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Quatro décadas de guitarrada: a configuração de um movimento musical pós-moderno no Pará

Quatro décadas de guitarrada: a configuração de um movimento musical pós-moderno no Pará

Four Decades of Guitarrada - The Configuration of a Postmodern Musical Movement in Pará Abstract: This article presents the partial results related to a master's research project developed at the Graduate Program of the Federal University of Pará (Brazil). The object of study is the musical genre lambada or guitarrada that has contributed to building memories, history, archetypes, and identity involving musical practices in the state of Pará and the Amazon region. This study covers the years 1978 and 2019. For this purpose, we conducted audio and video field recordings, semi-structured interviews and visits to the personal archive of the family of Joaquim de Lima Vieira (considered by many artists to be the greatest exponent of electric guitar in Northern Brazil and creator of the genre, knowhow and musical practice of guitarrada, the genre that made him revered. We also conducted a review of the bibliography on the subject and transversal themes. Guitarrada, originally called lambada, was developed as a musical genre in the State of Pará in the 1970s and is rooted in local culture, demarcating identities and strengthening memories and musical practices in the region. Postmodern musical practice presents the electric guitar as a solo instrument having its own characteristics and singularities and influenced by diverse social, cultural, and political phenomena related to its context.
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Jonathan Guimarães e Miranda Música no palco: ansiedade de performance musical em estudantes de música em Belém do Pará

Jonathan Guimarães e Miranda Música no palco: ansiedade de performance musical em estudantes de música em Belém do Pará

IECG, indicating that the latter group might presents more anxiety problems. The cognitive manifestation most frequently cited (by 49.2% of the students) was “the concern of what people are thinking about me”. The large majority of students (96.1%) expressed the desire to give more public performances; they (86%) also think that this practice helps to decrease their anxiety. This is the first study about the theme carried out locally. The survey showed that many students from music schools in Belém suffer from considerable anxiety associated with music performance, and that females tend to be more anxious than males. The causes underlying their anxiety need to be investigated and the results provide initial data for the development of new teaching methodologies, to encourage the discussion about the problem and to stimulate the search for effective measures that could minimize the manifestations of anxiety in music students.
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JOSÉ JACINTO DA COSTA KAHWAGE O PROJETO CHORO DO PARÁ: PRÁTICA E TRANSMISSÃO MUSICAL

JOSÉ JACINTO DA COSTA KAHWAGE O PROJETO CHORO DO PARÁ: PRÁTICA E TRANSMISSÃO MUSICAL

The Choro do Pará Project aims to disseminate and encourage the practice of Choro by attracting young musicians from different age groups and social classes and stimulating the formation of new groups. In this context, processes and situations of music transmission occur in different ways and are (re)modeled and (re)defined, in their design and application, through collective workshops — for string, wind and percussion instruments — that culminate in the presentation of the results in concerts of the Choro do Pará Orchestra. The repertoire used in their musical practice includes established compositions of this genre and original works by artists from Pará, in order to valorize and spread the local production. Investigating the practice and transmission of music in the Choro do Pará Project, using the approach of authors such as Nettl (2010), Blacking (2007) and Merriam (1964), is the main objective of our work. Specifically, we intend: b) To examine, through interviews and field research, the methods of musical transmission practiced during the workshops of the Choro do Pará Project; c) To verify, through interviews and field research, the process of construction of the musical arrangements executed by the Orquestra Choro do Pará; and d) To find out if the Choro produced in Pará has characteristics that distinguish it from the Choro produced elsewhere in Brazil. For this, we performed a survey of relevant bibliographic sources and conducted semi-structured interviews with participants of the Project and local musicians. Our interviews with characters related to Choro do Pará Project fit the scope of qualitative research, in what is called "semi-structured interviews with a single respondent", to which Bauer and Gaskel (2002, p.64-65) also refer such as "in-depth interview". The spectrum of points of view on the topics of our interest gathers testimony from: the coordinator of Choro do Pará Project, Paulinho Moura; the five facilitators, Carlos "Buchecha", Claude Lago, Diego Santos, Emílio Meninéa and Iva Rothe; two composers whose works are present in several modules of the workshops, Luiz Pardal and Adamor do Bandolim; four project participants; two former participants; and from personalities whose trajectories permeate the narrative of the Choro movement in Pará. Our analysis involves meanings and knowledge, recognizing that musical practice is a reflection of life in society and conveys unique values, which result from different sources and experiences.
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MUSICAL PRACTICES, CULTURAL POLITICS AND HUMAN MOBILITY IN THE MACAU CHINESE ORCHESTRA

