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The article approaches Bossa Nova as an experience of resignification at the existential and religious level, focusing primarily on the song Chega de saudade (No more blues), by Tom Jobim and Vinicius de Moraes. Opinions and testimonies are listed, in order to attest to the centrality of this song for Bossa Nova and Brazilian Popular Music. Chega de saudade catalyzes aspirations, like a horizon of happiness. The constitution and main features of the Bossanovista movement are discussed, as well as the album Chega de saudade, by João Gilberto. The musical elements of the song (harmony, rhythm, melody, timbre, interpretation, lyrics, etc.) are treated in their dimension of meaning, as an aesthetic-religious experience. Finally, the national and international repercussion of the Bossanovista movement is approached. [ABSTRACT FROM AUTHOR]

The assumptions upon which film investments in the 1900-1930s do not seem to have been overcome. In a reinterpretation of the fundamentals of Sergei Eisenstein’s montage, we investigate how the opening sequence of the audiovisual “The Trial of the Chicago 7” (2020, Sorkin, BEL) uses scene relationship techniques to determine the notion of time, rhythm, spatiality, and graphics movements. Scenes from the news are shown between fictional takes, it is believed, in order to erect a historical panorama of the feeling of rejection of sending soldiers to Vietnamese territory. Here, we study how editing resources are used in the development of communication strategies in order to instigate the reflection and engagement of different social-cultural audiences in the face of the established conflict. [ABSTRACT FROM AUTHOR]

This text was written after hearing a childlike question about voice, a question asked by Lara, a girl at a "basic" school in a rural area of the Azores islands that resulted in a diferent way of understanding the motives and intentions that are implicit in the way we practice community of philosphical inquiry with children and adults. This question also unveiled important aspects of the way we construct ourselves as adults who believe in the importance of teaching philosophy in elementary school. This text describes an attempt to follow the trail of inquiry triggered by Lara's question, and documents three moments or possibilities of re-questioning. These moments - which are not understood as forming an orderly sequence, but rather represent inroads into the initial question - emerge as possibilities marked by the rhythm of inquiry that followed. Those questions were: What do we hear when we talk about voice? What do we say when we talk about listening? And what do we think about when we share voices and listen actively? The text invites us to focus on voice as a concept aligned with a certain paradigmatic model of thinking commonly referred to as "philosophy,"and also invites us to consider the concept of listening as a construct that returns us to the origins of western philosophy. Finally, the text invites us to consider different ways of understanding voice and listening as based on the idea of thinking as an in-between space of sharing, focusing specifically on activities centering philosophical dialogue with children. [ABSTRACT FROM AUTHOR]

Rap is part of an Afro-Diasporic musical tradition, responsible for organizing social struggles, cultural identities and diverse knowledge. Religion, as part of the everyday experience, of affirmation and (re)invention of peripheral communities, provides a set of elements, images and symbols that permeate different narratives of rhythm and black poetry. In this context, rap and religion are presented as complex discourses of the subjects' social, subjective and aesthetic life; through these elements the human being is thought of, his social condition problematized and his religiosity put in perspective. Through a group called Síntese, from São José dos Campos/SP, this article aims to reflect aspects of religion as a fundamental part of a complex philosophical knowledge articulated by rap. [ABSTRACT FROM AUTHOR]

This article aims to characterize, from the audiovisual, the life and artistic trajectory of Clementina de Jesus OMC (a. 1901-1987), an interpreter of Brazilian songs and rhythms, based on the theoretical-methodological contribution of depth hermeneutics (DH), formulated by John Brookshire Thompson. [ABSTRACT FROM AUTHOR]

The purpose of this study is to discuss the concept of "verse" and "poetic rhythm". With this investigation, we try to understand the idea of "free verse", one of the main characteristics of the XIX's production of Portuguese poetic work. For this, we introduce considerations about the first two concepts, specially about these etymological origins, with the purpose to figure how "free verse" deals with the traditional idea of rhythm in poetry, which is no longer submitted to the versification's theories. [ABSTRACT FROM AUTHOR]

