Programa de Pós-Graduação em Letras e Artes - PPGLA

URI permanente desta comunidadehttps://ri.uea.edu.br/handle/riuea/5685

Em 2011, iniciamos as atividades do Mestrado Profissional em Letras e Artes. Após a última avaliação trienal da CAPES (2010-2012), o conjunto destas ações motivou o parecerista de área a sugerir que tal perfil se relacionava de maneira mais condizente a uma proposta de Mestrado Acadêmico, o que, portanto, não acarreta perda de viés, mas, ao contrário, reforça o conceito que o PPGLA projetou para o perfil dos seus egressos. Com base nisso, reformulamos as linhas e a área de concentração para o envio de uma nova APCN, com proposta para Mestrado Acadêmico, de modo a abrigar ações, ao invés de separar express que promove ainda mais o aspecto interdisciplinar e aproxima as iniciativas que possuam motivação semelhante, quanto ao tratamento e destino dos temas e objetos de observação científica. Iniciamos, portanto, o programa no mês subsequente à recomendação da CAPES, que sugeriu a migração da turma de 2015 à modalidade acadêmica. Ao que se refere à inserção do Programa na região Norte, ele vem a suprir uma demanda de anos, em toda a região Norte. Há, atualmente, na região, apenas 10 Programas na Área de Letras e Linguística. Quanto aos programas em Letras no estado do Amazonas, estes são muito recentes (2010 o da UFAM e em 2011 o da UEA, modalidade profissional); há, também, uma procura muito grande nos processos seletivos do PPGLA-UEA, sempre mais de 100 candidatos em cada seleção. Portanto, a inserção do PPGLA na região tem trazido resultados positivos, dentre os quais destacamos a formação local de profissionais, em especial para atuarem nas universidades e faculdades do estado, sobretudo para a formação de docentes concursados que ainda não possuem mestrado. Uma das particularidades de nossa proposta é de contemplar as três áreas da grande Área de Linguística, Letras e Artes. Dessa forma, tanto propostas como orientações visam à busca pela interdisciplinaridade, como ponto de relação entre linguística, letras e artes, mas também dessas com outras disciplinas ou interfaces.

