DeArtes - Música UFPR

RESUMO: Este projeto é um estudo sobre composição musical serial: atonalismo livre; contraponto dodecafônico; e princípios de segmentação e tropos. Primeiramente o autor esclarece aspectos composicionais, e posteriormente apresenta um memorial descritivo.

Palavras chave: memorial de composição, serialismo,
dodecafonismo.

ABSTRACT: This project is a study of serial musical composition: free atonalism; dodecaphonic counterpoint; and principles of segmentation and tropes. First, the author clarifies composional aspects, and then presents a descriptive memorial.

Keywords: composition memorial, serialism, twelve-tone technique.

Metacognition is essential in the musical learning process as it involves understanding the purpose of each task, its planning, execution and evaluation. Considering the relevance of metacognitive processes, our objective in this study was to investigate how expert and beginner musicians manifest and verbalize their metacognitive processes in the context of preparing repertoire for a performance. The method used was a multi-case study carried out in two different contexts: with the five members of a brass quintet made up of professional musicians and with three beginner university violin students. The results obtained indicated that even at different levels of expertise, metacognitive processes were present in the musical practices of participants in the two contexts investigated. It was found that in both cases time management is a component of the preparation process in metacognitive regulation, however, for the beginner violinists in our sample it was a significantly more complex task than for the professional brass players. Regarding the learning monitoring and evaluation processes, it was possible to verify that beginner instrumentalists as well as professional musicians used declarative, conditional and procedural knowledge to carry out and reflect on their musical practices. These results have implications for both the individual and collective study process and for teaching processes. It is also observed that reflective thinking must accompany the processes of individual and collective interpretative-musical practices, considering that the musical results desired by musicians are related to the quality of cognitive, behavioral, affective and motivational undertakings pertinent to control and regulation of metacognitive processes.

Apresentamos um relato de experiência realizado durante o período de estágio no curso de Licenciatura em Música da UFPR em 2019. O relato se refere a uma das aulas ministradas para uma turma mista de crianças de 2.º e 5º anos, em uma escola de educação básica na cidade de Curitiba. O foco da aula foi sobre a Ópera, com ênfase no reconhecimento de características deste gênero musical. As atividades desenvolvidas tiveram como escopo a compreensão do conceito de Ópera por meio da participação em atividades de apreciação, execução musical, jogos e uma atividade de criação que foi baseada na proposta de Resolução de Problemas – conceito discutido por Robert Sternberg (2009). Os resultados observados indicaram que a proposta de criação conduzida com base na Resolução de Problemas oportunizou o entendimento do conceito de recitativo e do uso de afetos dentro desse gênero musical, bem como proporcionou uma experiência criativa, realizada com grande envolvimento por todos os estudantes.

Learning the violin is a process that involves a direct relationship between teacher and student, in which there are variables that can directly impact the musical development of the student. An important variable is motivation, which through its influence allows us to observe the relationship between the involvement in certain activities and the musical development of the student. Another relevant variable is the study management process because the way the student practices
interferes directly in the learning results. Therefore, some questions emerged to guide this thesis: what is the motivation that leads them to study violin? Is it only to succeed in the lessons or might there be deeper motivations? How do students manage their daily study to acquire the concepts and to develop musically on the violin? In order to answer these questions, the goal of this research was to investigate, over a two-year period, the motivational and metacognitive aspects that are involved in the learning process of beginner violin students at a higher education institution in southern Brazil. As main goal, it was aimed to analyze the
general motivation (intrinsic and/or extrinsic) of the students from the perspective of self-determination theory, in addition to verifying the metacognitive processes of the students developed in the context of the violin lessons. The hypothesis of this research is based on the relationship between motivation, from the perspective of self-determination, and metacognition through the following statement: the more students are self-determined, the more conscious they become in their learning process and, consequentially, they promote metacognitive processes. The methodology used to achieve this goal was the Longitudinal Development Studies. Through this methodology it was possible to follow for two years the learning process of three violin students in the college context. Data collection includes the use of participant observation, the application of a questionnaire, and an interview. The results show that by promoting metacognitive processes through modeling and constant stimulation of self-regulation processes, the participants in this research showed high motivational levels. Additionally, as much as the participants were aware of their metacognitive processes, it was identified that motivational levels varied throughout the process, often presenting low levels of motivation as the participants did not manage their studying time sufficiently and optimally.

