Programa de Pós-Graduação em Artes - PPGARTES/ICA

URI Permanente desta comunidadehttps://repositorio.ufpa.br/handle/2011/6805

O Programa de Pós-Graduação em Artes (PPGARTES) é um programa do Instituto de Ciências da Arte (ICA) da Universidade Federal do Pará (UFPA) e em nível de Mestrado acadêmico teve a sua primeira turma constituída no ano de 2009 e o primeiro Processo Seletivo para o Doutorado acadêmico se deu no primeiro semestre de 2016.

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Agora exibindo 1 - 19 de 19

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O brega cibermórfico de Wanderley Andrade: pontos de inflexão no mercado musical contemporâneo
(Universidade Federal do Pará, 2023-01-30) SAGICA, Frank de Lima.; CHADA, Sonia Maria Moraes; http://lattes.cnpq.br/1004865944722134
This thesis proposes to investigate how the production, circulation and consumption of music developed during and after facing the pandemic caused by the SARS-CoV-2 virus, having as an ethnographic cut the singer Wanderley Andrade, approaching his production with an interpretative look , its adaptability and its articulations on the main digital platforms, which were profitable tools for the artist to maintain himself in the period of social isolation imposed as a way of containing the contagion and proliferation of COVID-19. I propose to focus on the point of inflection that demarcated the significant changes in the marketing and positional meaning of digital stops in the years 2020/2021 , focusing on the emergence and application of emergency public notices and cultural festivals created by the Government of the State of Pará, which were: Lei Aldir Blanc, Te Quieta em Casa and Minha Banda na Cultura . For this, an interview was conducted with the music artist, composer, researcher, music producer and director of the music department of the State Secretariat of Culture of Pará (SECULT) – Allan Carvalho. All of these measures were essential for the survival of many professionals, including not only artists, but also other music professionals, such as roadies, illuminators, sound technicians, DJs, among others. Through the transformations promoted by technological advances, this thesis proposed a new conceptual-analytical model, defined by me as neopersona cybermorphic , used for a better theoretical framework on the phenomenon of the new identity profile that transits in cyberspace, which has affective individuality , virtual nomadism and identity metamorphosis , particularities that support the construction of a mentality that constantly metamorphoses, as a result of technological advances in constant flux, a representative pattern of contemporary societies. It can be inferred that brega, in addition to its grounded conception as a rhythm, also comprises a series of conflicts, social and power relations; opposition to the dominant classes; of adaptations that were made in contrast to the new musical trends that emerged throughout history. In this sense, Wanderley Andrade is the perfect stereotype of this cybermorphic mutation, evidenced throughout his journey as a tacky artist, whether in the eclecticism of his musical repertoire, in his peculiar clothing or in the fusion of local and global aesthetics. This intellectual proposition also intends to launch material that can serve as a bibliographic base for future research that may relate to aspects related to a supposed cybernetic post-modernity. Virtual ethnography was used as a methodological tool, given the difficulty in collecting data in person, as a result of the isolation measures of the pandemic period. The use of new technologies and media, the adaptability of the music market, as well as the analysis of the everyday particularities of a society in transition are themes dear to this study, with ethnomusicology as an elementary key to elucidate the intermedium in which confluences and disruptions occur , among which: music market, glocalization , tribalism, tradition and technology, themes that can , consequently, bring contributions not only to the theoretical field but also to the cultural scope.
