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Planos sonoros: a experiência da simultaneidade na música do século XX; Sound Planes: the experience of simultaneity in 20th century music

Zuben, Paulo Roberto Ferraz Von
Fonte: Biblioteca Digitais de Teses e Dissertações da USP Publicador: Biblioteca Digitais de Teses e Dissertações da USP
Tipo: Tese de Doutorado Formato: application/pdf
Publicado em 28/09/2009 PT
Relevância na Pesquisa
36.39%
Os objetivos desta tese de doutorado são: ampliar a compreensão da música contemporânea a partir do pensamento filosófico de Bergson, Bachelard e Messiaen sobre o tempo; discutir a expansão do conceito de ritmo no século XX; e aproximar do processo de composição musical a noção de plano das artes visuais. Dada a natureza específica da experiência temporal em música, essas ferramentas teóricas proporcionarão uma abordagem original do repertório contemporâneo, entendendo suas composições como processos de transformações simultâneas, constituídos de planos sonoros multidimensionais.; The objectives of this thesis are: to expand the understanding of contemporary music by applying time concepts developed by Bergson, Bachelard and Messiaen; to discuss the expansion of the concept of rhythm in the 20th century; and to approximate the concepts of planes in visual arts to the process of music composition. Given the nature of temporal experience in music, these analytical tools will enable an original approach to the contemporary repertoire, by applying the concepts of simultaneous transformation processes and multidimensional sound planes.

Educação na linguagem da anima: diálogos ontológicos com a música; Education in the language of the Anima: ontological dialogues with music

Umeda, Guilherme Mirage
Fonte: Biblioteca Digitais de Teses e Dissertações da USP Publicador: Biblioteca Digitais de Teses e Dissertações da USP
Tipo: Tese de Doutorado Formato: application/pdf
Publicado em 28/04/2011 PT
Relevância na Pesquisa
36.49%
Há, entre educação e música, uma relação profunda que ultrapassa o ensino da arte. Partindo de uma perspectiva fenomenológica da interpretação e da escuta, encontramos na música estruturas míticas que permitem sustentá-la como chave metafórica para uma compreensão da atividade educacional, mediante a centralidade do ENCONTRO para ambas. A música compartilha com as outras formas de arte a capacidade mobilizadora do imaginário. Sua função simbólica retira-lhe do mundo da linguagem convencional e denotativa; sua manifestação está continuamente prenhe de sentido, desenrolando a expressão de maneira intraduzível na descrição científica. O artista oferece através de seus símbolos um devaneio cósmico, a possibilidade da descoberta de novos mundos que incrementam o Ser de seu interlocutor. Como imagem sonora, a música integra, na arquetipologia antropológica de Gilbert Durand, o conjunto de símbolos que possuem em seu âmago estruturas dramáticas, marcadas pela dialética e pelo ritmo. Acaba por se configurar, portanto, como prática crepuscular e mestiça que atrai para si reflexões variadas sob o eixo da coincidentia oppositorum (coerência dos contrários). Para se efetuar, depende da mobilização dos dois polos psíquicos complementares do animus e da anima...

Efeito da música sobre o estresse em pacientes renais crônicos em tratamento hemodialítico: estudo quase-experimental; Effect of music on stress in chronic renal patients under hemodialysis treatment: quasi-experimental study

Moreli, Lucimara
Fonte: Biblioteca Digitais de Teses e Dissertações da USP Publicador: Biblioteca Digitais de Teses e Dissertações da USP
Tipo: Dissertação de Mestrado Formato: application/pdf
Publicado em 25/04/2014 PT
Relevância na Pesquisa
36.47%
Trata-se de um estudo quase-experimental que teve como propósito avaliar o efeito da música como terapia complementar sobre variáveis de expressão do estresse em pacientes renais crônicos, durante o tratamento hemodialítico. Como objetivos específicos o estudo buscou comparar as variáveis fisiológicas (cortisol salivar, frequência cardíaca, pressão arterial, frequência respiratória e temperatura cutânea) e escores de ansiedade mensurados pela forma estado do Inventário de Ansiedade Traço - Estado (IDATE), em dois momentos (dia 1: observação da linha de base; dia 2: observação antes e após intervenção). Outros objetivos complementares foram: a avaliação de presença de ritmo circadiano do cortisol, a correspondência entre o cortisol salivar e plasmático e a avaliação da aceitação da intervenção. A variável de manipulação foi a audição da seleção musical de preferência dos sujeitos por 30 minutos. O estudo foi realizado em dois momentos distintos: no primeiro houve a determinação do perfil das variáveis de interesse em um procedimento padrão de hemodiálise, sem intervenção; no segundo momento foi observado o efeito de uma intervenção musical no perfil das variáveis de interesse...

