This research deals with the study of an Amazonian musical structure, present in the Txanás, Cumbias and Baques, which are indigenous musical definitions from the south-western Amazon, anchored in the state of Acre. This musical language was consolidated in specific regional contexts: the rubber plantations of Acre, through the Baques de Samba and Marcha, the Peruvian reference jungle music, which influenced the Amazonian Cumbia and the musicality of the Txanás, as a contemporary phenomenon. The first chapter presents preliminary information about the peoples and regions involved in this musicality, followed by a bibliographical review of them. As a methodological reference, I base myself on the concepts of transportations applied by Marlui Nóbrega Miranda, whose thematic proximity has contributed to understanding the processes developed in this work, carried out over 15 years of action research with traditional indigenous masters and rubber tappers in the state of Acre. The theoretical framework used was Acre's indigenous historiography, which since the 1980s has organized a historical-cultural temporality based on collective and generational research carried out by indigenous researchers. The data on the musical practices surveyed was distributed according to the periodization proposed by Acre's indigenous historiography, with the aim of presenting a selected part of the large number of sources and references that were identified. In order to analyze the data on the musical structure identified in the practices mapped, bibliographical research was carried out on the main correspondents between the highlands and lowlands, relating the Andean Wayñus, the savage Cumbias and the Samba and Marcha Baques. To conclude the identification of the musical structure, musical analyses were carried out based on the musical elements learned from the sources, which demonstrated their common recurrences in different times, spaces and groups, as well as the particular musical characteristics of their functioning in rhythmic, melodic and harmonic aspects. These elements shed light on the existence of a musical language and syntax, originating from the indigenous peoples of the south-western Amazon, which has adapted through the times imposed by colonization and has been pointing the way towards a Brazilian musicology that finds its ancestry.

Indigenous experiences have been marginalized throughout colonialism, silencing and obscuring their cultural legacy, lifeworld, and ancestral knowledge. An Indigenous sonorous universe is a form of resistance to colonialism, as it is an ongoing process of recognition of Indigenous self-identity and revindication. From scholarship, it is important to (re)think about how we relate to these experiences; especially from Ethno-Musicology, various efforts and theoretical-methodological proposals have been developed to understand sounds, music, and other sonorous experiences of Indigenous peoples. From an ethnographic, self-ethnographic and interdisciplinary approach, I propose to elaborate methodological reflections based on the experiences of previous research processes, focusing on the positionality of the researchers and the participants of the research. Considering that memory, territory, and corporality are transversal to the Indigenous sonority, I intend to redefine the relationship between the sonorous Indigenous universe and ethnomusicological research aiming at revalidating Indigenous epistemologies and collaborative work, as significant methodologies for the discipline.

The Brazilian National Textbook Program has led to the production of books for Art that address the four artistic languages in an integrated manner: Visual Arts, Dance, Music and Theater. In this context, this work sought to understand and analyze the use that Art teachers from Juiz de Fora – MG (Brazil) make of these textbooks at schools. It is important to consider that, after the enactment of the Law of Guidelines and Bases of National Education, the teacher education programs in Art becomes specific in one of the languages, which can lead to difficulties in using the books distributed by the National Textbook Program. Thus, the following specific objectives were defined to operationalize the research: a) to understand the ways in which Art is offered in the municipal schools of Juiz de Fora, context where the books are probably used; b) investigate the art teaching conceptions of teachers; c) to understand and analyze the use that these teachers make of Art textbooks; and d) to understand and analyze the opinions of Art teachers regarding the didactic works evaluated and distributed bu the federal government. For this, the qualitative research was characterized as a case study that, for the construction of the data, used an online questionnaire, administered to the Art teachers working in the municipal schools of Juiz de Fora, and in-depth interviews with a Visual Arts teacher and a Music teacher. Despite the rate of responses to the questionnaire do not allow a generalization, it was possible to draw an outline of how textbooks have been used in this context. Art is offered in multiple ways in the different schools: as an Art discipline, where specialist teachers work respecting their area of specialization; as specific disciplines of artistic languages; and as one or more projects that work with these languages. Art teachers in Juiz de Fora are, for the most part, hired, holding temporary positions in different schools each year. Thus, most of the sample that responded to the questionnaires do not participate in the choice of textbooks, and do not use them in their teaching practice. Some teachers demonstrated to use the textbook as one of the possible resources, among many others, to prepare their lessons – always adapting according to their objectives and the context in which they work. In the in-depth interviews, it can be observed that, in fact, the choice of textbooks is made by effective teachers who, in this case, are all specialized in Visual Arts or Artistic Education. The teachers also use the book as a possible resource, adapting their proposals based on their art teaching concepts. These conceptions are based on the understanding of the lesson as an artistic happening, structured from experiences that form and transform those who are crossed by it. The Visual Arts teacher was more comfortable using the textbook that addresses artistic languages in an integrated way, which may be related to the fact that these books generally favor her area of training. In turn, the Music teacher demonstrated that she used the books very little, and it was always necessary to make major adaptations to some proposals that dialogue with her objectives. The results point to the need for more researches like this one in different parts of the country, in order to better understand the different relationships established with the textbooks made available by the federal government. In the way the books are structured, they seem to favor the work of Visual Arts teachers, and it is important to deepen the studies in order to analyze whether other formats or other logics would favor their use by other teachers. However, the importance of this material remains clear, which, not directing the teacher's work, seems to be being used as an ally in teaching practice.