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Uma cena musical neotribal nas noites belenenses: traços multifacetados do mercado artístico
(Universidade Federal do Pará, 2018-06-27) SAGICA, Frank de Lima; CHADA, Sonia Maria Moraes; http://lattes.cnpq.br/1004865944722134
This ethnographic research proposes the new concept - neotribal music scene, used as analysis system to treat a musical scene in Belém/PA hitherto investigated in academia. This scene is composed of a superposition of various musical genres that includes multiple spaces of interaction and collective experience where groups experience different types and forms of sociability and intersubjective peculiarities in a given cultural context. For understanding the formation and path of this scene, the three artists from Pará focused ethnographic clipping - Roosevelt Bala, lead singer of the band Zona Rural; Markinho Duran, solo artist and Bruno Rodriguez, lead singer of the band Reggaetown, being the rock, pop and reggae their respective musical genres. The investigation covers the intersection of theorized under the marketing bias with the production in the musical field. Three were locals selected for field research: Mormaço Bar and Art, Old School Rock Bar and Templarios Bar and restaurant. Investigate how articulates the artistic practice with the dynamics of Pará's capital night market, under an ethnomusicological perspective, is the main goal of this research. The study touches points of confluence between the processes of production, circulation and consumption of music, guided by the analysis of the aspects of social life and cultural analysis of the music, he was determined to reach, at the end of this process, a form of appreciation and recognition of the quality of local music production and cultural diversity of our State and, consequently, bringing not only contributions to the field of ethnomusicology, as well as the artistic medium.
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Como Estrela és David: um Miguel da cor de breu
(Universidade Federal do Pará, 2020-07-10) PUGET, Dayse Maria Pamplona; CHADA, Sonia Maria Moraes; http://lattes.cnpq.br/1004865944722134
David Miguel dos Santos, a composer from Pará born in the Jurunas neighborhood, in Belém do Pará, on December 29, 1926, and died in this same city, on February 19, 2000, is the object of this research. Investigating the factors that affect your creative process from an ethnomusicological perspective was the general objective of this research. The specific objectives were: to provide contextualized information about this composer, to provide a commented catalogue of his works, to describe his creative process and analyze the sambasplot of this composer. To achieve the proposed objectives, I conducted a bibliographic, discographic, imagery and audiovisual in various collections; launched assumptions of oral history (semi-structured interviews, testimonials and narratives), interpretation and analysis of the collected and recorded data, including: historical, contextual, cognitive, structural, textual and musical, with the theoretical support of authors of Ethnomusicology and Anthropology, among others, Béhague (1992), Blacking (2000), Merriam (1964), Nettl (2005) and Durand (2012). David Miguel, due to the importance of his work, is inserted in the place that is rightfully his: the Popular Music Of Pará.
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Concerto de câmara para clarineta em si bemol e orquestra de Vicente Alexim: uma abordagem interpretativa
(Universidade Federal do Pará, 2015-06-01) LOPES, Thiago de Araújo; CHADA, Sonia Maria Moraes; http://lattes.cnpq.br/1004865944722134
Vicente Alexim is a young Brazilian clarinetist, composer and arranger highlighted in the national artistic scene and abroad. He is the author of works for clarinet, piano, soprano, chamber and symphony orchestra. His Chamber Concerto for Clarinet in B-Flat and Orchestra composed in 2008 is the object of study of this research. From a technical point of view, this work presents several twentieth-century techniques to the soloist, such as frullati, glissandi, multiphonics, a well as a dense orchestral writing. The composer was very careful with the changing character and the organization of technical demands on the piece for the soloist and the orchestra. The main goal of this work is to provide an interpretative design for the concerto utilizing the concepts of Robert Morris on contour theory and structural analysis. A survey of bibliographic sources on the composer, his work and related topics was performed, as well as interviews with the composer and other musicians. There are a few researches in that deal with interpretation of Brazilian works for clarinet, thus this work aims to be a reference for the performer interested in such pieces.
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O coro cênico da Universidade da Amazônia: experienciando uma identidade a partir de um repertório musical
(Universidade Federal do Pará, 2015-06-26) BEZERRA, Joelma de Almeida e Silva; CHADA, Sonia Maria Moraes; http://lattes.cnpq.br/1004865944722134
The main goal of this research was to investigate the experience of building an “identity” from a musical repertoire of the Universidade da Amazônia’s Coro Cênico, which led to the production of the CD series “Trilhas D'Água”, consisting of a musical repertoire retelling the Amazon musical universe in the language of choral singing. The following issues are addressed: how the change in musical repertoire contributed to the construction of the group’s "identity"; the changes observed in the chorists about the thinking, behavior and the generated sound itself; the academic community that mantains it, as well as the cultural context in which this group is inserted. The dissertation is structured in three sections. The first presents a contextualized biography of Coro Cênico da UNAMA; the second describes the group’s teaching and learning process, and the musical practice is analyzed in the third, considering the social sphere in which the group operates. Bibliographical sources about musical change and identity in the light of ethnomusicology are used . Data about choir practice available in blogs and sites were collected. Moreover, "semi-structured" and "episodic" interviews with the academic community, students from the group, rector and dean of the institution, composers and conductor were done, considering the oral history retold by the agents that build and perform musical practice at the university somehow . It starts from the principle that these agents are the people who hold the basis and conceptions of what the musical practice at the University of Amazonia is about.
