FCSH: DCM - Artigos em revista internacional com arbitragem científica
URI permanente para esta coleção:
Navegar
Entradas recentes
- Communicative and affectionate features of motherese and preterm infants’ vocalizations during kangaroo carePublication . Carvalho, Eduarda; Justo, João; Flórez, Raúl Enrique Rincón; Rodrigues, Helena; Centro de Estudos de Sociologia e Estética Musical (CESEM - NOVA FCSH); Departamento de Ciências Musicais (DCM); Universitat Jaume IMotherese has been studied particularly in its prosodic features. The scientific literature has underlined the importance of this type of communication on the infants’ vocal responsiveness. However, we still know little about the role of motherese on preterm infants’ vocal responsiveness. We intend to know the prosodic and communicative characteristics of motherese in preterm dyads and particularly to understand its relationship with the preterm infant’s vocal responsiveness. At NICU, mothers (N = 38) were asked to speak and to sing without words (humming) to their preterm infants in kangaroo care during five periods of three minutes alternating voice and silence, controlling the order effect (silence – speech or humming – silence – humming or speech – silence). A microanalytical study about prosodic and communicative/affectionate features of motherese was performed using ELAN, MAXQDA, and PRAAT software. According to results, tonal contours (sinusoidal, U-shaped and falling) and infants’ vocalizations seem to contribute for preterm dyads’ vocal modulation. A high use of phatic and conative functions, interrogative utterances, infants’ positive aspects, infants designated by affectionate words, and utterances connected with infants' needs were observed. This study contributed to explore the role of the communicative/affectionate and prosodic features of the motherese on preterm infants’ vocal responsiveness during the kangaroo care in NICU. Still, more studies are needed to deepen these preliminary results.
- Comunicação não-verbal em contexto de aula individual de violinoPublication . Ramos, Francisco Parente; Mira, António Ricardo; Departamento de Ciências Musicais (DCM); Universidade Federal de Minas Gerais (UFMG)Este artigo resultou de uma investigação naturalista, quali-quanti, sendo um estudo de caso, vertente multicasos. Como objetivo, identificou-se a importância de determinada comunicação não-verbal em aula individual de violino. A investigação foi realizada a partir da análise de bibliografia especializada, de ficha de observação direta da ação de um professor de violino, de bloco de notas e de entrevista semiestruturada realizada àquele. Os resultados foram triangulados e analisados, concluindo-se que determinada comunicação não-verbal, se usada conscientemente, dá ao professor a possibilidade de transmitir a sua mensagem de forma mais clara e competente, obtendo o reconhecimento pedagógico-didático por parte dos alunos, tornando o ambiente de sala de aula propício a um ensino/aprendizagem mais eficaz. This article resulted from a naturalistic investigation, quali-quanti, being a case study, in its multi-case aspect. As an objective, the importance of certain nonverbal communication in violin lessons was identified. The investigation was carried out from the analysis of specialized bibliography, a form of direct observation of the action of a violin teacher, a notebook, and a semi-structured interview he was submitted to. The results were triangulated and analyzed, concluding that certain nonverbal communication, if used consciously, gives the teacher the possibility of transmitting his message in a clear and more competent way, obtaining pedagogical-didactic recognition from students. Thus, the classroom environment is more suitable and conducive to a more effective teaching/learning process.
- Reflexiones sobre música y espacio atlántico en el siglo XIXPublication . Cymbron, Luísa; Departamento de Ciências Musicais (DCM); Centro de Estudos de Sociologia e Estética Musical (CESEM - NOVA FCSH); Universidad de ZaragozaEn la historiografía actual, el concepto de ‘espacio atlántico’, que parte de un campo de estudio más amplio —la llamada Historia del Atlántico—, ha sido utilizado particularmente para el estudio del Antiguo Régimen. Este concepto tiene también puntos de contacto con los estudios transnacionales y solo recientemente comienza a ser aplicado al estudio de la música. Nada impide, sin embargo, que se parta de él para estudiar las relaciones transatlánticas en la música del siglo XIX, una época en la que las relaciones entre España, Portugal y sus antiguas colonias americanas habían ya evolucionado hacia una diplomacia entre naciones independientes (dos de ellas antiguas y las otras, jóvenes) y durante la cual, la emigración transatlántica fue un fenómeno de gran impacto en distintos niveles. Partiendo de un conjunto de testimonios documentales encontrados en las Azores, un pequeño archipiélago en el Atlántico Norte por el que, al menos desde el siglo XVII, pasaban las rutas que conectaban las áreas geográficas de lengua y cultura castellana y portuguesa, este artículo discute fenómenos como los ritmos e imágenes sonoras de la música nacional y/o cosmopolita entre España, Portugal y las Américas hispana y portuguesa (a partir de los ejemplos del lundum y del tango-habanera), los ideales de la ópera nacional y del cosmopolitismo (a través del proyecto de invención de una ópera nacional portuguesa apoyado por la comunidad de emigrantes portugueses en el Brasil que se materializó en Beatriz de Portugal de Francisco de Sá Noronha o del estreno de I vespri siciliani de Verdi en los teatros ibéricos). In the historiography of the last decades, the concept of ‘Atlantic space’, which is part of a broader field of study, the so-called History of the Atlantic, has been used above all for the study of the Ancient Regime. This concept has also points of contact with transnational studies, and it has only recently begun to be applied to the study of music. There is no reason, however, why it should not be used as a starting point for the study of the transatlantic relations in the music of the 19th century, a time when relations between Spain, Portugal and their former American colonies had already evolved into the field of diplomacy between independent nations (two old and the others young) and during which transatlantic emigration was a phenomenon of great impact on several levels. Starting from a set of documentary testimonies found in the Azores, a small archipelago in the North Atlantic through which, at least since the 17th century, routes connecting geographic areas of Castilian and Portuguese language and culture passed, this article discusses phenomena such as the rhythms and sound images of national and/or cosmopolitan music between Spain, Portugal and the Hispanic and Portuguese Americas (using the examples of lundum and tango-habanera), the ideals of national opera and cosmopolitanism (through the project of invention of a Portuguese national opera supported by the community of Portuguese emigrants in Brazil, that materialized in Beatriz de Portugal by Francisco de Sá Noronha, or the premiere of I vespri siciliani by Verdi in Iberian theaters).