Musicality Research Papers

There are certain thoughts - intimations - that will seem corny, or laughable, and therefore dismissed - and only seriously absorbed into the changing mind when felt, in the shelter of the quietly moving music of the soul. It is the... more

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- by neil maizels
- •
- 228
  Religion, Comparative Religion, History, Cultural History

“Every new object, well contemplated, opens up a new organ of perception in us” — Goethe ‘Withness’-thinking is the kind of thinking we require in dealing with the unique people and unique difficulties we meet in our everyday lives. It... more

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- by John Shotter
- •
- 5
  Communication, Bakhtin, Wittgenstein, Creative thinking

This study tries to reveal the views of Cioran on music. First we notice his regret for not being a musician and then we examine the links Cioran establishes between musical passion and psychological pathology. Cioran. We oppose... more

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- by Massimo Carloni
- •
- 8
  Schopenhauer, Brahms, Mozart, J S Bach

Jean-Luc Nancy's phenomenology of listening (trans. 2007) makes a series of claims about the sonic / auditory nature of the subject. First among these is the claim that the subject is a subject to the extent that it is listening, that it... more

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- by Anthony Gritten
- •
- 28
  Musicology, Human Evolution, Psychology of Music, Auditory Perception

As the complicated relationship between music and theatre has evolved and changed in the modern and postmodern periods, music has continued to be immensely influential in key developments of theatrical practices. In this study of... more

Bi-musicality (being fluent in more than one musical language) enables humans to undergo a "subject-shift" or moment of transcendental subjectivity when they become aware of themselves as actors in the world and thereby view the world... more

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- by Jeff Todd Titon
- •
- 7
  Folklore, Ontology, Epistemology, Ethnomusicology

Songbirds spend much of their time learning, producing, and listening to complex vocal sequences we call songs. Songs are learned via cultural transmission, and singing, usually by males, has a strong impact on the behavioral state of the... more

Songbirds spend much of their time learning, producing, and listening to complex vocal sequences we call songs. Songs are learned via cultural transmission, and singing, usually by males, has a strong impact on the behavioral state of the listeners, often promoting affiliation, pair bonding, or aggression. What is it in the acoustic structure of birdsong that makes it such a potent stimulus? We suggest that birdsong potency might be driven by principles similar to those that make music so effective in inducing emotional responses in humans: a combination of rhythms and pitchesdand the transitions between acoustic statesdaffecting emotions through creating expectations, anticipations, tension, tension release, or surprise. Here we propose a framework for investigating how birdsong, like human music, employs the above “musical” features to affect the emotions of avian listeners. First we analyze songs of thrush nightingales (Luscinia luscinia) by examining their trajectories in terms of transitions in rhythm and pitch. These transitions show gradual escalations and graceful modifications, which are comparable to some aspects of human musicality. We then explore the feasibility of stripping such putative musical features from the songs and testing how this might affect patterns of auditory responses, focusing on fMRI data in songbirds that demonstrate the feasibility of such approaches. Finally, we explore ideas for investigating whether musical features of birdsong activate avian brains and affect avian behavior in manners com- parable to music’s effects on humans. In conclusion, we suggest that birdsong research would benefit from current advances in music theory by attempting to identify structures that are designed to elicit listeners’ emotions and then testing for such effects experimentally. Birdsong research that takes into account the striking complexity of song structure in light of its more immediate function e to affect behavioral state in listeners e could provide a useful animal model for studying basic principles of music neuroscience in a system that is very accessible for investigation, and where developmental auditory and social experience can be tightly controlled.

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- by David Rothenberg
- •
- 4
  Neuroplasticity, Musicality, Bird Song, Zoomusicology

In A Million Years of Music, Gary Tomlinson develops an extensive evolutionary narrative that emphasises several important components of human musicality and proposes a theory of the coalescence of these components. In this essay I tie... more

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- by Anton Killin
- •
- 3
  Evolution of Music, Evolution of Human Cognition, Musicality

The association between human speech, language and communication (SLC) and participation in music is manifest in music education and psychology literature in a number of ways. Research studies into young children’s SLC are numerous and... more

In the 1940s, Alicia Alonso became the first Latin American dancer to achieve international prominence in the field of ballet, until then dominated by Europeans.