Acesso aberto (Open Access)
Uma escola a céu aberto: a transmissão de saberes no Instituto Arraial do Pavulagem
(Universidade Federal do Pará, 2023-06-19) FAÇANHA, Tainá Maria Magalhães; CHADA, Sonia Maria Moraes; http://lattes.cnpq.br/1004865944722134
In this research, I focused my attention on the musical transmission practices in the context of the Arraial do Pavulagem Institute - IAPav. In the formative experiences for preparing the arrastões (street parades), which flow like a river into the streets of Belém, it is possible to highlight the way people interact, transmitting their knowledge and building processes of musical transmission. The general objective of this research consists in investigating the transmission of musical knowledge at the Arraial do Pavulagem Institute, considering its influence on the development of a contemporary musical performance. Specifically, my goals were understanding the musical practice of the Arraial do Pavulagem Institute from life narratives; describing the musical practice of the Arraial do Pavulagem Institute and the ways in which musical transmission is multiplied in the workshops, rehearsals and arrastões; and, finally, discussing the ways of learning and teaching music at the Arraial do Pavulagem Institute, pointing out which influences constitute the "pedagogical" aspects of musical transmission. The thesis is built up from a research conducted in three moments: in 2018 and 2019, with an extensive field research that resulted in a vast collection of audiovisual material; in 2020 and 2021, the field research was carried out virtually from the engagement of the community in the social media of IAPav and in the livestreams of Arraial do Futuro that adapted the street parades to the virtual world due to the social distancing required during the Covid-19 pandemic; and after the face-to-face return, in 2022, of the group's activities, which enabled a very unique experience of return to "normality" and the conducting of interviews that are part of the heart of this work. In this regard, this thesis succinctly made it possible to understand that musical transmission in the Arraial do Pavulagem occurs in a systematic manner in the workshops, primarily through orality. From dimensions linked to the daily experiences inside the Institute, whether in conversations with the masters, in the sharing of experiences with colleagues from the Batalhão da Estrela, or in the coexistence of the articulations of the makers of culture that are formed there, whether in political and/or artistic actions. Still, the transmission happens in the performance itself during the arrastões, in the sound fruition in the shows, and in the experience of the audition of the songs.
Acesso aberto (Open Access)
Estudos para violão: a utilização da música da tradição oral da Amazônia paraense para o desenvolvimento da técnica violonística
(Universidade Federal do Pará, 2013-06-25) BEZERRA, José Maria Carvalho; CHADA, Sonia Maria Moraes; http://lattes.cnpq.br/1004865944722134
This research describes the composition process of RITMOS DA AMAZÔNIA – studies to guitar virtual book. Rhythmic elements present in the musical manifestations of oral tradition of Amazonia/Para/Brazil, after selection and analysis, they are used like precompositional material for the creation of studies to guitar, proper resolution of the technique problems of instrument. With the guitar introduction in the Brazil and with the its inserts in the popular culture of regions several where the music presents personality, originality and identity, almost forever has the function of instrument accompanist of the singing, and this accompaniment presents specific characteristics according with the musical gender and with the idiomatic characteristic of instruments involved in a musical manifestation proposed. The main aim this research went describe the utilization of select rhythms in the creation of series RITMOS DA AMAZONIA and the abilities proposed of the studies for the resolution of technical problems. Still are approached questions about entrance of the guitar at Brazil and its broadcast in the regions, including the North; information about the selected rhythms, of the manifestations in that they occur, approach about guitar technique and the abilities proposed by the studies.