O ensino do ritmo na música popular brasileira : proposta de uma metodologia mestiça para uma música mestiça; Teaching rhythm in brazilian popular music : presentation of a multifaceted methodology for a multifaceted music

Jose Alexandre Leme Lopes Carvalho
Fonte: Biblioteca Digital da Unicamp Publicador: Biblioteca Digital da Unicamp
Tipo: Tese de Doutorado Formato: application/pdf
Publicado em 15/12/2011 PT
Relevância na Pesquisa
36.67%
Esta pesquisa parte do estudo de alguns padrões rítmicos organizadores do ritmo de diversos gêneros da música popular, para propor uma metodologia de ensino do ritmo através da análise e sistematização destes padrões. Para o autor as motivações para a execução do presente trabalho surgem da constatação de algumas lacunas frequentemente presentes na elaboração das práticas relacionadas ao ensino da performance na música popular, sobretudo quando se abordam as articulações, acentos e padrões de acompanhamento, que podem ser resumidos no constructo "suingue". Algumas experiências ocorridas na vida profissional do autor, e os resultados de sua recém concluída dissertação de mestrado indicavam que o estudo desses padrões rítmicos poderia apresentar um caminho na elaboração desses conteúdos e práticas. Havia as seguintes suspeitas: (1) de que a clave cubana e a levada de tamborim no samba fossem ocorrências similares do ponto de vista da origem, função e uso; (2) que esta similaridade se explicava pela origem africana comum dessas três ocorrências; (3) de que os músicos e estudiosos cubanos haviam estudado e sistematizado com sucesso o uso da clave em sua música; (4) de que a experiência cubana poderia guiar o estudo do mesmo tipo de ocorrência no Brasil. Na primeira parte do trabalho baseado na pesquisa etnnomusicológica confirmaram-se as três primeiras suspeitas. Além disso foi possível detectar a importância desta ocorrência na África e o tratamento à ela dispensado...

Computational models for rhythm and applications on human-machine interactions = : Modelos computacionais para o ritmo e aplicações em interatividade homem-máquina; Modelos computacionais para o ritmo e aplicações em interatividade homem-máquina

Tiago Fernandes Tavares
Fonte: Biblioteca Digital da Unicamp Publicador: Biblioteca Digital da Unicamp
Tipo: Tese de Doutorado Formato: application/pdf
Publicado em 17/10/2013 PT
Relevância na Pesquisa
36.43%
Esta tese descreve investigações sobre a aplicação de modelos computacionais para o ritmo na interatividade homem-computador. São propostos um modelo para transcrição musical semi-automática, um modelo para transcrição automática e duas interfaces para expressão musical, todos baseados em conceitos ligados a ritmo. Este estudo, inédito, evidencia a importância do uso de conhecimentos especialistas em sistemas de recuperação de informações musicais, uma vez que são possibilitados não somente sistemas mais eficazes como também novas maneiras de interagir musicalmente com o computador.; This thesis describes investigations towards the use of computational models for rhythm in the context of human-machine interactions. I propose a model for semiautomatic musical transcription, a model for automatic musical transcription and two interfaces for musical expression, all of them based in concepts related to rhythm. This novel study highlights the importance of using domain-specic knowledge in music information retrieval systems, as it allows not only more accurate systems to be built, but also the development of new ways of musically interacting with computers.

“RHYTHM AND METER COMPOSITIONAL TOOLS IN A CHOPIN’S WALTZ”

Lopes, Eduardo
Fonte: Ad Parnassum Journal Publicador: Ad Parnassum Journal
Tipo: Artigo de Revista Científica
POR
Relevância na Pesquisa
36.64%
Many musicians (whether composers, performers, or writers) see rhythm as the most fundamental and indispensable element of music. But paradoxically, the general recognition of the paramount importance of the durational parameters of music (rhythm and meter), ended up working against them: the ‘naturalness’ of rhythm and meter made theorists feel too confident that their own aesthetic preferences reflected the essence of these parameters. The result is the subordinate position attributed to rhythm and meter by traditional music theory, which seeks to understand them in relation to pitch structure. Just in Time: Towards a Theory of Rhythm and Metre1 instead proposes a purely durational approach which assesses the operation and qualities (mainly salience and kinesis) of rhythm and meter, and their interaction with other music parameters.

