PPGM https://repositorio.ufpb.br/jspui/handle/tede/5443 2026-09-01T12:54:36Z 2026-09-01T12:54:36Z Lima, Flavio Fernandes de https://repositorio.ufpb.br/jspui/handle/123456789/38660 2026-08-13T06:11:33Z 2018-08-06T00:00:00Z

Título: A Teoria dos Contornos aplicada na Fusão Paramétrica do Frevo de Rua Pernambucano: inter-relações com aspectos da Música de Concerto do séc. XX Autor(es): Lima, Flavio Fernandes de Orientador: Alves, José Orlando Abstract: The main objective of this thesis is to decipher the possibilities of developing compositional plans based on the study of the fusion of elements of street frevos from Pernambuco with aspects of 20th-century concert music, in addition to the elaboration and description of original compositions resulting from these plans. The manipulations of the parametric elements of frevo music were based on analytical procedures, such as the Theory of Contours, Joseph Straus' Revisionary Proportions and the textural relationships between register, absolute and relative densities, redefined by Wallace Berry and improved by Didier Guigue. The thesis also demonstrates how various concepts such as sound masses, micropolyphony, serialism, minimalism, metric modulation, etc., were appropriated by the planning and how such planning structured the compositional actions that resulted in four pieces: a brass quintet (Creation No. 3), an orchestral composition (Scenes for Orchestra) and two pieces for percussion ensemble (Frevindo-Serializando and Frevindo-Minimalismando). The second part of the thesis contains the scores of these compositions. Editor: Universidade Federal da Paraíba Tipo: Tese

2018-08-06T00:00:00Z Estrela, Iannara Farias Xavier https://repositorio.ufpb.br/jspui/handle/123456789/37850 2026-03-10T06:05:04Z 2024-10-25T00:00:00Z

Título: Paul Rolland e a consciência corporal no ensino de violino nos anos iniciais Autor(es): Estrela, Iannara Farias Xavier Orientador: Alvarenga, Hermes Cuzzuol Abstract: In instrumental practice, the movements of the body fulfill the essential function of performing the music written on the score by means of an instrument. Understanding the awareness of these body movements can improve the use of our study time, as well as our performance as teachers. The process of choosing methodological approaches for postural teaching is extremely important for instrument teachers, especially in the early years. We found in the methodology proposed by Paul Rolland (1911 - 1978) an approach to body awareness in violin teaching through which we believe it is possible to obtain positive results. The main objective of this research is to analyze the methodology proposed by Rolland in his manual The Teaching of Action in String Playing, one of his main publications. We started with a bibliographical survey, where we discussed the concept of body awareness based in different authors, in musical performance (LAGE et al, 2002; PEDERIVA, 2004; TEIXEIRA et al, 2015; LEONIDO et al, 2017) and violin performance (GAMA, 2016; FONSECA, 2011; KOTHE et al, 2011), especially Rolland (2007). Afterward, we present a summary of the Action Studies described by Rolland in his book The Teaching of Action in String Playing, followed by an analysis of his teaching proposal and a presentation of the main references that Rolland used to develop his methodology. We also show the similarities found between the Actions proposed by Rolland and Psychomotricity (YING, 2012; LOURO, 2019). Concluding with the contextualization by suggesting the utilization of this method in violin classes that use the collective teaching approach, based on a questionnaire carried out with eight teachers from the city of João Pessoa. Editor: Universidade Federal da Paraíba Tipo: Dissertação

2024-10-25T00:00:00Z Sperb, Guilherme Vieira https://repositorio.ufpb.br/jspui/handle/123456789/37724 2026-02-26T06:06:01Z 2026-02-10T00:00:00Z

