The aim of this research is to rescue/preserve possible ways in which the Heus’s Song was performed in the past of the city of Congonhas, Minas Gerais. The ceremonies of the so called Holy Week mark the celebration of Jesus Christ’s Passion, Death and Resurrection in the Catholic tradition. During that week, each day mark a specific passage of the Holy Bible which is celebrated with specific rites, full of symbolism. Among these rites, one that stands out, both for its solemnity and for its symbolism, is the Burial Procession. It takes place on Hole Friday, the day on which, specifically, the Passion of Christ is celebrated, and is quite followed by the Catholic faithful. It is an event that is still widely held in many cities in the interior of the state of Minas Gerais, especially Congonhas, located in the Alto Paraopeba region. In this city, Holy Week is an important element of cultural identity and attracts thousands of faithful and tourists to the streets to follow the Burial Procession, which represents Jesus’s funeral, after his body was taken from the cross and carried by his family and friends to be deposited in a tomb. During this procession, there is a character, Veronica, who sings a monodic song of devotion a capella, from point to point along the way, and shows a white cloth with the Jesus’s face stamped on it. Right after Veronica sings her song, there is an answering song, also a capella, sung by three women, called Heus. In several cities in the interior of the state these three characters still appear during the Burial Procession. In the city of Congonhas, however, the Heus Song does not exist anymore during the Burial Procession, nor in a written or a recorded way. Thus, in order to identify this song and to make a written and a recorded record of it, interviews with people linked to the Holy Week of the aforementioned city will be made.  It is expected to contribute to the preservation and diffusion of the cultural identity of a people, which is expressed in the Catholic rites practiced in Brazil and manifested in their religiosity and artistic expressions.

This project intends to approach the maxixe, as a genre in Brazilian music, which triggered the most repercussions in the turn of the 19th to the 20th century because it was considered scandalous, although it is not so contemplated in academic and editorial publications. We will deal, especially, with four composers: Chiquinha Gonzaga, Ernesto Nazareth, Júlio Reis and Benjamim de Oliveira. We will emphasize the analysis of four pieces by the listed composers, respectively: Corta-Jaca, Dengoso, Passo Miúdo and Tutu. In addition to biographical aspects, the analysis will be based on sociological and historical references, also using a comparative methodology. However, the pieces will be treated, especially, from the morphological point of view. We will show how the maxixe contributed to the artistic projection of these artists, as well as to the increase of financial capital through the commercialization of musical scores.

The objective of this research was to investigate whether understanding the meanings of the text of the libretto of the ballet and Orchestral Suite No. 2 of Daphnis et Chloé by Ravel can influence flutists in the interpretative construction of the flute solo. We chose the excerpt from the flute solo of Daphnis et Chloé by Maurice Ravel (1875 – 1937) as the central object of this study, because it characterizes the dialogue between other artistic languages besides music, such as ballet and prose, in which, in the course of the score, we find the libretto that describes the Scenes. The research was based on the concepts of intersemiotic translation by Peirce (1977) and Jakobson (1987) and Haroldo de Campos (1929 - 2003). We also used references from the literature on the transverse flute that relate the context of the work to the didactics of the construction of musical expressiveness. In a multiple case study, we conducted an experiment with a sample of four flutists to observe whether understanding the meanings of the libretto text can influence the construction of the solo interpretation. The experiment involved recordings of the excerpt before and after being exposed to the libretto, a questionnaire, a semi-structured interview, and spectrographic analysis. The data collected in the interviews revealed that the selected flutists felt encouraged to create new interpretative subsidies from contact with the libretto text. The flutists revealed that they understood the meanings of the text and how they translated them into sound language by manipulating sound elements such as vibrato, dynamics, rhythmic realization, among others. In addition, the interviewees reported feeling freer to interpret the excerpt after contact with the libretto.