The objective of the work is the analysis of Study Op. 6, n.8, by Fernando Sor through the concepts of Phrase Rhythm and expressiveness. The main methodology used was theoretical and experimental analysis divided into two fronts: the first part of the work deals with the rhythmic-phraseological analytical theories contained in the treatises of Lussy (1874, 1883) and Riemann (1884, 1903). And in the second part, there was a juxtaposition between the rhythmic-phraseological theories and the guitaristic expressiveness. In order to achieve these objectives, expert performance recordings were analyzed using techniques for extracting data from dynamic and agogic parameters. The results demonstrate that the Phrase Rhythm can be an effective way for the concatenation between analysis and performance. [ABSTRACT FROM AUTHOR]

The author reflects upon the theme of rhythm as a fundamental element for psychic continuity and as a structuring element so that a harmonic mother/baby relationship can be recorded in the psyche. The unexpected and traumatic event of COVID-19 imposes a disruption and subjectivizes writing, in particular, leading to the creation of new vortices, among which the theme of collapse is embedded. Winnicott's concept on the fear of collapse is updated within such context, in which emptiness, death, and non-life emerge. Philosophy is also present as an important form of interlocution, with excerpts from current essays by philosophers regarding the impact of the pandemic, reflecting and illustrating the themes of collapse and rhythm. René Roussillon and Victor Guerra's thoughts are approached, through their contributions on the rhythm of psychic life and the condition of predictability that is implicit in this acquisition. The resonance of these themes in the clinical setting, based on care provided on-line, is addressed as the final aspect, having as reference Alessandra Lemma's contributions about the embodied setting. [ABSTRACT FROM AUTHOR]

This study presents the concept of rhythm that give base to the translation's theory by Henri Meschonnic. The author defends the rhythm in language, in a different way from what is seen as regular alternation between strong and weak beats, dissociated from previous music and metric. The definition that contributed for such formulation of rhythm is born in the etymological redefinition of the concept made by Émile Benveniste. He shows how the rhythm has in its etymology the form, as the movement in the instant where is taken and so he can became multiple. Thus, rhythm could be defined as the organization of meaning in discourse, which produces its own semantics, or significance. Renewed by the program of rhythm, translation, in turn, will be understood here as a way of acting on language. [ABSTRACT FROM AUTHOR]

This article seeks to describe phenomenologically the experience of listening to music through portable devices, having as a frame of reference especially the research of Michel Chion and the philosophical concepts of Gilles Deleuze. The capacity of these devices to provide for listening in movement makes them potential sources of a cinematographic effect of suspension or fabulation, in which reality itself becomes the panoramic screen of a procedural and assubjective work. The body gains functions of mediation and the mode of aurality of these portable listening devices, completely autonomous, inserts into the visual perception the sonic effluvium, which, annexed to the rhythm of the imagetic movement, elevates it to the position of cinematic movement, that is, of a reality that endures in duration, of a reality that is more-than-itself. [ABSTRACT FROM AUTHOR]

Geraldo Pereira comes up as an important name in the history of Brazilian Popular Music and of Samba for being considered the most brilliant upholder of syncopated rhythm. However, there are few studies about his work, composed of 77 samba songs, registered along 16 years of career (1939-1955). The objective of this article is to analyze the lyric love production of the composer from Minas Gerais State, aiming to reflect, in 5 of his lyrics, about love disagreements motivated by uncompromising relationships between male and fame genders, dwelt in Samba world, as they happened in the historical context of his production, specially. [ABSTRACT FROM AUTHOR]

The training of the dance students must comprise the learning of rhythmic elements from the numerous class experiences. The methodological approach on rhythmic teaching, usually employed, is based on the musical score and quantitative measurement of its constituents. But, also, the broad exploitation of sensory-motor strategies can strengthen the rhythmic learning. Thus, considering these reflections, this article aims to examine some theoretical assumptions of the rhythm study for future considerations in pedagogical procedures of rhythmic initiation into dance classes. [ABSTRACT FROM AUTHOR]

