https://repositorio.ufpb.br/jspui/handle/tede/5443 PPGM 2026-09-21T16:06:33Z https://repositorio.ufpb.br/jspui/handle/123456789/38938 Título: (Im)permanência da rabeca no Cavalo Marinho Infantil do Bairro dos Novais: reintegração, prática e performance do instrumento sob ótica da rabequeira brincante Autor(es): Guimarães, Ana Carolina Pereira Orientador: Bujes, Paula Farias Abstract: The Cavalo Marinho Infantil Sementes do Mestre João do Boi, Mestra Tina e Brincantes is a traditional folk group rooted in the Bairro dos Novais, in the city of João Pessoa (PB). Since the 1970s, it has mainly included children and young people from the region, constituting itself as an effective means of expressive development, education and social inclusion of its members in the community and the universe of traditional folk culture. This context provides appreciation for folk manifestations, the teaching and learning of music, dance and theater, as well as the maintenance of a tradition based on the affection and interpersonal relationships of its members in exchange for the social, political and economic exclusions they suffer. It is also configured as a Cavalo Marinho group, a traditional Brazilian folk practice found essentially in the states of Paraíba and Pernambuco, being a traditional space for rabeca/fiddle music in these states. However, over the years, the rabeca performances in the group have been irregular, due to the shortage of rabeca players in the metropolitan region of João Pessoa and the loss of those who once existed. In this context, this study aimed to investigate, analyze, and reflect on the process of reintegrating the rabeca and the practical and interpretative possibilities of this instrument within the Cavalo Marinho Infantil of Bairro dos Novais, from the perspective of the researcher herself, who acted as a rabeca player in the group between 2022 and 2025. This qualitative research employed the Life History method, collecting data through participant observation methodology, interviews, and audiovisual records. The study was complemented by sound-documentary investigation, as well as musical transcriptions of melodies sung by the group, and the production of an EP with sound recordings of the performance. Through this, the research sought to reflect on the the rabeca's performance, its interpretative possibilities, and its re-signification within the context of the play, considering the mutual influence between the rabeca player, the Master, and the performers (brincantes), as well as the social and cultural dimensions involved. The investigation was grounded in epistemological and practical approaches anchored in the sensitive and lived experiences of its participants. Editor: Universidade Federal da Paraíba Tipo: Dissertação 2025-07-25T00:00:00Z https://repositorio.ufpb.br/jspui/handle/123456789/38921 Título: Àṣẹ & music: do domínio acústico da cultura, uma densa presença incorporada Autor(es): Rea, Adriano Maraucci Orientador: Queiroz, Luís Ricardo da Silva Abstract: This work re-analyzes the musical genre axé music by exploring its "acoustic/non-verbal domain," seeking a stable conceptualization that encompasses both its musicological taxonomy and the "world hearing" of the Salvador community. The work defines the acoustic domain of the culture as the expression and perception of the native audible world, operating independently of the verbal-cognitive linguistic system in the composition of the local identity. The research proposes to expand the semantic capacity of the sound focusing on the communication of a "programmed contents" set that positions meanings as inherent to the sound itself – without words. Through a macro-epistemological framework integrating the anthropology of senses, semiotics, and the musicologies, it analyzes how ethno-folkloric musicalities and urban popular music are embodied in axé music. The analysis prioritizes rhythmic and timbral parameters, understanding them as vectors of identification (self), belonging (kronos), and location (locus). It concludes that the "acoustic/non-verbal domain" of axé music is central to the "community imagination," activating collective memory between the mythical time and the contemporary reality of the city of Salvador. Editor: Universidade Federal da Paraíba Tipo: Tese 2026-01-19T00:00:00Z https://repositorio.ufpb.br/jspui/handle/123456789/38660 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 https://repositorio.ufpb.br/jspui/handle/123456789/37850 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