Teses em Artes (Doutorado) - PPGARTES/ICA

URI Permanente para esta coleçãohttps://repositorio.ufpa.br/handle/2011/11380

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Agora exibindo 1 - 17 de 17

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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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Caminho Sonoro: O corpo em escuta performativa
(Universidade Federal do Pará, 2024-12-01) AMÉRICO, Waléria.; MANESCHY, Orlando Franco; http://lattes.cnpq.br/6198572031091761; https://orcid.org/0000-0001-8917-1348
The Sound Path deals with the relationship between body and landscape, using displacement as a space for artistic creation. The body in front of the river-forest horizon aimed to develop sonorities over the duration of the path. Procedures of listening to the soundscape, drawing scores and collaborating with people and natural beings make up the performances or sound transmissions. The reflection starts with the writing of experimental between places and the practice of listening to the soundscape in the north of Brazil, in the capital Belém, located in the state of Pará. The experience of the body in the Amazonian territory blossomed into art actions in resonance with the Samaúma tree species.
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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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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.
Acesso aberto (Open Access)
Diálogos Atemporais de Música e Imagem: Ressignificando a obra de Clemente Ferreira Júnior (1864-1917)
(Universidade Federal do Pará, 2023-01-26) VENTURIERI, Leonardo Vieira; COHEN, Líliam Cristina Barros; http://lattes.cnpq.br/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).
Acesso aberto (Open Access)
Ecologia de um Sukiya Sonoro: discurso poético polifônico na música tradicional japonesa.
(Universidade Federal do Pará, 2021-06-29) CANTO, Ednésio Teixeira Pimentel; COHEN, Líliam Cristina Barros; http://lattes.cnpq.br/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.
Acesso aberto (Open Access)
EDEUCAÇÃO MUSICAL PARA CRIANÇAS COM AUTISMO: compondo caminhos à prática docente em Castanhal-PA
(Universidade Federal do Pará, 2022-02-14) ZIMMER, Paulyane Nascimento; FREITAS JÚNIOR, Áureo Déo de; http://lattes.cnpq.br/9902320223569217
The quality of music education in the early grades and the challenges of inclusion reveal the importance of providing training opportunities. This study aimed to build a training proposal for Music teachers to teach students with Autism Spectrum Disorder (ASD) in Early (Childhood Education and, to this end: (a) to format a training proposal for Music teachers with a focus on Teaching Music for children with ASD in Eariy Childhood Education; (b) apply training for musie teachers working in Castanhal/PA; and, (c) evaluate its impact on the course participants' practice during the rescarch. This is an experimental study with a Technical-scientific basis, cross-sectional and with a theoretical-practical focus, within the methodological parameters of action rescarch. The sample obtained by the non-parametric sampling technique includes 3 teacher trainers and 13 course participants, Five modules were formatied (Autism Spectrum Disorder and human development in childhood; MUSICAL EDUCATION AND AUTISM: materials and techniques for teaching music and inclusion; Edwin Gordon's Music Leaming Theory applied to Autism; MUSICAL EDUCATION AND INCLUSION: Planning and cvaluation; and, Superviscd Practice in Teaching Music to Chiláren with ASD). À website and six protocols were developed for data collection: Socio- demographic questionnaire and survey of the students knowledge; Structural assessment of the MusiTEA training modules; Questionnaire for validation of the MusiTEA website; Form for evaluating and adjustment of the MusiTEA training modutes; Lesson plan evaluation sheet (Supervised Practice); and, Supervised Practice Assessment Sheet (MusiTEA) - Recorded MLT Activity. The modules, protocols and website were validated by pairs of independent judges until obtaining a minimum of 80% agreement. The collected data on the use of exploratory analysis, descriptive analysis, as well as the Wilcoxon Test with null and attemative hypothes: HO-0.5 and 0.5 and 0.5 and 0.5, a = 0 05 (adopted 5%) and significance level of 95%. The Excel program was used for descriptive statistics, creation of tables, graphs and data cleaning, The good performance of the course participants was observed between the application of modules 1 and 2 (T * = 46.5 > Títabled) = S, rejects HO). However, there were mo improvements between modules | and 3 (T * = 17.5 > T(tabled) = 0, does not reject HO); registering a “fall” between the application of modules 2 and 3 (T * = 10 > Títable) = 2, does mot reject HO). In comparison with modules 1 and 4, the latter showed better performance (T * = 37 > Títabled) = 8, rejects HO). The performance oscillations support that HO should not be rejected in favor of HI, and it cannot be said that the course improved the course participants' performance, although the descriptive data reveal the substantial scope of the training. The retum of participants to teach classes in a hybrid format during the occurrence of module 3 proved to be one of the impacts of the Pandemic scenario. It s suggested to replicate the study 'with a larger n and review the modules.