A song needs to be read with the ears like a text where musical elements also say, speak, shout, agree and disagree. The words, at the same time, overflow sounds whose meaning lies in their musical context, transcending the written text. The word is a sonic matter, the basis that structures rhythm, images, and definitions. How to read-listen to songs in the context of expanded literature? This article discusses intersong and extrasong procedures for studying songs avoiding the split of lyrics and music of the song O Quereres, by Caetano Veloso. [ABSTRACT FROM AUTHOR]

The aim of this article is to discuss and apply to the studies on Brazilian popular music the concepts about time, duration and rhythm of the French philosopher Henri Bergson (1859-1941), based on the intricate relationship among melody, musical arrangement, lyrics and performance that integrates popular song. The popular song will be considered as a complex object composed of the relationships between music, lyrics and performance. For this purpose, we develop the philosopher's concepts of time, duration and rhythm, and analyze, with these references, the song Oração ao tempo (Prayer to the time), by the Brazilian composer Caetano Veloso, 2nd track on his album Cinema Transcendental (Philips/Poly-Gram), released in 1979. As a result, the notion of time is perceived as flow and as origin of the empathy that the song causes in the listener. [ABSTRACT FROM AUTHOR]

In the last two decades of the 19th century, it was often held that poetry in Spanish had been lagging behind when compared to the poetry of other nations and languages. This was seen to reflect a more comprehensive cultural slowness in catching up with the global advancements in social and economic modernization. Spanish poetry was supposedly paralyzed by an excessive obedience to outdated authorities of its own literary tradition. In 1894, the Spanish poet Salvador Rueda published El ritmo, a polemical treatise on poetry proposing a rhythmical revolution as the antidote against verse stagnation. This paper aims to present and discuss 1) the discursive strategies used by Rueda to intervene in the course of the Hispanic culture; 2) the convergences and divergences of his intervention in relation to the current discourses of his time, particularly the poetics of the Hispanic-American Modernists, to whom literary historiography would soon attribute the real merit for revigorating poetry in Spanish by the turn of the 19 to the 20th century. [ABSTRACT FROM AUTHOR]

The writer Victor Giudice (1934-1997) was a deep connoisseur of classical music and a composer of sambas and other popular songs, many of which are still unpublished. He worked for the Bank of Brazil, and after his retirement, wrote music critique for Jornal do Brasil. Nonetheless, since the release of his first book in 1972, his profound relationship with music became a clear mark of his distinctiveness as a short story writer, above all, through his singular and ever-growing domain of rhythm. This article aims to address the relationship that Victor Giudice’s work maintains with music and, for such a purpose, specifically deals with the function of rhythm as a strategic element for reader engagement in fictional narratives. Based on the relationship between rhythm, form, and temporality, this article discusses both rhythm in relation to the disclosure speed of facts and rhythm as the shaper of writing itself. [ABSTRACT FROM AUTHOR]

Several studies have shown that music is a good therapy for people with Parkinson´s disease. The intervention´s spatial and temporal stimuli may signalize gait cycle phases and provide the person with a more coordinated gait. Further, music therapy provides an increase in self-esteem, greater comfort, relax and wellbeing, with greater interactions when treatment is undertaken by groups of people. The effects of the musical genres, waltz and samba, on the functional mobility in people with Parkinson´s disease are investigated. Volunteers practiced Timed Up and Go Test (TUG) under the following conditions: without music, with classical music (waltz) and Brazilian popular music (samba). Data were weighed by descriptive and inferential statistical analyses by Fridman test and paired post-hoc Wilcoxon test at 5% significance level. In fact, samba provided a contrary effect in gait with a reduction of speed (p=0.04), number of steps (p=0.04) and cadence (p=0.04), with an increase in time (p=0.04) and step length (p=0.05) when compared to situations without music. Music´s intrinsic factor such as rhythm, harmony, melody and amplitude may be associated with an adverse effect observed in the functional mobility of people with Parkinson´s disease. [ABSTRACT FROM AUTHOR]

