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The Silent Republic: Popular Music and Nationalism in Socialist Croatia

VULETIC, Dean
Fonte: Instituto Universitário Europeu Publicador: Instituto Universitário Europeu
Tipo: Trabalho em Andamento Formato: application/pdf; digital
EN
Relevância na Pesquisa
36.61%
This paper explores the development of popular music and its relationship to the political situation in Croatia and Yugoslavia from 1945 to 1991, and how global musical trends were used to construct and reinvent Croatian and Yugoslav cultural and political identities. It begins with a discussion of the suppression of patriotic music in the early decades of socialist Yugoslavia, when the regime attempted to create a supranational culture that would unify Yugoslavia’s constituent nations. It then analyses the national cultural revival in Croatia in the late 1960s that prompted a political movement known as the Croatian Spring, when the pop singer Vice Vukov incorporated Croatian patriotic themes into his songs. In the years following the crushing of the Croatian Spring in 1971, Croatian nationalism was again suppressed in politics and music, and because of this stifling of political opposition Croatia was dubbed “the silent republic.” For the rest of the 1970s the political function of pop and rock music was reflected in its glorification of Yugoslavia and its leader, Josip Broz Tito. However, after the death of Tito in 1980, New Wave rock bands such as Prljavo kazalište began to criticise aspects of the Yugoslav system and indicated a new turn towards nationalist politics in Croatia. This study concludes with a dicussion of popular music and nationalism in Croatia from 1990 to 1991...

Transnational Communities through Global Tourism: Experiencing Celtic Culture through Music Practice on Cape Breton Island, Nova Scotia

Lavengood, Kathleen Elizabeth
Fonte: [Bloomington, Ind.] : Indiana University Publicador: [Bloomington, Ind.] : Indiana University
Tipo: Doctoral Dissertation
EN
Relevância na Pesquisa
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Thesis (PhD) - Indiana University, Folklore and Ethnomusicology, 2008; How are transnational communities experienced? What types of social interactions constitute transnational communities? Specifically, can a sense of transnational community be expressed and experienced through participation in cultural music performances? Cape Breton Island, Nova Scotia, is currently the heart of the North Atlantic Celtic music revival. Fueled by a booming tourism industry, efforts in cultural preservation, and claims as a last stronghold of Gaelic speakers outside Scotland, Cape Breton Island is an international gathering place for tourists and performers to encounter the larger community of Celtic musicians. This ethnography of a transnational music community explores the ways in which geographically disparate peoples encounter the transnational Celtic music community, learn what it means to belong, and through participation, become full members in the community. I argue that the transnational Celtic music community is best described as a community of practice, where members are active participants in the practices of social communities and constructing identities in relation to these communities. The role of international tourism, traditional arts schools...

Shaping Perceptions: Early Experiments in Musical Diplomacy and Inter-American Relations [abstract only]

Campbell, Jennifer L.
Fonte: Latin American Music Center Publicador: Latin American Music Center
Tipo: Artigo de Revista Científica
EN_US
Relevância na Pesquisa
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When State Department officials inaugurated a program of cultural diplomacy in the 1930s, their actions stimulated a surge of government-sponsored activity in music. One of the most effective proponents of this initiative was the Music Committee of the Office of Inter-American Affairs (OIAA), whose membership included Carleton Sprague Smith and Aaron Copland. This committee focused on furthering musical exchange with Latin America. They decided which U.S. musicians would receive funding for South American tours, as well as encouraged musical reciprocity by commissioning and performing South American music, and, when possible, bringing composers and ensembles north. In this paper, I examine how the decisions and actions of OIAA Music Committee played a role in the way music of the United States was represented in South America and vice versa. In many ways, this committee served as a gatekeeper for cultural exchange with Latin America. Only those U.S. musicians, ensembles, and musical works that met with the committee’s approval were financially supported. In turn, the information gathered by the leaders and participants in these tours influenced which South American musicians and composers the committee advocated to bring to the United States. Two case studies...

