Música

Miranda de Sousa – UT Rio Grande Valley – Edinburg, TX-2015 Purpose of the study/Hypothesis: The purpose of this study was to explore if students on the UTPA Double Bass studio follow a routine of exercising and stretching, and its relationship to their experience of pain while playing. The main questions of the study were:

Francisca Edwiges das Neves Gonzaga, aka Chiquinha Gonzaga, was a brazilian composer and pianist. She lived from 1847 to 1935, a period when Brazilian society changed in drastic ways. Chiquinha lived those changes and was profoundly involved in all of them. She’s got married by her father’s command when she was 13 and it was tought that she would live as a woman used to live in Brazil at that time: obeying her husband, raising her children, never leaving the house without permission.  But Chiquinha wanted a carreer as a musician. She fled her husband, began to play in cinemas and choros (a popular instrumental music style), earned her money selling her music door to door and was the first woman to conduct an orchestra in Brazil.  Chiquinha was very active and councious of her rights. She was the first woman in Brazil to get a divorce, and was deeply involved in both the Anti Slavery and Republican movements - she bought a slave’s freedom with the money she got selling one of her songs. Chiquinha worked all her life for her own emancipation, and her actions were an example for women of her and all times in Brazil. We want to examine her life and the relationships between her music and her struggle for women’s rights. We understand that her activism was not feminist in essence, but a more universal concern: freedom and equality to all.

O clube do choro de São Paulo: arquivo e memória da música popular na década de 1970

Dissertação de mestrado de Miranda Bartira Tagliari Rodrigues Nunes de Sousa

Orientador: Prof. Dr. Alberto T. Ikeda

Palavras-chave: clube do choro; choro paulistano; música instrumental brasileira

Híbridos: The Spirits of Brazil. Directed by Priscilla Telmon and Vincent Moon. Produced by Fernanda Abreu (Feever Filmes) and Gabriela Figueiredo (Samba Filmes), Petites Planètes. DVD, Blu-ray disc, and web, color, 89 minutes. 2018. Distributed by Ibirá Machado, descolonizafilmes: www .descolonizafilmes.com (Brazil); Nils Bouaziz, Potemkine: www.potemkine .fr (France); Cinema Guild: www.cinemaguild.com (United States). Híbridos, independently produced by filmmaker Vincent Moon and photographer Priscilla Telmon, is part of a larger project by the same name that consists of a collection of short films, interviews, albums of recordings, and descriptions of Brazilian religious and spiritual rituals. The film offers poetic and filmographic research on spirituality and musicality in Brazil. The film brings no dialogues, comments, interviews, or any kind of text about the rituals it showcases, putting forward images that travel between symbols and expressions of faith and spirituality. Music is part of the rituals in many moments, but it also signals to points of transition between scenes, time, and place. As such, the viewer becomes aware of a new form of ritual whenever the music changes. While not squarely within ethnomusicology, the film may be a useful project adjacent to the methods and publications of the field. Besides this project, Moon and Telmon are also responsible for the Petites Planètes Collection, which mixes photography, artistic interventions, live cinema, multiscreens, music, and performance. The collection is comprised of short films, interviews, and live recordings of worldwide music concerts or rituals in the same model used for the larger Híbridos project. Moon describes himself as an experimental ethnographer whose methodology is to record live performances on the spot in order to capture more truthful and intimate images and sounds of musicians, performing artists, or people involved in worship and trance rituals. Telmon is interested in ancient cultures and shamanism from the standpoint of a visual artist and writer. Their diverse backgrounds and previous experiences in ethnography and filmmaking inform the format of Híbridos: the movie is the result of four years of research in several regions of Brazil, and

Esse trabalho tem por objetivo estudar o Clube do Choro de São Paulo, que funcionou entre os anos de 1977 e 1979. O Clube foi uma entidade criada por músicos, jornalistas e aficcionados do gênero, com o objetivo de promover a música instrumental brasileira, editar discos e partituras, recolher depoimentos de artistas e promover o intercâmbio entre músicos antigos e jovens, visando à preservação do choro. Foi utilizada uma abordagem histórico-musicológica, isto é, procurou-se não apenas estudar o Clube e suas ações, mas também a conjuntura política e social em que ele esteve inserido, e os efeitos que este entorno pode ter tido sobre suas realizações. Procurou-se demarcar quais dessas ações foram mais significativas e provocaram maior impacto no cenário musical paulistano. Paralelamente ocorreu a recuperação do material bibliográfico produzido pelo Clube, que soma mais de cem artigos de jornal, além de cartas, fotos e anotações. O material sonoro encontra-se em fase de recuperação, isto é, as fitas de rolo passam atualmente por processo de digitalização, onde serão convertidas em arquivos eletrônicos. Por meio desse processo, essas gravações podem ser preservadas em mídias mais modernas, tais como Cds e Dvds, e disponibilizadas aos interessados.