Unsupervised automatic music genre classification

Barreira, Luís Filipe Marques
Fonte: Faculdade de Ciências e Tecnologia Publicador: Faculdade de Ciências e Tecnologia
Tipo: Dissertação de Mestrado
Publicado em //2010 ENG
Relevância na Pesquisa
36.34%
Trabalho apresentado no âmbito do Mestrado em Engenharia Informática, como requisito parcial para obtenção do grau de Mestre em Engenharia Informática; In this study we explore automatic music genre recognition and classification of digital music. Music has always been a reflection of culture di erences and an influence in our society. Today’s digital content development triggered the massive use of digital music. Nowadays,digital music is manually labeled without following a universal taxonomy, thus, the labeling process to audio indexing is prone to errors. A human labeling will always be influenced by culture di erences, education, tastes, etc. Nonetheless, this indexing process is primordial to guarantee a correct organization of huge databases that contain thousands of music titles. In this study, our interest is about music genre organization. We propose a learning and classification methodology for automatic genre classification able to group several music samples based on their characteristics (this is achieved by the proposed learning process) as well as classify a new test music into the previously learned created groups(this is achieved by the proposed classification process). The learning method intends to group the music samples into di erent clusters only based on audio features and without any previous knowledge on the genre of the samples...

The effect of audiation-based improvisation techniques on the music achievement of elementary instrumental students

Azzara, Christopher David
Fonte: Thesis (Ph.D)--University of Rochester Publicador: Thesis (Ph.D)--University of Rochester
Tipo: Tese de Doutorado
ENG
Relevância na Pesquisa
36.36%
xiii, 238 leaves : music ; 28 cm.
Includes vita and abstract.
Includes bibliographical references: leaves 73-80.; The purpose of this research was to develop and to examine an improvisation curriculum designed to improve the music achievement of elementary school instrumental music students. The specific problems of this study were (1) to investigate the effect of improvisation study on the music achievement of fifth-grade wind and percussion music students, and (2) to investigate the differential effects of levels of aptitude on the music achievement of fifth-grade wind and percussion music students.
The research design involved two school settings, each consisting of an experimental and a control group. Students in both schools had completed one year of instrumental music instruction using Jump Right In: The Instrumental Series (Grunow & Gordon, 1989). All of the students were administered the Music Aptitude Profile. The experimental treatment involved the use of an improvisation curriculum designed for this study. The researcher randomly assigned students to the experimental treatment by homogeneous instrument classes (3-6 students per group). The treatment period lasted 27 school calendar weeks. At the end of the treatment all students performed three criterion etudes written by the researcher to measure their music achievement. The first etude was student-prepared...

American dances in ragtime rhythm; arr.; Three American dances : for piano, four-hands; American dances.

Gilbert, Henry Franklin Belknap (1868 - 1928)
Fonte: Boston Music ; New York : G. Schirmer Publicador: Boston Music ; New York : G. Schirmer
Tipo: Musical Score
Relevância na Pesquisa
46.2%
23 p. of music ; 30 cm.
Originally for orchestra.
Table of Contents: Uncle Remus -- Delphine -- B’rer Rabbit.

Dialectical opposition in fin-de-siècle music : a model of balance applied to melodic motives, harmonic context, and their interaction

Wadsworth, Benjamin K. (1975 - )
Fonte: Thesis (Ph. D.)--University of Rochester Publicador: Thesis (Ph. D.)--University of Rochester
Tipo: Tese de Doutorado
ENG
Relevância na Pesquisa
36.48%
xxi, 462 leaves : music : 28 cm.
Includes abstract and vita.
Includes bibliographical references. ; The so-called “transitional” works of the Second Viennese School from around 1908 are problematic with respect to unity, as they combine tonal, interval-cyclic, and atonal set structures in a fluid and ambiguous manner. In general, these works have been viewed within an organicist perspective as tonal or atonal, an approach yielding fragmentary results as it depicts points of closure but not large-scale continuity. For instance, Berg’s Op. 1 Piano Sonata (1908) may be analyzed as primarily tonal due to its high-level arrivals in b minor, but its foreground contains many phrases structured instead by a system of cycles (whole-tone harmonies connected by semitonal voice leading), and other phrases that mix tonal and cyclic structures to varying extents. Instead of viewing these transitional works as tonal or atonal, their harmonic ambiguity suggests an autonomous structural principle. Accordingly, this dissertation proposes dialectical processes wherein tonal and atonal structures serve as polar opposites at the endpoints of a continuum, and cyclic structures mediate between the endpoints. Dialectical processes are advantageous with respect to unity as they assert continuity between tonal and atonal structures. Previous attempts at dialectical models of structure...