The capixaba composer Arnulpho Mattos (1877-1972), born in Cachoeiro do Itapemirim, ES, is one of the rare exponents of erudite musical production in the state, whose work remains a collection of autograph manuscripts, quite fragmented, dating back to the first decades of 1900. Despite his prominence in the Espírito Santo cultural scene, corroborated by news from the periodical press of the time, there is a lack of work focused on the construction of his biographical profile and his musical production. This research aims to remedy this gap based on the premises of the New History, correlating the information contained in the documents in the collection with that present in the local periodical press and other documentary sources. The aim of this work is to rescue his memory and his musical journey, providing subsidies for future editing and dissemination actions of his work.

ABSTRACT

Music teaching in regular schools in Brazil does not have the same prestige as other disciplines in the curriculum., it also does not have achieved the same importance as in other countries (PAES and SANTOS, 2015). In this way, the absence of music teaching, especially instrumental music, in regular schools, and the predominance of this type of teaching in the few specialized schools has made it more difficult for a large number of young people who want to learn an instrument to have access to the study of music or a musical instrument. In the last two decades of the 20th century, we saw an exponential growth in the number of civil society organizations (NGOs) and socio-cultural projects offering artistic activities, especially in the field of music teaching. These NGOs and social projects actions end up taking on social and educational responsibility with the aim of combating socio-cultural exclusion. This is the case of the Vale Música Project, developed in the city of Serra, in Espírito Santo. Despite the success of this project attending a large number of children and adolescents, there is also a high level of evasion. So, when we asked - what is the reason why the students in this project quit musical training? We felt it was important to study and investigate the causes that lead to the abandonment of musical study. In order to answer to our question, we developed this study based on a qualitative approach, which technical procedures led to a case study (STAKE, 2006), with the aim of investigating the factors that lead children and adolescents from the Vale Música Project in Espírito Santo to fail, culminating in their abandonment of musical learning activities. The research data was collected through participant observation at orchestra rehearsals, instrument lessons and semi-structured interviews with the project coordinator, the conductor, teachers, evaded students, and their parents. The results showed that a lack of family support, among other factors, can contribute to students’ evasion on learning music in social projects. It is expected that the results of this study will make it possible to identify the causes of evasion and point to ways of reversing this situation, allowing music and the study of an instrument to become part of parents' and students' choices as a leisure activity, cultural, intellectual and social enrichment and, eventually, as future professionalization.

The objectctive of this study is to evaluate the inclusion of physical warm-up in the practice of vocal warm-up, analyzing its effects from an acoustic perspective. There are few studies relating body warm-up to vocal warm-up in choir singers. This experimental and quantitative study analyzed the results of applying three types of warm-up: vocal, body and combined, and their correlation with objective measures obtained through vocal acoustic analysis. Twentytwo choristers of both sexes took part. Vocal recordings were made before and after the warm-up, focusing on acoustic parameters of sustained vowels ([a] and [e]), counting from 1 to 11, fundamental frequency, variability in semitones and the AVQI multiparametric measure, validated for Portuguese, also including isolated measures such as Slope (dB), Tilt (dB), Jitter (%), Shimmer (%), HNR (dB), HF Noise (dB) and CPPS (dB). The research, involving musicians from the choirs of the Federal University of São João del-Rei (UFSJ) and the Federal University of Lavras (UFLA), was carried out in four stages, including questionnaires, anthropometric measurements and vocal recordings under different warm-up conditions. The results indicated that the addition of isolated or combined body exercises does not provide significant benefits in relation to the warm-up modality for singers. The results of this study do not support the hypothesis that body warm-up can influence the acoustic measures of vocal warm-up. Although the findings reveal no significant differences in the relationship between the vocal warm-up methods used, it is important to consider the biological uniqueness and previous singing experience of the participants in future studies.

