Navegando por Orientadores "VIEIRA, Lia Braga"

Agora exibindo 1 - 15 de 15

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Análise de representações negras na pintura paraense na primeira metade do Século XX e o ensino de arte: perspectiva à aplicação da Lei 10.639/2003
(Universidade Federal do Pará, 2013-06-26) MODESTO, Rosângela do Socorro Ferreira; VIEIRA, Lia Braga; http://lattes.cnpq.br/8247703330856310
This research aims to investigate the black presence in the painting by local artists in the first half of the twentieth century. Assumes that to understand the presence of African descent in the local segment is essential to seek indicative of representations of this segment and how such representations are appropriate visibility to establish the identity of African descent. The methodology adopted in this study involved research collections of museum institutions of Belém, on the occurrence of paintings of artists of the Pará with production aimed at black representation, especially the artists Antoinette Feio, Waldemar da Costa and Dahlia Dea. This fieldwork was essential to establish the selection of which tables and authors subsidize enter the theme of Afro-Brazilian representation in painting site. The relevance of this research to the field of Art / Afro-Brazilian Culture and the provisions of law 10.639/2003 is the ability to reflect on the presence of blacks in the local society, as it considers the extent of cultural and socio-historical phenomenon can to dismantle eurocentric conceptions of epistemological frameworks and visual representation. In this perspective, black participation and their proper contextualization will build new discourses about the visibility of African descent in the History of Art and Culture Pará.
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“Arte em movimento dialógico”: uma experiência criativa em dança a partir de diálogo entre ballet clássico e danças regionais paraenses
(Universidade Federal do Pará, 2014-06-10) COUTINHO, Lucienne Ellem Martins; CAMARGO, Giselle Guilhon Antunes; http://lattes.cnpq.br/2551648142775344; VIEIRA, Lia Braga; http://lattes.cnpq.br/8247703330856310
This research aims to dialogism as a way of building a theoretical-practical, as space relation between the techniques of Classical Ballet and Dance Regional Paraenses in a scenic experimentation in dance experienced in the classroom with teenagers Project "Art in Motion "Home of the Institution of Mary, in Belém do Pará, in the second half of 2013. The research question was: How to conduct a dialogue between techniques from Classical Ballet and other arising Regional Dances, a playful and creative way with teenagers, resulting in a diverse and innovative scenic experimentation Dance? The playful in pleasurable sense, able to create a climate of enthusiasm. It is this aspect that emotionally involves the individual, making the activity of large content of motivation, a great generator of euphoria and vibration. And the joy of creative discovery of the body, movement, space, dialogue, interaction. As a general goal, I wanted to investigate the dialogical process of the technical elements of classical ballet with the Regional Dances in building a scenic experimentation in dance in a playful and creative way. To carry out this study, I conducted an action research. Here, I investigated: the relation between theory and practice regarding the technical elements of classical ballet and Regional Dances; elements that resemble each such techniques; the contribution they can make to future work addressing the ethical and aesthetic dialogue between the techniques of Classical Ballet and Dance Regional. The development of this research involved both goals present in the project "Art in Motion" - eg social inclusion through dance - as the goals that I build on my own teaching, including planning stimulating creativity, knowledge and respect the culture, art, and especially the dancing. The results of the research show, the relationship between theory and practice regarding the technical elements of classical ballet and Dance Regional: both in ballet and in regional dances trajectory of jumps, spins, wheel offsets, lateral, vertical; regional dances in the shed formed by the theatricality "micro-events of everyday life," and in the classic ballet spectacle formed by "macro events which go beyond routine are extracotidianos"; ethical and aesthetic dialogue between the techniques of Classical Ballet and Dance Regional, in the same scene; demonstration of creative processes involving regional dances in trials and discussions through dialogism between different techniques considered; and rectification of obsolete ideas in regard to classical ballet, seen by "common sense" only as a form of closed dance - on the contrary, emphasize it as an ethnic dance, linked to the society in which it arose.
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As bandas de música na construção de saberes de formação e a atuação de um professor de música em Santarém-PA
(Universidade Federal do Pará, 2015-06-05) NINA, Leonice Maria Bentes; VIEIRA, Lia Braga; http://lattes.cnpq.br/8247703330856310
This research has the purpose to understand how a music teacher articulates their experiences in music band in Santarém-PA to the training degree in music in his performance in basic education. I opted for a qualitative approach, using the interview from the perspective of oral history. The survey results indicate diverse knowledge in dialogue throughout the professional development of teacher interviewed music, and the place that each occupies in its operations. Among these knowledge, there was the strong contribution of experiential knowledge, experienced in family, school, academic knowledge and tradition of knowledge. Through this study aims to contribute to the understanding of music teacher training process in the early twenty-first century, in Santarem, in order to support decision-making to increase the teaching of music in basic education school in Santarém -PA.