MUSICAL PRACTICES, CULTURAL POLITICS AND HUMAN MOBILITY IN THE MACAU CHINESE ORCHESTRA

Abstract: Political and social transition in a territory raises a set of variables that affect music developed by groups of individuals involved in this process. The study of musical performance of the Macau Chinese Orchestra allows us to understand how local identities are constructed and represented. The presentation and representation of the Orchestra abroad is made by Chinese instruments and a repertoire that, according to this institution integrates various musical genres from traditional Chinese melodies, song adaptations produced in Portugal, western music and contemporary Chinese music. Founded by the Macau Cultural Institute in 1987, this orchestra has forty musicians and already has performances in various countries around the world, such as the Special Administrative Region of Macau, China, Portugal and other European countries. The structure and the public presentation of the orchestra is made in accordance with type of audience and performance space and time of year. Musical performances carried between this orchestra and Portuguese musicians are one of the main cultural programs developed by Macau Cultural Institute. In addition, most musicians of this orchestra were born in Mainland China and Taiwan, with few exceptions of Hong Kong and Macau. The cultural policies implemented in musical education structures and the cultural and regional context are described by these musicians as crucial elements in the music they produce, specifically in instrumental performance. Expressive practice produced in the context of this orchestra is characterized by a specific cultural program that is mediated and communicated by musical practice developed by these musicians and the musical partnerships between them and Portuguese musicians.
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Educação musical antes e depois de Villa-Lobos e os registros sonoros de uma época

Educação musical antes e depois de Villa-Lobos e os registros sonoros de uma época

tendo como objeto de estudo os manuais didáticos de canto orfeônico na periodização indicada e analisando em que medida tais produções refletiam a reconfiguração do campo da disciplina “Música” nas escolas públicas paulistas, marcando o início sistemático do orfeonismo no Estado de São Paulo. Dentre outros aspectos abordados, foi possível estabelecer naquela investigação panorama bem documentado do orfeonismo paulista na Primeira República, detectando-o como fenômeno sistemático e organizado – e não pontual, como grande parte dos autores afirmava até então –, além do resgate da atuação de Lázaro Lozano como antecessor de seu irmão mais novo Fabiano Lozano no impulso efetivo do orfeonismo em Piracicaba. Também em 2003, Vera L. G. Jardim, em Os sons da República: o ensino da Música nas escolas públicas de São Paulo na Primeira República - 1889-1930, investigou as legislações, métodos e representações sociais do ensino de música na Primeira República em São Paulo, bem como. Maurício B. A. Parada apresentou a tese de doutorado Educando corpos e criando a nação: cerimônias cívicas e práticas disciplinares no Estado Novo. Também em 2003, Alicia M. A. Loureiro publicou o livro O ensino de música na escola fundamental, tratando da educação musical em geral (não apenas o canto orfeônico) e enfocando sua situação atual no ensino fundamental, debatendo os dilemas e perspectivas que envolvem a disciplina e a prática nas escolas e na legislação brasileira contemporânea.
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Bone biopsy in nephrology practice