The Danz??n and Caribbean Musical Influences on Early Jazz [abstract only]

Moore, Robin
Fonte: Latin American Music Center Publicador: Latin American Music Center
Tipo: Artigo de Revista Científica
EN_US
Relevância na Pesquisa
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Music scholars have long lamented the lack of historical data describing the emergence of early jazz repertoire in New Orleans. Not only do no recordings of the music exist prior to 1917, but few written sources from the turn of the twentieth century make any mention of the emergent musical style. As a result, many studies describe jazz as the invention of a few almost mythical figures in isolation, with little reference to earlier performance practice. This paper uses an analysis of the earliest recordings of the Cuban danz??n, dating from 1905, as a window into the formative years of jazz. The danz??n is especially significant as the first African-American music ever recorded, and a style known to have been performed in New Orleans beginning in the late 1880s. Analysis suggests (1) that many parallels in form, rhythm, and style exist between the danz??n and dixieland repertoire, and (2) that instrumentation associated with the final ???hot??? (partially improvised) sections of the danz??n bear striking similarities to the clarinet-trumpet-trombone frontline of dixieland. The danz??n may well have contributed directly to the development of jazz; danz??n style ties jazz to broader regional developments, and underscores the fact that the histories of Latin American music and music in the United States are fundamentally intertwined.

Somos Iguales: Cuban Hip-Hop in the Age of Social Networks [full paper]

Pereira, Alyssa
Fonte: Latin American Music Center Publicador: Latin American Music Center
Tipo: Artigo de Revista Científica
EN_US
Relevância na Pesquisa
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Through occupation and trade during the last ten years, the United States and Cuba have absorbed facets of each other???s cultural profile. Two products of recent exchange in Cuba as a result of its relationship with the United States are the emergence of online social networks and the growth of Cuban hip-hop. In the US, social networking (through vehicles such as Facebook, Myspace and Twitter) is used as a method of communication and a marketing tool. Many small record labels primarily rely on this type of grassroots marketing to appeal to their web-savvy target audience. While rap musicians in Cuba do not always have the capability to commercially sell professionally mixed albums due to a dependence on government allocated musician???s funds and materials, and submissiveness to government???s jurisdiction over what music is publicly released, the accessibility of the internet and social networks make possible a release of music at an underground level. As a result, complete censorship becomes an impossible feat and these musicians are able to release their music nationally and internationally through this medium. In this paper, I explore the expansion in the use of new social media networks in Cuba and their role in burgeoning the commercialization of Cuban rappers and their music. I note the differences in social media???s influence for Cuban underground rappers versus commercial rappers and the resulting success...

As tecnologias de informação e comunicação (TIC) na educação musical : um estudo sobre a relação das licenciaturas em música com o fenômeno tecnológico; The information technology and comunication (ICT) in music education : a study on the relatioship in degree in music with technological phenomenon

Alexandre Henrique dos Santos
Fonte: Biblioteca Digital da Unicamp Publicador: Biblioteca Digital da Unicamp
Tipo: Dissertação de Mestrado Formato: application/pdf
Publicado em 16/07/2015 PT
Relevância na Pesquisa
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O presente estudo abordou a relação do fenômeno tecnológico atual denominado Tecnologias da Informação e Comunicação ¿ TIC com a educação musical. Pretendeu-se aqui analisar como acontece a relação dos cursos de Licenciatura em Música com as TIC e como esse fenômeno influencia a educação musical. O objetivo deste trabalho foi entender como os alunos desses cursos interagem com as tecnologias digitais, bem como adquirem proficiência nesse assunto. Também foram parte dos objetivos levantar e discutir dados sobre implementação de metodologias envolvendo as tecnologias em sala de aula. A pesquisa também averiguou como os cursos pesquisados operam em relação às tecnologias digitais. São sujeitos desse estudo um grupo de alunos e professores desses cursos. Sendo as tecnologias digitais um fenômeno presente, rápido e crescente nos meios educacionais, entende-se como relevante a presente discussão. O desenho metodológico usado na pesquisa foi a Análise de Conteúdos de Lawrence Bardin (2011). Pretende-se com esse trabalho contribuir para uma compreensão mais aprofundada da relação das TIC com a educação musical e a formação de professores e assim poder sugerir novas propostas metodológicas integrando de maneira crítica e reflexiva as TIC no campo da educação musical.; This study adressed the relationship of the current technological phenomenon called Technologies of Information and Communication - TIC with music education. It was to analyse the relationship of the undergraduate music courses with the digital technologies and how this phenomenon affects music education. The objective of the study was to understand how the students of these courses interact with digital technologies and acquire proficiency in this subject. They were also part of the objectives of this work to discuss data on the implementation of methodologies involving technologies in the classroom. The survey also investigated how the researched courses operate in relation to digital technologies. A group of students and teachers of these courses are the subjects of this study. This came from discussion is understood to be relevant due to the present...