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Bandas e fanfarras escolares: processos de ensino na preparação para o festival de bandas e fanfarras de Santarém (PA)
(Universidade Federal do Pará, 2016-06-30) FONSECA, Eliane Cristina Nogueira Ferreira; VIEIRA, Lia Braga; http://lattes.cnpq.br/8247703330856310
This dissertation presents research on teaching processes in music bands that participated in the IX Band and Fanfares Festival of Santarém (PA) – 2015. The overall objective was to investigate the processes of teaching in school bands and fanfares in preparation for that Festival. The importance of this research is the need to investigate the musical education in Santarém, in the face of their cultural highlight in the local social life, especially school band in the context of basic education in preparation for the Band and Fanfares School Festival, as context generator of socio-cultural and educational practices that can help identify processes of teaching music teacher performance of this municipality. Interviews were administered in oral history with four instructors and / or conductors of three bands of three public schools in that locality. The interviews were transcribed, textualized and finally “transcriadas” in narratives. I attended the trials of these bands, as well as their performances in civic parades and Festival and made dense, detailed and extensive description of what I observed in the field. The information was interpreted analyzed from the habitus concepts and field. The survey results showed "principles", "methods" and "technical procedures" that seem to be the marks of a characteristic of the world pedagogy of school bands and fanfares of Santarém – at least those who investigated and participate in the parade and Festival and this They aim to achieve prominence. Are ways of feeling, thinking and acting as artistic and social reciprocally involved which I call "pedagogy of all" because it is no longer a strictly musical education, but artistic as well as management, which is taught and learn to do everything.
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Berimbau na Aruã capoeira de Belém do Pará: contexto, toques, cantigas, execução e transmissão
(Universidade Federal do Pará, 2013-06-14) BACCINO, Marcelo Pamplona; SANTOS, Silvério Amaral dos; VIEIRA, Lia Braga; http://lattes.cnpq.br/8247703330856310
This work consists of master's research, which aims understand the berimbau in a association of capoeiras in Belém do Pará, as the context, touches, songs, execution and transmission processes. This research focuses specifically on an understanding of the touches of capoeira in berimbau and its transcription. The research procedures comprised steps as research bibliography, phonography, filmography and iconography, covering studies in the field of ethnomusicology. Tools were used for data collection and field diaries and audio recordings and video. There was interview and its transcript applying procedures proposed by the Oral History. Tens of touches of capoeira at berimbau were recorded in audio and scores, are clarified some aspects of the literarymusical genres used by the group, and expressed important information about the history of capoeira of Pará. Information presented approaching are for capoeiras or noncapoeiras, of world of capoeira, offering you knowledge that will facilitate, especially his relationship with the music of capoeira.
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Clube musical 31 de Agosto: perfil de uma banda de música paraense a partir de seus contextos histórico, sociocultural e educacional
(Universidade Federal do Pará, 2017-12-15) PALHETA, Bruno Daniel Monteiro; VIEIRA, Lia Braga; http://lattes.cnpq.br/8247703330856310
The present research has as general objective to outline the profile of Band 31 of August from its historical, sociocultural and educational contexts. The methodological course has a qualitative, bibliographic, documentary and field character. Specifically the research is characterized as a case study, with emphasis on an ethnomethodological approach, and the use of ethnographic research techniques. It was also decided to conduct field research through data collection in semi-structured and open interviews. The research subjects were: students, teachers, teachers and members of the board of the searched band. The results of the research present the profile of a band from the city of Vigia as a type of institution of socio-cultural value that has been built historically besides playing an important educational role. It is hoped, through this study, to contribute to the construction of knowledge in the field of Art in interface with Musicology in the scope of studies on music in Pará.
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Contribuições das bandas de música para a formação do instrumentista de sopro que atua em Belém do Pará
(Universidade Federal do Pará, 2012) AMORIM, Herson Mendes; VIEIRA, Lia Braga; http://lattes.cnpq.br/8247703330856310
This work consists of a research, through which I intent to analyse the influence of the music bands in the professional formation of wind instrument players that are active musicians in the city of Belém do Pará. Music bands are abundant in the State of Pará, Brazil, and especially in Belém, there is a great number of wind instrument players that come from these musical organisms. They are present in military institutions, schools, bands, and others. Wind instrument musicians are the majority in bands, and also the focus of this research, that has as a main objective to analyse what are the influences of these music groups to wind musicians, and which are the effects on the formation and throughout the career of these musicians, analyzing as well the social and historical context in which they are inserted. A brief historical and social profile of music bands, especially in Belém, is traced, in order to understand better the profile of musicians that had their origin in bands, and that nowadays have a musical career, or that are still acting in them. The investigation was realized through bibliographical research, questionnaire application and interviews. The research results should contribute to the studies about music bands as a space of professionalization.
