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For the instrumental practice there are accessories needs, as the musical score and shelf. As well as in computers, the musicians’ work needs fittings so that unnecessary postures are not adopted along the day of the activities, causing fatigue or future problems. The objective this study was to evaluate the visual distance, the visual angle, the height of the musical scores and cervical angle in 11 string musicians (violin and viola). The results presented association between the visual angle and the distance and the height of the musical score, as well as the visual distance with the height of the musical score. The results went of 100.23±5.46 cm to the height of the musical score, 89.36±8.22 cm for the visual distance, 9.23±0.79° for the visual angle and 49.86±5.71° for the cervical angle. Only the cervical angle was out of the recommended patterns (maximum indication 30°) and should be analyzed in greater depth in future studies. According to the rhythm, new works, accessory and/or instrument changes, these dimensions can be modified, but without interfere in the visual conditions, physics and comfort. The dimensions are inside of the limits recommended by ergonomics. [ABSTRACT FROM AUTHOR]

This article discusses the use of complex rhythmic structures, such as tuplets within triplets in piece Percussion Study II, of 1993, by the Brazilian composer Arthur Kampela. In some cases, it will be shown notational procedures of complex writing by British composer Brian Ferneyhoug. By turning a quarter note in one of five tuplet, Ferneyhough uses an above the tuplet symbology, indicating that there are five sixteenth notes instead of four sixteenths; the British composer thus uses an indication of the same rhythmic figure, using the sixteenth note. In Percussion Study II, Arthur Kampela uses a peculiar writing in which he does the same indication of rhythmic figures such as Brian Ferneyhough. This article proposes a discussion about this peculiar writing in Percussion Study II and finally there will be shown the complex script from the standpoint of other composers such as Pierre Boulez, and from this vision, will be offered other possibilities notational Percussion in Study II. [ABSTRACT FROM AUTHOR]

Recently, improvisation has been integrated as a theme increasingly present in scholarly environments and it is now considered as an important line of research. Our thinking about free improvisation, besides relying on our practical experience, has the work of French philosopher Gilles Deleuze as a central reference from which we borrow key concepts such as stratification, territory, plan of consistency, molarity and molecularity, body without organs, rhythm, means and refrain. In this article, originally published in Perspectives of New Music, number 49, v.1, we will try to show how these concepts help us think and support the free musical improvisation as we conceive it in our practical and theoretical work. [ABSTRACT FROM AUTHOR]

The present work analyses the melodic structure of the pieces Syrinx, by Claude Debussy, and the first of the Three pieces for solo clarinet, by Igor Stravinsky, in search of procedures employed to generate the sensation of directionality along the discourse. In order to do so, aspects such as dynamics, rhythmic structure, the organization of the intervals and the movement through the register were taken into consideration. The analysis shows that both composers make use of traditional procedures to make their lines directional, and yet they contribute with new and particular resources. [ABSTRACT FROM AUTHOR]