Navegar

Agora exibindo 1 - 5 de 5

Leitura e escrita musical em perspectiva (s)
(Universidade do Estado do Amazonas, 2021-09-05) Caregnato, Caroline
In this collection of texts, produced by researchers and professors from different Brazilian universities, musical reading and writing are approached in perspective(s). In other words, our objects of study are analyzed here in perspective, in a similar way to that proposed by the painters, who place different planes of observation in a single frame. In other words, reading and writing are brought here from different perspectives, from the perspective of different areas of study: iconography, history, analysis, cognition and music education. This multifaceted work was produced thanks to the encouragement of the Foundation for Research Support of the State of Amazonas (FAPEAM), through its First Projects Program, and constitutes the closing of a research project carried out between 2018 and 2021.
Música e interfaces
(Universidade do Estado do Amazonas, 2020-12-05) Caregnato, Caroline; Páscoa, Márcio
As much as postmodern thinking turns against the separation and isolation of the different areas of human knowledge, and which were inherited (separation and isolation) from Cartesian thought, we must admit that the establishment of zones of adherence, of relations or, in other words, of interfaces between the different fields of knowledge is still a challenge for many of us, researchers trained in a multidisciplinary tradition. Music and the researchers who discuss it sometimes close themselves off in the specialization and hermeticism of their debates, not allowing themselves to see, in fact, a reality that can hardly go unnoticed: music is not a phenomenon that manifests itself isolated in the world. Although we all know this, it never hurts to remember that the integration of points of view, or knowledge, is necessary for us to approach a less naive understanding of the reality that we were willing to study. Music, like a prism of countless faces, has a “nucleus” where we could place the most specific discussions in the area, but which is surrounded by a multifaceted surface, which relates to the outside, makes contacts, establishes relationships with other areas of knowledge. For this reason, it is necessary to talk about musical “inter-faces” or, in other words, about the relationships that this prism, which composes musical knowledge, establishes with the other areas of knowledge by placing their infinite “faces” in “interrelation” ”With its surroundings. This collection of texts, according to my reading, presents us with the “hard core” of this multifaceted prism that corresponds to musical knowledge, but also presenting some of the countless faces and relationships that this object can establish with its surroundings. . The first section of this book, dedicated to “Interpretative practices”, contains a set of texts that reflect on the construction of musical performance. In “Allaudistic resources to the guitar: a case study for the performance of JS Bach's Fugue BWV 997”, Vitor de Souza Leite discusses the appropriation, in the performance of a piece by Johann Sebastian Bach to the guitar, of elements of the auditory execution rescued 18th century treatise Theoretisch und Practische Untersuchung des Instruments der Lauten, by Ernest Baron. The guitarist interpretation is also the object of study by Ricardo César dos Santos Castilho Filho and Luciano Hercílio Alves Souto, in “Technical-idiomatic resources of the Baroque repertoire for strings plucked in guitar transcriptions: a critical-reflexive study of the medium change procedures instrumental and notational ”. In this article, the authors discuss the problem 8 involved in the transcription and modern execution, on the guitar, of ancient notations originally produced for strummed string instruments such as vihuelas, guitars and lutes from the Baroque period. A similar theme is addressed by Luciano Hercílio Alves Souto, in “The English guitar and the wire viola in the 18th century: notational, technical-idiomatic approaches and transcription of excerpts from Musical Example No. II, extracted from The Art of Playing the Guitar or Cittra (1760) by Francesco Geminiani ”.The authors, in this work, present characteristics of African rhythm, relating this, then, to the rhythm of Brazilian music. Brazilian music is also the focus of the analysis proposed by Íngrid Lívero, in “The discourse in the arrangements and melody of songs by the Engineers of Hawaii: tracing a musical process of subjectification”. In this article, after a brief historical exhibition on Brazilian rock, consolidated from the 1980s, the author starts from the concept of parrhesia, proposed by Michel Foucault, to analyze the discursive practices that permeate the music “Toda forma de poder”, by Hawaii engineers. The article section entitled “Cognition, training and music education” presents works that provide theoretical foundations in the fields of cognition and / or music education, in addition to reports of pedagogical experiences in the area of music that can contribute to teacher training.
Música, linguagem e (re)conhecimento
(Universidade do Estado do Amazonas, 2020-12-05) Caregnato, Caroline; Páscoa, Márcio
The musical experience gained an enormous dimension with the advancement of digital technologies. One of the main differences huge sound supply that has never been greater in any other time like now. The complete work of an author, however productive has been, however many papers he used to write it and yet hours of rehearsals and recordings have been spent, it is now up to on small devices ranging from the size of a toothpick to a or not at all: they can be accessed from a remote point, which we figuratively call the cloud, even our electronic devices. In fact, we can have entire catalogs, authors diverse, from the same epoch, from all epochs, if we wish. The incredible ease with which it became to make a recorded record, with incredibly high quality compared to two decades past, rivals the stunning availability of documents from the past and of the present, through initiatives of public and private digital portals, large library or new virtual repositories that reorganize in a coherent file many libraries. The experience of doing and listening to music became more common, after all we can have a home recording and music editing studio to make our own demonstration feasible, or even listen in the car or on public transport the repertoires once available only for special and sometimes very exclusive occasions, such as summer mornings Sunday of a Venetian parish church from the early 18th century, a small Parisian cafe from the 1930s, or an unrepeatable night of a rock festival in the late 1960s. But our capacity for enjoyment cannot be intended to be total, nor at the same level of processing of these incredible repertoires that we access today. Something that can be seen at the time of these two decades 21st century is that our capacity for reflection on ideas and musical practices also need to change. Instead of the apparent trivialization of all this musical heritage transformed into computer data, we can understand how different times and places achieved their music. In a world that is being rapidly ratified by globalization determined by the canonical imposition of the great centers radiators of technology and