The State of Minas Gerais, Brazil, counts with twelve Music Conservatories in its Educational system. They  are maintained and funded by the Minas Gerais State Education Secretariat, and they stand out in the nation by integrating music teaching into the public education system. The conservatories attend to thirty thousand music students in the State of Minas Gerais, from which eleven thousand are attended directly by the conservatories and the other nineteen thousand are attended in cooperation with regular public schools. The conservatories in Minas Gerais State, since their creation during the 1950’s, play important roles such as training musicians and promotion of arts, especially the music. These institutions, located in almost every region of the state, offer professional training on various music instruments, including the flute. The main purpose of this study is to analyse the sociodescursive imaginary built by the conservatories flute teachers about their own flute teaching.Considering this purpose, this research was based on the semiolinguistics of Patrick Charaudeau (2016), in which the sociodescursive imaginary is understanded as an speech engendering of social groups. This sociodescursive imaginary is organized in coherent thinking systems, which generate values and develop the role of social justification and create collective memories in this group. Based on data analysis, we seek to identify the reconrecy of discursive patterns and the level of flute teachers adherence to specific discourse patterns. Therefore, we believe we can identify the teacher’s comprehension aspects of their own flute teaching, by the means of their speeches of description, discrimination, classification and values. The characterization of the teachers was done following the identity configurations of Vasconcelos (2001). The results shows that teachers identities with this profile, which helps us to understand their sociodescursive imaginary on their speeches. We hope this work can enrich the discussion about the flute teacher activities and their teaching on the Conservatoires of Minas Gerais, Brazil

This research aims to produce a catalogue of the sacred art pieces of Cesário Mendes de Cerqueira (1896-1981) at the Musical Corporation Our Lady of Sorrows, in Itapecerica (MG), based on the principles coming from modern archival theories. The documentary volume that has been amassed in Brazilian musical corporations archives for centuries is huge. In this sense, a vast music graphic and musical iconographic documentary heritage emerges, revealing an expressive cultural capital in Brazil and, more specifically, in Minas Gerais. In this context, there is the Musical Corporation Our Lady of Sorrows in Itapecerica and its collection, in which one can find works of composer and professor Cesário Mendes, a collection that has approximately 400 compositions. In this scope, the sacred works stand out, and the proposal to elaborate a catalogue offers possibilities of new research works, providing access to researchers and generating new perspectives in this branch of knowledge. In turn, it is urgent to have the basic concepts of "Document Management" applied to the collection of such institution. In this context, the lack of knowledge on the subject, at times widespread among music bands, puts at risk principles establishing the identity of a document together with its producer organ, ensuring thus an individuality in the organic set which this document is part of. It is in this sense that archival science establishes guidelines for both the ordering and the preservation of documents with proper management, ensuring their present and future informational potential. The set of works of Cesário Mendes, which goes from sacred to profane, represents important and significant part for the history of Itapecerica (MG) and for the national culture. With special emphasis on sacred works, it was possible to carry out the cataloging of a number of 103 compositions of this musical genre. As for the procedures and results achieved at the end of this work, they can corroborate the revitalization, preservation and conservation of such collection which, for over two centuries, has been consolidating a cultural identity of the city of Itapecerica.