Is the observed link between musical ability and non-native speech-sound processing due to enhanced sensitivity to acoustic features underlying both musical and linguistic processing? To address this question, native English speakers (N =... more

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- by Dennis Bublitz and +1
  Vera Kempe
- •
- 13
  Psychology, Cognitive Science, Music, Phonetics

Musicality in dance does not need music. ¿How is musicality apparent in the dance studio, and to what extent is a social construct? We define musicality as a social skill. We analize how dancers share their artistic judgement when... more

Musicality in dance does not need music. ¿How is musicality apparent in the dance studio, and to what extent is a social construct? We define musicality as a social skill. We analize how dancers share their artistic judgement when narrating the choreographical tasks that take place when rehearsing a new piece. Our claim for this paper is that musicality is part of a vocabulary of motives as artistic justification. As a social skill, musicality relies on two other social skills, listening and fisicality. To capture the variability of the phenomenon, we have observed what happens when the choreographer gives instructions and directs a rehearsal within a cognitive ethnography of a British neoclasical dance company. We selected from the general corpus of data 11 interviews to the company members, which we analized with grounded theory principles. Our findings show how our unit of analysis must be the interaction among dancers in a self-regulated coupling. Thus, we show how musicality is a social hability that can only work in a network of social skills, together with fisicality and listening. It is, in all, the local product of distributed cognition in the dance studio.

La musicalidad en danza no necesita música. ¿Cómo se se hace aparente entonces la musicalidad, y hasta qué punto es social? Queremos definir la musicalidad en tanto que de habilidad social (Wacquant, Collins). Vamos a analizar cómo los bailarines comparten su juicio artístico al relatar las tareas coreográficas que han seguido en el ensayo de una pieza de danza. Nuestra premisa para este artículo es que la musicalidad forma parte de un vocabulario de motivos de justificación artística. Y que, en tanto que habilidad social, la musicalidad depende de la escucha y la fisicalidad. Para captar la variabilidad de la habilidad social de la musicalidad hemos observado qué sucede cuando el coreógrafo da instrucciones y dirige un ensayo, mediante una etnografia cognitiva de una compañía de danza inglesa. Como parte del corpus de datos recogido, hemos analizado mediante los principios de la teoria fundamentada 11 entrevistas a bailarines y bailarinas. Veremos que la unidad de análisis de este artículo no es ya el bailarín o la bailarína, sino la interacción social como un acoplamiento autoregulado entro dos o más miembros de la compañía. Los resultados muestran cómo la musicalidad es una habilidad social que sólo puede funcionar en relación a una red de habilidades sociales, entre las cuales se encuentra la fisicalidad y la escucha. Se trata, en definitiva, del producto local de la cognición distribuida en el estudio de danza. Palabras clave: musicalidad, danza, fisicalidad, escucha, etnografía, cognición distribuida.

"Resumo: conhecer ou mesmo compreender o que viria significar o conceito de talento e musicalidade é singularmente relevante para os estudos sobre música na atualidade. Tal compreensão pode ser ferramenta eficaz, por exemplo, para uma... more

"Resumo: conhecer ou mesmo compreender o que viria significar o conceito de talento e musicalidade é singularmente relevante para os estudos sobre música na atualidade. Tal compreensão pode ser ferramenta eficaz, por exemplo, para uma nova percepção do músico como profissional, bem como para o próprio âmbito educacional da música. Um estudo que se propõe a abordar tal temática, contudo, não pode ser respaldado em/por uma concepção anacrônica, que lança fora a ênfase em uma cuidadosa análise histórica, mas sim em/por uma ótica que abarca a musicologia em sua totalidade, salientando seus mais variados contextos sociais e culturais. Dada a contextualização, neste trabalho, examina-se como o conceito de talento e musicalidade tem sido visto de forma paradoxal no decorrer da história. Busca-se ressaltar que sua definição variava assim como variavam também os diferentes períodos da história da música. É importante elencar que a elucidação de tais termos e conceitos será analisada não apenas por um olhar musicológico, mas também sob uma perspectiva histórico-cultural da educação musical, o que postula, portanto, uma apropriação de tal temática para o âmbito educacional da música.