In Brazil, social projects are a wide field of work for music professionals, both graduate and undergraduate. The specificities of this field may include issues from the fields of education and psychology, as well as knowledge specific to music education. When it comes to teaching practices in this context, different demands emerge from situations and audiences, which requires teachers to mobilize different strategies to enable teaching and learning situations in music. In order to locate them, we opted for the Scoping Review, a method characterized by allowing the mapping of literature based on a structured question and eligibility criteria. The question "What types of strategies underlie the practices of music teachers in social projects?" was the basis for the search in the ERIC; SCOPUS and SciELO Citation Index databases, as well as the gray literature from Google Scholar. Considering the inclusion and exclusion criteria, data was extracted from 15 studies which indicated that the strategies used came from both the field of music education and other fields. The scoping review indicated that the work of music educators in projects is permeated by social issues, an aspect that can be considered in their professional training.

Metacognition is essential in the musical learning process as it involves understanding the purpose of each task, its planning, execution and evaluation. Considering the relevance of metacognitive processes, our objective in this study was to investigate how expert and beginner musicians manifest and verbalize their metacognitive processes in the context of preparing repertoire for a performance. The method used was a multi-case study carried out in two different contexts: with the five members of a brass quintet made up of professional musicians and with three beginner university violin students. The results obtained indicated that even at different levels of expertise, metacognitive processes were present in the musical practices of participants in the two contexts investigated. It was found that in both cases time management is a component of the preparation process in metacognitive regulation, however, for the beginner violinists in our sample it was a significantly more complex task than for the professional brass players. Regarding the learning monitoring and evaluation processes, it was possible to verify that beginner instrumentalists as well as professional musicians used declarative, conditional and procedural knowledge to carry out and reflect on their musical practices. These results have implications for both the individual and collective study process and for teaching processes. It is also observed that reflective thinking must accompany the processes of individual and collective interpretative-musical practices, considering that the musical results desired by musicians are related to the quality of cognitive, behavioral, affective and motivational undertakings pertinent to control and regulation of metacognitive processes.

Si tratta della copia digitale di un libro che per generazioni è stato conservata negli scaffali di una biblioteca prima di essere digitalizzato da Google nell'ambito del progetto volto a rendere disponibili online i libri di tutto il mondo. Ha sopravvissuto abbastanza per non essere più protetto dai diritti di copyright e diventare di pubblico dominio. Un libro di pubblico dominio è un libro che non è mai stato protetto dal copyright o i cui termini legali di copyright sono scaduti. La classificazione di un libro come di pubblico dominio può variare da paese a paese. I libri di pubblico dominio sono l'anello di congiunzione con il passato, rappresentano un patrimonio storico, culturale e di conoscenza spesso difficile da scoprire. Commenti, note e altre annotazioni a margine presenti nel volume originale compariranno in questo file, come testimonianza del lungo viaggio percorso dal libro, dall'editore originale alla biblioteca, per giungere fino a te.

A música da fala dos trovadores Esta obra tem como o objetivo central a investigação de fenômenos prosó-dicos do Português Arcaico, a partir de uma comparação das características lin-guísticas das cantigas medievais profanas com as das cantigas religiosas. Para a análise fonológica, será usado o aparato fornecido pela Teoria da Otimalidade. Durante a análise, são colocados lado a lado fenômenos fonológicos seg-mentais e fenômenos prosódicos (tais como acento, ritmo, estruturação silábica e processos fonológicos que façam referência direta a esses fenômenos), em um período passado, do qual não se tem registros orais.

A identidade de uma obra é impressa pelo seu tempo, uma vez que suas convenções se tornam conhecidas e associadas ao seu período histórico. Maria Caraci Vela, produtora do método filológico a ser empregado nesta investigação e também referencial teórico, escreve que "o propósito da edição crítica é a restituição do texto e a visualização de suas relações com o autor e com a tradição" (CARACI, 2015, p.151). A obra a ser pesquisada é de Andrea Ziani (1616-1684), músico no cenário norte-italiano, organista e compositor de vários dramas, dentre eles, a ópera Le fortune di Rodope e Damira, relevante na produção do compositor e ainda não editada. Para a transcrição da escritura musical é utilizado o programa "FINALE" a partir de dois testemunhos autorizados e ideográficos, e como exemplar de comparação, o manuscrito fotografado encontrado na Biblioteca Marciana de Veneza, por ter sido dedicado à cantora-atriz Anna Renzi, tema da dissertação de mestrado da autora. Com o objetivo geral de produzir uma edição crítica da obra de Andrea Ziani e Aurelio Aureli, autor do libreto do dramma per musica, os objetivos específicos serão transcrever a obra; identificar, descrever, analisar e comparar os testemunhos que informam a mesma; estabelecer o texto musical; editar de forma crítica a obra através de revisão minuciosa das tradições; reconstituir uma obra do passado, com seu contexto histórico e também estilo. Para tentar compreender a importância desta obra em particular dentro de um contexto maior, utilizar-se-á um quadro comparativo composto por musicólogos que escrevem sobre peças do mesmo período da obra pesquisada, ou seja, ópera veneziana de meados do século XVII.