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 - 15 de 15

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Amanheceu, paid’égua!: o sonho cabano faz samba de enredo no carnaval paraense
(Universidade Federal do Pará, 2016-06-23) PUGET, Dayse Maria Pamplona; SANTA BRÍGIDA JÚNIOR, Miguel de; http://lattes.cnpq.br/6889411521648199; COHEN, Líliam Cristina Barros; http://lattes.cnpq.br/0286644614789784
This research focuses on the creative process used to compose three samba themes of Belém do Pará samba schools: Amanheceu (1985), Grêmio Recreativo Jurunense Rancho não posso me Amofiná; Paid'égua (1986), Samba Empério quem são eles, and Sonho Cabano (1985) Academicos Escola de Samba da Pedreira. The overall goal is to investigate aspects of the creative processes of these sambas. Since the studied object is samba schools, it was grounded in the context of Ethnomusicology and from the theorists´ perspectives. The specific objectives are to: To know the artistic career of the composers of the sambas mentioned, to check the historical aspects of the three samba schools, and analyze the three samba themes. Therefore, we took into account the artistic trajectories of their composers, carnival history in Belém do Pará and the three samba schools where the samba themes had their origins in. The methodological process relied on literature on general carnival, paraense carnival, oral history, ethnomusicology, standard samba, samba themes, military dictatorship and Cabanagem movement. The research was also based on documentary survey in newspapers, magazines and periodicals in order to obtain grants including images. The field work was directed to the development of semi-structured interviews with not only the composers of the three samba themes but also some people who although not on the list of composers, show marked paths in Para carnival. After obtaining the data, the analysis of the sambas and the creative processes of their composers was proceed.
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Banda Daniel Nascimento: uma prática musical no contexto sociocultural em Paragominas-PA
(Universidade Federal do Pará, 2020-12-07) MORAES, Tirsa Lais De Oliveira Gonçalves; COHEN, Líliam Cristina Barros; http://lattes.cnpq.br/0286644614789784
This study aims to carry out an analysis about the musical practice of the Daniel Nascimento Band, questioning its relationship with the society of Paragominas throughout its twenty years of existence in which it acquired musical, social and even political position. In this perspective, it will be seen an overview of his musical trajectory, identifying the main impacts of the group on the social, cultural and artistic life of the city of Paragominas, seeking to understand in which ways their musical practice was built. In order to collect information, field research and documentary survey was carried out, working methodologically with authors of ethnomusicology, Seeger (2008, 2004), Blacking (2007, 2000), and memory, Assmann (2016), Candau (2017). Through an ethnography of musical performance, we will see Daniel Nascimento Band growing from "little Band" to "Orchestra" when exercising its function as a catalyst for musical activities maintained at the School of Music by the Municipality of Paragominas through the Secretariat for Culture, Tourism, Sports and Leisure, responsible for the dissemination of music in the municipality's public policies.
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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/0286644614789784
This 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.
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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/0286644614789784
In 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).
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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/0286644614789784
The 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.
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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/0286644614789784
This 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.
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O feitiço caboclo de dona Onete: um olhar etnomusicológico sobre a trajetória do carimbó chamegado de Igarapé-Miri à Belém
(Universidade Federal do Pará, 2014-06-11) MORAES, Patrich Depailler Ferreira; COHEN, Líliam Cristina Barros; http://lattes.cnpq.br/0286644614789784
This work is titled - The Caboclo spell of Dona Onete: An ethnomusicological look at the trajectory of Carimbó Chamegado; from Igarapé - Miri to Belém, the object of study is the singer, songwriter, and historian Professor Ionete Gama, better known in music of Pará like Dona Onete, which has a particular way of interpreting the Carimbó, baptized by her "Carimbó Chamegado". In this process I analyze three compositions comprising three periods of this production: - The first in the City of Igarapé - Miri, in Canarana Folkloric Group, where his first letters appeared; - Second, this time in the City of Belém, where she participated in the Project Terruá Pará; - And the third, where his work gained the commercial character through their 1st CD. Important to understand how these compositions were built, and the place (the City of Igarapé - Miri, its history, customs, legends and music) influenced the Carimbó Chamegado, and contributed to safeguarding the popular demonstrations in the City of Igarapé - Miri, from this song. The theoretical framework of ethnomusicology scholars, in particular, Blacking ( 1973) and Béhague (1992 ), they are subsidies to understand the process of musical creation within Carimbó Chamegado and also Lévi-Strauss, Stuart Hall and Nestor Garcia Canclini, discussing identity. Methodologically, I consulted books and papers, compositions, recordings, videos, and also fieldwork, through semi - structured interviews with the composer in question, who provided information about their participation in the Project Terruá Para and CD Spell Caboclo, released in 2011, analyze the compositions watching the musical structures that are composing this Carimbó.
