Mario Videira
Mario Videira is an Associate Professor in the Music Department at the University of São Paulo. He earned his undergraduate degrees in Music and Philosophy from the University of São Paulo (USP), a Master of Arts (M.A.) in Musicology from São Paulo State University (UNESP), and a Ph.D. in Philosophy from the University of São Paulo. During the academic year 2007-2008, he conducted research under the guidance of the renowned Professor Manfred Frank at the University of Tübingen in Germany, supported by a DAAD/CNPq graduate study grant. Dr. Videira's publications include a book on Eduard Hanslick (2006) and numerous articles on 19th-century music and aesthetics. He has held the positions of Director of Graduate Studies and Editor of “Revista Música”, an academic peer-reviewed journal published by the Graduate Program in Music at the School of Communication and Arts, University of São Paulo. His research interests include the relationship between music and philosophy and the role of music in the German literary tradition and performance practices.
CV: http://lattes.cnpq.br/0594285512566549
CV: http://lattes.cnpq.br/0594285512566549
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Papers by Mario Videira
Palavras‐chave:Theodor Adorno e Eduard Hanslick; o belo musical; autonomia estética da música.
Abstract: In the winter term 1932/33, Theodor Adorno conducted at Frankfurt University a seminar on Hanslick's essay Vom musikalisch‐Schönen. In an article published some years later, Adorno emphasized the importance of this book, for it fixed the moment of immanent logic of musical composition against the authors that defended programmatic music. In fact, one of the main goals of Hanslick's essay is to discuss the establishment of a musical work autonomy. According to him, the beautiful in music is something specifically musical, consisting simply and solely of tones and their artistic combination. Despite direct references to Hanslick's ideas in Adorno's texts are somewhat rare and scattered, the resonances of the former in the thinking of the latter should be not underestimated. The purpose of this paper is to investigate to what extent Hanslick's ideas about the aesthetic autonomy of music might have influenced Adorno's concept of musical material as well as his approach to musical analysis. Keywords: Theodor Adorno and Eduard Hanslick; Vom musikalisch‐Schönen; aesthetic autonomy of music.
Palavras-chave: Villa-Lobos; Historiografia; Nacionalismo.
On the reception of Villa-Lobos by critics and historians of Brazilian music (1926-1956)
Abstract: Since the “Essay on Brazilian Music”, published by Mário de Andrade in 1928, it was already clear the central role that Villa-Lobos would assume in the construction of a national music as well as a national identity. The influence of Andrade’s thought can be perceived not only in the aesthetical choices of important 20th Century Brazilian composers, but also in the musicological and historiographical production of that period, with an almost “mythical” construction of Villa-Lobos as the greatest Brazilian musical genius. This paper proposes to address the reception of Villa-Lobos through commentary and discussion of some classical texts written by critics and historians of Brazilian music.
Keywords: Villa-Lobos; Historiography; Nationalism.
Palavras‐chave:Theodor Adorno e Eduard Hanslick; o belo musical; autonomia estética da música.
Abstract: In the winter term 1932/33, Theodor Adorno conducted at Frankfurt University a seminar on Hanslick's essay Vom musikalisch‐Schönen. In an article published some years later, Adorno emphasized the importance of this book, for it fixed the moment of immanent logic of musical composition against the authors that defended programmatic music. In fact, one of the main goals of Hanslick's essay is to discuss the establishment of a musical work autonomy. According to him, the beautiful in music is something specifically musical, consisting simply and solely of tones and their artistic combination. Despite direct references to Hanslick's ideas in Adorno's texts are somewhat rare and scattered, the resonances of the former in the thinking of the latter should be not underestimated. The purpose of this paper is to investigate to what extent Hanslick's ideas about the aesthetic autonomy of music might have influenced Adorno's concept of musical material as well as his approach to musical analysis. Keywords: Theodor Adorno and Eduard Hanslick; Vom musikalisch‐Schönen; aesthetic autonomy of music.
Palavras-chave: Villa-Lobos; Historiografia; Nacionalismo.
On the reception of Villa-Lobos by critics and historians of Brazilian music (1926-1956)
Abstract: Since the “Essay on Brazilian Music”, published by Mário de Andrade in 1928, it was already clear the central role that Villa-Lobos would assume in the construction of a national music as well as a national identity. The influence of Andrade’s thought can be perceived not only in the aesthetical choices of important 20th Century Brazilian composers, but also in the musicological and historiographical production of that period, with an almost “mythical” construction of Villa-Lobos as the greatest Brazilian musical genius. This paper proposes to address the reception of Villa-Lobos through commentary and discussion of some classical texts written by critics and historians of Brazilian music.
Keywords: Villa-Lobos; Historiography; Nationalism.