Mestrado em Artes

URI Permanente para esta coleção

http://repositorio.ufes.br/handle/10/17435

Nível: Mestrado Acadêmico
Ano de início: 2006
Conceito atual na CAPES: 4
Ato normativo:Portaria MEC nº 2.000, publicada no D.O.U. de 21/12/2006, Seção 1, pág. 35
Periodicidade de seleção: Anual
Área(s) de concentração:Arte e Cultura
Url do curso: https://artes.ufes.br/pt-br/pos-graduacao/PPGA/detalhes-do-curso?id=1396

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Agora exibindo 1 - 5 de 246

A centralidade do violão de Guinga: tensões entre visualidade e audiotatilidade
(Universidade Federal do Espírito Santo, 2026-02-23) Chequetto, João Victor Castro; Costa, Fabiano Araújo; https://orcid.org/0000-0002-7386-3320; https://lattes.cnpq.br/7101979822731454; https://orcid.org/0009-0003-2047-1889; https://lattes.cnpq.br/2038489182825583; Silva, José Eduardo Costa; https://orcid.org/0000-0001-6160-0737; https://lattes.cnpq.br/8694174710192313; Ramalho, Celso Garcia de Araújo ; https://orcid.org/0000-0002-6213-2469; https://lattes.cnpq.br/8473628183943891
a mediological and cognitive perspective, centered on the Theory of Audiotactile Music (TMA). The research is grounded in the understanding of the guitar not merely as an instrument, but as an agent of a cognitive mediation that activates gestural and perceptual schemata responsible for compositional organization and musical discourse. Based on the distinction between visual and audiotactile regimes, we problematize the insufficiency of analytical approaches grounded exclusively in notation to account for creative practices rooted in bodily rationality and in phonography. The phonographic analysis of recordings representative of different phases of Guinga’s production made it possible to highlight the centrality of hand-shape configurations as “mental scores” and the recurrence of audiotactile patterns originating in Brazilian guitar practice. We demonstrate that the harmonic complexity of his work does not result from a simple transposition of procedures from erudite writing, but from an intricate elaboration of audiotactile processes, stabilized and transmitted through the technological mediation of recording. By reinterpreting the recurrent classification of his music as situated “between the popular and the classical” as an effect of distinct cognitive regimes, the research seeks to contribute to the expansion of musicological theoretical tools, pointing to the need for analytical models capable of integrating gesture, body, instrument, and phonography in the understanding of musical formativity.
Um guia para a descrição de Kernels de tratamento para a terapia baseada em processos
(Universidade Federal do Espírito Santo, 2026-02-20) Ferreira, Daniel Dallapicola Teixeira; Alves, Diego Zílio; https://orcid.org/0000-0002-3506-7665; https://lattes.cnpq.br/8715210181570846; https://orcid.org/0009-0008-8615-7549; https://lattes.cnpq.br/7286672598072485; Cândido, Gabriel Vieira; https://orcid.org/0000-0002-3296-2664; https://lattes.cnpq.br/7951464101986207; Banaco, Roberto Alves; https://orcid.org/0000-0002-0619-338X; ttps://lattes.cnpq.br/3273490233134293
The paradigm of evidence-based practice in psychology presents critical limitations regarding (a) the diagnostic units used as an inferential basis, (b) the transition from empirical evidence to individual clinical decisions, and (c) the analytical granularity of investigations into interventions. One proposal to address these limitations is Process-Based Therapy (PBT), a scientific strategy that seeks to understand and modify processes of change on a case-by case basis, guiding interventions through treatment kernels. However, the notion of the "kernel" remains diffuse and limited in literature, leading to inaccuracies regarding the essential elements for its characterization as a unit of intervention. Given this conceptual gap, this dissertation aims to establish conceptual and structural criteria for characterizing treatment kernels and propose a structured description guide grounded in the strategic pillars of PBT. To this end, an exploratory analysis of the literature was conducted, selected based on relevance criteria and systematized through a tagging scheme. This approach allowed for the consolidation of the strategic pillars of PBT, advancement in the conceptual and structural delimitation of kernels, and the provision of a description guide that facilitates their characterization and practical replication.
Tempo e escuta na música de William Basinski
(Universidade Federal do Espírito Santo, 2026-02-20) Monte, Gilmar Antonio; Silva, José Eduardo Costa; https://orcid.org/0000-0001-6160-0737; https://lattes.cnpq.br/8694174710192313; https://orcid.org/0009-0004-7792-8373; https://lattes.cnpq.br/6272862176027031; Tápia, Daniel; https://orcid.org/0000-0002-3649-6197; https://lattes.cnpq.br/4936501035003683; Simões, Renan Colombo; https://orcid.org/0000-0003-4478-2027; https://lattes.cnpq.br/3866164200404170
This study investigates the music of William Basinski through a phenomenological approach, drawing on Martin Heidegger’s reflections on time and being. The research departs from the hypothesis that Basinski’s work establishes a singular experience of temporality and listening, in which hypnotic repetition and sonic degradation transcend everyday chronological perception and lead the listener into a temporal field where past, present, and future coexist. The analysis examines how the use of degraded magnetic tape loops, a central element of Basinski’s poetics, reshapes the relationship between sound, memory, and transience, creating a sonic space that unveils the fragility of existence. The study focuses on three representative works: Disintegration Loop 1.1, Cascade, and Tear Vial, providing phenomenological descriptions of the sonic elements that structure their temporalities. It observes how processes of repetition, stability, and