Bone biopsy in nephrology practice

med in the iliac crest, after double tetracycline labeling, allowing that the different histological alterations of bo- ne tissue that make up the ROD spectrum can be diag- nosed and classified by quantitative histomorphometry. This analysis consists on the evaluation of structural and dynamic parameters, such as trabecular bone volume, bone cell numbers, bone formation, and mineralization. ROD may be classified according to TMV criteria into one of the following patterns: (i) low-turnover bone di- sease, which includes adynamic bone disease (ABD) and osteomalacia (OM); or (ii) high-turnover bone disease, which encompasses bone disease related to secondary hyperparathyroidism (SHPT), or osteitis fibrosa, and mixed uremic osteodystrophy (MUO). 3,11,12 Figure 1
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Meningoencefalite e polioencefalomalacia causadas por Herpesvírus bovino-5 no estado do Pará.

Meningoencefalite e polioencefalomalacia causadas por Herpesvírus bovino-5 no estado do Pará.

As lesões histológicas observadas são semelhantes às descri- tas anteriormente (Riet-Correa et al. 1989, 1996, Salvador et al. 1998, Colodel et al. 2002, Elias et al. 2004); no entanto, chama atenção a presença de áreas de malacia no tálamo e núcleos da base. Estas lesões, denominadas lesões profundas, foram descri- tas anteriormente por Elias et al. (2004) na meningoencefalite por BHV-5. Lesões profundas de malacia, principalmente nos núcleos da base, tálamo e colículos rostral e caudal são observa- dos em casos espontâneos e experimentais de poliencefalo- malacia (PEM) (Tanwar et al. 1993, David 2002). As lesões profun- das de malacia nestes casos de infecção por BHV-5 sugerem a possibilidade de que a encefalite seja secundária a lesões prévias de PEM. A mesma possibilidade é mencionada por Elias et al. (2004) em casos de meningoencefalite por BHV-5 no Rio Grande do Sul. Em um trabalho experimental foi demonstrado que ani- mais que tinham sido inoculados anteriormente com BHV-5 de- senvolviam meningoencefalite após a indução de polioencefalo- malacia mediante a administração de amprólio ou sulfato de sódio (David 2002). Nesses experimentos, um bovino que desen- volveu encefalite após a inoculação do vírus, sem indução de PEM, não apresentou lesões profundas, enquanto que dois dos três animais que desenvolveram, simultaneamente, PEM e meningoencefalite por BHV-5 apresentaram lesões profundas (David 2002). No entanto não pode ser descartada a possibilida- de de que as lesões profundas de PEM sejam causadas por algu- mas cepas de BHV-5. A PEM tem sido diagnosticada em diversos municípios do estado do Pará (Barbosa 2003).
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Design de figurinos dinâmicos e iterativos para a performance artística

Design de figurinos dinâmicos e iterativos para a performance artística

139 conhecimento objectivo e subjectivo, no âmbito da confrontação com o espectador. As plasticidades que estão simultaneamente patentes nos figurinos e nos restantes elementos cénicos e sonoros, recursos e artifícios técnicos usados cada momento da performance, podem advir do cinema como de outras áreas artísticas. São recursos que contribuem para a construção dos discursos ficcionais que apoiam aqueles que os figurinos e/ou o corpo já encerram em si mesmos e vice-versa e que podem integrar, directa ou indirectamente, o espectador. É o que está presente nos exemplos que iremos mostrar a seguir, que focam essencialmente o modo como narrativas ou conceitos foram apresentados aos espectadores, mostrando resultados particulares em cada caso, onde a expectativa do envolvimento com o espectador teve papel de relevo na forma como cada caso foi projectado, tirando partido da sua exploração sensorial. São casos que expõem algumas premissas de linguagem/linguagens para a construção de significados em performance e que consideramos serem válidos para este estudo, destacando a diversidade e concordância delas com os processos cognitivos intimamente ligados às dinâmicas socioculturais e aos imaginários colectivos. Esses exemplos foram relatados em apresentações e alguns postos em prática in loco, durante os seguintes encontros científicos: 4th Global Conference: Performance, Visual Aspects of Performance Practice (Oxford, 2013), Posthuman Corporealitites (Lisboa, 2014), Interface (Lisboa, 2014) e Costume and Fashion in Context and Practice (Huddersfield, 2016).
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Bone biopsy in nephrology practice