Acesso aberto (Open Access)
O Guitarrar Local: uma prática musical para além da Amazônia paraense
(Universidade Federal do Pará, 2023-07-07) CARAVEO, Saulo Christ; CHADA, Sonia Maria Moraes; http://lattes.cnpq.br/1004865944722134
The practice of Guitarrada is investigated here considering the configuration of social, political, cultural structures and its establishment as a founding musical genre of memory and identity in Pará. The broad transformations resulting from the modernization and globalization processes that occurred between the advent of Lambada and the consolidation of Guitarrada, submerged in a capitalist Entertainment Industry, reconfigured spaces and social dynamics, as well as the way of consuming, making and producing music, promoting the historiographic resizing, in memory and in the way in which cultural identities are constituted in the Paraense Amazon. Thus, such sociocultural manifestations that took place in these scenarios had an impact on the creation and dissemination of the Guitarrada genre, which is the result of paradigmatic transformations that represent the identities of this musical genre. Considering culture (HALL, 2011; CANCLINI, 2015), memory (HALBWACHS, 2006; CANDAU, 2012), and music (CARAVEO, 2019a, 2019b; CHADA, 2007; MENDÍVIL 2013, 2015 and 2022; MUKUNA, 2008; NETTL, 2005; SEEGER, 2008; SMALL, 1998) as related systems, I glimpse the thesis that deals with the changes and new musical identities in the Amazon, focusing mainly on the Guitarradas of Pará. The Amazon Region, with its space time multiculturalism of diverse musical practices, needs in-depth musical investigations that point to historical cultural fusion, considering, however, developments, perspectives and particular looks that present new diagnoses in the face of contexts that present themselves indissolubly in the present. Investigating the musical practices of the guitarists in Pará, observing from what perspectives social changes, globally and locally, affected musical production, altering symbolic cultural processes and determining the constitution of identities was the main objective of this proposal. The specific objectives were to describe the ethnographic procedures carried out throughout the research, identifying the broad and particular social transformations that made possible the descriptions and interpretations of musical phenomena that pointed to the guitar playing as a contemporary musical practice in Pará – the Local Guitarrar. To analyze Mestre Vieira's discography and to propose a contextual description that reveals the behavior and directions imposed by the Entertainment Industry and its impact on Mestre Vieira's work throughout his production. Point out aspects inherent to the processes of modernization and globalization that point to similar scenarios and dynamics that share with the constitution of identities and, therefore, under the aspects of musical changes and cultural transformations, point out cases of hand-over. In addition to reviewing the existing literature on the subject and bibliographical studies referring to historical and cultural subjects, under the light of ethnomusicology, an ethnographic description of the current contexts in which the practice of Guitarrada dynamics are made, semi-structured interviews that made possible the foundation of analytical arguments and musical analyzes of Mestre Vieira's phonographic production. The period covered by this research comprises the 1950s, an important post-war period in the world, and 2023, the year of completion of the thesis. Considering the analyzes carried out so far, the thesis was confirmed that Guitarrada, when emancipated from Lambada through Hand-over, configures itself in a modern, independent musical practice, with its own aesthetic identity, which determines musical changes, cultures and new perspectives for memory, culture, politics and music in the Brazilian Amazon.