Título: Saberes do chão: criação musical no coco e na ciranda da Paraíba Autor(es): Sperb, Guilherme Vieira Orientador: Queiroz, Luis Ricardo Silva Abstract: Coco and ciranda from Paraíba are musical traditions that, in addition to being collaborative social practices within communities, harbor ancestral musical knowledge shared territorially. The main objective of this work is to identify and analyze the processes, general dimensions, and specific aspects that constitute musical creation in the musical phenomena studied. Territorially, the work encompasses different performance contexts, from the Cariri region to the North Coast, passing through cities, quilombos, and indigenous lands. As a methodological basis, an ethnographic approach is used, with participant observation as the main investigative tool for identifying groups, masters, repertoires, and performative practices as a whole, seeking to understand musical knowledge in these traditional contexts. Bibliographic and documentary research complements the methodology. The study also discusses, within the ethnomusicological framework, the importance of ethical cooperation and practical contributions to the researched contexts, engaging with the field of collaborative ethnomusicology. The research trajectory, anchored primarily in ethnographic immersion, mobilized discussions about heritage, ethnic-racial identity, and reflection on the participation of the people and music studied in the contemporary cultural industry and phonography, pointing to different uses of the ownership of the creative musical vocalizations represented. Based on the identification and analysis of different creative processes, the thesis presents as its main conclusions the emergence of the inseparability of musical transmission and creation processes, where, in an adaptive poetics, the centrality of voice and corporeality unfolds into a performative authorship emanating from a musicality in transit, producing identities located as responses to the world. In its results, the work achieved the possibility of recording and analyzing the recent production of cocos and cirandas in the Paraíba territory.; RESUMEN. El coco y la ciranda de Paraíba son tradiciones musicales que, además de prácticas sociales colaborativas dentro de las comunidades, albergan conocimientos musicales ancestrales compartidos territorialmente. El objetivo principal de este trabajo es identificar y analizar los procesos, las dimensiones generales y los aspectos específicos que constituyen la creación musical en los fenómenos musicales estudiados. Territorialmente, el trabajo abarca diferentes contextos de interpretación, desde la región de Cariri hasta la Costa Norte, pasando por ciudades, quilombos y tierras indígenas. Como base metodológica, se utiliza un enfoque etnográfico, con la observación participante como principal herramienta de investigación para identificar grupos, maestros, repertorios y prácticas performativas en su conjunto, buscando comprender el conocimiento musical en estos contextos tradicionales. La investigación bibliográfica y documental complementa la metodología. El estudio también discute, dentro del marco etnomusicológico, la importancia de la cooperación ética y de las devoluciones prácticas a los contextos investigados, interactuando con el campo de la etnomusicología colaborativa. La trayectoria de investigación, basada principalmente en la inmersión etnográfica, impulsó debates sobre el patrimonio, la identidad étnico-racial y la reflexión sobre la participación de las personas y la música estudiada en la industria cultural contemporánea y la fonografía, señalando diferentes usos de la propiedad de las vocalizaciones musicales creativas representadas. A partir de la identificación y el análisis de diferentes procesos creativos, la tesis presenta como principales conclusiones el surgimiento de la inseparabilidad de los procesos de transmisión y creación musical, donde, en una poética adaptativa, la centralidad de la voz y la corporeidad se despliega en una autoría performativa que emana de una musicalidad en tránsito, produciendo identidades que se ubican como respuestas al mundo. En sus resultados, el trabajo logró la posibilidad de registrar y analizar la producción reciente de cocos y cirandas en el territorio de Paraíba. Editor: Universidade Federal da Paraíba Tipo: Tese

2026-02-10T00:00:00Z Silva, Heliéber Pessoa da https://repositorio.ufpb.br/jspui/handle/123456789/37689 2026-02-22T06:06:19Z 2014-08-30T00:00:00Z

Título: Fantasia e Rondó de Osvaldo Lacerda: considerações interpretativas em cinco gravações Autor(es): Silva, Heliéber Pessoa da Orientador: Benck Filho, Ayrton Müzel Abstract: In the present study of the paper for brass quintet, Fantasia e Rondo by brazilian composer Osvaldo Lacerda (1927-2011), five recordings were analyzed and compared with the aim of finding recurrences and interpretative differences between the researched groups. The choice of the paper in question was due to its relevance in the original repertoire for the formation of a brass quintet, proof of which is the phonographic record made by five important brazilian brass quintets studied here, as well as an international record of an American group. From the structural and motivic analysis of the paper, and from a critical appreciation of the recordings, we were allowed to point out and verify recurrent characteristics and the interpretative particularities between the recordings. With the aid of specialized software, time, dynamics and articulation data were extracted from the phonographic recordings. These data resulted in graphics that led us to greater clarity regarding the elements analyzed here. Through the result obtained from the research, we can argue about the recurrences and interpretative differences that will help us to subsidize future interpretations of the paper in question. Editor: Universidade Federal da Paraíba Tipo: Dissertação

2014-08-30T00:00:00Z