RCAAP Repository

The characteristics of the musical aesthetics of the composers of the Joanine period, nowadays, have been an important factor for a well-founded historical interpretation. The present work aims at the study and analysis of the stylistic aesthetics of three of the main composers of the Brazilian Joanine period from 1808 to 1822. Based on biographical and documentary data of composers José Maurício Nunes Garcia, Marcos Portugal and Sigismund Neukomm, as well as their respective works, it is possible to ascertain the structural and aesthetic differences and similarities among the composers. For such an examination, their musical formations and the historical context in which each composer was inserted are taken into account. The study of the artists approached is of great importance for a better understanding of the Joanine period, as well as for all post-Joanine Brazilian music.

One of the objectives set in the development of the Corps of Teachers of Universities in the European HigherEducation Area, is the Accreditation in the different teaching categories that exist in the University field. Inthe Spanish environment, the National Agency for Quality Assessment (ANECA), is the governing body ofthe Accreditation process that ensures the quality of University Education at the national level. ThisAccreditation responds to a need for evaluation of the qualitative and quantitative aspects of the, consideredas academic and research merits, of the Higher Education faculty, based on scales set through ANECA. Competences that have then been transferred to the Autonomous Communities, with which we will analyze the case of the Madri + D Foundation. It is precisely the field of Arts and Humanities where we will focus on this analysis of the accreditation criteria for access to university teaching bodies, since the law remains in areas such as Drawing, Sculpture, Music and Painting, being totally out the Performing Arts as part of these Artistic Experiences.

This article outlines a doctoral thesis. The research question is: What is the contribution of yoga, kung fu, dance-theater and the viewpoints technique in the construction of acharacter that emerges from the clown? This will be followed by the presentation of the research objectives and laboratory creation, expected outcomes, contextualization of spaces and sample, as well as of the area of knowledge that aims at the most relevant objectives and contents of the different areas. We also highlight the knowledge, skills and competences that are sought to be promoted with the participants throughout training. 

During the 20th century, tango dancers affirmed that their choreographic figures were an extension of the “spontaneous street walk” further adding that it was important to "walk with cadence” and know how to “keep the beat of the music”. In this paper we try to address thematerial meaning of these valuable popular assertions that, to this date, have not merited sufficient substantiated research. We comparatively analyze the cycle of human walking and tango walking from a biomechanical and kinesthetic perspective. Preliminary results show that (i) the tango step has a particular internal rhythm and micro timing that can be characterized by the periodicalternation of a series of dichotomous categories; (ii) there is a biomechanical foundation for a strong-weak hierarchy in the structure of the gait and its relation to the isochronous marking of its music. These findings have implications in the teaching and learning of tango, in that they contribute to improve the way in which we observe, analyze and metrically situate details of the tango walk. Finally, evidence is presented that reveals that walking structure was an antecedent of the isochronous marking of tango music.

Transcription of 'Ave’s Valley in sound' is generated through the intersection of territoryrepresentation with sound representation, as an operative tool for interpretation of two samples ofAve’s Valley — the centre of Guimarães and 'between Brito and Silvares' —, through creatingambivalent graphical notations, which represent both the space and the sound. In this paper, we presentthe reasoning of the transcription process crafted, which has as generating question: how to transcribethe urban space in sound? Recognizing that both the sound and the space are susceptible of graphicrepresentations, the outlined process generates a language of intersection between the ‘real’ space, ofthe selected samples, and the corresponding sound composition. What is the sound of each place’sspaces? How to find a common language? Developed experiments were carried out in order to addressthese issues, making research progress on the intersection between the representation of thecomposition of the territory and the sound composition, through the transcription methodologyconstructed, based on operative strategies. These strategies, came not only from understanding thelinkages 'between' space and sound, systematized in a language, explored through the grammar andthe created alphabet, but also by unfolding the transcription method applied to the selected samples,which resulted in original sound compositions consequent to the investigated space.

The purpose of this workshop is to disseminate the oboe and encourage study, by creating an environment of cooperation between teachers, professionals and students. This presentation will be presented with a theoretical part and a practical part. The methodology used in this intervention will go through the following moments: i) we will start with a brief characterization of the instrument, giving a brief summary of its origin, history, family; features; (ii) a brief demonstration of the process leading to the manufacture of reeds, the lashing and scraping of the reed; iii) in a third stage will be held the practical part, in which two students (1st and 5th grades of Basic Education of the Regional Conservatory of Music of Vila Real of the class of teacher Adriana Castanheira) will interpret two pieces, with a degree of differentiated difficulty , in order to show that the so infamous, how unknown instrument, despite the difficulty of playing it, can be touched by all: the singularity of the instrument that serves as tuning for the orchestras, deserves this apology.