Acesso aberto (Open Access)
Minha viola é de buriti: uma etnomusicologia aplicada-participativa-engajada sobre a musicalidade no quilombo Mumbuca, no Jalapão (TO)
(Universidade Federal do Pará, 2019-06-25) BONILLA, Marcus Facchin; CHADA, Sonia Maria Moraes; http://lattes.cnpq.br/1004865944722134
Acesso aberto (Open Access)
A música na educação de jovens e adultos - EJA: considerações sobre a construção do gosto musical
(Universidade Federal do Pará, 2017) HENDERSON, Jucélia Estumano; CHADA, Sonia Maria Moraes; http://lattes.cnpq.br/1004865944722134
This work deals with questions related to the teaching of music in the modality of Education of Young and Adults - EJA in a public school in Belém do Pará. The main objective of this work was to investigate how the musical taste of the students of the EJA modality, State School Of Elementary School Professor Waldemar Ribeiro. The specific objectives were: to contextualize the teaching of art / music in the State of Pará, considering its location in the Northern Region of Brazil, aimed mainly at students of the EJA modality; To identify the elements that help in the construction of the musical taste of the students of the EJA modality; To identify how the musical taste of the students of the EJA modality is expressed in daily life and finally reflect on the musical taste considering the reports of the students of the EJA and literature consulted on the subject.The work followed theoretical orientations of the field of Sociology, in connections with the field of Musical Education, the authors used to dialogue about musical taste were: Quadros Jr e Lourenço (2003, 2010 and 2013), Monteiro (2008), Hennion (2011) , Tinhorão (2001) and Pierre Bourdieu (2007). To deal with musical and daily education, we call: Souza (2002, 2004, 2008, 2007), Penna (2003 and 2010) among others. To discuss the hybrid habitus theory: Setton (2002a, 2002b, 2009, 2010, 2011, 2012 and 2016) and Bernard Lahire (2006). On the hybridization theory Canclini (2015). About EJA: Dias, Oliveira and Mota Neto (2013), Paiva (1973), Di Pierro; Haddad (2000). Data collection was through semi-structured interviews with students from the EJA of the 3rd stage of primary education, 4th stage of elementary education, 1st stage of secondary education and 2nd stage of secondary education, enrolled in the year 2107. The results obtained show that the traditional instances of family and religion continue to be powerful devices in the process of building musical taste and the school, despite being considered a traditional instance, did not stand out as a powerful device in the influence of the construction of musical taste, lack of prominence may be linked the absence of musical content in the school curriculum and the lack of involvement of the cultural practices developed in the school. We identified that the media, not being considered a traditional instance, has occupied a significant presence in the construction of the musical taste of the students of the EJA.
Acesso aberto (Open Access)
Música no palco: ansiedade de performance musical em estudantes de música em Belém do Pará
(Universidade Federal do Pará, 2013-06-21) MIRANDA, Jonathan Guimarães e; CHADA, Sonia Maria Moraes; http://lattes.cnpq.br/1004865944722134; ROCHA, Sérgio de Figueiredo; http://lattes.cnpq.br/4236379426483362
Music Performance Anxiety (MPA) is recognized as an anxiety disorder classifiable as a variant of social phobia according to the DSM-IV (APA, 1994). It is characterized by physical, cognitive and behavioral manifestations linked to performance that can impact musicians of all ages and levels. Few studies have investigated MPA in Brazilian music students and none of them were carried out in Northern Brazil. The present study investigated the occurrence of MPA among students from the secondary level music schools Carlos Gomes State Institute (IECG) and Music School of the Federal University of Pará (EMUFPA), and from the tertiary level Bachelor in Music Course of the State of Pará University/Carlos Gomes Foundation, all situated in Belém. The data was collected using the K-MPAI scale properly validated to Portuguese, which is composed by 40 questions giving a maximum score of 240. Higher scores correspond to higher anxiety level. A total of 128 students, 89 males and 39 females, age 18-47 years, were included in the final sample. An additional survey investigated the most frequent manifestations associated with performance anxiety and other questions related to local opportunities for public performances for musicians. Statistical analysis was performed using SPSS. The results showed that the minimum score in the K-MPAI was 26 and the maximum was 208. Females had significantly higher mean score (124.4±33.8) than males (98.5+32.3) and there were no differences in the K-MPAI mean scores when comparing different classes of instruments (woods, metals, strings, guitar, singing, piano and percussion) or age brackets (<20, 21-30, 31-40, >40 years). Comparison between students from the three different music courses showed that the mean KMPAI score of students from EMUFPA was lower than those from the IECG, indicating that the latter group might presents more anxiety problems. The cognitive manifestation most frequently cited (by 49.2% of the students) was “the concern of what people are thinking about me”. The large majority of students (96.1%) expressed the desire to give more public performances; they (86%) also think that this practice helps to decrease their anxiety. This is the first study about the theme carried out locally. The survey showed that many students from music schools in Belém suffer from considerable anxiety associated with music performance, and that females tend to be more anxious than males. The causes underlying their anxiety need to be investigated and the results provide initial data for the development of new teaching methodologies, to encourage the discussion about the problem and to stimulate the search for effective measures that could minimize the manifestations of anxiety in music students.