Aaron Copland's "Music for the Theatre": A Transcription for Wind Band

Richardson, Brett
Fonte: Universidade de Indiana Publicador: Universidade de Indiana
Tipo: Tese de Doutorado
EN_US
Relevância na Pesquisa
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Aaron Copland’s Music for the Theatre: A Transcription for Wind Band Aaron Copland (1900-1990) can be considered one of the most significant musicians of the twentieth century, as his well-documented contributions as a composer, conductor, and author, are internationally celebrated. While some of his most well-known works were crafted during the late 1930s and 1940s (e.g., El salón México, Quiet City, Fanfare for the Common Man, Lincoln Portrait, Appalachian Spring), it is from an earlier, more developmental period in Copland’s life in which the inspiration for a new transcription for wind band can be found: his Music for the Theatre: Suite in Five Parts for Small Orchestra (1925). Copland’s Music for the Theatre was composed for a small orchestra consisting of woodwinds, brass, percussion, and reduced string section. Composed in five contrasting movements, the work displays a strong American sensibility due to Copland’s use of jazz harmonies, popular sounding themes, and unique choices in orchestration. Consequently, because of the composer’s frequent reliance upon woodwind, brass, and percussion timbres in the original orchestral version, Music for the Theatre possesses great potential as a transcription for wind band. Two main objectives exist within this project: to make available a high-quality wind transcription of a substantial orchestral work and to provide historical and formal information relating to the piece. More specifically...

The early guitar in Paris: A comparative study of the music of Adrian Le Roy and Guillaume Morlaye

Hoyt, Trevor Todd
Fonte: Universidade Rice Publicador: Universidade Rice
Tipo: Thesis; Text Formato: 163 p.; application/pdf
ENG
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For a brief period in the 1550's the guitar enjoyed a popularity that rivaled that of the lute: nine books of guitar music were published in the span of about five years. This thesis presents transcriptions in modern notation of two Parisian books of Renaissance guitar music--one by Adrian Le Roy, the other by Guillaume Morlaye--and a comparative study of their contents. The music was aimed primarily at amateur musicians and consists mainly of guitar arrangements of popular vocal tunes and a great variety of instrumental dances. Moreover, the quality of the music varies greatly and gives every indication that in Paris at least, the guitar was a fad. Several tunes in Morlaye's book sound very odd on both the modern guitar and reconstructions of Renaissance guitars. Le Roy's music is generally of much higher standard and reflects his great reputation as one of the pioneers in music publishing.

Twistonality [music] : a personal exploration : portfolio of original compositions and exegesis.

Weekes, Diana K.
Fonte: Universidade de Adelaide Publicador: Universidade de Adelaide
Tipo: Tese de Doutorado
Publicado em //2007
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This doctoral submission comprises three volumes and is entitled Twistonality: A Personal Exploration. Volume One consists of a portfolio of eleven original compositions, Volume Two is an exegesis and Volume Three contains live and/or computer-generated recordings of the music. The works are scored for a variety of instrumental and vocal combinations. The compositions explore the use of tonality as a basis for the creation of a uniquely personal style which incorporates musical gestures encountered in both traditional and contemporary performance practice. The term 'twistonality', devised for this submission, refers to a musical language in which a composer may express original ideas by twisting forms and tonal structures already resident in the conscious or subconscious memory in order to reflect his or her emotional reality as experienced through music.; Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2007; Title page, table of contents and abstract; v.2: table of contents; v.3: table of contents only. The complete thesis in print form is available from the University of Adelaide Library.

