https://repositorio.ufba.br/handle/ufba/496 Sun, 03 May 2026 05:36:45 GMT 2026-05-03T05:36:45Z http://repositorio.ufba.br:80/retrieve/9344afd7-fd6b-4397-b9eb-8ceeb8a0c3a0/logo musica.PNG https://repositorio.ufba.br/handle/ufba/496 https://repositorio.ufba.br/handle/ri/44136 Título: A importância do arranjo no estudo para violão Autor(es): Gonçalves de Miranda, Vicente dos Santos Primeiro Orientador: Matos, Robson Barreto Abstract: This Final Project was prepared as a requirement to obtain the master's degree from the Professional Postgraduate Program in Music at UFBA. This work includes the memorial, article, product, and annexes. The memorial aims to report my journey from the beginning of my musical and academic career until entering PPGPROM. Next, the article investigates two instrumental arrangements for solo guitar of the song Manhã de Carnaval, by Luiz Bonfá, highlighting the importance of studying harmony. The product proposes a guide-method for guitar study entirely linked to harmonic issues and the practice of arranging small melodies, seeking to align theoretical study with instrumental practice, regardless of the instrument player's level of knowledge. In the annex to this work, I present three arrangements I made during the course. In this way, the aim is to encourage that theoretical and practical study are always done concomitantly, and that future readers of this work feel invited to bring the practice of arrangement into their daily study routines. Editora / Evento / Instituição: Universidade Fedaral da Bahia Tipo: Trabalho de Conclusão de Curso de Mestrado Profissional (PRODAN) Tue, 22 Apr 2025 00:00:00 GMT https://repositorio.ufba.br/handle/ri/44136 2025-04-22T00:00:00Z https://repositorio.ufba.br/handle/ri/44135 Título: Levantamento de Peças Solo para Clarineta de Compositores Brasileiros e Análise composicional voltada para interpretação da Pequena Peça Brasileira de Murillo Santos Autor(es): Lopes, Andressa Leal Primeiro Orientador: Barbosa, Joel Luís da Silva Abstract: This master's thesis in music education is composed of five sections. The first section is an introduction to the work. The second section presents the author's academic and professional memoir, which provides an overview of their musical history from the beginning to their entry into the master's program. The third section presents a compositional analysis of Murilo Santos' Pequena Peça Brasileira for solo clarinet, focused on interpretation, in the form of an article. The fourth section is composed of a product called "Survey of Works for Solo Clarinet by Brazilian Composers," in which the author presents a list of 141 compositions written for solo clarinet, containing the title of the work, name of the composer, year of publication or manuscript, tuning, and informant or source. The fifth and final section, the appendix, is composed of the reports of the Supervised Professional Practices. Editora / Evento / Instituição: Universidade Federal da Bahia Tipo: Dissertação Fri, 03 Nov 2023 00:00:00 GMT https://repositorio.ufba.br/handle/ri/44135 2023-11-03T00:00:00Z 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