Acesso aberto (Open Access)
A música nos rituais de cura do Santo Daime
(Universidade Federal do Pará, 2012-02-29) FERRO, Kelem Carla Alves; CHADA, Sonia Maria Moraes; http://lattes.cnpq.br/1004865944722134
This paper describes and analyzes the music practical in the rituals of cure of the Santo Daime pointing the relevance of these rituals while practical religious in this context. The ceremonies carried through in the church Céu da Mãe Divina, located in km 6 of the road of the Taiassuí, city of Benevides, area metropolitan of Belém of Pará, serve of reflection and analysis for this research. In the cure rituals, musical and religious relation, the religious thought if shows capable to determine the stages of the musical conception since the reception, transmission until the execution of the book of hymns. The diverse aspects of the music practical, that if presents in the form of knowledge and religious bedding, are analyzed here to the light of the ethnomusicology.
Acesso aberto (Open Access)
A nascente de um rio e outros cursos: a guitarrada de Mestre Vieira
(Universidade Federal do Pará, 2019-02-25) CARAVEO, Saulo Christ; CHADA, Sonia Maria Moraes; http://lattes.cnpq.br/1004865944722134
We investigated the musical practice of Mestre Vieira, considering the establishment of a new poetics in the local musicality that remodels new perspectives for the practice of electric guitar in the Amazon. How did the anthropological journey of Joaquim de Lima Vieira in Paraense Popular Music become entangled? The act of transcriationality of Mestre Vieira that resulted in the invention of the guitar musical genre constituted a process of cultural hybridization and transionality? What kind of musical analysis can be performed in Mestre Vieira's works aiming at comparative and particular information that allows us to justify guitar playing as a musical genre? In addition to reading the bibliographic production on the subject, an ethnographic description of the local and global context in which Mestre Vieira was produced was done, as well as semi-structured interviews that aided in the composition of the analytical arguments. The period covered the years 1934, year of birth of Joaquim de Lima Vieira and 2019, year of conclusion of the dissertation. It was confirmed the hypothesis / thesis that Vieira was produced as a musician through a creative act, and thus acting, from his anthropological path, he conceived a new poetics in the musicality that projected from Barcarena to Belém, to Pará, to the Amazon , for Brazil and the World, since, from what I call hybrid-transactional convergences between cultural contexts, it transcriated the guitar musical genre, embrionando new perspectives for music, for the practice of the electric guitar, for the imaginary and Amazonian musical culture.
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A prática musical do Vominê na festa de São Tiago em Mazagão Velho - AP
(Universidade Federal do Pará, 2017-07-29) SMITH, Ricardo Augusto Ferreira; CHADA, Sonia Maria Moraes; http://lattes.cnpq.br/1004865944722134
The present work problematizes aspects of the musical practice called Vominê, that integrates the Festa de São Tiago in Mazagão Velho, lacated in Amapá province. Supported by the theoretical perspectives of ethnomusicology, it is sought to reflect on the potentialities representative of this practice in relation to the individuals that take part of it. The Festivity of St. Tiago is a secular practice that happens annually, with Vominê, a kind of song of victory or exaltation of bravery, an integral part of this festivity. Investigating Vominê's practice, considering the way it operates in its musicais and social structures in its context is our main objective. In order to do so, we started with a review of the available literature and the direct observation of reality, considering the cultural analysis of the musical practice as proposed by Chada.