This research had as general objective to understand how two women, instrumentalists and music teachers build their Life Stories with music. As specific objectives, I sought to elucidate their strategies and ways to create spaces for empowerment in the field; bring the vision of themselves in their recognition as empowered musicians; intertwine this vision in the otherness of how this relationship with the other takes place in the process of empowerment in the musical environment. The theoretical framework is mainly based on the concept of empowerment and its dimensions, also bringing reflections on the interrelationship between music and gender, discussing the neutrality of female representation in the history of music and how women came to be thought of as historical agents. The theoretical-methodological assumptions are based on the approach of Life Stories, a reference that, through the (self)biographical narrative interview technique, suggests a re-signification of the experience by the collaborators, bringing a new meaning to their historicity. The analyzes indicate a strong link between the formative path of the collaborators and their empowerment processes, with their relationships with teaching, learning and research in the field of music being their main means of strengthening and (self)recognition in this field. The very act of narrating, from the perspective of narrative reflexivity, is also understood as a way of empowering oneself, by locating the narrator in a triple role, as author, actress and narrator of her own story.

This work has the life project with music of two singers residing in Brasilia as the object of study. The general objective established was to understand, in the autobiographical narratives of the two singers, means of constituting themselves in life projects with music. In this sense, the specific objectives were: to emphasize how experiences with music outlined the paths traced in the configuration of their life projects; analyze how they cope with a life that is designed with music; and to grasp how they recognize themselves as singers. In order to come to understandings and reflections on the proposal of this study, the (auto)biographical research proved to be more appropriate, grounded in the concept of the life project by Maria da Conceição Passeggi and Luciana Medeiros da Cunha, based on the figure of the individual-project by Christine Delory-Momberger; including the empirical, epistemic, biographical subjects by Passeggi and the music-biographical subject by Delmary Abreu. The data collection method was the autobiographical narrative interview. Throughout the conversation with both singers, the following was revealed as indicative trails of their ways of constituting themselves with music: choosing music, the constitution in training and experiences with music and the acknowledgement they make of themselves with music. In this way, the life project with music is constituted as a process of minor actions taken by the singers within each context, each stage their singing permeates and through each activity performed with music. These factors turn the singers into professionals.

This thesis was written when the teaching process had been going through an unstable and changing period, having a starting point from the sudden change of the on-site classes procedures into a teaching approach mediated by technology. We seek to bring a reflection about how the changing process happened and how the drum set classes worked out during this period, focusing our work on the students' perspective about the use of digital information and communication technologies (DTIC). The main goal is to observe how the DTIC were applied in the drumset classes at the research site, the Center for Professional Education - Brasília Music School (CEP-EMB). The work was done through an interview study, where three students from different moments of the school were heard. The first interviewee was a student who studied his entire course in an on-site class procedure and concluded it with an online graduation; the second one was a student who started in an on-site class procedure and migrated it to online classes, and the third and last student, has started his course already online. The students participated in a semi-structured interview where they pointed out changes in the School's physical structure, the importance of DTIC in their learning (but as a complement) and a preference for on-site teaching.