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Cotidiano no ensino da música na educação básica: uma revisão do tema em artigos da revista da associação brasileira de educação musical − 1992 a 2014
(Universidade Federal do Pará, 2015-06-09) ALMEIDA, Shirlene Pereira; VIEIRA, Lia Braga; http://lattes.cnpq.br/8247703330856310
ABEM's magazine is a publication of unprecedented articles in musical education, resulting from theoretical researches and critical reflections on pedagogical experiences. Among the topics researched, we can find the everyday music. In this research, I had as general objective to investigate how the students’ extracurricular everyday music has been discussed in articles on musical education in basic education in ABEM’s magazine during the period from 1992 to 2014, as well as the underlying relations with pedagogical trends of school education. It was carried out bibliographical research with the following steps: collection of articles from the ABEM Magazine on students' extracurricular everyday music education in the school of basic education, held on the site of the entity; recognition reading; exploratory reading; reflective reading; and interpretive reading (LIMA & MIOTO, 2007) of the collected articles aiming the selection, critical analysis and cataloguing the articles. The works we found were analyzed in the light of the theoretical foundation of this research, around the themes: quotidian and pedagogical education trends. The research results indicate that in the period from 1992 to 2014 ABEM's magazine has published 25 articles that deal with students' extracurricular everyday music education in the school of basic education. Among other aspects, the articles bring reflections and underlying modes of working the quotidian in music class. Consider the students’ musical experiences of their everyday life in order to be inserted in Basic education. It is not only about listening to their favorite music. The authors conducted their research seeking to understand the musical universe of students and how their informal educational processes occurred. They presented in their discussions the importance of contributing to the expansion of this universe of listening without imposing the classical repertory in superior quality or redeemer towards social integration to a standard established, but in the form of challenge to music educators to create strategies for the production of knowledge through the exercise of exchanging information as a mediator between the knowledge and the student in a horizontal relationship without labelling the repertoire familiar to the students. The pedagogical trends that predominate in the texts underlying manner are those that advocate the consideration of student’s culture, the horizontal relationship between teacher and student, the valuation of the students’ everyday experiences and cognitive development and critical thinking. These premises are in the progressist liberating trend, liberal and libertarian New School critical-historical also known as social critic of the contents.
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Ensino de teoria musical em um conservatório: estudo e análise
(Universidade Federal do Pará, 2014-06-25) MACEDO, Nayane Nazaré Silva de; VIEIRA, Lia Braga; http://lattes.cnpq.br/8247703330856310
In this research, located in Music sub-area, educational aspects are addressed, specifically in Musical Education Scope, the axis of the Interface in Art, Culture and Society. It was developed with the goal of understanding the Musical theory teaching from the curriculum, which was developed in a conservatory of music, in Belém-PA. It is based on pedagogical and sociological assumptions in order to analyze the current musical grammar teaching, in the first grades of music course. This review was grounded by works about musical education, availing of authors as: Penna (1990; 1995; 2012), Fonterrada (2008), Swanwick (1994, 2003), Souza (1996; 2000; 2004) and Jardim (2002); authors about the pedagogical trends: Oliveira (2006), Libâneo (2003) and Saviani (1985); from the curriculum area: Apple (1979) and Lewy (1979); about oral history: Le Goff (2003) and Meihy (2011); and analyzes were made for sociology based on Bourdieu (1989, 2007), Pereira (2012) and Vieira (2001). The methodology involved document analysis, appliance of interviews and questionnaire. The issues raised are related to: pieces of information about the introductions to classical musical teaching in Belém-PA until the creation of the conservatory analysis and the way how the teaching of the subject, whose contents require mastery of musical reading and writing, has been developed; musical theory from the current PPP of the investigated institution; and the teachers' and students' opinions from the local conservatory about this subject education. The research results contribute for understanding of pedagogical thinking which guides the selection of contents, as well as allowing the analysis of its weaknesses and contribution for students' education of a music conservatory from Pará. Thus, from the understanding of this reality, the mentioned conservatory should be perceived as a research field, whose practices must be studied, discussed and questioned, aiming at contributions to its transformation.
