https://repositorio.ufba.br/handle/ri/5588 Mon, 04 May 2026 06:57:52 GMT 2026-05-04T06:57:52Z https://repositorio.ufba.br/handle/ri/44272 Título: A REALIZAÇÃO MUSICAL DE OBRAS CROSSOVER: REFERENCIAIS DE REPERTÓRIO E ESTUDOS DE CASO Autor(es): Bertisch, James Leonard de Silva Primeiro Orientador: Brandão, José Maurício Valle Abstract: At first, this dissertation intends to stablish the relevance or irrelevance of the dichotomy in classifying music in classic, concert or erudite, as opposed to those more popular or commercial kinds, under the perspective of distinguishing music execution methods in both fields. Secondly, out of the classification, we bring to the table the subject of realization procedures. In a first, looking at a general perspective from the repertoire, and after this, giving emphasis in a specific work, which is turned to the main subject in the study. As a parameters stablisher reference, we took the Ernani Aguiar’s Sinfonietta Seconda, a symphonic work whose music language and instrumentation was all built out of the percussiveness aspects of the famous Brazilian popular music styles from carnival festivals. We gave the name crossover to this blend of styles, a term which has been used in the unformal environment, with the purpose to nominate repertoires in which the two distinct big music fields interchange and interact under reflexive influences. To enrich the argumentation embodiements within this “new” literature, we collect different point of views from experimented conductors who have been working in this fusion. In the end, we set the music realization and execution considering the convergent or divergent aspects raised from the interviews. We analized the peculiar building process of an unique music construction, which is a medley of songs into one single work. We were determined to check, by music and textual points of view, the distinctive elements in the creation, compilation, conducting and directing of the Abertura Medley Sescanção 2011, a twenty-minute plus duration peace of music, which I was requested for conceiving and realizing it for the release of Sescanção 2011 album event. The concert was part of an event which had been happening in two years cicles in the city of Aracaju, with the porpuse of fomenting and stimulating local new and old artists creativity, in a aptempt to display a picture from the local popular music scenario. The piece, which was commited to assembly instrumentation from both classic and popular fields, should unite fragments of all the selected songs into an unity effect. All the creation and realization process of this concert needed to evoke both composition and conducting skills and habilities. In the end, we believe to be offering to the academy, a distinctive look over an equally distinctive piece, tumbling down aestetic and stylistic barriers, and opening up new music quality standarts. Editora / Evento / Instituição: Universidade Federal da Bahia Tipo: Tese Tue, 27 Aug 2019 00:00:00 GMT https://repositorio.ufba.br/handle/ri/44272 2019-08-27T00:00:00Z https://repositorio.ufba.br/handle/ri/43940 Título: O ensino de composição no Brasil: uma investigação de horizontes culturais e criativos em cursos de graduação Autor(es): Barreto, Eric de Oliveira Primeiro Orientador: Lima, Paulo Costa Abstract: The first undergraduate composition programs in Brazil were established between the 1950s and 1960s. Since then, they have become well-established, having been responsible for the education of hundreds of composers. The teaching experience gained over the decades resonates in current pedagogical and compositional practices. It is in this context that this research aims to investigate the teaching of composition in undergraduate composition courses in Brazil, focusing on cultural and creative aspects. To this end, it uses bricolage of methodological principles, based on studies by Claude Lévi-Strauss, Joe Kincheloe and Berry Kathleen. The bricolage is carried out using various methods and principles of qualitative research, such as ethnographic research, interviews and document analysis, using Roberto Sidnei Macedo's contractive method as a heuristic principle. The theoretical framework used is via the works of Ernst Widmer, Vladmir Safatle, Margaret Boden, Gaston Bachelard and Paulo Costa Lima. The latter also is also used as a compositional reference, together with Jonathan D. Kramer, Lindembergue Cardoso and Joseph Nathan Straus. The work is divided into five chapters, the first of which is an introduction to the research problem, its context, the theoretical and methodological justifications and the presentation of the structure of the text. The second chapter is dedicated to a comprehensive description of the field visits, articulated with the testimonies of the interviewees, as described in seven universities in three different regions of Brazil, namely: UFBA, UFMG, UFRGS, UFRJ, UFRN, UNICAMP and UNIRIO. The descriptions cover the inner workings of the courses, perceptions of teachers and students about the work of teaching composition, institutional partnerships, description of repertoires and teaching materials used. The third chapter considers the curricular dimensions of the courses investigated, as well as their creative horizons and learning methods, highlighting divergences and diversity within and between courses; twenty-six analytical categories were created to describe creative horizons, such as: agency, collaboration, surprise, and tradition. The fourth chapter is an analytical-descriptive memorial of three pieces composed for this thesis: Bruhhmnhn, for piano and two flutes; Raenil, for string quartet; and Inodoro, for orchestra. It discusses the compositional procedures and perspectives used. In the final chapter, the author discusses the concluding remarks of the work and offers some critical reflections on the programs investigated. These include the possibility of greater integration among the programs, the importance of promoting training with a stronger focus on collective initiatives, the formation of groups of composers in collaboration with performers and the external community, as well as the need to increase the circulation of the music composed by these composers and the studies conducted about their works. Editora / Evento / Instituição: Universidade Federal da Bahia Tipo: Tese Wed, 04 Dec 2024 00:00:00 GMT https://repositorio.ufba.br/handle/ri/43940 2024-12-04T00:00:00Z https://repositorio.ufba.br/handle/ri/43939 Título: Palhetas de clarineta manufaturadas de um mesmo colmo de Arundo donax: um estudo sobre sua homogeneidade Autor(es): Costa, Marcio Miguel Primeiro Orientador: Barbosa, Joel Luis da Silva Abstract: The clarinetist, as the central