Bone biopsy in nephrology practice

23. Bergman A, Qureshi AR, Haarhaus M, Lindholm B, Barany P, Heimburger O, et al. Total and bone-specific alkaline phosphatase are associated with bone mineral density over time in end-stage renal disease patients starting dialysis. J Nephrol 2017;30:255-62. 24. Bover J, Ureña P, Aguilar A, Mazzaferro S, Benito S, López-Báez V, et al. Alkaline Phosphatases in the Complex Chronic Kidney Disea- se-Mineral and Bone Disorders. Calcif Tissue Int 2018;103:111-24. 25. Chiang C. The use of bone turnover markers in chronic kid- ney disease-mineral and bone disorders. Nephrology (Carlton) 2017;22:11-3.
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Clinical practice in Portuguese sexology

Clinical practice in Portuguese sexology

The original French version of the questionnaire (Giami and de Colomby 2003) was translated into Portuguese, compared to the previously translated Brazilian version by Centro Latino- Americano em Sexualidade e Direitos Humanos (Russo, Rohden, Faro, Nucci, & Giami, 2013), and adapted to Portuguese context (especially questions concerning academic training and the organization of the health system). The questionnaire was organized in the following sections: 1) Initial professional training; 2) Training in sexology or in the field of sexuality; 3) Professional practice; 4) Clinical practice in sexology or in the field of sexuality; 5) Relationships with the clients; 6) Opinions about sexology and sexuality; 7) Other activities in the field of sexology; and 8) Sociodemographic information. The majority of questions were closed and dichotomous, and results were reported in both proportions and total sample. To compare sexologists according to their professional category (medical doctors versus non-medical professionals) and gender, chi-square tests (or Fisher’s exact test) were used for categorical variables, and the nonparametric Mann-Whitney test was used for continuous variables. All analyses were conducted using SPSS 21.0 for Windows and for all tests the level of statistical significance was set at 0.05.
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Death in Place: Rituals in Practice

Death in Place: Rituals in Practice

Despite the unusual number of human burials, these sites have been studied almost exclusively from the perspective of settlements for the living. Models of seasonal occupation have been proposed (Arnaud 1989; Marchand 2001); detailed studies on palaeo-diets (Umbelino 2006) and palaeo-populations focused on the Mesolithic-Neolithic transition have been done (Jackes & Lubell 1995; Jackes & Meiklejohn 2008), and just very recently some brief syntheses on mortuary practices have been published (Jackes & Lubell 2012; Jackes et al. 2014; Roksandic & Jackes 2014; Roksandic 2006; Umbelino & Cunha 2012). Although the dead have been the main reason why these sites have been excavated and internationally recognised, their place in archaeo- logical interpretation has been largely ignored. The following painting by the French archaeologist H. Breuil (1949) (Figure 6.4) illustrates this perspective well, making no allusion to mortuary practices. Interestingly, by this time, more than 200 burials had been recovered from the Muge shell middens. The painting is accompanied by a page long text with just a very brief refer- ence to burial practices:
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ARRANJO MUSICAL DE REPERTÓRIO PARA A EDUCAÇÃO MUSICAL