The present research, carried out within the framework of an academic master's program in music, aims to investigate how music education has been approached in research referring to children's and juvenile choir singing practices. The methodology consists of bibliographic research with the procedure of surveying theses and dissertations in the Brazilian Digital Library database with a time frame between the years 1996 and 2021. With the historical panorama of children's and juvenile choir singing in the Brazilian scenario, literature shows this practice in the school environment, in the repertoire, the conception of conductors, the benefits as an element of socialization and musicalization. The descriptive analysis showed how the educational-musical practices in children's and juvenile choir singing have been configured. The results show that, in the 13 selected works, although the practice of choral singing is inserted, for the most part, in the field of performance, there are clear contributions to the strengthening of educational-musical practices. The choice of repertoire seems to be the basis for expanding the participants' worldview in the dialogue with other cultures. The reference material to be used in a pedagogical way by conductors and music teachers is a point to be highlighted. Another trend in educational-musical practices is the social interaction between choristers, enabling personal and group growth, contributing to expanding the world, human formation and the idea of belonging. Another aspect consists of students feeling empowered with regard to the acquisition of musical skills and artistic experiences, socially constructed with their peers. Investigating how music education is addressed in these theses and dissertations is to consider the thinking of authors who value quality education and that takes place through actions that democratize the teaching and learning processes related to musical educational practices; the use of body movements; the search for an affectionate environment of coexistence and inclusion; by the presence of lucidity and creative practices; for overcoming challenges and searching for solutions and for training conductor-educators who know how to integrate musical knowledge, choral conducting practices with a musical education intended to train people with music for life. Therein resides the conductor's commitment to Music Education, reflecting on the type of necessary training that music graduates need to work with a children's and youth choir in a school environment. Professional training comprises a set of knowledge, skills and abilities such as conducting, vocal technique and musical education, consolidating performance with musical education in children's and youth choir singing.

Our goal in this dissertation was to study musical creation applied to videogames, exploring the technical peculiarities proposed by this medium. We seek to gather and systematize the compositional techniques applied to videogames found in didactic and academic literature on the subject. To this end, we carried out an auditory analysis of the Final Fantasy VII Remake soundtrack, in order to observe the relationships between the prescriptions of the revised bibliography and the application of these techniques and concepts in that game. In this way, it was possible to highlight points of convergence, divergence and extrapolation between what was suggested in the literature and what was found in our analysis.

In addition to other qualifications as a lawyer, professor of music history, violin virtuoso and composer, Flausino Valle played an important role in Belo Horizonte in the first half of the 20th century. He left works for violin and piano, voice and piano, flute and piano, choir and solo violin, as well as countless arrangements for violin. His 26 Preludes Characteristics and Concertantes for Solo Violin are a highly original work within the Brazilian violin repertoire, combining traditional technique with folk themes and an unusual use of the instrument. This research aims to understand the musical content of Flausino Valle's work through his 26 Preludes Characteristics and Concertantes for Solo Violin, in order to provide support for a musical interpretation consistent with the composer's intentions. The methodology adopted in this research was exploratory in nature, with the following specific objectives: i) to guide and provide guidance on how to interpret Flausino Valle's writing in the Preludes for Violino Só: ii) how to apply Flausino Valle's writing to the violin, focusing on bow technique; iii) propose to musical education institutions, violin schools, the application of some of Flausino Valle's Preludes as part of the violinist training program. It is concluded that the innovation in Valle's work is present mainly in the use and combination of instrumental techniques used by him to reproduce influences from his social environment, and his descriptive nationalism is present in all Preludes for solo violin. The preludes chosen by the author of this research are in line with Flausino Valle's clear intention of introducing them academically into the repertoire for training young violinists.

This dissertation presents results on how vocal imitation occurs in the musical learning of two-year-old children who attend music classes. The problem of this research arises from the duality of imitation in musical learning. On the one hand, it is understood as a learning process, on the other hand, a mechanized action that does not generate creativity. The theoretical framework of this research discusses this dichotomy through Edwin E. Gordon's Musical Learning Theory (TAM). The author presents three types of musical learning that children go through in early childhood: acculturation, imitation and assimilation. He explains that children learn music, as well as learning to speak. Singing voice models, as well as tonal patterns, are the means to teach children to sing. Bearing these considerations in mind, this dissertation sought to understand how the imitation of tonal patterns occurs in two-year-old children in music classes. The literature review showed that vocal imitation is a communication between adult and baby that generates tonal, temporal and affective synchrony between the dyad. With a qualitative approach, this research investigated a musicalization class of children aged between two and three years old at a private music school in Brasília/DF, in which TAM has its pedagogical base. The multiple case study (YIN, 2001) was used to crossreference data from each unique case, identifying and characterizing the musical and expressive manifestations imitative of tonal patterns. Participant observation (GIL, 2008), questionnaire (GIL, 2008) and video recording (CARVALHO, 2004) were used as methodological procedures. Qualitative analysis of interaction episodes (PEDROSA; CARVALHO, 2005) was used as an analytical procedure. As a result, it was identified that the imitation of the tonal patterns of two-year-old children in musicalization classes occurs in different ways, especially through reciprocal imitation, understood as a reciprocal imitative dialogue in which adults and children exchange musical knowledge in a mutual way. Affectivity is identified as the basis of imitation, considering the secure bonds provided by caregivers and music teachers, the models of singing voice, eye contact, direction, attention, engagement and silence as emerging from imitation in musical learning. Reciprocal imitation was identified as a process of preparatory audiation, with the function of organizing and discriminating tonal and rhythmic patterns through reciprocal musical interaction, enhancing the child's preparatory audiation. Intentionality, protagonism, discrimination of tonal patterns, musical syntax and tonal synchrony were characterized as musical learning processes through reciprocal imitation. The music teacher's bidirectional guidance enhances musical learning through imitation. Otherwise, unidirectional guidance can stabilize musical learning in imitation.

