Poética da interpretação musical: a clarineta e o clarinetista
Autor(a) principal: | |
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Data de Publicação: | 2018 |
Tipo de documento: | Dissertação |
Idioma: | por |
Título da fonte: | Repositório Institucional da UFG |
Texto Completo: | http://repositorio.bc.ufg.br/tede/handle/tede/8651 |
Resumo: | The purpose of this paper is to discuss aspects of artistic research recommended by Marcel Cobussen (COBUSSEN, 2007) relevant to musical artistic creation and clarinet performance, especially the relation between clarinet and clarinetist. It is intended to discuss this relation beyond the traditional modern framing of the subject/object relationship, inserted in a poetic context. We consider it is important to launch a critical view on the artistic knowledge produced inside universities, and to reflect about questions of truth from the poetic dimension. To this end, we use Heidegger’s ontological statute as an overcoming exclusivity of world relations and its consequences in relation to the limits imposed by science in the production of knowledge. This limitation is consolidated through the dissociation between earthman and the world; body and soul; intelligibility and sensitivity in relation to an artistic approach. More than a scientific limit, such dissociation ratifies the intramundane and teleological sense of the Western man from the perspective of the Cartesian modern conception. Starting from an artistic perspective, poetic – creative –, we investigated the the happening of the clarinetist performance. However, we will not think about that relation as an isolated and closed event. Furthermore, we will not use concepts of musical criticism or aesthetics. In a poetic approach, Art claims an immediate and singular manifestation, not by parts or representations. These representations relate to the Work through rational mediation, as in the theory of knowledge. Our investigation proceeded from relations of interpretation since the immediatism of the senses (FOGEL, 2007). This conjunction of relationships is arranged in a sense beyond or below Cartesian objectivity. The intention of poetic production is the unveiling of the work – Aletheia. Therefore, we produced two recitals with pieces by Brazilian composers in which the clarinetist’s performance displays a sensitive and cohesive manifestation working in its own sense, which is performance as a factor intrinsic to the work of art. In this regard, the truth of a work is the process of manifestation of its own sense. After all, a work only exists with its performance, which is a part of the work. The unveiling of a work, according to (HEIDEGGER, 2010), manifests in the gap of work, art and artist. This gap as well as the relations established in the course of this research turns in results impregnated in the interpretation itself. About the Tripartite’s relationship in the work of art, according Heidegger, we perceive that the artist experiences a series of relations still not much discussed, because in general there is favoring of a technical and analytical understanding of the performance and little is spoken of the artistic experience. |
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Aguiar, Wernerhttp://lattes.cnpq.br/6899356660881342Machado, Johnson Joanesburg Anchietahttp://lattes.cnpq.br/8248159445693866Aguiar, WernerLinhares, RobervaldoJardim, AntônioMoreno, Hugo Macêdo Serrão2018-07-04T12:31:15Z2018-06-06MORENO, H. M. S. Poética da interpretação musical: a clarineta e o clarinetista. 2018. 56 f. Dissertação (Mestrado em Música) - Universidade Federal de Goiás, Goiânia, 2018.http://repositorio.bc.ufg.br/tede/handle/tede/8651ark:/38995/0013000003q53The purpose of this paper is to discuss aspects of artistic research recommended by Marcel Cobussen (COBUSSEN, 2007) relevant to musical artistic creation and clarinet performance, especially the relation between clarinet and clarinetist. It is intended to discuss this relation beyond the traditional modern framing of the subject/object relationship, inserted in a poetic context. We consider it is important to launch a critical view on the artistic knowledge produced inside universities, and to reflect about questions of truth from the poetic dimension. To this end, we use Heidegger’s ontological statute as an overcoming exclusivity of world relations and its consequences in relation to the limits imposed by science in the production of knowledge. This limitation is consolidated through the dissociation between earthman and the world; body and soul; intelligibility and sensitivity in relation to an artistic approach. More than a scientific limit, such dissociation ratifies the intramundane and teleological sense of the Western man from the perspective of the Cartesian modern conception. Starting from an artistic perspective, poetic – creative –, we investigated the the happening of the clarinetist performance. However, we will not think about that relation as an isolated and closed event. Furthermore, we will not use concepts of musical criticism or aesthetics. In a poetic approach, Art claims an immediate and singular manifestation, not by parts or representations. These representations relate to the Work through rational mediation, as in the theory of knowledge. Our investigation proceeded from relations of interpretation since the immediatism of the senses (FOGEL, 2007). This conjunction of relationships is arranged in a sense beyond or below Cartesian objectivity. The intention of poetic production is the unveiling of the work – Aletheia. Therefore, we produced two recitals with pieces by Brazilian composers in which the clarinetist’s performance displays a sensitive and cohesive manifestation working in its own sense, which is performance as a factor intrinsic to the work of art. In this regard, the truth of a work is the process of manifestation of its own sense. After all, a work only exists with its performance, which is a part of the work. The unveiling of a work, according to (HEIDEGGER, 2010), manifests in the gap of work, art and artist. This gap as well as the relations established in the course of this research turns in results impregnated in the interpretation itself. About the Tripartite’s relationship in the work of art, according Heidegger, we perceive that the artist experiences a series of relations still not much discussed, because in general there is favoring of a technical and analytical understanding of the performance and little is spoken of the artistic experience.O presente trabalho tem o objetivo discutir aspectos da pesquisa artística preconizada por Marcel Cobussen (COBUSSEN, 2007), pertinentes à criação artística musical e à performance à clarineta, especialmente no que se refere à relação entre a clarineta e o clarinetista. Pretendemos aqui discutir tal relação para além do enquadramento moderno tradicional da relação sujeito/objeto, inserida num contexto poético de investigação. Entendemos ser importante lançar um olhar crítico sobre a questão da produção do conhecimento artístico dentro da academia, além de refletir sobre a questão da verdade advinda desde a dimensão poética. Para tanto, compartilhamos do estatuto ontológico Heideggeriano como superação da exclusividade das relações de mundo e suas consequências no que diz respeito aos limites impostos pela ciência na produção de conhecimento. Tal limitação consolida-se por meio da dissociação no homem de terra e mundo; corpo e alma; inteligibilidade e sensibilidade, em relação ao trato artístico. Mais que um limite científico, esta dissociação ratifica a lida intra-mundana e teleológica do homem ocidental desde a perspectiva da concepção moderna cartesiana. A partir da perspectiva artística, poética – criativa –, investigamos o acontecer da performance do clarinetista. No entanto, não o fazemos considerando a relação que aí ocorre como fenômeno isolado e fechado, tampouco a partir do pré-conceito da crítica estética ou como resultado de aná-lise predeterminada. Numa abordagem poética, a arte reivindica sua manifestação imediata e singular, não por partes ou por representações. Tais representações só estabelecem relação com a obra por mediação racional, como na teoria do conhecimento. Construímos nossa investigação a partir das relações dispostas na interpretação desde o imediato dos sentidos (FOGEL, 2007), con-juntura de relações além, ou aquém, da objetividade cartesiana. O sentido da produção poética é o des-velamento da obra – Alétheia. A partir desta perspectiva, foram produzidos dois recitais com obras de compositores brasileiros, nos quais a interpretação do clarinetista emerge como manifestação sensível e coesa à obra, instaurando um sentido próprio, ou seja, a interpretação como fator inerente à obra de arte. Neste sentido, a verdade da obra é o processo de manifestação de um sentido próprio em sua realização. Afinal, a obra só é com a interpretação, esta faz parte do ser da obra. O des-velamento da obra, segundo Heidegger (HEIDEGGER, 2010), se manifesta na abertura de cada elemento envolvido no processo: obra, arte e artista. Esta abertura bem como as relações por ela dispostas empreenderam no caminhar desta investigação resultados impregnados na própria interpretação. Sob a relação tripartite na obra de arte apontada por Heidegger, percebemos que o artista experimenta uma série de relações ainda pouco discutidas, pois em geral há um favorecimento de uma compreensão técnica e analítica da performance e pouco se fala da ou pensa a experiência artística.Submitted by Erika Demachki (erikademachki@gmail.com) on 2018-07-03T19:07:00Z No. of bitstreams: 2 Dissertação - Hugo Macêdo Serrão Moreno - 2018.pdf: 3848431 bytes, checksum: 