Abstract: to know or even understand what would mean the concept of talent and musicianship is uniquely relevant for studies on music today. Such understanding can be an effective tool, for example, to a new awareness as a professional musician, as well as the educational framework of the music itself. A study that aims to address this issue, however, cannot be supported on/by an anachronistic conception, flipping off the emphasis on careful historical analysis, but at/by a view covering musicology in its entirety, noting its various social and cultural contexts. Given the context of this study, it examines how the concept of talent and musicianship has paradoxically been seen throughout history. It seeks to emphasize that its definition varied with the different periods of music history. It is important to list that the elucidation of such terms and concepts will be analyzed not only by a musicological point of view, but also from a cultural-historical perspective of music education, which therefore suggests an appropriation of this theme for the educational context of music"

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- by Kleberson Calanca and +1
  Rafael Beling
- •
- 6
  Music Education, Educação Musical, Musicality, Musicalidade

A first-hand account of the history, performance, and creative process of Vancouver-based "one-man band" Jamus Pajamas, whose musical invention the "Heart Pipes" allows the simultaneous playing of bagpipes, beatbox, and didgeridoo. This... more

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- by Adam Bagatavicius and +1
  Jamus Pajamas
- •
- 27
  Musicology, Ethnomusicology, Social and Cultural Anthropology, Collaboration

Este trabalho discute o fazer musical contemporâneo permeado pela cultura digital, em especial no âmbito da utilização de aplicativos na educação musical. Em sua fundamentação, propõe o delineamento de algumas das principais... more

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- by Luciane Cuervo
- •
- 4
  Music Education, Flute, Musicality, Recorder Flute

The aim of this paper is to interpret the references to musical construction (“musicality III”, according to Andrzej Hejmej) in Paweł Huelle’s novel Śpiewaj ogrody (“Sing Gardens”). Both the plot (parts by the narrator and characters of... more

Here we present two unpublished essays by Hubert Jennings about the challenges of translating the poetry of Fernando Pessoa: the first one of them, brief and fragmentary, is analyzed in the introduction; the second, longer and also... more

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- by Pedro Marques
- •
- 4
  Versification, Fernando Pessoa, Musicality, Hubert Jennings

The study investigated the prevalence of fear and hyperacusis and the possible connections between fear, hyperacusis and musicality in a Swedish sample of individuals with Williams syndrome (WS). The study included 38 individuals and a... more

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- by Gerhard Andersson
- •
- 16
  Music, Fear, Adolescent, Anxiety

This text considers a discussion about musical development. Anchored in the historical-cultural psychology, it looks to surpass the classic division between what is innate (or biological) and what is acquired (or cultural), that divides... more

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- by Silvia Nassif
- •
- 4
  Musicality, Musical Education, Musicalization, Musical Development

El presente texto pretende aportar a la discusión sobre la multimusicalidad al exponer aspectos de su desarrollo en intérpretes que se desempeñan en “grupos de secuencias” en Cali, Colombia. Se trata de un formato que combina archivos de... more

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- by Kaustuv Kanti Ganguli
- •
- 13
  Music, Music Education, Music History, Musicology

Na związki twórczości lirycznej Paula Verlaine’a z muzyką zwracano uwagę już od momentu publikacji jego debiutanckiego tomu poetyckiego Poèmes saturniens w 1866 roku. Kolejne zbiory potwierdzały tezę o silnej inspiracji „biednego Leliana”... more

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- by Anna Al-Araj
- •
- 13
  French Literature, Humanities, Symbolism, 19th Century French Literature

Resumo: Este trabalho tem por base uma dissertação de mestrado em andamento e por objetivo investigar possibilidades de uma educação musical para o desenvolvimento da musicalidade da pessoa surda, considerando sua cultura. Percebendo o... more

