Navegando por Assunto "Etnomusicologia"

Agora exibindo 1 - 14 de 14

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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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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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Uma cena musical neotribal nas noites belenenses: traços multifacetados do mercado artístico
(Universidade Federal do Pará, 2018-06-27) SAGICA, Frank de Lima; CHADA, Sonia Maria Moraes; http://lattes.cnpq.br/1004865944722134
This ethnographic research proposes the new concept - neotribal music scene, used as analysis system to treat a musical scene in Belém/PA hitherto investigated in academia. This scene is composed of a superposition of various musical genres that includes multiple spaces of interaction and collective experience where groups experience different types and forms of sociability and intersubjective peculiarities in a given cultural context. For understanding the formation and path of this scene, the three artists from Pará focused ethnographic clipping - Roosevelt Bala, lead singer of the band Zona Rural; Markinho Duran, solo artist and Bruno Rodriguez, lead singer of the band Reggaetown, being the rock, pop and reggae their respective musical genres. The investigation covers the intersection of theorized under the marketing bias with the production in the musical field. Three were locals selected for field research: Mormaço Bar and Art, Old School Rock Bar and Templarios Bar and restaurant. Investigate how articulates the artistic practice with the dynamics of Pará's capital night market, under an ethnomusicological perspective, is the main goal of this research. The study touches points of confluence between the processes of production, circulation and consumption of music, guided by the analysis of the aspects of social life and cultural analysis of the music, he was determined to reach, at the end of this process, a form of appreciation and recognition of the quality of local music production and cultural diversity of our State and, consequently, bringing not only contributions to the field of ethnomusicology, as well as the artistic medium.
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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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Era tão bonito... conflitos de sensibilidade musical e o desaparecimento de um Cordão de Pássaro
(Universidade Federal do Pará, 2011-03-02) LUZ, Jefferson Aloysio de Melo; BARROS, Líliam Cristina da Silva; http://lattes.cnpq.br/0286644614789784
This work aims the investigation and the discussion of the conflict of musical sensibilities among different generations of residents of communities that lie between the 21 and the 23 kilometers of the PA136 road, near the municipality of Terra Alta, Pará, Brazil, as an important factor in the non-ressurection process of Cordão de Azulão. This is an ethnomusicological work of ethnographic character, in which the theme is developed from the discourses of these residents about a Cordão de Pássaro called Cordão do Azulão that used to happen in those neighborhoods, and that have disappeared forty years ago. The nature of the musical sensibility is discussed mainly from the writings of John Blacking, while the musical ethnography work is based on what Clifford Geertz calls a Dense Ethnography. The study reveals that the social, economic, religious, political, and environmental changes that occurred in the surveyed communities had directly affected its residents lifestyle, which favors that the traditional cultural values, that grant sense to musical expressions like the Cordão do Azulão, to cease to be apprehended by the new generation of residents, making this Cordão to exist only in the memory of the oldest.
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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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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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Minha viola é de buriti: uma etnomusicologia aplicada-participativa-engajada sobre a musicalidade no quilombo Mumbuca, no Jalapão (TO)
(Universidade Federal do Pará, 2019-06-25) BONILLA, Marcus Facchin; CHADA, Sonia Maria Moraes; http://lattes.cnpq.br/1004865944722134
Acesso aberto (Open Access)
A música nos rituais de cura do Santo Daime
(Universidade Federal do Pará, 2012-02-29) FERRO, Kelem Carla Alves; CHADA, Sonia Maria Moraes; http://lattes.cnpq.br/1004865944722134
This paper describes and analyzes the music practical in the rituals of cure of the Santo Daime pointing the relevance of these rituals while practical religious in this context. The ceremonies carried through in the church Céu da Mãe Divina, located in km 6 of the road of the Taiassuí, city of Benevides, area metropolitan of Belém of Pará, serve of reflection and analysis for this research. In the cure rituals, musical and religious relation, the religious thought if shows capable to determine the stages of the musical conception since the reception, transmission until the execution of the book of hymns. The diverse aspects of the music practical, that if presents in the form of knowledge and religious bedding, are analyzed here to the light of the ethnomusicology.