6b579e719a578578a7fbf3325b5a9bdd (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-07-04T12:31:14Z (GMT) No. of bitstreams: 2 Dissertação - Hugo Macêdo Serrão Moreno - 2018.pdf: 3848431 bytes, checksum: 6b579e719a578578a7fbf3325b5a9bdd (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)Made available in DSpace on 2018-07-04T12:31:15Z (GMT). No. of bitstreams: 2 Dissertação - Hugo Macêdo Serrão Moreno - 2018.pdf: 3848431 bytes, checksum: 6b579e719a578578a7fbf3325b5a9bdd (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-06-06Outroapplication/pdfporUniversidade Federal de GoiásPrograma de Pós-graduação em Musica (EMAC)UFGBrasilEscola de Música e Artes Cênicas - EMAC (RG)http://creativecommons.org/licenses/by-nc-nd/4.0/info:eu-repo/semantics/openAccessPesquisa artísticaPoética da interpretação musicalInstrumento musical, técnica e instrumentalidadePractice-based researchPoetics of musical interpretationMusical instrument, technique and instrumentalityARTES::MUSICAPoética da interpretação musical: a clarineta e o clarinetistaPoetics of musical interpretacion: the clarinet and clarinettistinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesis-8926704311827950450600600600600-1800367251745901470-37567878752057868312442915598251853972reponame:Repositório Institucional da UFGinstname:Universidade Federal de Goiás (UFG)instacron:UFGLICENSElicense.txtlicense.txttext/plain; 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dc.title.eng.fl_str_mv |
Poética da interpretação musical: a clarineta e o clarinetista |
dc.title.alternative.eng.fl_str_mv |
Poetics of musical interpretacion: the clarinet and clarinettist |
title |
Poética da interpretação musical: a clarineta e o clarinetista |
spellingShingle |
Poética da interpretação musical: a clarineta e o clarinetista Moreno, Hugo Macêdo Serrão Pesquisa artística Poética da interpretação musical Instrumento musical, técnica e instrumentalidade Practice-based research Poetics of musical interpretation Musical instrument, technique and instrumentality ARTES::MUSICA |
title_short |
Poética da interpretação musical: a clarineta e o clarinetista |
title_full |
Poética da interpretação musical: a clarineta e o clarinetista |
title_fullStr |
Poética da interpretação musical: a clarineta e o clarinetista |
title_full_unstemmed |
Poética da interpretação musical: a clarineta e o clarinetista |
title_sort |
Poética da interpretação musical: a clarineta e o clarinetista |
author |
Moreno, Hugo Macêdo Serrão |
author_facet |
Moreno, Hugo Macêdo Serrão |
author_role |
author |
dc.contributor.advisor1.fl_str_mv |
Aguiar, Werner |
dc.contributor.advisor1Lattes.fl_str_mv |
http://lattes.cnpq.br/6899356660881342 |
dc.contributor.advisor-co1.fl_str_mv |
Machado, Johnson Joanesburg Anchieta |
dc.contributor.advisor-co1Lattes.fl_str_mv |
http://lattes.cnpq.br/8248159445693866 |
dc.contributor.referee1.fl_str_mv |
Aguiar, Werner |
dc.contributor.referee2.fl_str_mv |
Linhares, Robervaldo |
dc.contributor.referee3.fl_str_mv |
Jardim, Antônio |
dc.contributor.author.fl_str_mv |
Moreno, Hugo Macêdo Serrão |
contributor_str_mv |
Aguiar, Werner Machado, Johnson Joanesburg Anchieta Aguiar, Werner Linhares, Robervaldo Jardim, Antônio |
dc.subject.por.fl_str_mv |
Pesquisa artística Poética da interpretação musical Instrumento musical, técnica e instrumentalidade |
topic |
Pesquisa artística Poética da interpretação musical Instrumento musical, técnica e instrumentalidade Practice-based research Poetics of musical interpretation Musical instrument, technique and instrumentality ARTES::MUSICA |
dc.subject.eng.fl_str_mv |
Practice-based research Poetics of musical interpretation Musical instrument, technique and instrumentality |
dc.subject.cnpq.fl_str_mv |
ARTES::MUSICA |
description |
The purpose of this paper is to discuss aspects of artistic research recommended by Marcel Cobussen (COBUSSEN, 2007) relevant to musical artistic creation and clarinet performance, especially the relation between clarinet and clarinetist. It is intended to discuss this relation beyond the traditional modern framing of the subject/object relationship, inserted in a poetic context. We consider it is important to launch a critical view on the artistic knowledge produced inside universities, and to reflect about questions of truth from the poetic dimension. To this end, we use Heidegger’s ontological statute as an overcoming exclusivity of world relations and its consequences in relation to the limits imposed by science in the production of knowledge. This limitation is consolidated through the dissociation between earthman and the world; body and soul; intelligibility and sensitivity in relation to an artistic approach. More than a scientific limit, such dissociation ratifies the intramundane and teleological sense of the Western man from the perspective of the Cartesian modern conception. Starting from