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Grupo Muzenza: um estudo em performance no jogo da capoeira
(Universidade Federal do Pará, 2014-06-30) SOUSA, Joelson Silva de; COHEN, Líliam Cristina Barros; http://lattes.cnpq.br/0286644614789784
The present investigation is a qualitative study, which proposed to investigate the Muzenza Group capoeira, in Belém of Pará, in the light of the Performance’s studies, thereby contributing to the Capoeira and the Performance research in the university area of the Performing Arts in Brazil. For understanding the Capoeira "as" performance, focused on the analysis of some of its essential elements, such as the game and the fight - inherent categories used by the capoeiristas in almost all groups in the country - the research is affiliated to a network of theorists focused for the epistemological construction of performance as an analytical category. They are: Victor Turner, Richard Schechner, Paul Zumthor, Jorge Glusberg e Aldo Terrin Victor Turner, Richard Schechner, Paul Zumthor, George Glusberg and Aldo Terrin. The study was conducted in two stages: the first corresponds to a literature review (books and theses) about the Capoeira produced in Brazil, among which we mention: Waldeloir Rego, Nestor Capoeira, Eusébio Silva. Besides the references of Performance Studies, cited above. The second corresponds to an exploratory ethnographic reserch. After the data collect and analysis of this material, we arrive to the following hypothesis: that the gestures used in the game of Capoeira Group Muzenza transcend purely performance body (motor skills), revealing others characteristics more soft, such as improvisation, risk, Surprise, shock, etc.. These elements considered essential to the practitioner culture, were identified in the "performance" (play and fighting) of the Muzenza Group capoeiristas, both in public Capoeira’s wheels (artistic and acrobatic performances) and in their everyday practice.
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Invocando sons: cartografia de uma prática musical de koto na comunidade Nikkei de Belém
(Universidade Federal do Pará, 2016-06-24) CANTO, Ednésio Teixeira Pimentel; SATOMI, Alice Lumi; http://lattes.cnpq.br/2073986486219986; COHEN, Líliam Cristina Barros; http://lattes.cnpq.br/0286644614789784
The research part of the question: How is (or what is) the musical practice of the Association of Koto of Belém? To answer it delivery of ethnomusicological approach and cartography method to address this musical practice, performing a mapping that aims to understand this object of research. Pareyson (2005) emerges in the survey as structuring method and training of the dissertation, where there are experiences, reports and research data, and own musical instrument (koto) to develop the invocations that constitute the main body text. Immersion delivery as a group member and ethnomusicology of authors who have studied the koto musical instrument. Among these concepts that I share in this research there are: musical Transterritorialization (PELINSKI apud SATOMI, 2004), musical Change (NETTL, 2005; BLACKING, 1995) and musical energy (NETTL, 2005), three of the main concepts used to engage with this reality, this research object within the ethnomusicological approach. Research has shown various characteristics of musical practice in question. During the invocations are being presented, questions are raised so that they can trigger reflections on research and musical practice.
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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/0286644614789784
This 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.
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Lágrimas de boas-vindas: o repertório musical Ahãdeakü das comunidades indígenas de São Gabriel da Cachoeira no Alto Rio Negro, AM
(Universidade Federal do Pará, 2012-02-10) BRAGA, Mariana Gabbay Martins; COHEN, Líliam Cristina Barros; http://lattes.cnpq.br/0286644614789784
This research is focused on the musical repertoire Ahãdeakü also called Hãde Hãde by the Tukano East indigenous communities of the Upper Rio Negro, in particular the town of São Gabriel da Cachoeira in the extreme northwest of the Amazon. Its importance lies in the development and deepening of ethnomusicological works related to indigenous music of northern Brazil. The main objective of this work is to seek relationships between music and the social system in the Upper Rio Negro by associating the male and female social position to the musical repertoire. Through analysis of the repertoire Ahãdeakü, the intention is to offer a look at the expression of cultural and social values that are manifested in music. To do so, his reasoning is grounded in Ethnomusicology, making use also of the studies of cultural anthropology and amazon ethnology.
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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/0286644614789784
In 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.
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O Schottisch de Clemente Ferreira Júnior
(Universidade Federal do Pará, 2018-06-26) VENTURIERI, Leonardo Vieira; COHEN, Líliam Cristina Barros; http://lattes.cnpq.br/0286644614789784
This work investigates the presence of the musical genre schottisch in Brazil and Belém during the late 19th century and early 20th century, throughout the figure of Clemente Ferreira Júnior, composer, maestro and pianist. In this investigation, some methodological tools concerning ethnomusicological studies are utilized, as well as analytical tools from music theory and musical composition. The research problem presents itself from the following propositions: How does Clemente Ferreira’s musical creation processes occur? Which are the musical elements of Clemente’s schottisch? How does this musical creation relates to the composer’s socio-economic background? It is aimed the comprehension about the composer’s musical practice, based in Sônia Chada’s (2007) “musical practice” precept, focusing on his social context as the main parameter. The work also offers an overview about the transformation ocurred in Brazilian music since the second half of the 19th century, proposing the adoption of the term “novidades musicaes” (musical novelties) to designate this phenomena of ongoing import of foreign musical genres to the country during the period. At last, it is presented a musical composition, accompanied by a memorial detailing this auctor’s aesthetical views on the work, showing a concept called “Transmutation”, in which some of Clemente Ferreira Schottische’s caractheristics are used for creating original musical.
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Três legendas de Jayme Ovalle: contribuições para o estudo e técnica do piano
(Universidade Federal do Pará, 2013-06-14) CANTÃO, Felipe Novaes; COHEN, Líliam Cristina Barros; http://lattes.cnpq.br/0286644614789784
This work has as main objective to perform an analytical study of musical works “I. Legenda Op. 19”, “II. Legenda Op. 22” e “III. Legenda Op. 23”, all written for solo piano by the composer of Pará Jayme Ovalle. Aims the study, analysis and dissemination of a particular classical music for piano composed Pará in the twentieth century, collaborating with the literature on the subject. With the analytical approach of John D. White seeks to investigate the structures and forms of each Legenda and the compositional procedures adopted and referred to as the composer develops. According to analytical study, also want to verify the technical skills that the works analyzed can provide interpreters and piano students, focusing on the levels of primary, intermediate and advanced levels, as found in the study of Marianne Uszler e Ingrid Barancoski.
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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/0286644614789784
The 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.

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