Resumo: Este trabalho tem por base uma dissertação de mestrado em andamento e por objetivo investigar possibilidades de uma educação musical para o desenvolvimento da musicalidade da pessoa surda, considerando sua cultura. Percebendo o indivíduo como unidade afeto intelecto, baseado na perspectiva histórico-cultural de Vigotski e na sua obra Fundamentos da Defectologia que compreende a existência do defeito, mas considera que a deficiência é um construto social, temos como característica nesta pesquisa esta visão do indivíduo como um organismo em unidade. A representação da música na sociedade contemporânea carrega em si traços de sua concepção baseada numa série de ideias e ideais que incluem uma música para ser ouvida unicamente pelo ouvido, e não como este sendo uma das inúmeras possibilidades que o indivíduo pode vivenciá-la. Aqui buscamos como abordagem para compreender estas possibilidades a etnografia sensorial, que considera o organismo como um todo em uma interconectividade dos sentidos, ressaltando que não há isolamento entre eles, mas sim uma unidade perceptiva do ser. Palavras chave: Educação musical. Cultura Surda. Perspectiva histórico-cultural. Musicalidade. Resumen: Este trabajo se basa en una tesis de maestria en curso para investigar las posibilidades de la educación musical para el desarrollo de la musicalidad de la persona sorda, teniendo en cuenta su cultura. Notando la persona como unidad afecto intelecto, basado en una perspectiva histórica-cultural de Vygotsky y en su obra Fundamentos de la Defectología que comprende la existencia del defecto, pero considera que la discapacidad es una construcción social, presentamos en esta investigación este punto de vista del individuo, como un cuerpo/organismo unitario. La representación de la música en la sociedad contemporánea lleva consigo las huellas de su diseño basado en una serie de ideas e ideales que incluyen una música para ser escuchada por el oído y no como siendo esta una de las numerosas posibilidades que el individuo pueda percibirla. Aquí buscamos entender cómo abordar estas possibilidades por la etnografía sensorial, que considera al organismo como un todo en una interconectividad de los sentidos y señala que no hay aislamiento entre ellos, sino una unidad perceptiva del ser. Palabras clave: Educación musical. Cultura de los sordos. Perspectiva histórico-cultural. Musicalidad.

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- by Tatiane de Paula
- •
- 4
  Deaf Culture, Musicality, Musicalidade, Teoria Histórico-Cultural

This article aims to deconstruct the idea that the musician is a person naturally endowed with some special talent. This is a widespread opinion, not only among laymen but also among specialists in music, as musicians and critics. The... more

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- by Silvia Nassif
- •
- 3
  Musician, Talent, Musicality

The pattern of acquisition of speech- and music-related skills during early stages of human infancy provides insight into the origins of language and music. Indiscriminate until shortly after birth, babies start gradually developing... more

The pattern of acquisition of speech- and music-related skills during early stages of human infancy provides insight into the origins of language and music. Indiscriminate until shortly after birth, babies start gradually developing acoustic features in their vocalizations, as well as accompanying behaviors that make it possible to distinguish their attempts to speak from their attempts to sing. Comparative analysis of tonal organization of children's original (non-imitative) vocalizations in their developmental succession throughout the first 3 years of life casts light on several important acoustic features. These features play an important role in the separation of music from verbal skills and shaping the primordial music system the infant uses to address his/her musical needs.
Much of the existing scholarship commits a fundamental error by interpreting the earliest forms of human speech and music in terms of "adult" state of their mastery, regarding children's communication as a sort of "defective" imitation of adults' models. Moreover, such models are significantly biased towards Western classical music and Indo-European languages, which despite their cultural importance in the modern world, nevertheless, constitute only a small fraction of typology of tonal musical and phonological verbal organization. A much more comprehensive approach towards children's music and speech has been developed by Lev Vygotsky and his circle: Alexander Luria, Aleksei Leontyev, Alexander Zaporozhets, Peter Galperin, as well as Boris Teplov. They and their followers regarded children's speech and music as reflecting a child's own peculiar method of thinking. The Vygotskian approach shares much in common with that of Piaget and the neo-Piagetians, but offers an alternative framework for explanation of the dichotomy between language and music—based on the methodology of intonation theory by Boleslav Yavorsky and Boris Asafyev. This theory was implemented in the state program of obligatory education within all territories of the former USSR; it had passed deep scrutiny throughout many years of administration over a massive population, which resulted in creation of a special discipline of ear development that theoretically and practically dealt with the development of "musical hearing" as distinguished from "verbal hearing" throughout childhood. Unfortunately, much of this literature is unknown to Western developmental specialists. This chapter covers this gap, familiarizing English-speaking scholars with the unique perspective on early musical and verbal development by Soviet and modern Russian ear-training specialists, with special attention to the issue of absolute pitch.
Advances in the methodology of intonational analysis made possible an adequate description and deeper understanding of the principles that govern tonal organization of non-Western types of music—including those that are based on timbre rather than pitch. This approach can be effectively applied to the analysis of both, ethnological and developmental data—to identify the common patterns of ontogenetic and phylogenetic development.

