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Copyright of Apotheke is the property of Universidade do Estado de Santa Catarina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Foco (Interdisciplinary Studies Journal) is the property of Revista Foco and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses the change in Jorge Dias' team activity starting in 1960, with Ernesto Veiga de Oliveira and Fernando Galhano taking over the research. Jorge Dias gradually distanced himself due to his interest in publications synthesizing Portuguese culture and his involvement in university teaching. However, he continued to closely follow the research of Veiga de Oliveira, Galhano, and Benjamim Pereira. The text also highlights the research carried out by the Center for Ethnology and Ethnomusicology Studies of the Calouste Gulbenkian Foundation on Portuguese popular musical instruments, resulting in the creation of a collection of 486 instruments and the publication of a book on the subject. The published letters reveal the enthusiasm and behind-the-scenes of the research, as well as the friendship between Veiga de Oliveira and Jorge Dias. [Extracted from the article]

Copyright of Conservar Património is the property of Associacao Profissional de Conservadores-Restauradores de Portugal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Music instruments are generally investigated from a Eurocentric point of view that, based on physical and visible aspects, observes them as fixed and standardized objects and compares them to canonic instruments mainly from European concert music. Having as main object of study the viola machete of samba de roda, this article crosses historical and iconographic records of the presence of African instruments in Brazil with data collected with sambadores and viola luthiers in the field, in order to deconstruct the supposed European origin of instruments and practices of popular music in Brazil. I seek to demonstrate how music instruments are not mere fixed objects that were immutably transferred from one culture to another, but that, like the "living beings" that constitute their materials, are constantly adapted to different contexts, being often replaced and re-signified within the musical practice. [ABSTRACT FROM AUTHOR]

In the set of wind instruments (aerophones) there is one that, despite not being as popular as the flute or the saxophone, frequently figures in concert music; in orchestras and chamber performances: the bassoon. It has a distinctive, nasal and unmistakable sound. In this work we present some aspects of the physics and music of the bassoon. We selected some sites with songs that show the sound of the bassoon. Experiments were carried out to study sound waves, sound spectra, sound pressure levels, sound radiation as well as the psychoacoustics of the instrument. In the analysis of the experimental results, the programs Praat, dBTrait and dBInside were used. We observed that the bassoon can be considered a harmonic instrument and that the intensity relationship between the fundamental and the harmonics, including their presence or absence, depends on the emitted frequency, the measurement position, the time of emission of the note and how the sound was captured (including or not the attack and decay). The experimental processes used can be applied to the study of the physics of other musical instruments, allowing the observation of different types of sound sources and thus contributing to the motivation in physics and music teaching. [ABSTRACT FROM AUTHOR]

Copyright of Revista Educação, Artes & Inclusão is the property of Universidade do Estado de Santa Catarina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article aims both to discuss and bring a reflection about the role of the musical genre Choro in the formation of the musician. It has sought guiding elements for lines of action in the musical pedagogical scenario, subsidized by the characterization of Choro in the study of the musical instrument. It is also emphasized that the gender in question is very widespread in the realm of music in Brazil in which the compositional precepts have been used in the formation of the Young apprentice musicians. The theme shows another aspect of music education: the insertion of this popular Brazilian music in school academic guidelines, seeking plausible evidence to the question of learning and musical stimulation. [ABSTRACT FROM AUTHOR]

In musical pedagogies, the use of the body as a musical instrument is advocated and, being innate in the human being, it is ideal as an approach to instrumental practice. Body percussion is dedicated to it and incorporating it in the Primary Education stage brings numerous benefits to students. But, like any instrumental practice, students do not have to carry out their learning independently. Therefore, this study proposes a computer application capable of helping students in the practice of body percussion, during the teaching environment. Everything from the potential of an active methodology through the use of gamification, in which the playful component is key to increasing motivation. The union of ICT, gamification and body percussion converge in a substantial trinomial to improve this teaching-learning process. [ABSTRACT FROM AUTHOR]