This report describes two Workshops held in the State of Roraima - Brazil, whose object of work was the development of musical practices and elements for children and interested parties, not musicalized. The first offer of the Workshops took place in 2014 during the Expressão 2014 event, from the Center for Social Communication, Letters and Arts of the Federal University of Roraima (UFRR), as target audience students of the Letters and Music Courses, both undergraduate courses - which aim to teacher training for basic education. The second offer of the Workshops took place in 2015, at the Municipal School Vovó Dandae (Boa Vista - Roraima), targeting children from 7 to 8 years old. Both workshops were attended by academics from the Music Degree at UFRR as a way to guide teaching practices in formal and non-formal spaces, enabling them to have the richest experience of this profession, teaching, through the supervision and autonomy of teaching practice. The methodological support for the Workshops was Fonterrada (2008), Albano (2010), Paynter (1970), Swanwick (1979) and Penna (2008). The Workshops aimed to develop a playful activity that worked with illustrated children's stories that do not present texts, along with some basic elements from music: such as timbres, intensity, height, duration, density and reading. We sought to work in the Workshops on aspects involved in perception, sound exploration, improvisation and musical expression.

The Modernist movement errupted as a break with the past; it arrived to multiply all meanings of art, to bring to the surface the free imagination of the Artist… In Portugal, Modernism showed itself mainly it two literary magazines: Orpheu, of Fernando Pessoa, Mário de Sá-Carneiro, Almada Negreiros (as bigger names), and Presença, of Miguel Torga, José Régio and João Gaspar Simões.

Aware of the fact that education being sustained on previous generations experiences is a way of promoting ties that consolidate the national union, following the guidelines of the the Sociocultural Research Institute, recommending systematic research, archiving, conservation and dissemination of Mozambican culture and cultural heritage, we present a project of Cambine Secondary School – Xigubo dance – aiming at making students aware of the value of culture and creating opportunities to build a consolidated knowledge of events that mark Mozambique history .

In the area of the Serra da Capivara National Park in the Brazilian state of Piauí, there are numerous decorated shelters from pre-colonial times. These archaeological sites have thousands of paintings where it is possible to identify scenes that can represent dance. They are images of human figures with raised arms, flexed limbs, alone and in pairs or in groups of anthropomorphic lines. These images sometimes have decorated bodies and on the head what appears to be a mask. In the hands of some of these characters, there are objects that can be interpreted as musical instruments. Most of these scenes were made in a chronological period between 12 / 10,000 and 3,000 years before the present. Although there are currently no indigenous groups in the area and no historical or anthropological documentation, it is possible to relate many of these scenes to ceremonies and performances that are known among different groups of Índios. They are true sound images of the dance's past in the Brazilian territory and in the World.

This article presents an approach related to the thawing of native and intuitive mathematics frozen in the thinking of the traditional authorities of the municipality of Cuito whose mathematical interpretation process suggests a motivational and significant activity in the teaching-learning of flat geometry, based on the student's context. The mathematical result presented allows a cultural decolinization leading to a possible understanding on the part of the student that Mathematics is not something completely foreign imported from outside Africa. The mathematical ideas extracted from an informal conversation with the traditional authorities of the municipality of Cuito can contribute to the optimization of the Teaching-Learning Process in the subject of Flat Geometry.

Expressive features tend to be considered as ineffable, both in the field of music and dance. They are faced as depending on the performer's kinesthetic experience. This paper inquires into psychological processes involved in the transfer of musical experience to expressive movement learning in dance realm based on metacognitive resources applied both to music and kinesthetic performance in parallel. Research is approached from a collaborative autoethnographic methodology going deep into the personal experience of one of the authors. From this, a narrative is developed in order to visualize and analyze some crucial features of the knowledge built over the course of the experience.

The progressive institutionalization of the arts in academic curricula forces us to think about artistic practices in the context of research, namely, about what the artist-researcher will have to add to the act of creation so that it can also be considered an act of research. This paper rehearses a possibility of self-reflexive verbalization related to a theatrical performance created in an academic context, as a central element of a master 's project of a student that I directed and in which I also was a co-creator, as theatrical director and director of actors. In it, I reflect on questions of artistic research that were present during the creation process, I describe the methodologies adopted to solve them and analyze the results

I propose to carry out in this article an embryonic study of dramaturgical text analysis, taking as a parameter the Bachelardian poetics. This happens by verifying the dramatic construction (including the creation of the characters, the total plot and the elaboration of the conflicts), based on the relation between the elementals and their symbolisms existing in the poetic imaginary. Thus, the exhibition of a summary of the piece, the description of the characters and analysis of each scene, contribute to a more complete understanding of the plot and how it unfolds to give account and communicate a full story, whose acting subjects reveal their characters in a symbolic state.