Semiotic resources of music notation: towards a multimodal analysis of musical notation in student texts

Martin, J.L.
Fonte: De Gruyter Publicador: De Gruyter
Tipo: Artigo de Revista Científica
Publicado em //2014 EN
Relevância na Pesquisa
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Music notation is a page-based multisemiotic resource for making meaning. I situate the use of music notation within the broader context of what music performance students are required to do. I briefly describe the various ways in which music notation constructs meaning. I present and describe examples from student texts to demonstrate how music notation and linguistic text work together, drawing on Royce's (1998) framework to demonstrate how meaning relations contribute to the structure and meaning-making of the text. This study draws on research into music discourse through the case studies of Honors Jazz Performance student research projects.; Jodie L. Martin

Original compositions, recorded performances, and published writings submitted for the degree of Doctor of Music / by John Charles Bodman Rae.; Piano & bells [sound recording]; Jede Irdische Venus (1982) for pianoforte solo (with original ending) ; Donaxis Quartet (1987) for oboe, clarinet, bassoon and piano [sound recording]; Olivier Messiaen: Quatuor pour la fin du temps [sound recording]; Donaxis Quartet (1987) for oboe, clarinet, bassoon and piano [sound recording]; Pitch organisation in the music of Witold Lutoslawski since 1979

Rae, Charles Bodman, 1955-
Fonte: Universidade de Adelaide Publicador: Universidade de Adelaide
Tipo: Tese de Doutorado Formato: 62577 bytes; application/pdf
Publicado em //2003 EN; PO
Relevância na Pesquisa
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Comprises three types of material: composition (pt. A); performance (pt. C); and, musicology (pt. B.), and is intended to reflect the author's professional activities as composer, pianist and writer. The various writings and texts all relate to the life and music of Witold Lutoslawski (1993-2003). Earlier publications have been excluded because they are referred to (and reflected in) the author's thesis: Pitch organisation in the music of Witold Lutoslawski since 1979 (Thesis (Ph.D.)--University of Leeds, 1992); Thesis (D.Mus.)--University of Adelaide, Elder School of Music, 2004?; "October 2003."; Includes bibliographical references; 592 leaves. :; Title page, contents and abstract only. The complete thesis in print form is available from the University Library.; Chiefly in English; some Polish text in pt. B.

A poética dos estranhos no videoclipe “Electric Guitar” a partir dos discursos videográficos de Lady Gaga; The poetics of the uncanny in the music video "Electric Guitar" thourgh Lady Gaga's videographic discourses

Pinto, Rafael Mendonça Lisita
Fonte: Universidade Federal de Goiás; Brasil; UFG; Programa de Pós-graduação em Arte e Cultura Visual (FAV); Faculdade de Artes Visuais - FAV (RG) Publicador: Universidade Federal de Goiás; Brasil; UFG; Programa de Pós-graduação em Arte e Cultura Visual (FAV); Faculdade de Artes Visuais - FAV (RG)
Tipo: Dissertação Formato: application/pdf
POR
Relevância na Pesquisa
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This dissertation results of the research developed throughout the Master’s Degree course within the Art and Visual Culture Graduate Program in FAV-UFG. It aims to investigate de representation of uncanny identities in music videos, starting out with some analysis of Lady Gaga’s videos, in order to develop my videographic discourse in my music video “Electric Guitar”. The main goal is to continue creating subversive audiovisuals, which consist in primary and complex products that contemplate several parameters of approach, exploring sensorial matters and establishing bonds with historical, sociological and cultural issues. The first chapter presents Lady Gaga and her artistic body of work which, curiously, defends minorities in spite of the singer being inserted into the star system. The second chapter introduces concept of “the uncanny”, from teoretical dialogues and, also, addresses their presence in music videos. The third chapter focuses on the study of music video as a audiovusal format, its relevance in visual culture and how they develop through media. The forth chapter reapproaches Lady Gaga’s music videos, selected according to this investigation theme, focusing on their analysis. The last chapter discusses the creative experience of “Electric Guitar” through my goal of reassuring the relevance of studying the uncanny and...