This article aims to study and evaluate the analytical model of a plucked string. The initial conditions that occur in instruments with this type of attack will be applied to the general equation for the movement of waves on a string, so that the mathematical description of such movement is obtained; then, it will be shown what is possible to be concluded from such results when applied to musical instruments. [ABSTRACT FROM AUTHOR]

Copyright of Iluminuras is the property of Revista Iluminuras and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

El proceso de enseñanza y aprendizaje de un instrumento musical se encuentra intrínsecamente relacionado con el desarrollo de habilidades procedimentales, donde la adquisición de control en la ejecución de las acciones ocupa un lugar altamente significativo. Desde este punto emerge nuestra mirada hacia la Técnica Alexander (TA), donde mente-cuerpo trabajan de forma integrada. En el presente estudio examinamos la repercusión de su implementación en aulas de violín y viola, con relación al modelaje de comportamientos relativos a la ejecución e interpretación musicales mediante una tecnología de registro. Para ello, nos servimos del paradigma metodológico cualitativo, el cual se ajusta tanto a los objetivos de nuestra investigación como también a la fundamentación teórico-práctica de la TA, caracterizada por una visión holística. El estudio parte de un curso específico en dicha materia para profesores de enseñanzas elementales y profesionales de violín y viola. Tras su finalización, distintos docentes grabaron en vídeo sus prácticas pedagógicas implementando la TA, las cuales analizamos a través de nuestra propuesta de modelo analítico de la praxis de aula. Utilizando el software Atlas.ti para el tratamiento de los datos provenientes de los registros audiovisuales, los resultados revelan que los profesores sujetos de investigación incorporan variados aspectos de la TA en su acción pedagógico-didáctica de aula. Las conclusiones apuntan hacia un conjunto de potencialidades que la aplicación de la TA presenta en relación con el proceso de enseñanza y aprendizaje instrumental. /// The teaching and learning process of a musical instrument is intrinsically related to the development of procedural skills, where the acquisition of control in the execution of the actions occupies a highly significant place. From this point we turn our gaze towards the Alexander Technique (AT), where the mind-body is assumed to function in an integrated way. In the present study we examine the impact of its implementation in violin and viola classrooms, in relation to the modeling of specific behaviors to the performance and musical interpretation through a recording technology. To do this, we use the qualitative methodological paradigm, which conforms both to the objectives of our research as well as to the theoretical-practical foundation of AT, characterized by a holistic vision. The study starts from a specific course in this subject for elementary and professional teachers of violin and viola. After its completion, different teachers videotaped their pedagogical practices implementing the TA, which we analyzed through our proposed analytical model of classroom praxis. Using the Atlas.ti software for the treatment of the data from the audiovisual records, the results revealed that the professors subject to research incorporate various aspects of the AT in their pedagogical-didactic classroom action. The conclusions point to a set of potentialities that the application of AT presents in relation to the instrumental teaching-learning process.

This article seeks to trace connections that certain musical instruments perform between the plane of human beings and the plane of the sacred in different religious contexts. The xigubo will be analyzed in zione cults in Mozambique and, in Brazil, the use of the tambourine in the Assembly of God church, and the atabaque in Candomblé through ethnographies made by a musician and two anthropologists. To do so, we went into topics such as permissions for use, position within the rite, electrification and embodiment, to demonstrate how such a connection is implemented. The media role played by the investigated musical instruments demonstrates that, even in research fields with little (or no) relationship to each other, the contact between both planes (human and supernatural) has in the music produced the current of contact that connects beings human to the sacred. [ABSTRACT FROM AUTHOR]

The article analyzes the song Trenzinho do caipira, by Villa Lobos and Ferreira Gullar, as a historical object full of memories and stories concretized in the performances that take place. It was observed that, in each one, the elements that are part of the song are organized according to what the songwriter wants to communicate, but the singing voice and the persona of the singer play an essential role in the message. The song has already been implemented in several performances, without failing to refer to the sounds of Maria Fumaça and what they mean, historically and for Ferreira Gullar's individuality. The methodology included analyzing the song in its performance, noting, in addition to the song's verses, elements that are part of the work, such as the types of musical instruments, timbres, rhythms, pitches, the persona of the singer, and how these elements are articulated in the songs sung by Edu Lobo and Ney Matogrosso. It is expected that the reader/listener listens to the song considering it as a historical, contextualized, multi-signal object, in which music, word and performance act to generate new works at each performance, according to the way the songwriter interprets what is, but also what is not in the score. [ABSTRACT FROM AUTHOR]

