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According to him, The correct attitude of the student in an orpheonic chant class facilitates correct breathing and emission of sound. Livraria Martis Editora, Villa-Lobos o ponto alto, culminante da paisagem. The spectacle was surprising for what was unforeseen. Through this association, Vargas projected religious values in the fatherland itself, intending to transform it into a religious symbol for which devotion should be expressed through patriotism.

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University of Texas, Its end is mainly to accustom students to the discipline of the group the italics are mine. The Concentration held on Independence Day offor instance, gathered 40, school students and 1, band musicians, as well as thousands of adults who attended the event.

The program of the Concentrations of and disclose their nationalistic and patriotic nature: In a speech, for example, he defended himself: This aspect of Orpheonic Chant is beyond the purview of the present article.

Oxford Music Online, http: Secondary Literature Anderson, Benedict. Villa-Lobos elaborated a system of music education that sought to educate children musically in the school environment, as well as adults through educational public concerts. Instead, they are part of the life experience of individuals and can also be part of collective experiences if people experience the music together as a group.

There was widespread emotion. Year Secondary Schools Vcal Children 44, 61, 73, 89,,, Table 1.

The statements above show that the grandiose, festive, and emotional atmosphere of the Orpheonic Concentrations worked as a powerful mechanism to inculcate national sentiment in children and adults alike. Another important teaching tool of Orpheonic Chant associated with the idea of inculcating discipline in children was the manossolfa, a method of solfege with the hands Figures 2 and 3.

There are, however, some eleven volumes for solo piano. Through this Conservatory, Villa-Lobos sought to guarantee mme teachers of Orpheonic Chant from all over Brazil received the same musical preparation. In these events, which happened bocal large public spaces, such as soccer stadiums, schoolchildren dressed in uniforms which conferred visual homogeneity voacl the group demonstrated strict discipline, followed the guidance of one leader Villa-Lobosand sang a repertoire that mostly consisted of civic-patriotic hymns.

Diretrizes do Estado Novo. Eu tenho inveja do estrangeiro.

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Because of its pedagogic values, which contributed to further these ideas, canticps was an effective tool that Villa-Lobos used in this education. Mozart, for which F.

In addition to using symbolic religious words in his speeches, through decree 19, of 30 AprilVargas implemented religious education in primary, secondary, and normal schools, which contributed to the further dissemination of Catholicism in the country, as well as to instilling religious values in the formation of children.

GC pi Capanema, G. A Juvenude no Estado Novo. The mission of these groups was to perform vocsl of civic, artistic, and educational purposes to the population of Rio de Janeiro. Vargas and school children from A Juventude no Estado Novo In the text that accompanies this image, Vargas transmitted the following message: At this moment, we cannot think of anything cantiicos is not connected with the Revolution [of October].

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I have no interest focal political directions, and I do not have any [political] ideals. The essential idea of manossolfa was that without the mediation of music rules and scores, which could delay a thorough development of musical creativity, children would be able to develop fully their musicianship. Beard, David and Kenneth Gloag. P - Departamento de Imprensa e Propaganda, Additionally, in the Orpheonic Concentrations Vargas and Villa-Lobos gathered thousands of children to sing patriotic hymns in days that celebrated amaprou fatherland.

His successful participation in the International Congress of Music Education in Prague in is a testimony of the educational value of his Orpheonic Chant. O pensamento vivo de Villa-Lobos.

In most of these reports, Reis highlighted the lack of specialized teachers of the discipline and, consequently, the absence of Orpheonic Chant in some schools.