Acesso aberto (Open Access)
Educação Musical e Autismo : Análise da Educação Musical como recurso de inclusão social presente no programa Violino em Grupo em Belém do Pará
(Universidade Federal do Pará, 2021-09-03) BATISTA, Antônio de Pádua Araújo; FREITAS JÚNIOR, Áureo Déo de; http://lattes.cnpq.br/9902320223569217
Working with music education in an inclusive perspective means making commitments to people, their families and the society in which they live, where making music becomes a social act, whose action can influence and provoke transformations. The “inclusion” theme has occupied a privileged place of debate on the agenda of major national and international conferences, with regard to the democratization of access for people with disabilities (PCDs) to education, leading to the creation of laws aimed at their specificities. With this, strengthened by the demands and pressures of various social groups that defend the recognition of this equality of access, important legal documents have been prepared, the Declaration of the Rights of Persons with Disabilities (1975), the World Action Program for Persons with Disabilities ( 1982), the Declaration of Cartagena (1992), the Declaration of Salamanca (1994), the Charter for the Third Millennium (1999), Law No. 12764 (2012), which determines that people with Autistic Spectrum Disorder (ASD) are considered people with disabilities, the Diagnostic and Statistical Manual of Mental Disorders - DSM-5 (2014) and Law No. 13,146 (2015), which institutes Social Inclusion and Citizenship of Persons with Disabilities (Statute of Persons with Disabilities). This study is justified by addressing a recurrent theme at national and international level, as the access of students with ASD to educational spaces is evident as an undeniable right, whether in regular education institutions, arts education or in the sporting environment, in character formal or informal. The study aimed to investigate Music Education, as a resource for social inclusion of children with ASD, present in the program "Violin in Group: interdisciplinarity and language innovation in children with Autistic Spectrum Disorder", developed in the Graduate Program in Arts of UFPA – PPGARTES. Its deployment takes place in three specific objectives: 1) Describe, based on previous works, audiovisual recordings and reports, the pedagogical actions, strategies and teaching resources applied in the Violin Group Extension Program laboratory; 2) Verify the musical learning of students with Autistic Spectrum Disorder (ASD), program participants, based on the collected data and, 3) Analyze the contributions of Music Education, as a resource for the social inclusion of children with ASD, through the Violin Group Program. To carry out this study, a bibliographic research was carried out, through a review of national and international literature, with a Quantitative approach and a Quasi-Experimental design, having as source the data collected through audiovisual and photographic records, reports, interviews and production academic, originated from the pedagogical practices developed in the program. The research revealed that students with ASD, when placed in a common teaching environment, can learn to play a musical instrument at a level similar to typical Neuro. It also revealed that the Music Education proposed by the Program fulfilled its role of social inclusion for PCD's students. It is expected that, through the registration of pedagogical resources and teaching material collected through this research, it will add to the professionals and institutions that promote Inclusive Music Education.
Acesso aberto (Open Access)
O Ensino de música nas escolas públicas do município de Soure : um estudo de caso do Instituto Stella Maris
(Universidade Federal do Pará, 2023-04-28) CONCEIÇÃO, Juliano Cássio da Silva; COHEN, Líliam Cristina Barros; http://lattes.cnpq.br/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.
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)
Formação continuada de professores de música : Uma proposta de ensino-aprendizagem por intermédio da pesquisa e prática docente
(Universidade Federal do Pará, 2023-03-15) COSTA, Lucian José de Souza Costa e; FREITAS JÚNIOR, Áureo Déo de; http://lattes.cnpq.br/9902320223569217
This doctoral research, developed in the Graduate Program in Arts at the Federal University of Pará, presents the continuing education of Arts/Music teachers with great relevance in contemporary reality, especially in Virtual Learning Environments (VLE) with reflections on Continuing Education training for Arts/Music teachers, which specifically includes professionals from the municipal network of Belém do Pará through the Municipal Secretariat of Education and Culture (SEMEC). The first motivations for proposing this research find shelter in the performance of the teacher researcher in a public school in the state of Pará, which reflects his trajectory in the area of music. Since 2012, when he entered the university, the trajectory of the teacher-researcher in the field of music has been going through paths of initial training and later the “continued” training of Arts/Music teachers at a professional and academic level. Therefore, the researcher aims to investigate the continuing education of Arts/Music teachers in basic education in the city of Belém based on the improvement of contents and the elaboration of methodological strategies for the area of music, based on the profile of professionals and the reality of schools in which they work. This objective unfolds specifically in two, namely: (a) Compare, together with education professionals, didactic-pedagogical alternatives for music teaching, considering the training profile and the reality of the educational context in which they work; (b) Apply theoretical-practical training in the use of virtual tools for teaching music in basic education schools in the municipality of Belém. To achieve the objectives, Bibliographic Research and Experimental Research were adopted. From this context on continuing education of Arts/Music teachers, this research brings dialogues between the main authors: IMBERNÓN (2010), SAVIANI (2009), NÓVOA (1991), TANURI (2000), FUSARI (1994), COSTA (2019), COSTA; DEFREITAS JÚNIOR (2020), JARDIM (2019), LIMA (2019), PENNA (2007), among others. The research sample consisted of 15 participating Arts/Music teachers from the municipal network, being carried out in the city of Belém from May to June 2022. The study was based on an exploratory analysis, where the significance level was α = 0 .05 and the 95% confidence interval. The sample was obtained by non-parametric sampling, where the Wilcoxon test was used. In general, it is noted, in the responses, that before the course, 31.25% of the participants evaluated that they Totally agree that the FOCO course in Music provides an environment of continuing education, even in the teaching of EaD, after the course this percentage increased for 75%, demonstrating even more that the course had a positive impact so that participants consider it even more important that the FOCO course in Music provides an environment of continuing education, even in distance learning. The results achieved in the FOCO Course in Music reveal the learning potential that each participant acquired, allowing changes and dialogues in their exercise as an Arts/Music teacher.