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Uma experiência de ensino coletivo de violino no Projeto Vale Música em Belém do Pará
(Universidade Federal do Pará, 2011-02-24) BATISTA, Antonio de Pádua Araújo; VIEIRA, Lia Braga; http://lattes.cnpq.br/8247703330856310
The methodology of collective teaching of musical instruments has gained a significant place within the context of Music Education in Brazil. In state of Para this practice has since the late 1970s, with the Spiral Project implementation at the State Institute Carlos Gomes. Currently, these initiatives have occurred more often through institutions of the third civil society sector, such as foundations, within their highlight the Foundation of Music Amazon and Vale Foundation, responsible for the implementation of the Project Vale Music, object of this research that purpose investigate how is developed to the collective teaching of violin at PVM / PA. This teaching, developed in various steps, has been creating opportunity for its members to acquisition various abilities, within their highlight the instrumental performance in the newly formed Youth Orchestra Vale Music (YOVM), which made her recital debut in December 2009. The project serves a student composed for children from low income families, which integrate the public schools of Greater Belem. The musical level has achieved by students this project for six years of existence was the main motivating aspect this research. To understand the aspects that have contributed to the achievement of this level of musicianship within the project, seek to identify the socio and cultural agents involved in the process collective teaching the violin - students, teachers, parents and / or guardians -, also identify other aspects as objectives, contents and activities, repertoire, methods, physical space and the time used in the project. This research used the descriptive method, with the support literature research, interviews and document analysis. The expected result is an understanding of what is Project Vale Music, developed in the State of Para, and the model used in the development of collective teaching violin in it.
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Memórias de professores de artes/música: concepções, objetivos e “estratégias” na educação musical em escolas estaduais de educação básica em Belém – PA
(Universidade Federal do Pará, 2017-06-23) FAÇANHA, Tainá Maria Magalhães; VIEIRA, Lia Braga; http://lattes.cnpq.br/8247703330856310
This work consists of a research based on Oral History, which proposed as main objective to understand the meaning of music education in basic education schools in Belém do Pará, from Memories of Music Teachers. Specifically, it was analyzed the conceptions of teachers of Art / Music in these schools, the goals established by these teachers for music education in basic education and the "strategies" they developed for teaching music in basic education. It was also related and analyzed how the conceptions, "strategies" and objectives chosen by the Art / Music teacher direct the teaching of music education in primary education schools. Through oral history it was possible to understand the pedagogical-musical choices of art teachers in the teaching of music, through the investigation of their memories, especially regarding their formations arising from life experiences, institutional experiences and teaching practices. I understand that they are the basis of their practices as teachers. For the development of the research, 29 schools were visited, in order to identify how many art teachers licensed in music work in these schools. Two teachers were interviewed: a licensed music teacher who has worked in the public school for more than 20 years and a licensed music teacher who has worked in the public school system for more than 10 years. These interviews were transcribed, textualized and transcribed, resulting in two narratives, which were later interpreted and analyzed from a transdisciplinary view that enabled a dialogue with the concept of memory, in the light of authors of History, Sociology, Anthropology and Philosophy; And of education. It can be concluded that the main points of this research was that school music education is not only tracked by one path, perhaps not by many, but by teachers who, through obstacles, construct school music education on a daily basis. His life experiences and institutional formation are shown as pillars of his work as professionals, resignifying teaching practices and conceptions of life. In addition, the dialogue between school management and teachers becomes essential for effective teaching of music at school.
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Ouvir e fazer música com compreensão: diagnóstico do desenvolvimento da percepção musical de licenciandos em música e indicações de softwares para superação de dificuldades
(Universidade Federal do Pará, 2013-06-17) RODRIGUES, Pamella Castro; HENDERSON FILHO, José Ruy; http://lattes.cnpq.br/1843981362271021; VIEIRA, Lia Braga; http://lattes.cnpq.br/8247703330856310
This research in the area of music education was written under the theme “The development of music perception”. The guiding question of this investigation is “How the development of music perception is presented in teachers under graduation?” The objective was to diagnose the development of music perception in students of music. This research is justified through the contribution to the development of music comprehension in the future of music teachers’ graduation. Therefore the theory of Edwin Gordon (2000) which supports the “Audition and music learning theory” was adopted. The research was developed through the case study of the subject “Perception and analysis I” (Percepção e Análise I) in the first semester of 2012 at the Faculty of Music in the University of Pará, involving the students and the teacher. The pieces of information collected from the observation, registered in records of classes and interviews showed interest, learning, necessities and difficulties which ended up in the indication of software for the development of the music perception.
