https://repositorio.uema.br/jspui/handle/123456789/1918 Licenciaturas e Bacharelados Tue, 21 Jul 2026 07:24:26 GMT 2026-07-21T07:24:26Z http://repositorio.uema.br:80/retrieve/de31f42c-52ca-4fc8-bfe0-b28038c07ff7/CECEN UEMA.png https://repositorio.uema.br/jspui/handle/123456789/1918 https://repositorio.uema.br/jspui/handle/123456789/6282 Título: A noção de independência literária caboverdiana no romance Chiquinho, de Baltasar Lopes, a partir da influência do romance nordestino Vidas Secas, de Graciliano Ramos Abstact: This Final Course Work aims to examine the thematic, social and narrative links between the novels Chiquinho, by Baltasar Lopes, and Vidas Secas, by Graciliano Ramos. Considered fundamental works in their respective literary contexts, both present, with sensitivity and, at the same time, critical criticism, realities marked by drought, hunger, arid soil, forced migration and family relationships. Although they were written by different authors — Baltasar Lopes, from Cape Verde, and Graciliano Ramos, from Brazil —, the narratives establish an in-depth dialogue that highlights, through literature, the life scenarios of historically silenced populations. Chiquinho, by Baltasar Lopes, is one of the novels that promoted Cape Verdean literary emancipation. Written in the 1940s, the work emerged during the Claridade, an important literary movement created in 1936 in Cape Verde by a group of intellectuals, including Baltasar Lopes himself. The novel is narrated in the first person, with the narrator character Chiquinho, who, in the first chapter, recalls his childhood in the village of Caleijão, on the island of São Nicolau, in a lyrical manner and from a child's perspective, without failing to share his experiences, such as the drought that ravages the archipelago, and the oral stories passed down by his elders. In the second chapter, Chiquinho moves to the city of Mindelo to attend high school, where he develops his critical thinking and poetic sensibility. In the third and final part of the work, as an adult, he returns to the village with a mature outlook, encountering a reality marked by drought, famine, emigration and death. At the same time, the relevance of the Brazilian regionalist work Vidas Secas, by Graciliano Ramos, stands out, which underpins this research due to its thematic and aesthetic affinity with Cape Verdean literature, especially with regard to the valorization of local identities. Brazil and Cape Verde are brothers overseas, especially when one considers Brazilian literature as a reference for political and cultural emancipation for Cape Verdean writers, notably those of the Claridoso movement. Wed, 01 Jan 2025 00:00:00 GMT https://repositorio.uema.br/jspui/handle/123456789/6282 2025-01-01T00:00:00Z https://repositorio.uema.br/jspui/handle/123456789/6275 Título: A RETIRADA OU A MANUTENÇÃO DO THE: reflexões sobre a democratização do ensino musical dentro dos paradigmas neoliberal e da colonialidade do saber a partir de um estudo das Licenciaturas em Música presenciais da cidade de São Luís/MA Abstact: The Specific Skills Test (THE) in music is a theoretical and practical exam used to assess whether candidates possess sufficient basic musical knowledge to successfully complete the Music Education degree program. This research is justified by the need to analyze how retaining or eliminating the THE affects student enrollment and the democratization of access to music education. The study employs a qualitative, exploratory methodology based on questionnaires and interviews with professors from UEMA and UFMA, seeking to understand their perceptions of the test. It examined the views of music professors at UEMA and UFMA regarding the THE as a selection tool for music education degree programs. Data collection was conducted via an online questionnaire emailed to program coordinators. Participants argue that the test evaluates prior musical knowledge essential for mastering technical courses, ensuring alignment between the program's profile and that of incoming students. The THE can serve as a diagnostic tool and foster technical maturity. Some participants advocate for the complete elimination of the THE to democratize access. Others propose hybrid models that combine traditional criteria with the assessment of diverse experiences, popular repertoires, and broad cultural expressions Mon, 05 Jan 2026 00:00:00 GMT https://repositorio.uema.br/jspui/handle/123456789/6275 2026-01-05T00:00:00Z https://repositorio.uema.br/jspui/handle/123456789/6268 Título: O ENSINO DA MÚSICA NO COMPLEXO PENITENCIÁRIO SÃO LUIS/MA COMO FERRAMENTA DE RESSOCIALIZAÇÃO: Análise das oficinas de violão na UPSL1, UPSL2, UPSL5 e UPFEM, no período de 03/2022 à 03/2023 Abstact: This study analyzes an initiative involving guitar workshops conducted at the São Luís Penitentiary Complex between March 2022 and March 2023, specifically within the UPSL1, UPSL2, UPSL5, and UPFEM prison units. It highlights the importance of music education for the social reintegration of participating inmates, as well as the practice's impact on humanizing relationships within the prison environment. The text describes the context in which the classes took place, the methodology adopted, the available physical and human resources, and the inherent constraints of the prison setting that affect the work's execution. It also presents the individuals and sectors involved—such as the educational staff, social services, security officers, administration, and other employees—emphasizing their roles in enabling educational activities within the penitentiary complex. Mon, 12 Jan 2026 00:00:00 GMT https://repositorio.uema.br/jspui/handle/123456789/6268 2026-01-12T00:00:00Z https://repositorio.uema.br/jspui/handle/123456789/6266 Título: MÚSICA POPULAR BRASILEIRA: um recital em São Luís-Maranhão Abstact: The choice of the theme "Brazilian Popular Music: A Recital in São Luís do Maranhão" aims to present a recital in the format of an educational concert, offering a brief historical retrospective of music from Maranhão, as well as an overview of the career and key compositions of Josias Sobrinho. An educational concert is a musical practice that combines artistic performance with pedagogical goals, transforming the presentation into a learning environment. Unlike a traditional concert, it is characterized by audience interaction, explanations of the historical, social, and technical aspects of the works, and accessible demonstrations of musical elements. Araújo (2018) highlights that educational concerts, when held in school settings, foster critical listening and bring students closer to musical practice, serving as an effective educational tool. For the recital's repertoire, we selected four songs by Josias Sobrinho that are lesser-known or have not received widespread media exposure; these include "Engenho de Flores" (which is, in fact, well-known and widely publicized), "De Cajari pra Capital," "Uma Estrela Brilhou," and "O Boi Lambeu/Sarapó." Thu, 01 Jan 2026 00:00:00 GMT https://repositorio.uema.br/jspui/handle/123456789/6266 2026-01-01T00:00:00Z