Acesso aberto (Open Access)
A presença da cultura afro-brasileira na música de Waldemar Henrique
(Universidade Federal do Pará, 2016-06-29) SILVA, Edson Santos da; CHADA, Sonia Maria Moraes; http://lattes.cnpq.br/1004865944722134
Waldemar Henrique has composed a number of songs, pieces for piano solo, choir, orchestra, music for soap opera, theater and films inspired by the Amazonian, indigenous and northeastern folklore, and representations of beliefs and habits of Afro-descendant populations in the Amazon and Brazil. The presence of African-Brazilian culture in Waldemar Henrique’s work can be perceived by simple observation of the lyrics, rhythms and genres used in many of his works. This research aimed at investigating the factors that contributed to the presence of African-Brazilian culture in the work of this composer. The specific objectives were to provide contextual information about Waldemar Henrique; to verify how the composer addresses the African-Brazilian theme in his compositions; and to describe and analyze the compositions called “Ritual Points.” For this, it was necessary to search for contextualized information on the composer’s life and work, verifying his relationship with people connected to the African-Brazilian culture, and the analysis of his work. Our starting point was the review of the available literature, with reference to the catalogue of his works published by Claver Filho (1978) and Miranda (1978), moreover, we considered the issues proposed by Béhague (1992), Durand (2001) and Blacking (2000), among others, the investigation of the socio-cultural and aesthetic-ideological dimensions in the study of a composer, for the understanding of his musical production. Facing the lack of pieces of writings on the subject at hand, data collection was carried out in the field, in the form of semi-structured and “episodic” interviews with musical personalities, related to the conductor, who studied and analyzed his works. From the results, we propose a classification for the works which were inspired or presented issues related to African-Brazilian theme into three categories and an updated catalogue of the composer's work.
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O projeto Choro do Pará: prática e transmissão musical
(Universidade Federal do Pará, 2018-06-27) KAHWAGE, José Jacinto da Costa; CHADA, Sonia Maria Moraes; http://lattes.cnpq.br/1004865944722134
The Choro do Pará Project aims to disseminate and encourage the practice of Choro by attracting young musicians from different age groups and social classes and stimulating the formation of new groups. In this context, processes and situations of music transmission occur in different ways and are (re)modeled and (re)defined, in their design and application, through collective workshops — for string, wind and percussion instruments — that culminate in the presentation of the results in concerts of the Choro do Pará Orchestra. The repertoire used in their musical practice includes established compositions of this genre and original works by artists from Pará, in order to valorize and spread the local production. Investigating the practice and transmission of music in the Choro do Pará Project, using the approach of authors such as Nettl (2010), Blacking (2007) and Merriam (1964), is the main objective of our work. Specifically, we intend: b) To examine, through interviews and field research, the methods of musical transmission practiced during the workshops of the Choro do Pará Project; c) To verify, through interviews and field research, the process of construction of the musical arrangements executed by the Orquestra Choro do Pará; and d) To find out if the Choro produced in Pará has characteristics that distinguish it from the Choro produced elsewhere in Brazil. For this, we performed a survey of relevant bibliographic sources and conducted semi-structured interviews with participants of the Project and local musicians. Our interviews with characters related to Choro do Pará Project fit the scope of qualitative research, in what is called "semi-structured interviews with a single respondent", to which Bauer and Gaskel (2002, p.64-65) also refer such as "in-depth interview". The spectrum of points of view on the topics of our interest gathers testimony from: the coordinator of Choro do Pará Project, Paulinho Moura; the five facilitators, Carlos "Buchecha", Claude Lago, Diego Santos, Emílio Meninéa and Iva Rothe; two composers whose works are present in several modules of the workshops, Luiz Pardal and Adamor do Bandolim; four project participants; two former participants; and from personalities whose trajectories permeate the narrative of the Choro movement in Pará. Our analysis involves meanings and knowledge, recognizing that musical practice is a reflection of life in society and conveys unique values, which result from different sources and experiences.