Improvisation and composition in a high school instrumental music curriculum

Stringham, David Andrew (1981 - )
Fonte: Thesis (Ph. D.)--University of Rochester Publicador: Thesis (Ph. D.)--University of Rochester
Tipo: Tese de Doutorado
ENG
Relevância na Pesquisa
36.36%
xiii, 260 leaves : music ; 28 cm.; Common practice instrumental music pedagogy prioritizes performance from music notation. Certainly a worthy pursuit, such an exclusive objective often neglects other essential musical behaviors, such as singing, improvising, and composing. Local, state, and national music education policymakers, as well as authorities in the profession, agree that these behaviors are important. Nevertheless, singing, improvising, and composing are rarely included in instrumental music curricula.
With the intent of improving music teaching and learning in secondary instrumental music, the purpose of this mixed methods study was to describe music achievement and personal perspectives of high school students who learned to improvise and compose using a sequential music curriculum in a non-auditioned wind and percussion ensemble. In this study, curriculum emphasized development of individual musicianship and emerging behaviors for improvisation and composition (i.e., singing, movement, and playing by ear to learn melodies, bass lines, tonal patterns, rhythm patterns, and voice leading).
Quantitative measures revealed relationships between music aptitude and music achievement. Three judges rated student performances. Overall...

On phrase rhythm in jazz

Love, Stefan (1984 - )
Fonte: Universidade de Rochester Publicador: Universidade de Rochester
Tipo: Tese de Doutorado Formato: Dimensions:28 cm; Number of Pages:x, 260 leaves
ENG
Relevância na Pesquisa
36.37%
Includes abstract and vita. --- Thesis (Ph.D.)--University of Rochester, 2011. --- Part 1. Theory. Introduction: What is jazz? What is phrase rhythm? ; Meter and grouping in jazz ; The analytical method -- Part 2. Applications. Introduction ; Thirty-two-bar schemes in AABA form ; Thirty-two-bar schemes in ABAC form ; The twelve-bar blues ; Metrically atypical schemes ; Some pedagodical and analytical extenses -- Appendix A. Glossary of terms and notations ; Appendix B. Complete transcriptions and analysis.; Phrase rhythm is the interaction of grouping structure and metrical structure. In jazz improvisation, these structures behave in ways that theories of phrase rhythm designed for classical music cannot accommodate. Specifically, jazz improvisation involves the superimposition of a highly flexible grouping structure on a pre-determined and predictable metrical-harmonic scheme. In this context, theories of phrase rhythm that depend on voiceleading or harmony neglect the subtleties of grouping structure.
In this dissertation, I present a new method for the analysis of jazz phrase rhythm. I classify each phrase based on its relationship to the metrical hierarchy, as manifested in two characteristics: 1) the pattern of metrical accents it overlaps (prosody)...

Radio Dialogues: U.S. Musical Influences on Cuban Alternative Music [abstract only]

Thomas, Susan
Fonte: Latin American Music Center Publicador: Latin American Music Center
Tipo: Artigo de Revista Científica
EN_US
Relevância na Pesquisa
46.32%
U.S. accounts of post-revolutionary Cuban music history tend to focus on the island???s isolation, constructing a narrative that explains more about our own isolation from Cuba than Cuba???s isolation from the rest of the world. This paper works against such narratives by examining contemporary Cuban musicians??? pervasive and tactical engagement with U.S. music in the 1980s and 1990s. The generation that created the eclectic and experimental genre now known as Cuban Alternative Music (Borges-Triana, 2010) was born roughly two decades into Cuba???s socialist experiment. Coming of age during the revolution???s greatest prosperity and optimism, they experienced the economic crisis that followed the collapse of the Soviet Union in 1991. There may not been an open market for ???imperialist??? culture in Cuba, but young people actively sought out U.S. and British popular music by listening to Miami radio broadcasts and acquiring recordings via relatives who worked as merchant marines or diplomats, or who traveled abroad for educational or military purposes. Michael Jackson; the Jackson Five; Earth, Wind, & Fire; and Cool and the Gang are routinely cited as major influences along with Argentine rock and Brazilian jazz and bossa nova. This paper examines the role of recordings as well as direct Cuban-U.S. collaborations in shaping contemporary Cuban music. Such musical engagement should not be viewed as another example of U.S. hegemony. Rather...