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- by Aleksey Nikolsky
- •
- 18
  Ethnomusicology, Modality, Tonal theory, Speech & Hearing Sciences

This article focuses on discussing some proposals of aesthetic upgrade of modernism in São Paulo, analyzing the writings of Mario de Andrade and his readings of modernist magazines such as L'Esprit Nouveau. The aim is to understand how,... more

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- by Marcelo Téo
- •
- 11
  Critical Theory, Music, Modernism, Música

In what ways does the form of staged theatre limit its radicality, and how might this be addressed through practices typically associated with other artistic fields? The director's task is to recreate life, its movement, its... more

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- by Teddy May de Kock
- •
- 8
  Interdisciplinarity, Contemporary Art, Magic, Imagination

La cumbia, el bullerengue, el son de negro y el currulao son parte de la herencia viva de África en Colombia; huellas de africanía, como lo refería Nina de Friedemann (1992), que reafirman una presencia antigua y originaria, entre... more

The abundant use of musical terms as prestige words in artistic and educational theatre discourses seems to indicate that musicality – in some sense of the word – is generally considered an important quality in acting. Music is part of... more

The abundant use of musical terms as prestige words in artistic and educational theatre discourses seems to indicate that musicality – in some sense of the word – is generally considered an important quality in acting. Music is part of the curriculum of the BA programme in acting at Malmö Theatre Academy. However, the students’ musical backgrounds are extremely heterogeneous. Further, it is my experience as a theatre musician that professional actors often lack self-confidence regarding musical tasks. When teaching music at Malmö Theatre Academy I have thus considered a sufficient musical self-confidence to be an important general purpose of the actor’s musical education. I have developed teaching methods in order to cope with the heterogeneity in the students’ musical background and at the same time utilize their shared interest in and aptitude for teamwork and textwork. Students are given the opportunity to develop their musical creativity by carrying out composition exercises.
The aim of this study is twofold. Its first part consists of a description of the author’s teaching methods focusing on composition exercises. The second part of the study presents an evaluation and discussion of how acting students perceive these methods and exercises.
The music composing exercises in question use text as a point of departure. After a number of preliminary exercises, the students carry out more extensive tasks during their second term of study. Everyone sets music to a text (most often a poem) of their own choice. The result is a number of songs which are subsequently rehearsed, performed and recorded by the composer together with a number of fellow students.
Interviews with students point unanimously to a significantly improved musical self-confidence as a consequence of the composition exercises. The students describe their relation to music as having become more independent and less respectful. While enhancing the ability to produce a coherent musical structure as well as the ability to communicate in music and about music, the exercises have also diminished the students’ fears of performing music together and in front of others. Sets of problems associated with composing are further expounded in the interviewees’ individual descriptions of their respective creative processes.
In the concluding discussion of the study, some fields for further research are outlined, one urgent future investigation being a qualitative study of professional actors’ views on how music, musicality, musical experience and self-confidence relate to their work.
Key words:
Composition, composition exercises, acting, theatre, musical self-confidence, creative processes.