The research reported here investigated the processes of teaching and learning violin and viola in emergency remote teaching, in the context of a social project in the Federal District, using Moore's Transactional Distance Theory (1993) as a theoretical reference. To this end, we sought to verify the interaction of three variables (structure, dialogue and student autonomy) of the aforementioned theory within the context of emergency remote teaching, during the COVID19 Pandemic in the 2020 school year. It was ascertained how these variables were related within this context, and what results were obtained by these pedagogical and structural decisions, in the migration from face-to-face teaching to emergency remote teaching. The methodology chosen was case study in conjunction with content analysis. Data collection was based on governmental decision documents, organizational and pedagogical plans, class diaries, reports, and semi-structured interviews with students. The analysis of the data compared to the variables, provided notes about the existing relationships between structural choices and the opportunities for dialogue provided by the course, the data also demonstrate the importance of pedagogical choices in relation to the structure available and the impact that this structure has on the development of student autonomy and the implementation of the course as a whole. The research also indicates that the development of teachers' and students' digital competencies is necessary, both for face-to-face teaching and for Distance Education, since emergency remote teaching is not a teaching modality. For students and teachers to take advantage of DICT and all the potential that distance education has to offer, it is necessary to include collaborative and digital practices in the school context and in music education.

The objective of this study was to identify how Mental Representations can help control the bow in technical violin exercises. For Dalagna, Lã and Welch (2013), the phenomenon of Mental Representation is an anticipatory plan of the real musical performance, therefore the guiding question of this assignment is: how can mental representations help in arch control? For this, we conducted a bibliographical, descriptive research, with content analysis and a qualitative approach. In addition, we used the Zoom platform to conduct semi-structured interviews with seven professional violinists from Brasília (DF), demonstrating specific technical exercises of
bow control chosen by instinct in order to identify the phenomenon of Mental Representation. The assignment discusses the concept of Mental Representations; we present bow control in the perception of physics and violin literature; proposes to analyze and describe technical exercises proposed by Ševčík (1852-1934), Fischer (1988) and Dounis (1886-1954), which can offer subsidies for the construction of Mental Representations of the arc control, from the coordination muscle control, auditory perception and understanding of technical aspects. The methodology, discusses the perception of professional violinists in Brasília about bow control. The results show
that, through the exposure of the technicians, it was possible to identify mental representations of violinists, and how this phenomenon can contribute to the formation processes, remembering, anticipating, creating, recreating, solving, etc. this phenomenon is epistemic. The results in this cognitive research are important for epistemic curiosity in the process of individual development, in addition to being found with the music of the branch of psychology, specifically Mental representations of violinist control.

This research aims to understand how occurs the social-digital inclusion of cello teachers who work in online education.  From the literature review, I started the data collection through a questionnaire with a group of 76 (seventy-six) teachers from different regions of Brazil via wathsap in order to identify the profile of training of cello teachers who work in online teaching and understand how these teachers have used ICT in teaching. From this collection I selected three teachers who teach in different contexts and conducted semi-structured interviews. The data analysis identified the training profile of twenty teachers and pointed out particularities of digital literacy, most have higher education and all use ICT for teaching. The data are discussed from a teacher training proposal with a focus on digital literacy (FIPELD). The results point out that teachers have not had targeted training in digital literacy and deal with ICT from their experiences. The research also revealed the need for publications within the area of music education directed towards socio-digital inclusion.

The research has popular singing as its theme, with the general objective of understanding, in the light of training narratives, constitutive knowledge of training in popular singing. The theoretical-methodological reference used was the contributions of (Auto)biographical Research in dialogue with the field of Music Education. The source used was the (auto)biographical narrative interview. In this way, the (auto)biographical narratives of the singer and teacher of popular singing Dani Baggio are presented as a formative device that, in the analysis process, promote a bonding relationship between the dimensions of the subject of the experience, epistemic and (auto)biographical leading to understandings within the field of music and music education processes of musicobiography. This constitutive knowledge reveals a potential for (self) formation and this understanding of oneself with popular singing goes beyond competences, conceptions, musical and technical skills – they enhance the appropriating event, also revealing the figure of the teacher who has the intention of to make knowing how to act when listening emerge in the formative process