For years we live with mental illness and at the same time we are also looking for mental health, being mentally healthy the one who can react positively to what life requires, in order to harmonize aspirations, aptitudes, desires, concepts and emotions. In this sense, the relationship between mental health and the different experiences with music needs to be studied, as there are still important themes that are little or not explored, so this research was intended to verify how the level of musical experience is related to the levels of depression. , stress and anxiety. A primary, observational, cross-sectional, retrospective, analytical and comparative study was performed. Eighty questionnaires were collected as adults (from 18 years old) from the Lobo de Mesquita State Music Conservatory in Diamantina-MG. The data collected were socioeconomic information and trajectory in music, the MEQ, the Trait Anxiety Inventory and the Depression, Anxiety and Stress Questionnaire were also applied. Preliminary results showed a sample with men (30.6%) and women (69.4%) mostly in the age group of 31 to 40 years (37.5%), with complete higher education (26.3%), workers and students (35%), undeclared music professionals (90%), studying guitar (41.3%), and the time spent studying the instrument ranged from six months to three years (48.8%). As motivation to be at Lobo de Mesquita, they were highlighted in order: dream fulfillment, learning a new instrument, improving the mind, occupying free time, improving performance and by indication of a health professional. Regarding the MEQ, we found that in terms of experience with music in general, there are no significant differences between men and women, but in the analysis of variables, men tend to perceive less psychoactive effects and emotional factors, while women have less commitment to music. and more subjective and physical reactions. In the group studied, the tendency for anxiety, stress and depression are within the expected limits. The ratio of men and women with higher scores for experience with music also present good scores for not being mentally ill (depression, stress or anxiety of some kind). Thus, we can infer that the relationship with music occurs in different ways in men and women, even if they are both “protected” from mental illness, women have more sentimental relationships and men less, this is also due to their social role, for example. : men do not cry. Therefore, music is experienced by Lobo de Mesquita students and its relationship with mental health is directly proportional, although future analyzes may show us more intense aspects of the musical experience and how to evaluate it.

Considering the recent introduction of popular music as scientific subject into the Brazilian Academic Community and the european tradition present in the piano education, it is possible to comprehend how the dichotomy erudite/popular still prevails. However, the “Amphibious Musician” profile (AQUINO, 2007), that combines both popular and concert music knowledge in a multiple and creative musical activities, are growing in numbers and showing itself more suitable to the actual work demand in the brazilian context. Given these considerations, this research aims to look into the musical education process and professional activity – in both popular music and concert music universes - of four pianists acting in brazilian territory. To achieve its objective, this research pretends to use the method of biographic-narrative investigation (BOLÍVAR, 2010) through the approach of narrative interview (FLICK, 2013). It is expected as result to clarify issues that concern the musical education and professional acting of the brazilian pianist nowadays.

The musical work of Minas Gerais composer Presciliano José da Silva is disseminated, for the most part, by musical manuscripts under the custody of different institutions. Orchestras in Campo das Vertentes in Minas Gerais perform some of his compositions annually, and although he is a prominent name in the Brazilian national scene, there is no news about the existence of a catalog of his works, as well as the sources that transmit them. The main objective of this research is to elaborate a proposal for cataloging the composer's musicographic works and documents, in order to provide an instrument with substantial information, allowing interested parties to have a broad and organized view of Presciliano José da Silva's musical work. Based on national and international descriptive standards, the research process was anchored in critical readings of catalogs by portuguese and brazilian authors of recognized importance, as well as methodological tools applied to the study of musical documents. As a result, we will present a solid proposal, technically based on archival concepts and theories and, above all, an instrument of wide diffusion of the renowned composer.

This research aims to make a transcription and an arrangement for harpsichord of “Capricho de Choro”, by Hamilton de Holanda, through a series of formal and interpretative choices, by which idiomatism can be adequately explored in popular Brazilian music performance. Sound similitudes between the bandolin and the harpsichord as well as the space for the expantion for the use of the harpsichord in Brazilian popular music, as shown in the literature review, have been the motivation for this research.

The present study aims to identify the calligraphic characteristics of Jozé Joaquim Emerico Lobo de Mesquita ([1746?] - 1805) in autographs attributed to the composer in order to produce catalogs of the main elements of his handwriting, shown in words and phrases found in three specific works credited to him: Regina Cæle Lætere (1779), Tercio (1783) and Salve Regina (1787). The organization and cataloging of musical collections is a fundamental step that precedes other researches carried out by musicologists, in documents of historical archives. In turn, many documents that have been cataloged in Brazil add up to a huge diversity of sets of musical manuscripts or complete parts, many of them without identification of the author or copyist. In this context, many works are filed as having anonymous composers or attributed to certain composers, using traditional and speculative musicological methods. These attributes are vulnerable to objections about their authorship and await concrete evidence or hypotheses that reinforce the authenticity of the document. To strengthen the musical manuscript authentication tools, this work is supported by the methodology of existence of certified autographs per exam. So, to carry out the purpose of this research, the analyzes of Lobo de Mesquita's works are based on the foundations of Diplomatic and Grafoscopy as tools that provide the data of recurrent characteristics of the document's author. It is expected that the results obtained expand the possibilities of identifying the authorship of musical manuscripts.