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- by Sven Bjerstedt
- •
- 3
  Music Education, Theatre Education, Musicality

Alicia Alonso contended that the musicality of Cuban ballet dancers contributed to a distinctive national style in their performance of European classics such as Giselle and Swan Lake. A highly developed sense of musicality distinguished... more

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- by Lester Tome
- •
- 19
  Discourse Analysis, Latin American Studies, Aesthetics, Dance Studies

Este trabalho visa discutir a musicalidade humana sob um prisma cognitivo-evolucionista. Busca refletir acerca da complexidade da manifestação musical num panorama que articula os períodos transcorridos entre os tempos remotos da espécie... more

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- by Luciane Cuervo and +1
  Leda Maffioletti
- •
- 4
  Music Education, Digital Culture, Musicality, Communicative Musicality

Wlodzimierz Staniewski, director of the Polish Centre for Theatre Practices Gardzienice, considers directing as a praxis pertaining to the field of musical composition. His pieces have been theorised as either “ethno-oratoria” or “village... more

Lectura de la performance y video de Mima, Ñam-Ñam en el contexto de los efectos y consecuencias del huracán María. Se trata de una meditación sobre la vida sensible y poética del litoral que el video-canción trabaja en su re-edición e... more

El artículo analiza la musicalización de la ficción presente en Vals de Francesc Trabal, considerada su obra maestra. El artículo sugiere una lectura diferente de la novela a partir del concepto de intermedialidad y mediante dos ejes: la... more

Resumo: Este trabalho tem por base uma dissertação de mestrado em andamento e por objetivo investigar como se dá a vivência da musicalidade da pessoa surda, considerando sua cultura. Diante da obrigatoriedade da educação musical nas... more

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- by Tatiane de Paula and +1
  Patrícia L M Pederiva
- •
- 4
  Deaf Culture, Musicality, Musicalidade, Teoria Histórico-Cultural

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- by Floriane Rascle
- •
- 29
  Music, Queer Studies, Theatre Studies, Music and Language

Italian is said to be the language of the music and it is legitimate wondering what makes it so fitting the idea of musicality. The present paper opens with the presentation of "The Italian of music, the music of Italian", an argument... more

Poetic compositions and its performative realities through music are in tandem. Hence, poetic compositions especially in Africa are best performed in sine qua non with music. Olu Obafemi"s Illuminations: Songs, Dances, from the Belly of... more

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- by Oluwatosin J Ibitoye
- •
- 8
  Music, Performing Arts, Performance Art, Poetry Performance

MARQUES, Pedro, "Jennings on the Trail of Pessoa, or dimensions of poetical music" (2015). Pessoa Plural―A Journal of Fernando Pessoa Studies, No. 8, Fall, pp. 327-364. Brown Digital Repository. Brown University Library.... more

MARQUES, Pedro, "Jennings on the Trail of Pessoa, or dimensions of poetical music" (2015). Pessoa Plural―A Journal of Fernando Pessoa Studies, No. 8, Fall, pp. 327-364. Brown Digital Repository. Brown University Library. https://doi.org/10.7301/Z0X34VP9

Is Part of:

Pessoa Plural―A Journal of Fernando Pessoa Studies, Issue 8

Jennings on the Trail of Pessoa, or dimensions of poetical music
[Jennings na Pegada de Pessoa, ou dimensões da música poética]

https://doi.org/10.7301/Z0X34VP9

ABSTRACT

Here we present two unpublished essays by Hubert Jennings about the challenges of translating the poetry of Fernando Pessoa: the first one of them, brief and fragmentary, is analyzed in the introduction; the second, longer and also covering issues besides translation, is presented in the postscript. Having as a starting point the Pessoan poem "O que me doe" and three translations compared by Hubert Jennings, this presentation examines some aspects of poetic musicality in the Portuguese language: verse measurement, stress dynamics, rhymes, anaphors, and parallelisms. The introduction also discusses how much the English versions of the poem, which are presented by Jennings, recreate (or not) the musical-poetic dimensions of the original text.

RESUMO
Reproduzem-se aqui dois ensaios inéditos de Hubert Jennings sobre os desafios de se traduzir a poesia de Fernando Pessoa: o primeiro deles, breve e fragmentário, é analisado numa introdução; o segundo, mais longo e versando também sobre questões alheias à tradução, é apresentado em postscriptum. A partir do poema pessoano "O que me dói" e de três traduções comparadas por Hubert Jennings, esta apresentação enfoca alguns aspectos da música poética em língua portuguesa: medida do verso, dinâmica dos acentos, rimas, anáforas e paralelismos. A introdução também discute o quanto as versões do poema em língua inglesa, apresentadas por Jennings, refazem (ou não) os níveis músico-poéticos do texto original.