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Paulino Chaves: relações entre a sua produção composicional e o entorno musical de Belém
(Universidade Federal do Pará, 2012-01-19) FURTADO, José Renato Medeiros; COSTA, Valério Fiel da; http://lattes.cnpq.br/5177466124567380; VIEIRA, Lia Braga; http://lattes.cnpq.br/8247703330856310
Paulino Lins de Vasconcelos Chaves(1883-1948) left Belém to study in Germany and on his return to the state’s capital held various musical activities before leaving for Rio de Janeiro, where he served until the end of life as teatcher of Piano at the Instituto Nacional de Música. The research’s problem this is to understand both the specifics of your music production and the production’s dialogue with the context of Belém. The overall objective is to investigate the compositional relationships between the production of Paulino Chaves and its surrounding historical, social and musical in Belém in the late nineteenth and early twentieth century. It was intended also to reflect on the formation and performance of the musical composer, to analyze its production by period and style, especially after his return from Germany, relating to historical, social and culturally in Belém at the time Paulino Chaves served in the city; and perform comparative analysis relating the musical compositional procedures employed by Paulino Chaves and aspects of European musical tradition of the time. For this, the research has three data collection tools, which are: (1) documentary survey about the composer and his cultural environment, (2) analysis of documents relating to the impact of the composer's works at the time, (3) musical analysis seeking to observe the compositional procedures from training in Germany, used by Paulino Chaves. The work counts as a theoretical and methodological analysis presented in the musical works of Charles Rosen (1987, 2000), Schoenberg (1996), Carvalho (2002) and Noda (2009); (2) the aesthetic and socio-cultural approach in Norbert Elias (1995) and Starobinski (2001) Enrico Fubini (2008) and Jorge Coli (2005); (3) the biographical-musical perspective about Paulino Chaves, in Salles (1970, 1980, 1983, 1985, 1995, 2005, 2007) and Tourinho (2010); and (4) the historical range (social and musical/ artistic) national (Brazil) and local (Belém - PA), in Daou (2004), Dudeque (2005), Sarges (2000), Vermes (2004, 2007), Vieira (2001), Volpe (1995), Figueiredo (2001), among others.
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Potencialidades formativas da música: desafios e perspectivas da educação musical no Ensino Fundamental II. Breves (PA), 2013 - 2014
(Universidade Federal do Pará, 2014-06-27) COUTO, Jeová de Jesus; VIEIRA, Lia Braga; http://lattes.cnpq.br/8247703330856310
This research deals with the teaching of music in the primary education system. Aims to investigate the challenges and prospects of development of training potential of music in music education, specifically in the reality of II elementary education in the public schools of the municipality of Breves (PA). To this end, we adopted the methodological procedures: 1. Bibliographic review of the literature, documentary analysis 2 and 3 interview with Art teachers and monitors projects involving music education in public elementary schools in the municipality of Breves II.. (PA). The dissertation is organized into three chapters. 1. Literature review, which presents training potential of music from authors of pedagogy and psychology of music, 2 challenges to music education formative nature in a specific educational reality in which bans the effective teaching of music are identified in the course Art and music projects in elementary education from public schools in II and Brief 3. prospects for this teaching from the challenges encountered. As a result, we obtain an assessment of the local situation which presented mainly challenges with respect to spaces, materials and training of teachers, which allowed us to see deeper into the local reality and reflect on possibilities to overcome these prohibitions.
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O violão solo em Belém do Pará: uma história a partir da sistematização do ensino no instituto estadual Carlos Gomes
(Universidade Federal do Pará, 2015-06-26) CANO, José Antonio Salazar; MOLINA JUNIOR, Sidney José; http://lattes.cnpq.br/9380005316453461; VIEIRA, Lia Braga; http://lattes.cnpq.br/8247703330856310
The present research has as object the systematization of the teaching of the guitar in Belém, Pará, emphasizing its function as a solo instrument. In Pará, the guitar has been introduced by Portuguese colonizers, and there is little information on when, how and why its teaching was systematized, hence the need for this study. The overall objective was to investigate how the systematization of solo guitar education was brought about in the state capital of Pará. The specific objectives aimed to: present a brief background on the systematization of the teaching of solo guitar in Belém, analyze how the guitar was introduced and how it has been developed, in this city, throughout different generations, and reflect over the legacy of this systematization process for the local community regarding the practices of solo guitar and the contribution of its main collaborators (composers, interpreters and educators) for the current scenario of the teaching of this instrument in Belém, Pará. The methodology consisted in bibliographical study, analysis of documents and interviews in the domain of oral history. The results of the research indicate that the guitar has had the systematization process of its teaching developed with an effective participation in the construction of the history of local music, being influenced by, as well as influencing over, artistic practices in Belém, Pará, where it breaks prejudice barriers and stands out as an influent instrument of versatile execution in several genres of classical and popular music and social circles of this city.