https://repositorio.ufba.br/handle/ri/5585 2026-04-17T11:29:45Z 2026-04-17T11:29:45Z Santos, Danilo Machado dos https://repositorio.ufba.br/handle/ri/44264 2026-03-18T14:25:55Z 2024-05-24T00:00:00Z

O processo compositivo de microcanções CDG: aproximação entre a Música e o Texto. Santos, Danilo Machado dos Nunes, Helena de Souza The communication between Music teachers, within the Arts curriculum, and teachers from other curriculum components in the knowledge areas outlined by the BNCC often lacks effective proposals for interaction between content and didactic procedures envisaged as subjects involved in the field of school performance. Thus, exchanges between general knowledge and musical specificities appear fragile. This study aims to contribute to expanding the possibilities of integration between the Portuguese Language, as spoken in Brazil, and Musical Language, in the context of Song, starting from Tonality. The goal is to merge coherent and consistent meanings obtained through the association between the sound effects of words and phrases from poems used as song texts, and the rhythmic-melodic-harmonic effects of Music, as practiced in the compositional process of Microsongs CDG (MC_CDG). Thus, the study's theme consists of a pertinent discussion on the approach between the languages that feed the Song, facing difficulties and solutions identified throughout the compositional process of songs created based on the Compositional Process of MC_CDG. This Master's Dissertation comprises 136 pages organized into eight main topics: Introduction; Important Definitions; Methodology; Investigated Case; Analysis and Discussion of Data; Didactic Proposals Emerging from the Study; and Conclusion. Its research question is: What can be said about the approach between Music and Text in the compositional process of MC_CDG? It was concluded that the teaching of the compositional process of MC_CDG should deeply address issues related to coherence between intentions to communicate and effective communication, particularly regarding Tonicity.; The communication between Music teachers, within the Arts curriculum, and teachers from other curriculum components in the knowledge areas outlined by the BNCC often lacks effective proposals for interaction between content and didactic procedures envisaged as subjects involved in the field of school performance. Thus, exchanges between general knowledge and musical specificities appear fragile. This study aims to contribute to expanding the possibilities of integration between the Portuguese Language, as spoken in Brazil, and Musical Language, in the context of Song, starting from Tonality. The goal is to merge coherent and consistent meanings obtained through the association between the sound effects of words and phrases from poems used as song texts, and the rhythmic-melodic-harmonic effects of Music, as practiced in the compositional process of Microsongs CDG (MC_CDG). Thus, the study's theme consists of a pertinent discussion on the approach between the languages that feed the Song, facing difficulties and solutions identified throughout the compositional process of songs created based on the Compositional Process of MC_CDG. This Master's Dissertation comprises 136 pages organized into eight main topics: Introduction; Important Definitions; Methodology; Investigated Case; Analysis and Discussion of Data; Didactic Proposals Emerging from the Study; and Conclusion. Its research question is: What can be said about the approach between Music and Text in the compositional process of MC_CDG? It was concluded that the teaching of the compositional process of MC_CDG should deeply address issues related to coherence between intentions to communicate and effective communication, particularly regarding Tonicity. Universidade Federal da Bahia Dissertação

2024-05-24T00:00:00Z Sampaio, Lorena Patrício https://repositorio.ufba.br/handle/ri/43522 2025-11-25T11:15:35Z 2024-12-12T00:00:00Z

Um repertório prístino e seus potenciais genuínos: visões sobre a criação de canções musicopedagógicas infantis brasileiras Sampaio, Lorena Patrício Nunes, Helena Müller de Souza This research, written within the scope of the Master's Degree in Music Education at the Federal University of Bahia (UFBA), is part of the works’ set from the Research Group Musicopedagogical Proposal Sing and Dance with Us (PropMpCDG), under the leadership of the Teacher Dr. Helena de Souza Nunes, from the period of 2020 to the present. Motivated by the importance of song composition for, by and with children, this investigation has as its general objective "To identify aspects that trigger new and renewing perspectives, referring to the production of Brazilian musicopedagogical repertoire for children". To this end, three specific objectives were created: "To distinguish aspects of the original repertoire of Brazilian children's songs highlighted in music streaming; To explain differentiated and/or singular aspects of the CDG Songs repertoire; and To contrast in discussion the two previous sets of characteristics". A particularly creative musical period was applied in two distinct contexts: in the popular media repertoire, 30 years before the new millennium, and in the first CDG songs, between the end of the 1980s and the same final date. Although the years of their respective beginnings are not exactly the same, both periods reflect equal "spirit of the time", marked by desires and searches for musical innovation connected to the children. It is understood that this challenge is still far from being overcome. Then, this research explores preferences, systematizing indicators for future directions regarding the educational focus on children's composition. It is an epistemological effort. The methodology used is the Literature and Discography Review, properly verified in the PRISMA Protocol. Data collection and discussion are guided by the topics of the Composition Sheet and the CDG Analysis. The authors train two distinct groups: those belonging to the PropMpCDG Research Group and those who are among the prominent references in the area of specific Music Education Composition. The researchs’ nature is qualitative, with a basic strategic purpose, a general exploratory objective and consistently articulates scientific procedures with each specific objective, all under a large structure of seven chapters. The reached conclusion by comparing two types of repertoire that are different in their contexts but similar in purpose is: the compositional topics found in the pristine repertoire studied, when associated with the permanent attention to the concepts of child and childhood, are aspects that trigger new and renewing visions on the production of Brazilian children's musicpedagogical repertoire. Universidade Federal da Bahia Dissertação

