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 work intends to investigate the compositional stylistic of the piece Lamentos do Morro by the composer and guitarist Aníbal Augusto Sardinha (1915-1955), nicknamed Garoto, and its possible implications for the performance practices. It is probable that this composition reveals choices of formal, harmonic and rhythmic elements, less recurrent in relation to the Brazilian guitar language from that period. In this way, there will be made a transcription from the original audio interpreted by the composer himself and, a performance edition, which will be analyzed formally, harmonically and stylistically. In addition, it becomes necessary a comparative analysis with other compositions by contemporary guitarists to Garoto, in order to come more solid the discoveries about the style adopted in the piece (Cook, 1987). The references that will support the analyzes will be: Guest (2006), La Rue (1989; 1992; 2001), Pereira (2007); the reflections about performance practices and their interfaces with the analytical process will be based on the works of Cook (2006), Rink (2007), Hill (2002) and Almeida (2011).

This dissertation aims to discuss the textual problems - errors, variants, gaps, erasures and corrections - identified in two autograph sources of Ofício de Quinta-feira Santa (Holy Thursday Office) by the Tiradentine composer Antônio de Pádua Alves Falcão (1848-1927) and the realization of the critical edition of the work. The first source, in score format, undated, handwritten, belonging to the Ribeiro Bastos Orchestra archive, we believe to be the original source, and the second, which is found in the Lira Sanjoanense Orchestra archive, in vocal and instrumental parts, undated, handwritten by the author, we take as a transmission source, being derived from the previous one. To understand the concepts that permeate textual criticism, we will address in this paper the theoretical bases that will guide the detection and classification of the textual problems found in the Oficio de Quinta-feira Santa, by Falcão. We will also make a historical research gathering data about the author's life, which will greatly contribute complement the history of music and musicians of the city of Tiradentes, Minas Gerais, Brazil.

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 In Brazil, Chiquinha Gonzaga's remarkable career as an instrumentalist, composer and conductor opened new paths for women to act as brazilian music protagonists. However, after this period we noticed an invisibility of women's work as instrumentalists, mainly in the context of popular music. Considering this panorama of low visibility of women instrumentalists’ work, we are now interested in the subversion of tradition, that is, the education and occupation, even if minority, of women in conducting and playing instruments in professional musical groups. Using the sociological portrait as a methodological device, this ongoing research will present a multi-case study on the musical education and professional performance of six women instrumentalists in the field of popular music in different regions of Brazil. In dialogue with microsociology and gender theories, this work aims to investigate the tensions in 

gender relations in the musical education of the instrumentalists. This study also aims to understand the challenges that are at stake, from the choice of the instrument, through the trajectory of studies, to the consolidation of professional work in popular music and its consequent legitimation in its context of performance.

The present research investigates the Antiphon and Lamentations of the Holy Thursday Office by Lobo de Mesquita. Seeking to extract rhetorical subsidies for its musical interpretation, our looking goes through the dynamics existing between the verbal text and the musical text, exploring the process of musical reframing of the liturgical text and revealing the dialectic existing between both poles, in order to expose the examined points of the musical discourse employed and enabling the affective charge used in its interpretation. We understand that the manipulation adopted by Lobo de Mesquita in the sound treatment of the liturgical text came to generate a new musical discourse. For this reason, we opted for rhetoric in the analytical procedure, as it prescribes an adequate path to reveal the rational systematization of affects organized in the discourse. Thus, we rely on authors who published books, theses, dissertations, articles and similars, observing the use of the principles of rhetoric in the discursive construction in Music. Among them, Eliel Almeida Soares, with the observation of rhetorical figures in Brazilian Colonial Music; Bruce Haynes, showing how the principles of musical rhetoric and oratory have historically been present in musical performance itself; and mainly, Ana Margarida Madeira Minhós da Paixão, who in her thesis (2008) addresses theoretical works produced in Portugal between the 17th and 19th centuries, verifying the principles and techniques of textual construction common to literature and music and proximity between the two arts in procedures, norms and stages of rhetorical creation. From this study, it is still worth noting that the author discusses the modes of enunciation and reception at the level of the interpreter/performer and the effects of the discourse. We intend, therefore, to rhetorically explore the affective field invoked in the work of Lobo de Mesquita, taking from this experience facts that increase the breadth of his musical interpretation. The research goes in the direction of exploring the musical work without necessarily going through the musical performance act itself, but indicating musical expressiveness from its written material.

The research is characterized by the process of construction of the performance of the work Sonatina for solo guitar by the composer Sérgio de Vasconcellos-Corrêa based on analytical, interpretative and technical considerations. Initially, a literature review on the topic of analysis and performance was presented, in order to investigate the main concepts and authors, in addition to drawing relationships with our musical practice. The performance construction process took place from the musical analysis in constant dialogue with the practical study of Sonatina, in addition to an analysis of the technical demands necessary for its interpretation and a review of fingering. This process was built not in a consecutive way, but through simultaneous interactions, where musical analysis, interpretive conception and technical issues constantly dialogue, influencing each other. It is hoped that the aforementioned interactivity between analysis, interpretation and technical issues can contribute to the establishment of a more consistent performance, supported by our research, reflections and active contributions as an interpreter-researcher