Through this work, we intend to study the problem of Specialized Teaching of Music in Portugal, with a special focus on the role of Private and Cooperative Education Institutions and the way in which this kind of education has been seen by the Tutela over the last 35 years as a component training of our young people. It addresses the role it plays in the development of young people, as well as the issues centered on legislation, the different didactics, methodologies and pedagogies in the context of Conservatories.

The study of body gesture and the participatory construction of the movements of the ‘old’ argentine milongueros is hampered by the fact that their protagonists are no longer alive. This work investigates both themes in an indirect way, conducting a semi-directed interview with the relevant teacher and dancer Graciela González, who since the 80's had as master and was dance partner of Norberto 'Pupi' Castello, one of the myths of the milonga 'porteña'. Gonzalez describes some of the lesser known gestural and intentional characteristics of these ‘old’ milongueros, and esplains how some of these characteristics have been lost as a result of generational changes and the speed of communications brought about by social networks.

Due to globalization processes, in recent years, the question of interculturalism has been increasingly posed. Since this is a complex theme, we have as our theme the teaching of xigube in the promotion of the human relationship and the appreciation of interculturality, given the importance of this. We question the diversity and how it contributes to the teaching of xigube, object of our study: Xigube teaching: an appreciation of the interculturality existing at Cambine Secondary School, District of Morrumbene - Mozambique. We focus our reflection on the teaching of xigube, assuming that Mozambique is a multilingual and multicultural country inhabited by different ethnolinguistic groups with greater predominance to those of Bantu origin. Cambine Secondary School does not escape this reality much more because it is located in the Cambine Educational Center which since its foundation is a center of population attraction for student, professional and missionary reasons. This cohabitation of diverse peoples, in which each one carries their own customs and customs, favors the dialogue between the present cultures; Therefore, we call the concept of interculturalism as the interaction between cultures that interact in a reciprocal way. The challenge for the School Board is to adapt the Pedagogical Political Project to the local reality and thus develop strategies for valuing the sociocultural differences of human groups, focusing on the contribution of teaching traditional dances, thus highlighting the artistic education, important in the formation of the students, to better interpret the world and to know its traditions. It is the observation of Cambine's reality that motivates us to choose the theme of this communication in order to invite Physical Education and Visual Education teachers to take advantage of the coexistence of various subcultures and to integrate them in the development of short courses and in the didactic process, in order to connect the global - diversified experiences - and the structuring learning with the learning of informal and non formal contexts that the different students have.

The aim of this paper is to reflect about the concepts covered, studied and constructed in our doctoral thesis, seeking to understanding hoe the appropriation of such concepts contribute to the music education. They are: Adorniana Hypothetical Triad-TAH, Hypothetical Plans of Hearing/HPH and Smart Hearing - SH. In our study, such concepts have been widely addressed by giving a relevant character meaning for studies in music education, therefore we think that should be, such intellectual constructs, democratically available to the academic and scientific community, in order to contribute to the expansion of episteme proposal. "Smart Hearing", is a recent concept, validated in our doctoral research and bring in your core, solid scientific basis based on Theodor W. Adorno studies, Murray Schafer and Aaron Copland, understanding the relationship between music, soundscape and social environment, understanding the relationship between teaching of music, landscape sound and social environment, having as methodological contribution the principles of the participant research. We propose therefore, in Post Doctorate studies, to assess the State of the art in the universe where our research occurred validating the concept that the investigation was built. So, we hope to contribute to the process of sound education is consolidated or at least arouse a "look" more attentive to this issue in all your strength.

This paper addresses the technical handling of theater documents in libraries in general. It is intended to reflect on some issues related to documentary description, more specifically the classification and indexing by subject. After a brief overview, procedures are described and examples of instruments for this important work of librarians are presented. It is illustrated with cases taken from catalogs of national and foreign libraries related to the work of Irish playwright Enda Walsh. That said, the tradition of non-indexing by subject of literary works, namely dramatic text, is questioned, given the needs of retrieving information from library users and reading communities. It concludes with the call for the participation of all (academics, researchers, artists, anonymous readers) in the work developed by librarians, in favor of literary reading and theater as art.

Observing the development of multiple aesthetic currents in the post-World War II, one seeks in the roots of the so-called exact sciences, the abstract concepts that define new aesthetic currents of musical art. To this end, the relations between mathematics and geometry with the music developed by Karlheinz Stockhausen are sought, particularly in Gruppen (1955-57) for three orchestras, as well as between the laws of physics and their exportation to the architectural and musical concepts of Iannis Xenakis. , focusing on Metastaseis (1953-54) for 61 musicians.