an artistic perspective, poetic – creative –, we investigated the the happening of the clarinetist performance. However, we will not think about that relation as an isolated and closed event. Furthermore, we will not use concepts of musical criticism or aesthetics. In a poetic approach, Art claims an immediate and singular manifestation, not by parts or representations. These representations relate to the Work through rational mediation, as in the theory of knowledge. Our investigation proceeded from relations of interpretation since the immediatism of the senses (FOGEL, 2007). This conjunction of relationships is arranged in a sense beyond or below Cartesian objectivity. The intention of poetic production is the unveiling of the work – Aletheia. Therefore, we produced two recitals with pieces by Brazilian composers in which the clarinetist’s performance displays a sensitive and cohesive manifestation working in its own sense, which is performance as a factor intrinsic to the work of art. In this regard, the truth of a work is the process of manifestation of its own sense. After all, a work only exists with its performance, which is a part of the work. The unveiling of a work, according to (HEIDEGGER, 2010), manifests in the gap of work, art and artist. This gap as well as the relations established in the course of this research turns in results impregnated in the interpretation itself. About the Tripartite’s relationship in the work of art, according Heidegger, we perceive that the artist experiences a series of relations still not much discussed, because in general there is favoring of a technical and analytical understanding of the performance and little is spoken of the artistic experience. |
publishDate |
2018 |
dc.date.accessioned.fl_str_mv |
2018-07-04T12:31:15Z |
dc.date.issued.fl_str_mv |
2018-06-06 |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/masterThesis |
format |
masterThesis |
status_str |
publishedVersion |
dc.identifier.citation.fl_str_mv |
MORENO, H. M. S. Poética da interpretação musical: a clarineta e o clarinetista. 2018. 56 f. Dissertação (Mestrado em Música) - Universidade Federal de Goiás, Goiânia, 2018. |
dc.identifier.uri.fl_str_mv |
http://repositorio.bc.ufg.br/tede/handle/tede/8651 |
dc.identifier.dark.fl_str_mv |
ark:/38995/0013000003q53 |
identifier_str_mv |
MORENO, H. M. S. Poética da interpretação musical: a clarineta e o clarinetista. 2018. 56 f. Dissertação (Mestrado em Música) - Universidade Federal de Goiás, Goiânia, 2018. ark:/38995/0013000003q53 |
url |
http://repositorio.bc.ufg.br/tede/handle/tede/8651 |
dc.language.iso.fl_str_mv |
por |
language |
por |
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-8926704311827950450 |
dc.relation.confidence.fl_str_mv |
600 600 600 600 |
dc.relation.department.fl_str_mv |
-1800367251745901470 |
dc.relation.cnpq.fl_str_mv |
-3756787875205786831 |
dc.relation.sponsorship.fl_str_mv |
2442915598251853972 |
dc.rights.driver.fl_str_mv |
http://creativecommons.org/licenses/by-nc-nd/4.0/ info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
http://creativecommons.org/licenses/by-nc-nd/4.0/ |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Universidade Federal de Goiás |
dc.publisher.program.fl_str_mv |
Programa de Pós-graduação em Musica (EMAC) |
dc.publisher.initials.fl_str_mv |
UFG |
dc.publisher.country.fl_str_mv |
Brasil |
dc.publisher.department.fl_str_mv |
Escola de Música e Artes Cênicas - EMAC (RG) |
publisher.none.fl_str_mv |
Universidade Federal de Goiás |
dc.source.none.fl_str_mv |
reponame:Repositório Institucional da UFG instname:Universidade Federal de Goiás (UFG) instacron:UFG |
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Universidade Federal de Goiás (UFG) |
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UFG |
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UFG |
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Repositório Institucional da UFG |
bitstream.url.fl_str_mv |
http://repositorio.bc.ufg.br/tede/bitstreams/2fdcd693-41ca-4a0d-b29c-fda443b00d60/download http://repositorio.bc.ufg.br/tede/bitstreams/1dd13bb9-570a-4001-88b5-0aa54aca5540/download http://repositorio.bc.ufg.br/tede/bitstreams/a2488bb6-ee1c-4c44-9497-57ea788eb025/download http://repositorio.bc.ufg.br/tede/bitstreams/2632e373-7534-46b1-87d3-bcded06151c7/download http://repositorio.bc.ufg.br/tede/bitstreams/ff5b6ec4-37b9-4fc3-8306-3ff6ac7f85af/download |
bitstream.checksum.fl_str_mv |
bd3efa91386c1718a7f26a329fdcb468 4afdbb8c545fd630ea7db775da747b2f d41d8cd98f00b204e9800998ecf8427e d41d8cd98f00b204e9800998ecf8427e 6b579e719a578578a7fbf3325b5a9bdd |
bitstream.checksumAlgorithm.fl_str_mv |
MD5 MD5 MD5 MD5 MD5 |
repository.name.fl_str_mv |
Repositório Institucional da UFG - Universidade Federal de Goiás (UFG) |
repository.mail.fl_str_mv |
tasesdissertacoes.bc@ufg.br |
_version_ |
1811721372757393408 |