Repositório RCAAP

The purpose of this study was to identify what young students learn of music to experience it through the everyday experience of listening to music using digital technologies. It was developed in the field of music education in its social and cultural approach. Taking for granted that music is learned in daily activities, and that young people listen to music regularly, sometimes without intent to learn about music, the research question was: What young people learn about music in their daily musical experiences in listening mediated by technology today? The theoretical framework encompassed the theorization of Stockfelt (1997, 2004) in \"appropriate modes of listening highlighting how listening to music is an active experience, and stressing how complex is this musical practice. The methodological procedures were qualitative, but with some quantitative data. The techniques of data collection were a questionnaire, focus groups, semi structured focused interviews. The young people of the research were first year high school students at a public school in Araporã city, MG. All 51 young people from this school year of morning classes answered the questionnaire, 20 of them composed four focus groups and 16 were interviewed. The results indicated that young people who have played musical instruments expressed intention of learning more about music through their listening experiences. On the other hand the young people who have not played instruments, this intention was absent in much of the reporting. However, despite this non-intentionality, the young people demonstrated in their speech, gestures and attitudes have built knowledge of genres and musical styles (sounds, instrumentation, vocal timbre, rhythm, instrumental technique among others) as well as knowledge to use music in various situations of everyday life (regulation of mood, feelings, to do something to generate responses). Moreover, the practice of listening to music showed to be constituted of youth identity in aspects such as style, appearance, language, gestures and behaviors. This study contributed to understanding how the practice of listening to music mediated by technology happens among young people researched and what they learn from this experience. It was also visible among these young people that the experience of listening is active, broad and complex. The results of this investigation can help Music Education to broaden the conception of listening to music in the sense that it is not limited to a \"one right way, better or superior mode of listening\". They can also contribute to a broader music education that considers the dynamic modes of listening, their differences and characteristics, without a hierarchy among themselves.

Fundação de Amparo a Pesquisa do Estado de Minas Gerais

This memorial proposes the cartography (mapmaking) on the creative process of the play Saga no Sertão da Farinha Podre , by Coletivo Teatro da Margem, directed by Narciso Telles. To map the genesis of the play creation, firstly I accompanied the process as the Director Assistant, registering on photos, vídeos and writing, the most significant impressions of being immersed in na artistic process. Secondly, I opted for a textual form which would point conceptual issues related to the mentioned process and which would be as subjetive as the artistic exercise itself. Therefore, we propose the subjectivation of the creative process registrations, considering not only the affection during the registration process as well as the act of rebuilding it.

Conselho Nacional de Desenvolvimento Científico e Tecnológico

This is a study of Maneries, a piece from Cia Luis Garay (Buenos Aires-Argentina) starting from the concept of Scenic Presence. We have started by conceptualize Scenic Presenc term as a reality representation starting from the ideia of body training as well as what are understood by the meaning construction of the piece. This study reflects and contextualizes Scenic Presence from Art Thinkers and verticalizes the theme beyond Presence Dispositives as such as the Triple Presence: Construction of Presence, Maitenence of Presence and Virtuality of Presence. Readers follow some interviews with the Cia Luis Garay and their performers where we can have valuable informations about their trajectory as a group of artists. Ending up with conclusion remarks remarks taking into account the main focus of this research.

This paper presents a glimpse into the creative process of the contemporary dance performance \"Des(fio)\", which I experienced as a performer/creator, and where I aimed to discover the ways and procedures taken to reach the corporal state \"corponovelo.\" In order to obtain this, the work of creation was based on experiences of eutony that aimed to develop awareness and relaxation of muscle tone. For this research, I seek refuge in Jorge Larrosa´s concept of experience and in Narciso Telles´s view on the use of experience as a methodological approach. At the end, it was possible to notice that this personal and artistic search modified and broadened my vision of dance, resulting in a change of aesthetic and ethical positioning on my part.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior

This dissertation work the issue of types classic clown circus for the knowledge of the area on the subject, and the performance (practical and theoretical) of red nose in the theater, through the analysis of theories and practical examples analyzed (the Força hercúlea of "A.la.pi.pe.tuá!" and Abelha, abelhinha from" Reprisantes "). Relying mainly on studies of Mario Bolognesi and Luis Otavio Burnier, incorporating in this way, concepts that have meaning to the subtitle of this work, transformation and state . It also discusses the representativeness of the clown as a symbol of man on the scene, based on analyzes of the theories of Raymond Williams, Jean Chevalier, Mikhail Bakhtin, Junito de Souza Brandão, John Rudlin among others. Through the cuts applied, we study the interplay of relations of the clowns, and the formulation of "duplicity", white and august. For that, fundamental understandings of the theories and practices Ricardo Puccetti, Lily Curcio, Abel Saavedra, Paulo Merísio, Ermínia Silva, Joice Brondani, Alice Viveiros de Castro, Renato Ferracine, Juliana Jardin, Roberto Ruiz, Narciso Telles, Rose Battistella, Michael Chekhov, Humberto Marques Ribeiro and Ésio Magalhães; practice clowning and theater were the foundation of this work. Therefore, the understandings about culture, society and art guided the research. Seeking interdisciplinary areas of knowledge and fed by concepts such as transformation , state interpretation , Residual , Soul and personality , truth and clown logic applied to the work of clown, this paper promotes discussion practices and theories that reveal theater and circus.

The proposed work in this Thesis aims to address a study of the formative process and body creation, targeted in the discipline named \"Body Creator\" applied in 2010 to students of Theatre course of Federal University of Uberlândia. The project is divided in three parts: the first presents an outline and a connection with the work of Fabiana Marroni and Sônia Machado Azevedo, with notes of \"Games for dancing\" and \"Specific needs of working with actors\", respectively; the second, with the describing of training process and the creation of the discipline taught in 2010 with students of the Theatre course of the Federal University of Uberlândia; the third in which is made the analysis of the process and what was learned during this path. Finally the final considerations are presented taking into account the process of this research and the issues that remain for future projects.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior

This dissertation deals with a study conducted in the public spontaneously University Museum of Art. For this, we research on the history of the Museum. This research took place at the University Museum of Art with the exhibition \"Concrete Animals\" artist Alex Hornest. We use as theoretical research on university museums Adriana Mortara Almeida, researchers John Falk and Lynn Dierking and his theory of interactive experience in museums, on public research studies of Pierre Bourdieu and Alain Darbel. Abigail Housen\'s research with the theory of aesthetic development in the study and assisted in the analysis of audience responses. We develop scripts of interviews for the research field. We analyzed the answers of the interviews in order to define profiles typical visitor found within this museum. In order to propose ways and materials to continue the study and research about the visiting public of art museums.

Fundação de Amparo a Pesquisa do Estado de Minas Gerais

This research is about a Creative Process in Dance that brings as its main reflection the body s sensitive knowledge. I do consider here, therefore, as the analysis s focus, as subjectsmatters about the artist-creator that works with the body and its multiplicity of possibilities and its creative potential, in the poetic expression of dance context. I delimit a dynamic research practice to work with the stimulation of the five senses of perception and through these sensitivities, study possibilities of movement of artists-creators. To this end, I establish dialogue with the methodological proposals of Patricia Leal. Conceptual basis for the this work are establishing dialogues with the content submitted by various authors dealing with the sensitive knowledge, the experience, the body, the senses, and the relationship with space and contemporary dance. The methodological procedures defined to achieve the set goals were organized into the following aspects: a) practical experimentation, b) literature review, c) recording and analysis of practical achievements. The research, in this context, has generated an artistic result, this thesis and a DVD containing all the analyzed material (logbook, photos, movies).

This paper presents the analysis of recordings of different interpretations of the piece Reflets dans l\'eau, cycle Images of Claude Debussy, and an interpretative proposal prepared by the researcher based on the study. The work Reflets dans l\'eau by Claude Debussy piece presents different rhythmic and harmonic material, either by the presence of unusual materials scalar tonal system or by the strong presence of rubato, which provides several options for the interpreter around agogic and dynamic. The emphasis on the sound, and consequently in listening as a basis for analyzing the work, provided comparative studies of recorded interpretations contributing to the understanding of aspects that are not explicitly revealed in musical notation, but which are parto f the interpretive process. The results coming from the comparative analysis of recordings on the computer provided quantitative data about the dimensions of time and dynamics, revealing how each artist used these resources to enhance certain moments in the work. To obtain the data and discussing the results, we chose to use the computing resources of audio analysis software Sonic Visualiser and the waveforms of the recordings. The similarities and differences pointed out between interpretations, brought satisfactory results and allowed to understand the interpretive options addressed. An interpretative proposal was brought by the researcher in the form of recording, followed by a discussion of interpretive options used. The research enabled the analysis of elements that are not always evident in the notation of the piece and that are important for planning and interpretive understanding of a musical work.