Um universo de pensamentos musicais na escrivaninha de um sociólogo : Max Weber e "Os fundamentos racionais e sociologicos; A universe of studies in the desk of a sociologist : Max Weber and "The rational and sociological foundations of music

Gabriel Sampaio Souza Lima Rezende
Fonte: Biblioteca Digital da Unicamp Publicador: Biblioteca Digital da Unicamp
Tipo: Dissertação de Mestrado Formato: application/pdf
Publicado em 14/06/2010 PT
Relevância na Pesquisa
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Este trabalho é o resultado de um estudo sobre o papel que a música cumpre dentro da obra de Max Weber, centrado essencialmente em uma interpretação de seu texto Os fundamentos racionais e sociológicos da música. Tomando-o como um ponto de intersecção entre os "universos" das ciências humanas e dos estudos sobre música, buscamos verificar como Weber se apropriou das análises e reflexões apresentadas nas obras que lhe serviram de base para a construção de sua narrativa sobre o processo de racionalização da música ocidental; ou seja, tentamos compreender como o estudioso, a partir das bases teóricas e epistemológicas que sustentavam a sua teoria sociológica, se aventurou no universo de estudos sobre música que o circundava. Nossa análise se desenvolveu em três partes. Primeiramente, discutimos os pressupostos teórico metodológicos sobre os quais estaria assentado o estudo weberiano. Em seguida, acompanhamos as principais etapas da narrativa que o sociólogo constrói sobre a racionalização da música ocidental, para, finalmente, traçarmos as linhas de uma possível interpretação dos significados dessa narrativa dentro do contexto mais amplo de sua obra; This work is the result of a study on the role that music plays in the work of Max Weber...

Estamos ai : um estudo sobre as influencias do Jazz na Bossa-nova; Estamos ai : a stufy of Jazz influence in Bossa-nova music

Fabio Saito dos Santos
Fonte: Biblioteca Digital da Unicamp Publicador: Biblioteca Digital da Unicamp
Tipo: Dissertação de Mestrado Formato: application/pdf
Publicado em 25/08/2006 PT
Relevância na Pesquisa
36.61%
Composta de parte da produção musical de setores da classe média carioca da década de 1950, a Bossa Nova surgiu num momento de profundas transformações nas estruturas sociais do país. Associada à ascensão das camadas médias urbanas, à transformações técnicas na indústria fonográfica, dentre outros processos, aquela música foi foco de intensa discussão nos meios de comunicação e posteriormente no meio acadêmico. O principal debate tratou da autenticidade daquela música, orientado por noções como de identidade, nação, libertação e identidade nacional construídas anteriormente na história do Brasil, chamadas de nacional-popular. Ocorreu que enquanto setores mais conservadores afirmavam que ela tomava emprestado procedimentos do Jazz, advindos do intenso influxo da cultura norte-americana, outros defendiam que ela se apresentava como uma alternativa moderna e brasileira à pr.ogramação predominantemente estrangeira das rádios. Enfocando esse debate da influência do Jazz, foram realizadas resenhas de cinco autores que escreveram nos primeiros anos do fenômeno bossanovista - Brasil Rocha Brito, Júlio Medaglia, Ramalho Neto, Aloysio de Oliveira e José Ramos Tinhorão. A partir do confronto entre a análise musical e auditiva dos aspectos da melodia...

Do toque ao som : o ensino da musicografia Braille como um caminho para a educação musical inclusiva; From touch to sound : teaching of Braille music notation as a path to an inclusive musical education

Fabiana Fator Gouvea Bonilha
Fonte: Biblioteca Digital da Unicamp Publicador: Biblioteca Digital da Unicamp
Tipo: Tese de Doutorado Formato: application/pdf
Publicado em 10/02/2010 PT
Relevância na Pesquisa
36.61%
O presente trabalho foi motivado pela experiência pessoal de sua autora como musicista com deficiência visual e representa a continuidade da Dissertação de Mestrado intitulada "Leitura musical na ponta dos dedos: caminhos e desafios do ensino da musicografia braille na perspectiva de alunos e professores", defendida no Departamento de Música,do Instituto de Artes da Unicamp. Nele são abordados aspectos relativos ao ensino e à difusão do código musical em braille, enfatizando-se, sobretudo,as concepções subjacentes à Educação Inclusiva. Esta pesquisa possui um enfoque qualitativo, pois visa apreender as percepções dos indivíduos frente aos desafios da alfabetização musical em braille. A coleta de dados foi realizada por meio do acompanhamento e estudo de três casos, nos quais três sujeitos experienciaram o processo de aprendizado da notação musical desenvolvida para os cegos. Além disso, foi realizada uma investigação acerca dos meios utilizados para a transcrição de partituras em Braille, delineando-se as peculiaridades desse processo. Na análise dos dados coletados, discute-se o papel do educador musical, do aluno com deficiência visual e do especialista em aplicações da musicografia braille. Como desdobramentos deste trabalho...