ARRANJO MUSICAL DE REPERTÓRIO PARA A EDUCAÇÃO MUSICAL

articulada, o tema do meu trabalho,“Arranjo musical e de repertório”. As seis aulas foram dinâmicas e interessantes para os alunos, devido a uma diversificação das matérias, este aspeto foi importante porque tornou as aulas bastante atrativas. Em relação ao modelo e à forma de conduzir as aulas sob o ponto de vista prático, os alunos foram orientados para a experimentação e improvisação. Como já foi referido, as aulas incidiram neste aspeto e ainda sobre o trabalho teórico das matérias. Foi dado enfase à leitura dos ritmos das várias partes das partituras dos arranjos, onde exploração corporal foi a mais utilizada. No trabalho com os instrumentos a nível da execução tive o cuidado de apresentar o tema na versão integral para uma melhor compreensão da partitura, e só depois trabalhar por partes, até à consolidação da partitura ou secção. É de referir que este método tem por base a metodologia Orff/Wuytack, que defendem a exploração corporal como o grande veiculo na abordagem e compreensão da leitura musical, e no trabalho de montagem das músicas, deve-se ter em conta a apresentação do (todo / parte / todo), bem como a exploração dos improvisos, para estimular a criação de pequenas composições. Outro aspeto importante no trabalho desenvolvido nas aulas, foi a avaliação, assim a terceira e a sexta aula foram dedicadas às avaliações. Esta metodologia revelou-se muito importante, porque assim consegui aferir, os vários níveis de aprendizagem, bem como os aspetos dos conteúdos menos conseguidos. Foram seguidos os critérios de avaliação já estipulados pelo Professor Orientador, e referidos nas planificações. A reação dos alunos para com este método foi positiva, porque ao longo das seis aulas, houve a oportunidade de obter um melhor conhecimento do trabalho, que estávamos a desenvolver, e assim ajustar os ritmos das aulas de acordo com as matérias já consolidadas, e por outro lado as menos seguras.
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Adaptive case managment in practice

Adaptive case managment in practice

An example for knowledge work is claim regulation within an insurance company. With the creation of a new claim, first information e.g. damage of a car is available. The responsible knowledge worker of the insurance company has the goal to regulate and process the claim. He can receive and request additional information and documents. Two days after the claim was created, he receives a notification that also a person was injured. Personal damage might raise the claim value significantly, therefore the systems suggests him to request a police report. Based on the additional information and an exchange with an experience colleague, who handled similar cases in the past, he decided to request a report from an expert who investigates the accident, and a report from the doctor who examined the patient. The accident report, which also includes pictures, unveils that both drivers were speeding. In the meantime, the police launched an official investigation that resulted in legal proceedings. Based on the judgment, the knowledge worker will evaluate the claim regulation. The example shows that additional information becomes available during the case. Based on this information the knowledge worker decides on the activities. IT can support the knowledge worker with a central repository of all case data e.g. report, pictures and communications and a claim history. Search functionality helps the knowledge worker to access the information. The IT system can also present similar previous cases to support the knowledge worker in the decisions. The claim history & audit trail makes the case comprehensible. Based on the unfolding information, the path of the outcome is unpredictable as each case is unique. The knowledge worker can make the decision of which activity to execute to achieve his milestones and goals.
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Session 2 – Compositions with Game Technology

Session 2 – Compositions with Game Technology

‘please find a partner’ is one of two pieces I have written over the past few months that explore listening to coincidental occurrences. This work explores coincidences in musical material with a competitive element. Three melodica players are asked to compete to play the final part of the piece. For the most part (and this could be translated further than just music, at school or work…), the partnership is not explicitly chosen. However, after practice, there can be opportunities for players to predict certain outcomes. This to a certain extent, if done well, can improve a player’s odds of winning. My goal for these pieces is to ask musicians to listen to each other, and engage with decision making. My hope for the audience is that are able to join in with the same listening processes as the musicians.
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Musical experience and the aging auditory system: implications for cognitive abilities and hearing speech in noise.

Musical experience and the aging auditory system: implications for cognitive abilities and hearing speech in noise.