The effects of a music therapy intervention in PICU as measured by the Comfort Behavior Scale

Olmo, María Jesús; Ruza Tarrío, Francisco; Rodríguez Garrido, Cintia; Carrasco Marina, Pilar
Fonte: International Association for Music & Medicine Publicador: International Association for Music & Medicine
Tipo: Artigo de Revista Científica
ENG
Relevância na Pesquisa
36.49%
SAGE; This article describes the results of a study of 87 infants (aged 0 – 6 months) hospitalized in Pediatric Intensive Care Unit (PICU) who interacted with parents either with music or no music. A music therapist provided the live music condition consisting of music with specifically defined parameters: binary rhythm at a tempo of 80 b/min, ternary rhythm at 90 b/min. The use of both major and minor modes was utilized, but basically G, F, A, D, E major, and E, D, F, B and C minor were used. Each intervention began with two basic chords (I-IV). Intensity covered a range from pianissimo to forte, depending on the baby’s presentation. Pre-and post-test measures were recorded using the COMFORT Behavior Scale. Results showed a significant difference after the interaction in the adult with music condition (p = 0.038). The score in the moments directly after the music is lower than the rest of the time.

O ensino do ritmo no 1º e 2º graus da disciplina de formação musical do ensino especializado da música

Correia, Vítor Horácio Esteves
Fonte: Universidade Católica Portuguesa Publicador: Universidade Católica Portuguesa
Tipo: Dissertação de Mestrado
Publicado em 16/12/2014 POR
Relevância na Pesquisa
36.58%
Esta dissertação tem como objetivo geral oferecer um contributo para a reflexão sobre um dos elementos básicos da Música - o ritmo, uma vez que, “ao falar da natureza da música, pensamos primeiro que tudo nos três elementos fundamentais da música: ritmo, melodia e harmonia” (Willems, 1970, p.15). Por outro lado, o objectivo específico está centrado nas aulas de formação musical do ensino básico especializado da Música, particularmente no modo de ensino dos conteúdos rítmicos da disciplina de formação musical. Tendo por base as propostas para o ensino do ritmo de Willems, Wuytack e Kodály, foi verificado o interesse das crianças nestas metodologias. Precisamente no campo da metodologia, foi adotado o modelo de estudo de caso em duas turmas do 1º e 2º graus do ensino básico no CCM, a partir de uma abordagem quantitativa, efetuada por inquéritos aos alunos. Foi igualmente realizado um breve estudo comparativo destes métodos a partir da análise das contribuições de alguns pedagogos de educação musical, nomeadamente Willems, Wuytack, e Kodály. As conclusões deste estudo pretendem melhorar os resultados pedagógicos da disciplina de Formação Musical e aferir quais as atividades de aprendizagem que despertam maior interesse aos alunos do 1º e 2º graus do ensino especializado da música do CCM.; The main objective of this work is to contribute to the reflection on one of the three basic elements that form Music – the rhythm...

Drumming toward communitas : a case study of facilitated recreational music making and the Arthurian method

Cunningham, Amy.
Fonte: Brock University Publicador: Brock University
Tipo: Electronic Thesis or Dissertation
ENG
Relevância na Pesquisa
36.43%
The phenomenon of communitas has been described as a moment 'in and out of time' in which a collective of individuals may be experienced by one as equal and individuated in an environment stripped of structural attributes (Turner, 1 969). In these moments, emotional bonds form and an experience of perceived 'oneness' and synergy may be described. As a result of the perceived value of these experiences, it has been suggested by Sharpe (2005) that more clearly understanding how this phenomenon may be purposefully facilitated would be beneficial for leisure service providers. Consequently, the purpose of this research endeavor was to examine the ways in which a particular leisure service provider systematically employs specific methods and sets specific parameters with the intention of guiding participants toward experiences associated with communitas or "shared spirit" as described by the organization. A qualitative case study taking a phenomenological approach was employed in order to capture the depth and complexity of both the phenomenon and the purposefiil negotiation of experiences in guiding participants toward this phenomenon. The means through which these experiences were intentionally facilitated was recreational music making in a group drumming context. As such...