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)
MOVE: um facilitador da pesquisa em música para estudantes com privações sensoriais, intelectuais e motoras
(Universidade Federal do Pará, 2020-06-22) RODRIGUES, Jessika Castro; FREITAS JÚNIOR, Áureo Déo de; http://lattes.cnpq.br/9902320223569217
Contemporaneity indicates the need to promote innovative and relevant technological support to improve conditions of autonomy and independence of students with sensory, intellectual and motor deprivations. Therefore, the researcher aims to investigate how assistive technology can facilitate the research process of music students with sensory, intellectual and motor deprivations. This objective unfolds specifically in two, which are: a) Create a prototype as a strategic visualization tool of the research movement to assist music students with sensory, intellectual and motor deprivations in the development of a research project; b) Test and evaluate the strategic visualization technology of the research movement to assist music students with sensory, intellectual and motor deprivations in the development of research project. In order to achieve the proposed objectives, the Bibliographical Research and the Experimental Research were adopted. The Experimental are the procedures for the creation, testing and evaluations of the prototype device. A pilot project was carried out - with students of the Specialization Course in High School of Music of the Federal University of Pará, as well as there was an intervention with undergraduate students in Full Degree in Music at the State University of Pará and the Federal University of Pará. The participants were students with sensory, intellectual and/or motor deprivation and without deprivation. The application of the Tests focused on the use of the strategic visualization tool of the MOVE research movement for the construction of the research project by the participants. The tests took place in six meetings and the evaluation proceeded in two ways: (a) the first was by the participating students who answered a questionnaire using the 10-point likert scale, presenting three justifications and suggestions to evaluate the functionality of the device; (b) and the second was the evaluation of peer-reviewed research projects by independent judges who followed the scale for evaluation of academic projects, notably on the scale from 0 to 10 for each item evaluated. The collected data were quantitatively analyzed, and their representations were expressed by tables and graphs, which were compared with documentary analysis and served as visual support to project the results and raise reflections and contributions. In general, it can be seen from the answers that more than 85% of the participants totally agree with the music research facilitator for students with sensory, intellectual and/or motor deprivations. The study revealed the fundamental importance of the multidisciplinary team to obtain efficient results. It was observed that the facilitation promoted by the MOVE tool was usually related to the difficulty presented in the profile of each student. The research confirmed that the MOVE tool does not exclude the need for a counselor, but offers autonomy and independence for the student to organize their ideas in order to maintain coherence and not escape the theme.
Acesso aberto (Open Access)
ONDE ESTÁ AQUELE POVO BARULHENTO? Uma etnografia musical para compreender os corinhos pentecostais da Assembleia de Deus em Maracanã-PA.
(Universidade Federal do Pará, 2024-01-31) LUZ, Jefferson Aloysio de Melo; COHEN, Líliam Cristina Barros; http://lattes.cnpq.br/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.
Acesso aberto (Open Access)
Políticas públicas educacionais para o ensino de música na educação básica: Múltiplas vozes sobre o ensino de música na rede municipal de educação de Belém do Pará.