La pesquisa surge de la investigación sobre los aspectos de las teatralidades contemporáneas que permea el lenguaje teatral. A través de los viewpoints, de logo juegos teatrales y de la relación entre ellos, la propuesta fue provocar en el espacio escolar principalmente en los alumnos- una otra mirada a la escena en la contemporaneidad. Los viewpoints, así como los juegos teatrales, son de carácter de improvisaciones y, por eso, proponen la construcción de nuevas relaciones con el espacio y con el tiempo, cuyas percepciones a través de la escucha y de la mirada luego son (ampliadas) para los demás elementos teatrales, como la palabra, la presencia del espectador y la posición del propio actor de la escena. Con la intención de (evidenciar) esas relaciones y de generar nuevas posibilidades de enseñanza/ aprendizaje, eses estudios es una análisis de estas buscas e de cómo eso culminó en la experiencia del proceso creativo con el espectáculo Memórias Em Quedas, presentado por el grupo de alumnos del 8º ano de la educación básica de una escuela particular en la ciudad de Uberlândia/MG.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior

This research paper describes the process of recreation of the technological part and the performance of the piece Névoas & Cristais by Jônatas Manzolli. Created in 1995, this piece represents an important marker in the history of Brazilian compositions for a percussion instrument with technological support, because it was the first composition by a Brazilian for vibraphone and live electronics in which computerized control was used. However, the incompatibility of the devices and software used at that time with current technology made its performance unviable. For this reason, with the objective of remaking a performance of the piece, adaptations of the electronic devices used and the recreation of the technological part with current equipment and software were necessary. The methodology used was taken from bibliographic research which generated a retrospective history about the development of technology and its use in the artistic and musical industries, as well as a reflection on the permanence of pieces mediated by technology. After that, through the study of an article written by the compositor, and analysis via listening of the recording made with the original programming by percussionist André Juarez, we recreated the technological part using the software PureData and described the strategies adopted. With the new programming, it was possible to carry out once more the performance of the piece and develop a comparative study between the recording made by André Juarez and the recording obtained with the new programming. We finished with a reflection on the work produced and the importance of the recovery of musical pieces mediated by technology. We concluded, through comparative analysis, that the initial objectives were achieved, as it was possible to recreate the technological part of the piece using current devices and software, generating sound results similar to those of the 1995 programming.

This paper presents the study of guided tours at the University Museum of Art (MUnA) between 1998 and 2011. The study is based on the memories reported by the tour guides, who are students and teachers of the Visual Art course of Federal University of Uberlandia. The tour guides reports were important methodological tools in analyzing the goals, dynamics and strategies employed in the educational practices of communication between the visitor and the art. The author selected relevant episodes in the educational path of MUnA, through which it is possible to identify MUnA s development. Its development showed that despite changing tour guides and different administrative attitudes, MUnA created activities around its public space; for example, the exhibition gallery, auditorium and courtyard and studio. On these three spaces, throughout thirteen years, a variety of tours occurred. First, in the gallery was appreciation and interaction with the art work. Secondly, in the auditorium and courtyard was exhibition theme reflection and Museum rules. Finally, in the studio was hands on plastic creativity. In conclusion, this research is intended to identify and analyze the guided tours and suggest ideas to assist in developing new plans and strategies for MUnA.

The research in this work has as its main focus the aesthetic enjoyment through the hybrid language of technological art inquiring about its role in concept constructions, attributions of meaning and values that underlie and permeate digital interactive artistic installations. For this purpose it became necessary the understanding of paths and definitions of aesthetics in light of art autonomy. We have outlined, thus, an approach related to the relations established between aesthetics and art bringing up to surface the development of artistic production concept and social and cultural praxis of each historical moment. Starting from the experience with the works of the twelfth edition of International Festival of Electronic Language - File 2011, we have selected three digital interactive installations to be studied and analyzed. When describing the structures of these works we aimed to recover the process of creation, so then we could have reflected the aesthetic concepts and the identity properties which are part of the studied objects. We have verified which intrinsic aesthetic effects of these technological devices mark these productions and we have given them the real existence in the contemporary art field. We have also pondered different approaches as the technical issue, levels of interaction between art/audience/space which join together technology and art, specifically in regards of the selected works.

This paper presents four three-dimensional works that composes the collection of the Museu Universitário de Arte de Uberlândia MUnA / UFU and aims to discuss the invisibility of these works before the rest of the collection. For this approach, we want to know how was the creation of the museum and the formation of his collection, as well as count the exhibitions of the collection ever made, identifying the absence of these works. We propose a trusteeship consisting of such works in the space of the Museu Universitário de Arte de Uberlândia.