Improvisando em música popular : um estudo sobre o choro, o frevo e o baião e sua relação com a "música instrumental" brasileira; Improvising in popular music : a study of choro, frevo and baião and its relation to música instrumental brasileira (brazilian instrumental music)

Almir Cortes Barreto
Fonte: Biblioteca Digital da Unicamp Publicador: Biblioteca Digital da Unicamp
Tipo: Tese de Doutorado Formato: application/pdf
Publicado em 24/02/2012 PT
Relevância na Pesquisa
36.61%
Este trabalho apresenta um levantamento de elementos musicais do choro, do frevo e do baião, três gêneros populares que foram importantes no desenvolvimento da "música instrumental" produzida a partir da década de 1970 no Brasil. Por conseguinte, são apresentadas sugestões para a utilização deste material na prática da improvisação "idiomática". Fontes bibliográficas relacionadas a cada um dos gêneros serviram de base para a identificação de suas principais características, procedimentos musicais e contextualização sociocultural. A relação do choro, do frevo e do baião com a "música instrumental" foi analisada a partir de composições selecionadas, por meio da transcrição de gravações e também através da execução de parte deste repertório. A reflexão sobre a aplicação prática deste material foi realizada principalmente através do estudo de procedimentos metodológicos desenvolvidos na jazz theory, utilizando como referencial teórico trabalhos publicados por autores como: Aebersold (1992), Baker (1989), Coker (1991), Crook (1991), Haerle (1980) e Levine (1995). Como complemento para este estudo, foram feitas pesquisas de campo envolvendo observação de aulas e realização de entrevistas semiestruturadas com professores...

Musica espectral : o tempo musical conforme Gerard Grisey; Spectral music : the musical time according to Gerard Grisey

Guilherme de Cesaro Copini
Fonte: Biblioteca Digital da Unicamp Publicador: Biblioteca Digital da Unicamp
Tipo: Dissertação de Mestrado Formato: application/pdf
Publicado em 04/02/2010 PT
Relevância na Pesquisa
36.61%
A música é uma arte temporal e seu principal material, o som, só pode existir e ser percebido quando a dimensão tempo é considerada. Assim, acredita-se que a discussão acerca da relação som-tempo na música é importante para o compositor contemporâneo. Gérard Grisey, compositor e cofundador de uma das mais importantes escolas de composição da segunda metade do século XX (a Música Espectral), apresenta uma singular visão do fenômeno musical, particularmente diante do seu desenvolvimento no tempo. Seu pensamento é fundamentado principalmente em pesquisas no campo da acústica e psicoacústica, ou seja, na estrutura física do som e na maneira como o som é percebido, respectivamente. O objetivo principal desta pesquisa é expor as reflexões de Grisey em relação ao tempo musical. Outro objetivo é a composição de uma peça original baseada nestas reflexões. Justifica-se tal recorte pela evidente atenção dada ao tema 'tempo em música' por importantes compositores do século XX (como por exemplo, Messiaen, Boulez e Grisey). Tal importância pode ser verificada tanto na obra musical, quanto teórica destes compositores. Inicialmente foi realizado aprofundamento teórico por meio do estudo dos textos produzidos pelos principais representantes e estudiosos da Música Espectral. Em seguida iniciou-se a redação da dissertação...

