace; Carlos Gomes State Institute; Santa Izabel Cemetery and Music Academy of Pará. And, as private collections, the ones of: Maria do Céo Nobre Gomes; Helena Maia; Maria Gilda Nobre; Maria Helena Nobre; Jorge Nobre de Brito; Vicente Salles; Gilda Maia; Lenora Brito; e Urubatam Castro. The thesis still proposes: 1) check the status of these files and the curent accessibility to the historical and artistic of Helena Nobre and Ulysses Nobre; 2) investigate who Helena and Ulysses were, their trajectory, their artistic-musical activity and performance Spaces; 3) highlight the compositions, the interpretative repertoire of Helena and Ulysses and the network of relationships – the Society of their era – that kept them active, helped them to spread their artistic-musical work and enabled their artistic trajectory, despite theis social and health disavantages; 4) propose the mapping, the virtual meeting and the dissemination of this legacy, contributing to the accessibility, the rememorization and to the appropriation of this history by the actual Society: by living memory. The search references authors such as: V. Borges (2006) and K. Oliveto (2007), in the field of biographical genre in music, through the collection and interpretation of historical documentary, bibliographicand oral sources; S. Freitas (1983) and E. Bosi (1994), in Oral History; R. Laraia (2001), C. Geertz (1975) and J. Blacking (2006. 2021), in the field of Music as Culture; P. Castagna (2004, 2006, 2008, 2016), L. Oliveira (2012) and L. Heymann (1997, 2012), in the field of Music Archival Science; E. Santos (2004), J. Santos (1996), J. Ferreira (1983), D. Silva (2009) and C. Batista (2005), in the field of Cultural Heritage, Memory and Identity; P. Nora (1993), in the field of Place of Memory; M. Sant’Anna (2006), L. Lévi-Strauss (2006) and F. Maia (2003), in the field of Living Memory; P. Bourdieu (1974, 1996, 1998, 2007), in the field of Cultural and Social Capital. It’s concluded that giving accessibility to what is kept in a museu, or in a library – place of memory – is to reach the actual Society, showing – from the artistic-musical work of Helena Nobre and Ulysses Nobre – part of cultural production of the first Half of twentieth century in Belém, contributing to future academic investigations.