Modelling Complexity in Musical Rhythm

Liou, Cheng-Yuan; Wu, Tai-Hei; Lee, Chia-Ying
Fonte: Universidade Cornell Publicador: Universidade Cornell
Tipo: Artigo de Revista Científica
Publicado em 26/03/2007
Relevância na Pesquisa
36.43%
This paper constructs a tree structure for the music rhythm using the L-system. It models the structure as an automata and derives its complexity. It also solves the complexity for the L-system. This complexity can resolve the similarity between trees. This complexity serves as a measure of psychological complexity for rhythms. It resolves the music complexity of various compositions including the Mozart effect K488. Keyword: music perception, psychological complexity, rhythm, L-system, automata, temporal associative memory, inverse problem, rewriting rule, bracketed string, tree similarity; Comment: 21 pages, 13 figures, 2 tables

Music in Schelling; A música em Schelling

Barros, Fernando R. de Moraes
Fonte: Universidade de São Paulo. Faculdade de Filosofia, Letras e Ciências Humanas Publicador: Universidade de São Paulo. Faculdade de Filosofia, Letras e Ciências Humanas
Tipo: info:eu-repo/semantics/article; info:eu-repo/semantics/publishedVersion; Formato: application/pdf
Publicado em 14/06/2009 POR
Relevância na Pesquisa
46.2%
This article aims at showing the role played by music withinSchelling’s thought. To accomplish this task, it intends to indicate the way the German philosopher transforms the foundations of the so-called traditional aesthetics in order to characterize music as an original form of knowledge.; O presente artigo conta mostrar o papel exercido pela música no interior do pensamento de Schelling. Para tanto, espera-se indicar a maneira pela qual o filósofo alemão redimensiona as bases que até então davam sustentação à estética tradicional para, a partir de uma ponderação inovadora, caracterizar a arte dos sons como uma forma original de saber.  

An investigation of the rhythm aptitude and rhythm achievement of first, second, and third grade students

Harding, Kelly
Fonte: University of Delaware Publicador: University of Delaware
Tipo: Tese de Doutorado
Relevância na Pesquisa
36.8%
Burton, Susan L.; The purpose of this study was to examine the effect of an audiation-based curriculum on rhythmic music aptitude and rhythm achievement of elementary school students. Specific research questions addressed in this study were (a) Is there a relationship between developmental rhythm music aptitude and rhythm achievement of first, second, and third grade students? (b) Does the relationship between rhythm music aptitude and rhythm achievement change with age? and, (c) Does age have an effect on rhythm achievement? Participants in this study (N = 183) were in grades one through three, from 10 intact homerooms. Students attended a general music class once a week for 45 minutes. The study lasted for five months. All participants engaged in 5 to 10 minutes of formal rhythm pattern instruction, which alternated between duple and triple meter patterns, each week. Improvisation activities were included in the lessons. At the end of the study, all participants took an oral improvisation test in duple and triple meters. Two independent judges scored each improvisation using a 5-point continuous rating scale. All participants also took a paper and pencil meter-labeling test. Gordon’s Primary Measures of Music Audiation (PMMA) (PMMA...

Parallelism between history and psychogenesis of the writing of musical rhythm; Paralelismo entre História e Psicogênese da Escrita do Ritmo Musical

Fernandes, José Nunes
Fonte: Universidade de São Paulo. Instituto de Psicologia Publicador: Universidade de São Paulo. Instituto de Psicologia
Tipo: info:eu-repo/semantics/article; info:eu-repo/semantics/publishedVersion; ; ; ; Formato: application/pdf
Publicado em 01/01/1998 POR
Relevância na Pesquisa
36.35%
The purpose of this research was to draw a parallel between the development of a concept, that of written musical rhythm within the history of music and the psychogenesis of musical notation. This article contests the idea of a parallel between ontogenesis and psychogenesis, which was never proposed by Piaget. This study was based on the redefinition of the levels proposed by Piaget for the development of a concept and abandoned the traditional sequence of Piaget’s four stages, which are currently more diffused. The acknowledgement of the continuous intraobjectal and transobjectal levels, which happens in the history of science and in the psychogenesis of each concept, represent the description of a process in what the mechanisms of the cognitive development and the conceptual construction happen.; A pesquisa tem como objetivo traçar um paralelism o entre o desenvolvimento histórico de um conceito, o de escrita do ritmo musical, na história da música e na psicogênese da notação musical. Ao mesmo tempo esta pesquisa contesta a visão de paralelism o entre a ontogênese e afilogênese, jam ais proposta por Piaget. Esta pesquisa se apóia na redefinição das etapas estipuladas por Piaget para o desenvolvimento de um conceito...