2024-12-12T00:00:00Z DA ROCHA, Victor Hugo Chaves https://repositorio.ufba.br/handle/ri/42555 2025-07-21T10:20:30Z 2025-02-19T00:00:00Z

HIBRIDAÇÃO BAIANA: UM OLHAR SOBRE O DIÁLOGO ENTRE A MÚSICA DE CONCERTO E A MÚSICA DE CANDOMBLÉ JEJE OU NAGÔ NA EMUS-UFBA DA ROCHA, Victor Hugo Chaves ESPINHEIRA, Alexandre Mascarenhas This work is the result of research in the field of musical composition, which analyzed the process of musical hybridization between concert music and terreiro music, from the Jeje or Nagô nations, by composers who became composition teachers at the UFBA School of Music, from its foundation until 2020. Based on Paulo Rios Filho's dissertation, “Cultural Hybridization as a Methodological Horizon for the Creation of Contemporary Music”, we then looked at its artisans, their strategies and processes, as well as the possible changes over time; the disciple-like nature of the transmission of knowledge about cultural hybridization; in addition to the approach of the teaching program of that discipline followed today, regarding music linked to terreiro. In addition, three pieces were analyzed: by Jamary Oliveira (Ritual e Transe), Paulo Lima (Atotô do L'Homme Armé) and Alexandre Espinheira (Oxogbô); as well as the production of a work, lasting approximately 30 minutes, for power trio and orchestra, based on what had been observed and learned. Universidade Federal da Bahia Dissertação

2025-02-19T00:00:00Z Izquierdo Yañez, José Francisco https://repositorio.ufba.br/handle/ri/42534 2025-07-17T11:49:57Z 2018-03-28T00:00:00Z

Saberes musicais a partir dos toques do Candeal no ponto de cultura da Pracatum Izquierdo Yañez, José Francisco Candusso, Flavia Maria Chiara In the second half of the 20th century, percussion in Salvador, Bahia, became a central space for cultural expression among Afro-descendants and popular classes, from the perspective of Paulo Freire and Carlos Rodrigues Brandão, or among subaltern groups, according to Gramsci, Spivak, and Mignolo. This dissertation analyzes the musical knowledge produced by the percussion movement Vai Quem Vem, created in the 1980s in the Candeal neighborhood of Salvador. Its main objective is to understand this knowledge based on the rhythms from Candeal and the systematization efforts developed within the Ponto de Cultura Pracatum project (2016–2017), linking them to the classroom teaching of percussion of African origin. Grounded in a decolonial approach, the research draws on authors such as Freire, Mariátegui, Quijano, Dussel, Mignolo, Walsh, and Arboleda, and adopts a participatory research methodology combining historical-musical investigation, direct observation, audiovisual documentation, and the analysis of six characteristic rhythms, with an in-depth focus on two. The findings reveal significant innovations in Candeal’s rhythms compared to other percussive traditions in Salvador, both in the 1980s and today, especially regarding polyrhythmic organization and creative use of instrumentation, such as placing low-pitched voices on the offbeats, breaking with established conventions of Afro-Bahian percussion genres. The study highlights the importance of oral and gestural transmission, oralitura, as proposed by Leda Martins, in which physical presence and direct interaction with local masters proved essential, even for capturing elements that audiovisual media cannot fully convey. Strategies were also developed to adapt Western musical notation to these rhythms, creating accessible transcriptions for musicians without training in European music theory, including phrases, timbres, cycles, and subdivisions. As an outcome, the research produced didactic materials, technical exercises and arrangements, that connect oral tradition to classroom pedagogy. It concludes that the knowledge of Vai Quem Vem constitutes a valuable cultural heritage whose understanding and transmission demand respectful and decolonial epistemological approaches, fostering the recognition of popular musical practices as legitimate sources of knowledge and pedagogical innovation, while strengthening the dialogue between community and academia. Universidade Federal da Bahia Dissertação

2018-03-28T00:00:00Z