PPGMUS
PROGRAMA DE PÓS-GRADUAÇÃO EM MÚSICA - CAC
DEPARTAMENTO DE MÚSICA - CAC
Phone: Not available
E-mail: Not available
Banca de DEFESA: GUSTAVO CARVALHO ROSAS
Uma banca de DEFESA de MESTRADO foi cadastrada pelo programa.STUDENT : GUSTAVO CARVALHO ROSAS
DATE: 28/06/2022
TIME: 09:30
LOCAL: On line via Google Meet
TITLE:
KEY WORDS:
Master, Ana Lúcia, formative process, learning, coco de roda
PAGES: 110
BIG AREA: Lingüística, Letras e Artes
AREA: Artes
SUMMARY:
Musical knowledge within popular culture has its specificities, some social groups
through tradition, ancestry and orality manage to keep alive musical phenomena that
are outside the great media today. The research involving the analysis of the formative
process and the learning of a coco de roda like the one that belongs to Master Ana
Lúcia from the Amaro Branco neighborhood of Olinda has its importance in relation to
the registration, as well as bringing it to the academic formality of universities and
schools an additional teaching-learning possibility for the existing framework. The best
way to know and recognize this formative process and the learning of this phenomenon
is through the study of the ethnography of music, also called ethnomusicology. The
researcher for almost three years studied the phenomenon as an observer-participant,
participated in the training process as an observer and as an apprentice in rehearsals,
presentations and recording a CD, in the same way that he lived almost daily in the
home of Master Ana Lúcia's family. , interacting and exchanging experiences with the
members of Grupo Raízes. It is understood that the ethnomusicological study must be
broad in relation to the diversity of elements, therefore, in addition to observation and
participation, the ethnographer used research with a semi-structured questionnaire, as
well as research of newspapers, books, photos, digital media, academic dissertations
and theses. We understand that the best path to ethnographic knowledge is to use
everything thatis offered to us about the phenomenon, so even the act of gossiping in
an informal conversation was used as a source of information for our study. In the field,
the formative process and learning of the coco de roda of Master Ana Lúcia was
identified as being through the imitation performed by the apprentice of the way of
doing of the person who is teaching at that moment, similar to trial and error, however
with inherent particularities to this phenomenon. We can identify that there is a tripod in
thisteachingthatinvolvesexperimentation,respectandmelodicflexibility.We
understand that the meanings and the perpetuation of this coconut in ethnographic
research involve the social, psychological, economic and cultural context in which it
happens, especially the neighborhood rich in cultural diversity that is Amaro Branco de
Olinda. The present study raises some questions about other fields to be studied in the
future in this musical style, such as the legitimacy, historicity and authenticity of many
elements attributed to the phenomenon. The ethnomusiological research made the
identification and analysis of how the formative process and the learning of the coco de
roda of Mestra Ana Lúcia from the Amaro Branco neighborhood of Olinda happens,
being a reflective and academic text that can be used within the formal mode of music
education , or not musical.
through tradition, ancestry and orality manage to keep alive musical phenomena that
are outside the great media today. The research involving the analysis of the formative
process and the learning of a coco de roda like the one that belongs to Master Ana
Lúcia from the Amaro Branco neighborhood of Olinda has its importance in relation to
the registration, as well as bringing it to the academic formality of universities and
schools an additional teaching-learning possibility for the existing framework. The best
way to know and recognize this formative process and the learning of this phenomenon
is through the study of the ethnography of music, also called ethnomusicology. The
researcher for almost three years studied the phenomenon as an observer-participant,
participated in the training process as an observer and as an apprentice in rehearsals,
presentations and recording a CD, in the same way that he lived almost daily in the
home of Master Ana Lúcia's family. , interacting and exchanging experiences with the
members of Grupo Raízes. It is understood that the ethnomusicological study must be
broad in relation to the diversity of elements, therefore, in addition to observation and
participation, the ethnographer used research with a semi-structured questionnaire, as
well as research of newspapers, books, photos, digital media, academic dissertations
and theses. We understand that the best path to ethnographic knowledge is to use
everything thatis offered to us about the phenomenon, so even the act of gossiping in
an informal conversation was used as a source of information for our study. In the field,
the formative process and learning of the coco de roda of Master Ana Lúcia was
identified as being through the imitation performed by the apprentice of the way of
doing of the person who is teaching at that moment, similar to trial and error, however
with inherent particularities to this phenomenon. We can identify that there is a tripod in
thisteachingthatinvolvesexperimentation,respectandmelodicflexibility.We
understand that the meanings and the perpetuation of this coconut in ethnographic
research involve the social, psychological, economic and cultural context in which it
happens, especially the neighborhood rich in cultural diversity that is Amaro Branco de
Olinda. The present study raises some questions about other fields to be studied in the
future in this musical style, such as the legitimacy, historicity and authenticity of many
elements attributed to the phenomenon. The ethnomusiological research made the
identification and analysis of how the formative process and the learning of the coco de
roda of Mestra Ana Lúcia from the Amaro Branco neighborhood of Olinda happens,
being a reflective and academic text that can be used within the formal mode of music
education , or not musical.
BANKING MEMBERS:
Presidente - 2227837 - CARLOS SANDRONI
Interno - 1134048 - JOSIMAR JORGE VENTURA DE MORAIS
Externa ao Programa - 1938872 - LAURE MARIE LOUISE CLEMENCE GARRABE
Notícia cadastrada em: 27/06/2022 11:43
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