agent of their performance, continuously seeks reeds that efficiently meet their musical and technical demands. Although industrial reeds are subjected to rigorous quality control processes, variability in their performance persists as both a practical and artistic challenge. This paradox — between technical standardization and variability in sound response — motivated the present research, which aims to understand why reeds of the same brand, model, and numbering, from the same commercial batch, do not yield consistent results. Given the scarcity of information regarding the traceability of raw materials used in industrial reed production, this research focused on analyzing the homogeneity of reeds artisanal manufactured from the same Arundo donax culm, adopting a feasible experimental design. The primary objective was to investigate the homogeneity index of reeds produced from the same Arundo donax cane and evaluated by the same clarinetist, considering their performance across different technical parameters and sound registers of the clarinet. The research began with a comprehensive literature review, which addressed physical, chemical, and biological aspects of the reed’s anatomical structure, as well as methodologies for selection, preparation, and storage of plant-based raw materials. Techniques for reed manufacturing and adjustment were also examined, based on reference authors in the field. Adopting a qualitative and quantitative approach, the study employed an experiment centered on reed manufacturing as its methodology, in which the researcher played a multifaceted role, executing all stages of manufacturing and evaluation of the reeds. Each unit was evaluated through a structured form, developed based on five parameters: resistance, vibration, emission, articulation, and sonority, considering the four previously established clarinet registers. The collected data were subjected to statistical analyses, enabling the formulation of homogeneity indicators for each reed, culm, and plantation, as well as the identification of patterns and deviations. Initially, the manufacturing of 96 reeds from two distinct Arundo donax plantations was planned. However, five samples were damaged during the process, resulting in 91 specimens that completed all manufacturing stages and were evaluated. The results indicated a moderate homogeneity index among the analyzed reeds, based on a classification into four different levels (low, medium, moderate, and high). This classification provides the clarinetist-craftsman with objective tools to evaluate the cost-benefit of manufacturing reeds from culms that demonstrate lower homogeneity propensity, optimizing time and resources in the artisanal process. Additionally, the research contributes to the refinement of reed manufacturing practices, proposing more effective criteria for raw material selection. Finally, it encourages the systematic inclusion of teaching reed manufacturing and adjustment techniques in the curricula of courses aimed at training clarinetists, promoting autonomy and technical-artistic deepening. Editora / Evento / Instituição: Universidade Federal da Bahia Tipo: Tese Mon, 15 Sep 2025 00:00:00 GMT https://repositorio.ufba.br/handle/ri/43939 2025-09-15T00:00:00Z https://repositorio.ufba.br/handle/ri/43628 Título: Maria Pequena de Ogum de Ronda: cosmosonoridades afrodiaspóricas e protagonismo feminino na umbanda (Feira de Santana – BA) Autor(es): Santos, Jeanderson Bulhões de Jesus Primeiro Orientador: Rosa, Laila Andresa Cavalcante Abstract: This research explores the soundscapes of the Umbanda terreiro of Mãe Maria Pequena de Ogum, located in Feira de Santana, Bahia, examining the intersections of race, gender, spirituality, and cosmoperception within the context of African-derived religions. The study aims to understand the terreiro’s sonic universe through the life trajectory of Mãe Maria Pequena de Ogum, whose experiences are profoundly shaped by dialogues and exchanges with leaders from Angola and Ketu candomblé traditions. These interactions have significantly contributed to the Africanization of ritual practices and the redefinition of daily life. Grounded in Ethnomusicology, this research engages with fields that challenge Western canons, including Brazilian, feminist, Black, and African ethnomusicological perspectives, recognizing these epistemologies as crucial for understanding sonic practices in Afro-diasporic contexts. The methodological approach combines escrevivência, transgenerationality, and autoethnography, incorporating conversations and interviews with terreiro members as well as audiovisual recordings. The investigation into the terreiro’s sonic repertoire and festive calendar reveals a profound connection between these sounds and African, Afro-diasporic, and Indigenous cosmoperceptions, articulating plural memories, identities, and senses of belonging. The study highlights how sonorities play a central pedagogical role in the transmission of knowledge and communication between Mãe Maria, her children, and the broader community—a dynamic I define as the "pedagogy of sonorities." This pedagogy serves as a means to transmit cultural knowledge and practices, preserving, updating, and reconfiguring African legacies in dialogue with contemporary dynamics. In this context, I introduce the concept of cosmosonority, which represents the convergence of spirituality, ancestry, and sound, intertwining cosmoperceptive dimensions with the sonic expressions inherent to Afro-Brazilian traditions. Furthermore, I emphasize the pivotal leadership of Mãe Maria Pequena de Ogum in preserving, updating, and re-creating cultural and spiritual practices. Her strength challenges structural racism and patriarchy, reconfiguring narratives of resistance and self-determination. This research contributes to the appreciation of Afro-diasporic cosmoperceptions, offering a critical reflection on how Mãe Maria’s trajectory, informed by her engagements with Angola and Ketu candomblé leaders, is rooted in female protagonism. This protagonism sustains and reimagines African, Afro-Brazilian, and Indigenous cultural heritages through perceptible confluences in the sensitive universe of care and healing practices, with sonic expressions as a distinctive cultural heritage. By intertwining sonorities and spirituality, this thesis reveals how terreiros function as spaces of resistance, highlighting the richness of Afro-Brazilian traditions and their role in constructing autonomous practices and advocating for alternative societal projects. Editora / Evento / Instituição: Universidade Federal da Bahia Tipo: Tese Mon, 10 Jan 0001 00:00:00 GMT https://repositorio.ufba.br/handle/ri/43628 0001-01-10T00:00:00Z