Lecture given at the Library of Congress in February 20, 2024, as part of the AMS/LoC Lecture Series. The lecture explores aspects of the Azevedo Collectiion, housed at the Music Division and and the American Folklife Center: this is one of the main collections of Brazilian folk music outside Brazil, built during WWII as a collaborative effort between Azevedo and American musicologists associated with the LoC, like Alan Lomax.

This thesis discusses symphonic music of Brazilian composer Alberto Nepomuceno (1864-1920) within systems of thought temporally located at the turn of the twentieth century, time of profound transition in Brazilian society: from monarchy to republic, from colonial to independent nation, from rural to urban. Nepomuceno was born in the northeast of Brazil, where he had contact with folk music traditions he would later incorporate into his works, as distinctive sound markers of Brazilianness. His personal relationships allowed him to be in contact with the most up-to-date trends of philosophical thought of his time, and his trajectory was marked by involvement in the field of politics, actively defending abolitionism and republicanism. His proximity with the School of Recife, the first group of philosophers in the country interested in defining Brazilian culture through the examination of legacies from the three formative races (European, Indigenous and African), was key to his political and social involvement. The School of Recife developed philosophical theories about Brazilian character and race, adapting positivist methods (professed by Comte) and theories of social Darwinism (Spencer) to Brazilian reality. According to the legal, philosophical and artistic thinkers who made the School of Recife, the maturing of a Brazilian social theory implied commitment for jurists and artists, who should create laws and artistic products to help the general public to improve itself, putting the country on the path to the ultimate positivist goals, progress and civilization. The focus of this I. Introduction-Prelúdio About this excerpt, we have already said it could only have been composed by the "Founder of Brazilian Music"-and this is the title which Alberto Nepomuceno deserves, the most original among our composers, and especially the most Brazilian, if not the only one. 1 This quote from the Jornal do Commercio (Journal of Commerce, 1906) is a review of the overture of O Garatuja, an opera composed two years earlier by Alberto Beriot Nepomuceno (1864-1920). 2 While it seems an exaggeration to attribute the role of founder of a nation`s music to a single composer, Nepomuceno's output was recognized by critics and historians of Brazilian concert music as key to the development of a new trend in Brazilian composition during the last years of the nineteenth century: music that employed sounds, rhythms, and scales related to local aesthetics, in an attempt to depict a Brazilian spirit or color, making it distinct from European production. It is clear that composers do not write music in isolation; there was a nascent interest in Brazilian artistic and philosophical circles to establish the "face" of the newborn nation, i.e., a particular identity divergent from European models and focused on national traits. Some of Nepomuceno's peers were also invested in establishing a style that they intended to be recognized as particularly Brazilian, but the quote above defines the position of the composer in 1 Jornal do Commercio, 08/30/1906. "A propósito deste trecho já dissemos que ele só poderia ter sido escrito pelo fundador da "Música Brasileira"-e esse é o título devido a Alberto Nepomuceno, de todos os nossos compositores o mais original, e principalmente o mais brasileiro senão o único." (Unless otherwise noted, all translations are my own.) 2 The name Beriot was of Jewish origin, on Nepomuceno's mother side. His father, born on the island of Madeira, was also of Jewish origin, and his last name was Levi. He adopted the name Nepomuceno because that was the saint of the day on which he embraced Catholicism, according to information provided orally by the composer's grandson and biographer Sérgio Alvim Corrêa to musicologist Monica Vermes. See Monica Vermes, "Alberto Nepomuceno e a Criação de uma Música Brasileira: Evidências em sua Música para Piano." Master's thesis,

No contexto integrativo das áreas de música, computação musical e engenharia de áudio, foi proposta a pesquisa e o desenvolvimento das bases de um sistema de sonorização capaz de criar imagens sonoras espaciais, através da aplicação prática da teoria de Wave Field Synthesis (WFS). Esta técnica permite projetar cada fonte sonora (instrumentos musicais e vozes) em diferentes pontos do espaço auditivo (salas de concerto, auditórios, etc.) em uma região de escuta que pode abranger quase toda a área compreendida por este espaço, dependendo da quantidade de alto-falantes disponíveis instalados.

O presente trabalho de conclusão de curso trata da transcrição para marimba da obra de J. S. Bach, Ciaccona BWV 1004, composta em 1720 e pertencente aos Sei Solo, que é um conjunto de sonatas e partitas escritas para violino. Os conceitos de transcrição, arranjo e adaptação são esclarecidos através da observação do uso corrente na literatura atual. Alguns dados relevantes sobre o compositor e a Ciaccona são elucidados, bem como uma breve contextualização da marimba é apresentada, incluindo questões técnicas inerentes a sua execução, para situar o leitor no contexto desta pesquisa. E por fim, apresentamos a transcrição final, procurando ser o mais fiel possível à obra original.