Análisis bibliométrico sobre la inclusión de niños, niñas y adolescentes con discapacidad haciendo uso de la música como herramienta central; Bibliometric analysis on inclusion regarding kids and teenagers with disability using music as the main tool; Análise bibliométrica sobre a inclusão de crianças e adolescentes com deficiência fazendo uso da música como ferramenta central

Castro Alzate, Elvis Siprian; Bocanegra Clavijo, Katerin; Garzón Carrillo, Gina; González Gómez, Alexandra; Hernández Romero, Hebe; Maldonado Salgado, Heidy; Pachón Rojas, Sandra; Simbaqueba Moreno, Alejandra; Triana León, Diana María
Fonte: Universidade do Rosário Publicador: Universidade do Rosário
Tipo: Artigo de Revista Científica Formato: application/pdf
Publicado em 30/04/2013 SPA
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Objetivo: identificar evidencia bibliográfica del uso de la música como herramienta en procesos de inclusión de personas con discapacidad, que permitiera ofrecer sustento teórico al proyecto del convenio establecido entre la Fundación Saldarriaga Concha y la Fundación Nacional Batuta. Materiales y métodos: como estrategia de búsqueda se utilizaron los temas “música”, “inclusión” y “discapacidad” y el booleano AND en tres bases de datos: Ebsco, Medline y Lilacs. Los análisis fueron realizados mediante el establecimiento de frecuencias para variables como revista, país, tipo de estudio y años de publicación. Se localizaron veintidós artículos que incluyeron los criterios de búsqueda definidos por los autores. Resultados: los resultados muestran que la mayoría de publicaciones se encuentra en la base de datos Ebsco, en la revista Music Educators Journal, en el período comprendido entre el año 2004 a 2006 (40,9%). Estados Unidos es el país que más publicaciones ha realizado (81,8%). El tipo de estudio más frecuente es la revisión de tema (86,4%) y la temática más utilizada incorpora aspectos como música-discapacidad. De acuerdo con Rumbo, Aranton y García, el grado de evidencia de los documentos analizados es 3...

Music education and diversity: approache; Educação musical e diversidade: aproximações

Almeida, Cristiane; Universidade Federal de Pernambuco
Fonte: Universidade Federal de Santa Maria Publicador: Universidade Federal de Santa Maria
Tipo: Artigo de Revista Científica Formato: application/pdf
Publicado em 02/01/2012 POR
Relevância na Pesquisa
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The aim of this paper is to provide a broad overview of the literature on diversity and music education and its relationship with the primary and secondary education Brazilian legislation. Thus I performed a research that included official educational documents and academic production of national and international music educators. Among the findings, I point out the different concepts that take part of the theoretical construct of the concept of diversity in music education, such as multicultural music education, intercultural competence, and others. In addition, I describe other categories that were included more recently, such as gender, race, sexual orientation, and which resemble those made explicit in the documents relating to primary and secondary education. The concept of multicultural music education, which emphasized the repertoire, has been expanded, thus including other categories, making it more inclusive. This change can not be just rhetoric or made with the purpose of complying with the legislation, but, rather, it should reflect the political st ance of music educators.; http://dx.doi.org/10.5902/198464444114Este artigo apresenta um panorama da literatura produzida sobre diversidade e educação musical e sua relação com a legislação educacional brasileira referente à Educação Básica...

Music: a product or a process? music education answers it; Música: produto ou processo? a educação musical responde

Lazzarin, Luís Fernando
Fonte: Universidade Federal de Santa Maria Publicador: Universidade Federal de Santa Maria
Tipo: info:eu-repo/semantics/article; "Avaliados por pares"; info:eu-repo/semantics/publishedVersion Formato: application/pdf
Publicado em 04/11/2007 POR
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The attempt to understand the nature of the experience with music has led to the polarization between two positions, each one of them emphasizing the character of music, either as a product or as a process. This text attempts to clarify the origins of the unproductiveness of such a polarization, from the concept of musical work of art (GOEHR, 1992). Thus, the nature of the work of art has not been analyzed as an object, nor a detailed description of its history has been made. Instead, we have retrieved the moments that have produced historical effectiveness for the constitution of the concept of musical work of art, from the eighteenth century, and the influence it has exerted up to the present time. Therefore, the question “What is a musical work of art?” has been converted into “How has the concept of musical work of art been historically constituted from determining moments?” We have kept in mind the appropriations of answers given to those questions by both Philosophy of Music Education and New Philosophy of Music Education.; A busca pela compreensão da natureza da experiência com música tem levado à polarização entre duas posições, cada uma delas enfatizando o caráter, ou de produto, ou de processo, da música. Neste texto...