QuickSIN. The Quick Speech-in-Noise Test (QuickSIN, Etymotic Research; Elk Grove, IL) [63] is a non-adaptive test of speech perception in which speech is presented binaurally in four- talker babble noise (three females and one male) through insert earphones (ER-2, Etymotic Research, Elk Grove Village, IL). Four lists of sentences were administered, with each list consisting of six sentences. Sentences were presented at 70 dB SPL, with the first sentence starting at a SNR of 25 dB and each subsequent sentence presented with a 5 dB SNR reduction down to 0 dB SNR. The sentences are syntactically correct yet do not contain many semantic or contextual cues [64]. Participants were asked to repeat each sentence and their SNR loss was based on the number of target words correctly recalled. Sample sentences, with target words underlined, include, ‘‘The square peg will settle in the round hole.’’ and ‘‘The sense of smell is better than that of touch.’’ The total number of key words correctly recalled in the list (30 in total) is subtracted from 25.5 to give the final SNR loss ((see Killion et al. 2004 and the QuickSIN User’s Manual (Etymotic Research 2001) for further details)). The final score is the average SNR loss scores across the four lists. A lower SNR loss value is indicative of better performance.
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Advances in Medical Education and Practice

Advances in Medical Education and Practice

ment during online lectures is challenging, because the video might filter important emotional cues. Nevertheless, timely feedback from instructors and weekly emails with suggested schedules and reminders were useful motivating tools in our course. The students’ confidence levels also rose once they became more familiar with the online course site through an introductory session, which provided them with an orientation of the online course site setup and design and recorded instructional videos, providing guidance for each required task. Confidence was also fostered through stepwise construction of knowledge, online quizzes, and self-assessment opportunities. Therefore, satisfaction was facilitated by giving attention, relevance, and confidence to students.
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Advances in Medical Education and Practice

Advances in Medical Education and Practice

Distance-learning courses are challenging to manage, because many organizational issues, such as time demands, quality measurement, marketing, and budgeting, must be addressed. Cost might be a major issue for online courses in the absence of experience or structure with this educational format. Usually, hidden costs are not fully appreciated, and an erroneous impression of the course profits is common. Costs include server, technology maintenance, course development, and instructor time. Collectively, these costs might be higher than in traditional settings. 40
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Samuel Beckett and music an absurd essay about the idea of musicality and musical form in Samuel Beckett’s short pieces - influences and possibilities

Samuel Beckett and music an absurd essay about the idea of musicality and musical form in Samuel Beckett’s short pieces - influences and possibilities

A very musical, absurd text of a novelist and painter (Remizov excelled in graphics like Hildesheimer), built on mosaic form musical principles, talking about émigré life in Paris and Ru[r]

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Bol. Mus. Para. Emílio Goeldi. Ciênc. hum.  vol.4 número3

Bol. Mus. Para. Emílio Goeldi. Ciênc. hum. vol.4 número3

A fruticultura no estado do Pará e na mesorregião Nordeste Paraense, no período de 1985 a 2005, é analisada em relação à fruticultura brasileira e regional, indicando o nível de contribuição como atividade econômica. Os resultados, com base no modelo econométrico, apontaram importante participação estadual na produção frutícola brasileira, com significativos resultados para os índices de crescimento estadual e mesorregional. O desempenho da mesorregião Nordeste Paraense foi importante, justificando a posição de pólo de referência para a fruticultura no Pará. A análise do mercado de frutas frescas estadual, com base no comportamento da dinâmica do mercado, indicou ser a fruticultura uma atividade econômica promissora como oportunidade de negócio em franca expansão. A produção gerada ainda direciona-se em grande parte para o abastecimento do mercado paraense, deixando uma demanda insatisfeita em nível regional e nacional. À exceção de algumas frutíferas, como açaí, abacaxi, banana, maracujá e cupuaçu, que se destacam no mercado nacional, as demais são cultivadas em quintais, em pequenas áreas ou extraídas diretamente da floresta nativa. A dinâmica do mercado de frutas foi estudada com base no modelo dinâmico de equações simultâneas, estimado pelo Método dos Momentos
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Anexo 3   Planificação geral do projeto

Anexo 3 Planificação geral do projeto

– integra-se na experimentação musical individual e em grupo; – experimenta e seleciona materiais para criação musical, de. acordo com o contexto;[r]

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