information, we realized, however, that some things do not change. This is because new tools and techniques serve old ideas.In the first chapter, Geoffrey Baker, of long years studying the phenomenon of multiplication of orchestras in the recent history of Venezuela, which should correspond to a massive process of musical education and consequent citizen emancipation, offers arguments that weaken such idea and point to the process as a tool of doubtful purpose, because in the end it seems to be a strategy of social control and domination of the state on the individual, a finding that is never consistent with the construction of free will. Baker refers to Favio Shifres, who in the next chapter does not leave room for doubts to those who still have them: the cultural south is necessary recognize and value their own experiences of manifesting language, in this case musical, to then reach an emancipation of knowing. The (re) knowledge is therefore to make the experience visible outside of the canon, since otherwise only a silent and subordinate, full of mistakes. Graziela Bortz's text refers to the first words of this presentation leading to think that the technological race also ends because it is a challenge to understand the human being. The challenges educational aspects of the previous text here seem to echo as challenges to human essence itself. The social dimension of music continues to be discussed by João Quadros Jr. in order to complete the section dedicated to cognition and music education. To close the block, Beatriz Ilari discusses the latest research in the field of musical cognition, involving central aspects that the previous authors were concerned, such as the construction of a rationale musical, emotionality and impact on social relationships.The second block is intended for musicological discussions that lose sight of many of the preceding elements. Here we see diverse concerns with theory, analysis and musical interpretation for which historical, semiotic contributions and approaches are called intertextual analytics. Robert Gjerdingen's work echoes in almost everyone the texts here in this section, since this researcher revealed effectively the teaching-learning and musical creation of the tradition of Neapolitan origin that in the 18th century would reach with consequences and traces for many decades. This tradition provided for pre-compositional stages that guided a massive process of musical formation and elaboration. These are the counterpoint schemes, virtual models from which they were oriented (and are still oriented) many practical achievements with great possibility of uses and variations. Mário Trilha looks at one of these schemes in particular, Romanesca, identifying wide use in the middle of instrumental works of 11 several authors from the second half of the 18th century, in contrast to its frequent application in the opening of movements, until then the way most commonly seen in the European repertoire. Romanesque remains the point of attention in the following text, in which I argue for her interaction with the subject of love in opera would be Italian. The theory of musical topics, were they not problems methodological factors that have restricted it, could have come here as a support for understanding meanings. However, the issue seems to be much more correct in a discussion on how to represent and interpret ideas and their context, thus being a debate about mimesis.The last text in this block could be the first in the next section. Guilherme Monteiro, who carried out the first integral analysis of a work dimension of a Brazilian author, following the theoretical framework Gjerdingen and showing associations with musical topics, highlights here some excerpts from the Six Funeral Responsibilities of João de Deus Castro Lobo who connect because of the unusual structure and textual similarities. For the interpretative analytical approach I took the exciting opportunity to collaborate, literary sources were brought and above all iconographic ones that seem to make sense of what the Minas Gerais composer in his last musical creation. Thus, the next section, dedicated to musical iconography, appears in a timely manner. In it, Vergara shows us approximations of musical education, or through music, and homoerotic social practice in iconographic representations in Classical Antiquity, which reveals other social constructions and artistic understandings.
Teoria, percepção e criação musical: nível 1A: material do(a) estudante
(Universidade do Estado do Amazonas, 2023-06-24) Caregnato, Caroline; Ventura, Fábio Silva
"Music Theory, Perception and Creation - Level 1A"; is the first volume of a series of four that brings contents and exercises in music theory, ear training, and solfege alongside music creation projects that seek to integrate theoretical learning with music practice. Developed by teachers from the Universidade do Estado do Amazonas (UEA), this material is meant to be used with children and teenagers from nine years old on and can be adopted by music theory and ear training teachers, but also in instrument or musicalization classes. Each volume is divided into four sections (Music Theory, Ear Training, Solfege, and Music Creation), which have exercises graded in difficulty and that were developed and improved over years of experimentation in classes from UEA extension courses. The book's sections should be combined so that the learning of theory, ear training, and solfege occurs in a way connecting practice and listening, that is, therefore, more meaningful to the students. The "Student Book" has explanatory texts and exercises, and is also richly illustrated with pictures that can be painted by the student. This material can be freely downloaded from the internet and printed on a home printer. Also included in this volume are the "Teacher's Book" and the "CD 1A".
Teoria, percepção e criação musical: nível 1A: material do(a) professor(a)
(Universidade do Estado do Amazonas, 2023-06-24) Caregnato, Caroline; Ventura, Fábio Silva
"Music Theory, Perception and Creation - Level 1A"; is the first volume of a series of four that brings contents and exercises in music theory, ear training, and solfege alongside music creation projects that seek to integrate theoretical learning with music practice. Developed by teachers from the Universidade do Estado do Amazonas (UEA), this material is meant to be used with children and teenagers from nine years old on and can be adopted by music theory and ear training teachers, but also in instrument or musicalization classes. Each volume is divided into four sections (Music Theory, Ear Training, Solfege, and Music Creation), which have exercises graded in difficulty and that were developed and improved over years of experimentation in classes from UEA extension courses. The book's sections should be combined so that the learning of theory, ear training, and solfege occurs in a way connecting practice and listening, that is, therefore, more meaningful to the students. The “Teacher’s Book” presents guidelines for the approach and execution of the activities in the book. They are based on theoretical reflections by renowned authors in the fields of music education and music psychology. The material also contains chords and music sheets that can be played live by the teacher. Also included are the "Student’s Book's and the CD 1A".