BIBLIOGRAPHY

AZEVEDO, Ricardo (2008). “Região Sudeste”. In: Cultura da terra. São Paulo: Moderna.
BRITTO, Paulo Henriques (2012). “A Tradução de Poesia”. In: A Tradução Literária. Rio de Janeiro: Civilização Brasileira.
CARVALHO, Amorim de (1991). Tratado de Versificação Portuguesa. Coimbra: Livraria Almedina.
ELIOT, T. S. (2004). Obra Completa – Poesia, Vol. I. Edição bilíngue. Tradução, introdução e notas de Ivan Junqueira. São Paulo: Arx.
FERRARI, Patricio & PITTELLA-‐‑LEITE, Carlos (2015). “Four Unpublished English Sonnets (and the Editorial Status of Pessoa'ʹs English Poetry),” in Portuguese Literary & Cultural Studies (PLCS) n. 28, Fernando Pessoa as English Reader and Writer. Dartmouth: Tagus Press, Spring 2015, pp. 227-‐‑246.
FREUD, Sigmund (1987). A Interpretação dos Sonhos, Vol. I [1900]. Tradução da edição inglesa com notas e comentários do editor inglês James Strachey. Rio de Janeiro: Imago.
GAGLIARDI, Caio (2010). “O Problema da Autoria na Teoria Literária: Apagamentos, Retomadas e Revisões”. São Paulo: Estudos Avançados, vol. 24, no. 69.
HUYSMANS, J.-‐‑K. (1987). Às Avessas [1884]. Tradução e estudo crítico de José Paulo Paes. São Paulo: Companhia das Letras.
JENNINGS, Hubert D. (1986). Fernando Pessoa in Durban. Durban: Durban Corporation.
____ (1984). Os Dois Exílios: Fernando Pessoa na África Do Sul. Porto: Centro de Estudos Pessoanos.
MALLARMÉ, Stéphane (2002). Poesias [1972]. Edição bilíngue. Tradução e estudos de Augusto de Campos, Décio Pignatari e Haroldo de Campos. São Paulo: Editora Perspectiva.
MONTEIRO, George (1994). “Fernando Pessoa: an Unfinished Manuscript by Roy Campbell,” in Portuguese Studies, Vol. 10. Cambridge: MHRA, pp. 122-‐‑154.
PESSANHA, Camilo (1994). Clepsydra: Poemas de Camilo Pessanha. Estabelecimento de texto, introdução crítica, notas e comentários de Paulo Franchetti. Campinas, SP: Editora da UNICAMP.
PESSOA, Fernando (1942). Poesias. Lisboa: Ática.
RAMOS, Péricles Eugênio da Silva (1959). “Os Princípios Silábico e Silábico-‐‑Acentual”. In: O Verso Romântico e Outros Ensaios. São Paulo: Conselho Estadual de Cultura.
SOUSA, Cruz e (1961). Obra Completa. Organização geral, introdução, notas, cronologia e bibliografia de Andrade Muricy. Rio de Janeiro: Editora José Aguilar.
SPINA, Segismundo (2002). Na Madrugada das Formas Poéticas [1982]. Cotia, SP: Ateliê Editorial.

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- by Pessoa Plural―A Journal of Fernando Pessoa Studies and +1
  Pedro Marques
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- 14
  Literature, Poetry, Versification, Fernando Pessoa

Este trabalho visa discutir a musicalidade humana sob um prisma cognitivo-evolucionista. Busca refletir acerca da complexidade da manifestação musical num panorama que articula os períodos transcorridos entre os tempos remotos da espécie... more

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- by Graham Welch
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  Music Education, Digital Culture, Musicality, Opus

Does the musicality of the Josip Sever`s poem klišej kiše come through in the translation? The text Has the music gone from Josip Sever`s work? illustrates the influence of the translation process on textual levels of musicality: the... more

Musicality

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