Acesso aberto (Open Access)
O projeto Pará Caribe: uma prática musical no contexto da Fundação Cultural do Pará
(Universidade Federal do Pará, 2020-12-18) ROTHE-NEVES, Iva; CHADA, Sonia Maria Moraes; http://lattes.cnpq.br/1004865944722134
The research presented here focuses on musical practice - an expression now adopted in conceptual terms - in the context of the Pará Caribe Project, carried out in Belém by the Cultural Foundation of Pará from 2015 to 2017. Investigate musical practice in the context of the Pará Caribe Project of the Cultural Foundation of Pará was the main objective of this proposal. The specifics were: providing contextual information about the Pará Caribe Project; expose the processes of musical transmission and describe the musical practices in the Pará Caribe Project, with attention to the relationship between the processes of musical composition and performance in that context. Thus, bibliographic research on musical practice and transmission was implemented, in the light of Ethnomusicology, also seeking theoretical and methodological foundations, especially in Music Education, but also in Anthropology, Sociology, Latin American Studies, Indigenous Culture, History, Professional Orientation and Copyright. Through this way, the research refers to authors such as Sonia Chada (2006; 2007), Alan Merriam (1964), Anthony Seeger (1991; 1997), Bruno Nettl (1983; 1992), Gerard Béhague (1992), Mauricio Costa and Sonia Chada (2013), Paul Sneed (2020), Luciana Prass (2019), Jusamara Souza (2004), Margarete Arroyo (2002), Keith Swanwick (1991), Agenor Vasconcelos Neto (2013; 2020; 2021), Pierre Bourdieu (2007), João de Jesus Paes Loureiro (2002; 2008; 2020), Bibiana Rosa (2018), Timei Assurini (2020), Ana Lucia Bastos (2020), Pedro Paranaguá and Sérgio Branco (2009), in a line of research based on epistemic interfaces between areas of knowledge. Semi-structured interviews were conducted with students, teachers, dancer and choreographic director of the project. The data analysis carried out, took into account syntactic and semantic dimensions of the interviews and also of the lyrics and music created in the classroom by the students. There were recorded in the studio and played in shows and rehearsals. Such procedures allowed the form and content of the analyzed material to be interpretable, considering historical, musical, contextual and cognitive aspects of the musical practice in question. The creative processes and their music making combined with the performance, as well as the results achieved in the project - eleven recorded songs and eighteen concerts performed between the musical creation laboratory and the mixing of the Pará Caribe phonogram - instigated the research presented here. The work results in this dissertation, having as attachments the scores and a CD with two of the songs produced by the students during the project, which were analyzed here. Understanding contexts in which musical creation and performance are possible because they were made at the same time, provided an important key to understanding the creative process in the Pará Caribe Project. In addition, it is concluded that the study of musical practices in Belém, Pará, contributes to the understanding of how such practices form, construct or influence the notions of sound identities in the Brazilian Amazon, by sharing transformed and (re) constructed collective subjectivities beyond the context of national states, a reality present in Latin America and the Caribbean as a whole.
Acesso aberto (Open Access)
Todos juntos o louvemos: o canto congregacional na Assembleia de Deus, em Viseu-PA
(Universidade Federal do Pará, 2019-06-24) QUADROS, Diego Oliveira; CHADA, Sonia Maria Moraes; http://lattes.cnpq.br/1004865944722134
Congregational singing in the Church of the Assemblies of God in Viseu - Pará is a moment of unity among the faithful who proclaim their faith through music as a great choir with one voice. The present work consists of a musical ethnography of the Assembly of God in Viseu PA, aiming to describe the practice of congregational singing in the said Church, providing contextualized information about the segment, its doctrines, beliefs and cultural characteristics; analyzing the different musical repertoires considering their functions in the cult and in the various ceremonies and, also, verifying the effects that this practice causes in the choristers that are the own faithful ones. In order to answer the questions asked, a review of the literature on the subject and the collection of data in the field were made through observations and semi-structured interviews. In this context, musical practice is a facilitating agent, a vehicle that brings believers closer to God, through worship, transcending the physical field.
Acesso aberto (Open Access)
Wilson Fonseca: crendices e lendas amazônicas para canto e piano
(Universidade Federal do Pará, 2012-02-08) AZULAY , Humberto Valente; CHADA, Sonia Maria Moraes; http://lattes.cnpq.br/1004865944722134
This paper discusses Wilson Fonseca, one of the most important composers of our Amazon region, due to its history and dedication of a lifetime for music and our culture, being a reference not only in the music field, but also in memory and redemption of history and culture of Santarem. Amazonian legends and superstitions for voice and piano, a topic addressed in this research, is just one of many faces which portrayed the author in his extensive music production.