Copyright of Extensão em Foco is the property of Universidade Federal do Parana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

BACKGROUND: A manual dexterity can be defined as the skill and ease of using the hands, such as writing, strumming a musical instrument, throwing and catching. Laterality can be conceptualized as the preference of use by one of the members over the other and it is confirmed, for example, in right-handed and left-handed individuals, influencing the different performances of the hands. OBJECTIVE: To compare manual dexterity in right-handed and left-handed users by placing and removing pins in the Grooved Pegboard Test. METHODS: The sample consisted of 20 healthy volunteers, of both sexes, aged between 18 and 40 years, divided into two groups: 5 men and 5 women from the right population and 5 men and 5 women from the population left-handed. Regarding the lateral dominance index, right-handed individuals had an average index of 97% and left-handed individuals, 91%, in the Edinburgh Lateral Dominance Inventory. RESULTS: In the condition of placing the pins, differences were observed between the right-handed [t(df=9)=- 7.16; p=0.01] and left-handed [t(df =9)=4.80; p=0.01], where the use of the preferred hand showed better performance related to the use of the non-preferred hand. As for the condition of removing the pins, no difference was observed between the right and left hands for the right-handed [t(df=9)=-1.96; p=0.08] and neither for the left-handed [t(df=9)=1.27; p=0.23]. Regarding the asymmetry index, no differences were observed between the groups, although it seems that the asymmetries stand out in tasks where the cognitive demand is greater than the energy demand. CONCLUSION: The performance in the tasks of manual dexterity was different for the preferred hand for both right-handed and left-handed people, with the preferred hand presenting a better performance when compared to the non-preferred hand. [ABSTRACT FROM AUTHOR]

Copyright of ERAS: European Review of Artistic Studies is the property of European Review of Artistic Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper seeks to work with the various images of indigenous musical instruments found within Brazilian information literature from the 16th to the 19th century. They are read as a form of language and we seek for them a place within the history of art. Several were the travelers who left us images of colonial and imperial times in Brazil. The images used by travelers often had the function of confirming written texts from the information literature. These images were seeking a place of speech within the written texts and should also be included and thought within the artistic field. However, how can art history deal with these images? We try to analyze the possible discourses of meaning related to such images and to seek a place for them in the artistic tradition. Our research for this text was based on bibliographic and imagery sources and our analysis sought, qualitatively, to understand the place of such images and their speeches. The partial results show that the images of indigenous musical instruments of the 16th century refer to the exotic, the estrangement in relation to the objects of the Brazilian natives. In the 19th century, such images are more organized and show the creativity and inventiveness of Brazilian natives. [ABSTRACT FROM AUTHOR]

Copyright of Muiraquitã: Revista de Letras e Humanidades is the property of Muiraquita and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Religião e Sociedade is the property of Instituto de Estudos da Religiao and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of ERAS: European Review of Artistic Studies is the property of European Review of Artistic Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

in this article we present and exemplify the concepts of self-regulation and self-regulating cycles in the teaching of musical instruments. The objective to be achieved with the adoption of self-regulation goes beyond the attainment of technical ability to perform a musical instrument, since it aims at the metacognitive development of the individual. The proposition of self-regulatory cycles was motivated mainly by the writings of the psychologist Barry Zimmerman (1998, 2000, 2002). As a result of the subjects here discussed, we point to the cognitive efficacy of the use of self-regulation, since this strategy contributes to the student's autonomy, which in this way becomesresponsible for all stages of his/ hers learning process. [ABSTRACT FROM AUTHOR]

Copyright of ouvirOUver is the property of ouvirOUver and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