(Universidade Federal do Pará, 2025-06-16) SILVA, Társilla Castro Rodrigues da; SILVA, Jessika Rodrigues da; http://lattes.cnpq.br/7731127373088878; FREITAS JÚNIOR, Áureo Déo de; http://lattes.cnpq.br/9902320223569217
Public educational policies, responsible for ensuring that more people have access to education and promoting measures to correct social distortions, can ensure quality education in a country with continental dimensions, but this is no easy task. Music teaching in regular public schools has been on a path of discovery in the face of new realities that arise in the ongoing educational scenario. In view of the above, there is still an effervescence of thoughts about how to tread a “new” path of music education, what directions are being taken in music education at school and how we, researchers, intend to contribute to the direction of this teaching. The thesis defended is that there are multiple interpretations about the teaching of music in school, which affect the practice and hinder possibilities of public policies to make the rights to music teaching a reality, specifically in Belém do Pará. Therefore, the general objective of this research is to analyze the insertion of music in the public schools of the municipal education network in Belém do Pará, from the conceptions of the multiple voices, agents of music teaching. The theoretical framework used to support the discussions in this research covered: a) The analysis of educational policies in the light of the Policy Cycle Approach of Bowe et al. (1992) and Ball (1994) proposed by Mainardes (2006); and b) The educational policies of current Brazilian legislation on music teaching in basic education schools. This is an exploratory study with a quantitative-qualitative approach, using a case study research procedure. As for the place of performance, it was a field research in which data was collected and documentary analysis, semi-structured interview and questionnaire. As a data analysis technique, content analysis and Exploratory Data Analysis statistics, also known as Basic Descriptive, were applied. The results addressed the conceptions of the Municipal Department of Education, NACE and the Art Teachers of the Belém Municipal Education Network, which were analyzed together with the cycle of educational policies. The analysis of music teaching in Belém do Pará's public schools revealed both advances and challenges. SEMEC's Curriculum Guidelines seek to qualify and diversify music education, with effective teachers from the network and musical projects in the after-hours, in addition to workshops with traditional teachers. However, the lack of adequate infrastructure, material resources and more teachers, limit the full implementation of the subject. The creation of the Municipal School of Arts of Belém (EMAB) faces political difficulties, and many teachers act in a multipurpose way, which goes against the curricular guidelines. Therefore, it is considered that the lack of institutional appreciation and the discontinuity of public policies hinder the consolidation of music teaching in schools. The research suggests that to overcome these challenges, it is necessary to ensure robust initial and continuing training, value local cultural traditions, and adapt the curriculum to the regional context. The teaching of music must be treated as an essential tool for the critical and cultural development of students, besides the urgency of regularizing public exams and promoting more consistent public educational policies.
Acesso aberto (Open Access)
Sons, textos e visualidades: arte e ativismo político na história de artistas ligados ao cenário do Rock paraense
(Universidade Federal do Pará, 2019-10-10) SILVA, Jaddson Luiz Sousa; SOUZA, José Afonso Medeiros; http://lattes.cnpq.br/6045766440369156; SILVA, Joel Cardoso da; http://lattes.cnpq.br/6918547599708778
In the present work, the rock scene in Belém do Pará is approached from its social, cultural, artistic and economic characteristics, in order to investigate how three Pará artists were formed culturally, politically and artistically by it, as well as to also understand how these artists made this scenario, from their experiences, the stage of their artistic performances. The artists are: Alexandre Washington, Cosme Luiz and Marcos Moraes. The first artist, who also attends the pseudonym Joker Indian, developed a strong connection between his participation in the Anarco Punk Movement and his production in the areas of poetry, fanzines, performance and video poem. The second artist, in turn, acted as a singer and songwriter for a punk rock and hardcore band called Sem Deus Nem Pátria, and also worked with street theater, puppet theater and performance. Regarding the artist Marcos Moraes, it is noteworthy that he also acted as a musician and composer in many rock bands in Belém, besides having a fruitful trajectory in the production of zines, thus working with the Anarchist Movement, the Movement Anarco Punk and his inclination to the field of arts. Thus, current research develops an interdisciplinary analysis in the field of art history, articulating the history, anthropology and philosophy of art in order to trace the contribution of these artists to the social history of art in Belém do Pará. Historiographic sources, the basis for these reflections were: oral accounts, the fanzines and pamphlets made mainly by the artists studied here, as well as the productions of these artists, from writing poems to video performances. In this sense, the sources were understood as a monument document and served as the basis for the historical reflections presented here. Already as the main basis for the theoretical reflections, the social history of art and the relationship between history and biography gave important contributions to the understanding of the strong connection between art and life in the development of an art historiography that extended beyond the established artistic canons. by the elitist academies and circuits of art
Acesso aberto (Open Access)
Uirapurus Paraenses: O legado histórico e a prática artístico-musical dos cantores líricos paraenses Helena Nobre (1888-1965) e Ulysses Nobre (1887-1953)
(Universidade Federal do Pará, 2023-06-16) MAIA, Gilda Helena Gomes; COHEN, Líliam Cristina Barros; http://lattes.cnpq.br/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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