deterioration establish modes of listening that surpass mere passive hearing, approaching Heidegger’s notion of ontological time. The dissertation is organized into three chapters. The first presents the theoretical foundations, outlining the distinction between ontological and ontic time and discussing the concept of mousiké as a manifestation of the lógos of being. The second chapter offers phenomenological descriptions of the selected works, highlighting their temporal layers and the ways in which the materiality of the recordings shapes the perception of duration and memory. The third chapter synthesizes the findings, emphasizing how Basinski’s music not only reflects but transforms the perception of time and existence. By articulating the listening experience of Basinski’s works with Heideggerian ontology, this study seeks to broaden the understanding of music as a temporal and existential phenomenon, revealing its capacity to generate new forms of experience and modes of unveiling of being.
Arte contemporânea na educação : práticas artísticas e criativas em contextos de educação social
(Universidade Federal do Espírito Santo, 2025-06-26) Silva, Paula Barbosa da; Sanmartin, Stela Maris ; https://orcid.org/0000-0001-7276-0584; http://lattes.cnpq.br/3169230790004855; https://orcid.org/0009-0006-9224-2200; http://lattes.cnpq.br/6250561098142515; Cirillo, Aparecido José ; https://orcid.org/0000-0001-6864-3553; http://lattes.cnpq.br/6252535690546666; Vasconcelos, Flávia Maria de Brito Pedrosa ; https://orcid.org/0000-0001-9853-5588; http://lattes.cnpq.br/7285933895645743
This dissertation presents the artistic-pedagogical practice as a space for production of knowledge and educational experience in non-formal contexts. Based on the assumption that artistic creation can be a catalyst for new forms of learning, the study analyzes the artistic-pedagogical practice “Exercícios para se Lembrar”, carried out in Espírito Santo in 2023. The proposal of the artistic-pedagogical practice involved the creation of artistic works in dialogue with memory, territory and subjectivity, promoting an exchange between the participants and the educational space. The research seeks to understand how this practice can be configured as an expanded pedagogical field, in which creation is not only an end in itself, but also a mean to develop sensibilities, relationships and ways of apprehending the world. To provide a theoretical basis for the work, concepts of creativity, non-formal education, and contemporary art are explored, with the aim of reflecting on the educational power of immersive artistic practices. In addition to analyzing specific pedagogical actions, the study articulates other experiences that demonstrate how artistic practices can tension and broaden the traditional notion of education. It is considered that, in a context in which art and pedagogy dialogue, new possibilities for training and subjectivation emerge, creating learning spaces in which processes and results are important. Thus, this dissertation proposes a look at the artistic-pedagogical practice as a territory for creative research and artistic experimentation
Um olhar para os monumentos públicos: a modificação da paisagem na região das Três Santas
(Universidade Federal do Espírito Santo, 2025-04-10) Dala Bernardina, Jovani; Cirilo, Aparecido José; https://orcid.org/0000-0001-6864-3553; http://lattes.cnpq.br/6252535690546666; https://orcid.org/0000-0001-5038-5672; http://lattes.cnpq.br/1003388753252063; Tavares, Paula Maria Guerra; http://lattes.cnpq.br/9747905616898171 ; Furegatti, Sylvia Helena; https://orcid.org/0000-0002-8913-400X; http://lattes.cnpq.br/2868485191032212
This dissertation investigates the transformations of the landscape as a public space in the municipalities of Santa Leopoldina, Santa Maria de Jetibá, and Santa Teresa, located in the Centro-Serrana region of Espírito Santo, through the analysis of the formal dimension of public monuments. It is based on the hypothesis that monuments not only document modes of territorial appropriation but also reflect historical, cultural, and identity processes that have shaped the occupation of this territory, especially in the context of the migratory flows of the late 19th century. The study examines landscape modifications from the perspective of the culturalization of natural spaces, observing how immigrant occupation contributed to the construction of symbolic landmarks that express a sense of belonging and historicity. The investigation of monuments erected throughout the 20th century seeks to understand their role in the organization of collective memory, recording experiences and values that interact with different moments in the region’s historical trajectory. Additionally, the research analyzes how these monuments reflect the construction of identity and cultural narratives in the landscape, considering geographical, ethnographic, and gender aspects. Regarding ethnographic and gender representation, the female figure is addressed as an element that highlights both power dynamics and gaps in the collective memories expressed in the landscape. The expected results include the identification of patterns of landscape modification through monuments, recognizing them as cultural manifestations that convey layers of meaning regarding immigrant presence and its impact on the configuration of the local territory. By exploring the relationships between monuments, landscape, and memory, the research aims to contribute to a broader understanding of the processes that structure the symbolic construction of public spaces and cultural identity in the region. In this way, it seeks to encourage a critical reflection on how tangible and intangible heritage is negotiated in the shaping of public landscapes and the dispute for historical representation.

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