It investigates the beginning of the formation of the library of the Alberto Nepomuceno Library of the School of Music - UFRJ from the examination of the books of record and inventories contained in its collection. It lists the most important donors between the years of 1890 and 1923 highlighting the names of Leopoldo Miguéz and Alberto Nepomuceno and the work developed by the former directors in the organization of the Library. It identifies the main collections registering their origin and origin. [ABSTRACT FROM AUTHOR]

In a language with distinctive tone and length, such as Gavião of Rondônia, the first question about speech played by musical instruments is the relation between the melodies and the super-segmental phonology of the corresponding words in sung speech and in normal speech. The sung speech is useful for learning and explaining the musical notes. It is influenced by the phonological possibilities of the spoken form and by the musical possibilities of the instrumental form, being intermediate between the two. This art is performed with various Gavião traditional musical instruments. The role of the instrumental sung speech is artistic and also practical, to help to maintain the oral heritage. This practice represents a little-studied and threatened cultural heritage of the traditional substratum of the cultures of Amazonia. On the Indigenous Reserve Igarapé Lourdes we used an original methodology to document this phenomenon in the musical instruments which the Gavião collaborators identified as 'speaking' or 'singing'. The recording and transcription sessions necessary for this type of research will be explained here. They show the relation of acoustic iconicity which exists between the words and the music. Linguistic analysis makes it possible to understand the phonetic and phonological nature of the iconicity.

In this paper, we address part of the production of three artists: the sculptor Harry Bertoia, which produced a wide range of sound sculptures in the 60s and 70s; and Baschet brothers who created a series of musical instruments from the 1950s, being exhibited in museums, also considered as sound sculptures. Analyze this production from texts where personal visions of the artists themselves are exposed. Finally, we will point out points of convergence and divergence in creating these sound sculptures. [ABSTRACT FROM AUTHOR]

This study approaches the collection of Instrumental Museum Delgado de Carvalho of the School of Music School at UFRJ (Federal University of Rio de Janeiro) through thematic and descriptive representation of musical instruments for purposes of information retrieval. The insufficiency of international regulation of representation for this aim, and the shortage of studies on the subject in Brazil have motivated the present study. The analysis of existing regulations and patterns in the areas of Librarianship, Museology and Organology has resulted in a proposal for representation of musical instruments at UFRJ Minerva database, which adopts the librarianship patterns AACR2 and MARC 21. This study also developed an archetype of managed vocabulary on the field in order to contribute with thematic organization of the collection. The research also claims for the need of additional studies on specialized documentary language in the music area, aiming at generating a thesaurus in the domain of musical instruments. [ABSTRACT FROM AUTHOR]

In this paper it was investigated the organoleptic properties and machining of six potential woods for bows of stringed instruments and compared the results with those mentioned for the Caesalpinia echinata wood, the reference for modern bows. Thirty wood stores were visited in different cities of the São Paulo state to verify the commercial availability of these woods. We concluded that despite the traditionalism of the red tones in the woods for bows, woods with yellowish tones such as Handroanthus spp. and Dipteryx spp. or brownish such as Diplotropis spp. with appropriate properties, may offer alternative colors and textures to the musicians. It was observed that the Mezilaurus itauba and Astronium lecointei, woods with easy machining, have no potential suitable for bows. Regarding to availability, all woods tested are relatively easy to find nowadays in the wood market. Handroanthus spp. and Dipteryx spp. showed greater potential for making bows for professional musicians. The woods of Mezilaurus itauba and Astronium lecointei did not show good potential for bows

Copyright of Políticas Culturais em Revista is the property of Politicas Culturais em Revista and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Archeology is mostly associated with Pre-History and the investigation on Humanity's past. However, Archeology also analyzes material culture that may be defined as artifact fabricated by humans. Current essay discusses the possibility of an Archeology of Rap through an investigation of the materials used in its musical paraphernalia, especially, the microphone. Instruments used by Rap people are mediators of social action and may be considered material culture. [ABSTRACT FROM AUTHOR]