Acesso aberto (Open Access)
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 peixe vivo na Amazônia: um mundo-açu nas canções da Banda Cravo Carbono
(Universidade Federal do Pará, 2011-02-24) MONTEIRO, Keila Michelle Silva; MARTINS, Benedita Afonso; http://lattes.cnpq.br/6379814397024971
This research focuses on the urban music band Cravo Carbono that played in Belém, Pará in late 1990 and early 2000 with emphasis on the album Peixe Vivo, released in 2001. This album features on its compositions various literary features and musical genres that articulate into a hybrid and unique musical product. The research basically contextualizes the band socially and culturally to study its product, which literary and musical elements are endowed with "traditional", "modern", "local", "global" that dialogue together. The objective of this research is, from this background, to reveal some elements of multiculturalism, especially in the poetic text and the music on some tracks of the album Peixe Vivo. Issues such as the various identities that cause doubts in the current society and the multiculturalism, typical in the process of cultural hybridization that is presented in the Amazon, are treated under an ethnomusicological look.
Acesso aberto (Open Access)
Sapurahái de Karuára: mitos, instrumentos musicais e canto entre os Suruí Aikewára
(Universidade Federal do Pará, 2007-09-24) SILVA, Gilmar Matta da; MASTOP-LIMA, Luiza de Nazaré; http://lattes.cnpq.br/1067737666679586; BELTRÃO, Jane Felipe; http://lattes.cnpq.br/6647582671406048
The traditional knowledge are connected through processes of learning based on the interaction between the human groups and the environment, involving experimentation, speculation and experience of its members that systemize a set of practical conceptions and in relation of intergenerational. The study was developed between the Suruí Aikewára, in the State of Pará, it approaches the constitution of these relative practical knowledge and song connecting to the myths and the processes of construction of the musical instruments, form the starting point of entrance for the agreement of the indigenous cultural universe, defendants in the dance of Sapurahái and the rite Karuára.
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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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Os Tupinambá no Brasil colonial: aspectos da transmissão musical
(Universidade Federal do Pará, 2016-06-22) OLIVEIRA, Rafael Severiano de; BARROS, Líliam Cristina da Silva; http://lattes.cnpq.br/0286644614789784
Ethnomusicology study on which I was searching for understanding, from the historical reports, on the aspects of musical transmission of Tupinambá society on colonial Brazil. Studies about this society demonstrate that a diverse cultural knowledge were kept and transmitted by ritualistic practices that occurred on the society. These practices were, by the time, beyond celebrations, the moment which a set of knowledge was transmitted to the younger generations by the old ones, being a circulation and appreciation locus of knowledge: the older generations taught the younger ones to follow a social model. The knowledge transmission also occurred in social everyday life. Both cases the traditional knowledge appropriation didn’t imply the absence of creation and recreation of this knowledge. The assumption is that musical knowledge was transmitted in the same way: on ceremonial, ritual and everyday practices. The methodology consisted on analysis of historical accounts interpreted in the light of assumptions of Ethnomusicology, Education and Ethnology, and a wide context of the various contexts of society above all the musicals, which I called musical contexts. The assumption is that musical knowledge was transmitted in the same way: ritual social and everyday practices. The methodology consisted in analysis of historical accounts interpreted in the light of assumptions of Ethnomusicology, Education and Ethnology, and a wide context of the society in question, especially the contexts I have called the musical contexts. The time frame focus on the XVI and XVIII centuries, period which the principal fonts were produced. As a contribution, it’s intended to increase knowledge of the Tupinambá, especially on musical aspects, as well as contribute to the Ethnomusicology of indigenous societies of lowland South America. The conclusions reached by this work point that musical transmission occurred on cerimonial, ritual and everyday practices, and presenting aspects of this transmission.