The clergyman José Maria Xavier (1819-1887), who was born in São João del-Rei MG, is one of the most distinguished and recognized Brazilian composers of religious music from the 19th century. In some of his pieces there is an appreciated use of a writing pattern for the trio of wind instruments: the transverse flute, clarinet, and cornet playing, simultaneously, the same melodic fragment in a specific way between them. This writing pattern became the objective of analysis and investigation of thise master’s project, which aims to highlight some part of his work and the use of this writing pattern as part of his compositional process.

This research presents a multiple case study which is being conducted among Flute undergraduate courses of public universities in the State of Minas Gerais, Brazil. The research aims to understand the present moment of Flute undergraduate courses under the perspective of how they relate to society, with special attention to the repertoire and musical practices.

CATEDRAL BASÍLICA DE NOSSA SENHORA DO PILAR DE SÃO JOÃO DEL-REI

Context: There is a world tendency towards the increase of life expectancy. Such tendency occurs due to the advent of preventive and curative strategies for diseases which were considered fatal. Besides, healthy life habits acquisitions can contribute to a healthy aging. Music is a very appropriate tool to senescence as it stimulates areas which could be in disuse. The combined strategies have a great potential and deserve attention on the academic context. The present research is a retrospective comparative study. Objectives: General: Check the impact of musical and physical practices in the octogenarian elderly cognition in the city of São Joao del-Rei. Specifics: Detect eventual gender differences in the cognitive performances in the studied population; point out the different profiles according to variables related to IDH. Main Hypothesis: The elderly who practice musical and physical activities have a significantly higher performance in the cognitive screening test. Research place, subjects and methods: The study was carried out in São João del-Rei municipality, Minas Gerais State. The studies’ population is formed by octogenarian elderlies’ residents in São João del-Rei municipality, including, besides the principal one, the other 5 districts, too. The octogenarian estimated population in São João del-Rei municipality is of approximately 1.400 individuals. The total sample, up to now, was of 24 individuals, distributed in 05 males and 19 females, with an age average of 83.7. The inclusion criteria were the following: be within the age range of 80 to 89 years old, 11 months and 29 days until the end of the data collection; be in perfect physic conditions to fulfil the questionnaires; not be under any psychoneurological treatment; and have at least 5 years of schooling. The research project was submitted to the Brazil Platform for ethical evaluation and was approved on 11/05/2019. Four evaluation instruments were applied: Mental State Mini Exam (for cognitive screening); Matsudo & Araújo questionnaire (for physical practices evaluation); Brief questionnaire about Musical Experience and a Questionnaire about cognitive stimulation activities practices. Preliminary Results and Conclusion: It was possible to verify some tendencies that evidence a protection for the individuals with greater levels of musical experience, as well as those who have in their routine, cognitive stimulation activities, even if among the best results of Mini-Mental (4th quartile) they showed a varied profile. The musical experience, when observed separately as stimuli, seems to tend to protect even more the subjects in relation to other cognitive stimulus. It is still important to apply the physical activity questionnaire. Therefore, there will be more variables and new statistical analyses will be possible comparing the categories among themselves (Active X Sedentary combined to the variables [Musical Experience] and [Cognitive Stimuli]). The sample size will be another factor which will have a greater impact since, with the unfolding of the pandemic, we count on returning the presential data collection. We hope to have a more robust sampling. The inclusion of individuals from the districts can clarify potential differences in the cognitive performance between the Principal Area X Rural Areas.