This work concerns to a study directed to the execution of exercises for the electric guitar. The use of techniques and classical compositions of other instruments, like violin, helps the popular study with licks that can be executed and with new approaches and revisiting for more dynamic studies. The Capriccio n° 5 of Niccolò Paganini, which inspired the guitar player Steve Vai, was included in the movie "Crossroads" (Steve Vai – "Eugene's Trick Bag" for the movie Crossroads. Caprice N° 5), whereas it was the tune of the final duel between two guitarists. In this context, this work studies the importance of utilizing a classical tune rewritten for diverse guitar techniques. [ABSTRACT FROM AUTHOR]

Sound production on musical instruments is a fundamental referent for the acoustics teaching in secondary and higher education. One main feature found amid established models for approaching acoustical phenomena in Physics is linearity. Indeed, researches in the field of musical acoustics indicates that most musical instruments involve fundamentally nonlinear processes without which one can not understand the operation of these instruments. In this paper, we contribute to the discussion of acoustical phenomena in teaching Physics, approaching the limits of the hypothesis of linearity in musical acoustics from a specific instrument: the transverse flute. We discuss the acoustic wave equation (the equation that governs the propagation of sound waves in fluids such as air), highlighting the assumptions that underpin this equation and its validity. In fact, the validity of acoustic wave equation is closely related to the question of linearity on acoustical phenomena. Finally, we discuss the technique of excitation of the transverse flute (embouchure) to find it an essential nonlinearity involved in producing sound with this instrument. We believe that this discussion is a contribution to the refinement of the established models in approaching acoustical phenomena in higher education. [ABSTRACT FROM AUTHOR]

This article focuses on the theory applied to performances practices arising from the diffusion of historical knowledge through the treatises of the time, yet combining special elements, namely: score (Les Bergeries F. Couperin) and musical instruments (French and German harpsichords of the eighteenth century). [ABSTRACT FROM AUTHOR]

This paper presents the seven studies from the "Curso de Lições para o Contrabaxo" do Methodo Pratico ou Estudos Complettos para o Contrabaxo [Course Lessons for Double Bass from the Practical Method or Complete Studies for Double Bass], authored by the composer and bassist Lino José Nunes, a musician who lived in Rio de Janeiro until 1847. The work was located in the collection of musical manuscripts from the Library of Alberto Nepomuceno at UFRJ School of Music during the first inventory conducted in that collection. Although incomplete and written for the three bass strings, the work dated of 1838 is probably the first Brazilian method dedicated to that musical instrument. [ABSTRACT FROM AUTHOR]

Panoramic study on the history of Brazilian instrumental group UAKTI, ranging from the musical background of its mentor, composer, luthier and multi-instrumentalist Marco Antônio Guimarães until the construction and use of the new acoustical musical instruments that lead to the aesthetics and continued production in Brazil and abroad for over three decades. [ABSTRACT FROM AUTHOR]

Copyright of Alfa: Revista de Lingüística is the property of Alfa: Revista de Linguistica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

"Viola in the Sambas of the Recôncavo Baiano" is an ethnomusicological study about the 10- stringed musical instrument-popularly known as viola-brought to Brazil by Europeans. In the region of the Recôncavo Baiano (Bahia, Brazil), the viola is closely associated with forms of traditional musical expressions in communities characterized by a strong cultural legacy of African matrix. These popular expressions are organized around musical groups from certain localities in the present region of the Recôncavo Baiano, generally known as samba de roda groups. These musical groups preserve the presence of violas in their instrumental ensembles and perform modalities of samba music known as samba-chula, samba de viola or barravento, among others. The viola is, remarkably, one of the strongest symbols of "tradition" in this region, justifying its presence in such groups. Therefore, the main objective of this article is to collect information and descriptions about the importance of violas and of viola players in some of the samba de roda groups observed, describing its characteristics, as well as the aural and symbolic uses and functions of both. In parallel, also analysed will be changes occurring there in relation to: the substitution of this instrument for other instruments, the oral transmission of the knowledge and practices of the viola facing the influence of general changes in society, and in relation to the interference of public policy and scholarly studies in the lives of people from these communities. [ABSTRACT FROM AUTHOR]