I aim to demonstrate two methodological contributions of Henri Lefebvre's rhythmanalysis to the problem of how society transforms itself through the mediation of social practices that (re)produce themselves in and through the more or less technological objects and spaces that are entailed in the everyday life of cities engulfed by the possibility of modernity. First I elucidate rhythmanalysis, and its connection with Lefevre's thought. Hence the theoretical peculiarity of my statement will come to the fore. Its empirical pertinence, though, are briefly shown in the second section. Based on photographic and ethnographic data of my research on the present-day public streets and squares of the historically oldest São Paulo perimeter (Frehse, 2011), I point out what human bodies that physically cross or stay there on a regular basis may disclose about the rhythm of sociocultural changes in this present-day megacity - and, thus, about rhythmanalysis as a way of empirical apprehension of clues of the social change which is historically possible in the everyday life experienced in urban space. [ABSTRACT FROM AUTHOR]

This article aims to draw some considerations about the interview with the elderly. Going through topics such as memory, gender, ethics and rhythms, it seeks to problematize the role of the researcher before those who play the role of carrying the memory of a social group. [ABSTRACT FROM AUTHOR]

The heightening of unstressed vowels [e] and [o] figures as a stable variation in Brazilian Portuguese (BP), but has different behavior in European Portuguese (EP). In this variety, heightening are in earlier proceedings, including reaching the deletion of unstressed vowel. This paper aims to verify the remains of sixteenth European Portuguese, regarding pretonic vowel context, on the actual Brazilian Portuguese. The theoretical framework of labovian variationist sociolinguistics underlies this analysis. The results indicate that the constraints of the current stage of heightening in European Portuguese are the same ones who control the increasing height in Brazilian Portuguese. The differences are due to changes in the rhythm observed in PE since the sixteenth century. [ABSTRACT FROM AUTHOR]

Dance activities were administered to a group of deaf adolescents via visual and auditory stimuli in order to improve their perceptions of monotonic rhythmic structures. Status of psychomotor development was also assessed before and after participation in the program. Twenty deaf adolescents (ages between 12 and 13 years) were divided into two groups, experimental (EG) and control (CG). Before and after participating in the program for 26 weeks, participants were evaluated in rhythmical tasks adapted from the classical test of M. Stambak. The tasks included the perception of drum beats, actually viewed hit movements, or heard via a sound amplifier. Psychomotor tests were administered only to the EG. The period of practice with dance activities changed the individuals' performance in the monotonic rhythmic test. Also, the success rate improved in both, visual and auditory input tasks. Individuals in the CG showed no changes in performance. For the EG, in the post-test, the status of psychomotor development was six months below the target age of the tests (i.e., 11 years). Findings suggested that dance activities can change deaf individuals' auditory perception of rhythmic structures. Participation in such a program can also positively affect psychomotor development. [ABSTRACT FROM AUTHOR]

One of the most controversial issues in the history of Phonetics is the discussion about the typology of speech rhythm. Out of the Greek and Latin tradition on poetry versification, the notion of rhythm has been misunderstood as speech rate. In the early years of the 20th century, a dichotomy merged classifying the speech rhythm into stress-timed and syllable-timed languages, inspired by the old theory of poetic versification. Following the same old pattern, later on, a third type of language were proposed: the moraic languages, initially attributed only to Japanese. With the facilities to carry on acoustic research, in the second half of the 20th century, the typology of language rhythm came to a dead end. Different types of language were set out. This paper discusses these ideas, showing a great misunderstanding among researchers in relation to the characterization of a syllable-timed language. The notion of mora is revisited and its role in the study of speech rhythm is better defined. [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]

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]

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]

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]

This work aims at presenting some theoretical and methodological aspects of prosody research to newcomers. The work gives the Platonic origin of the word "prosody" from which the contemporary meanings developed, to include notions such as prominence, prosodic boundary, phrase stress, stress group, focus, emphasis, intonation and rhythm. Selected methodological aspects are shown, such as the construction of corpus, the relationship between lab and spontaneous speech, syllabic duration normalization, and the difference between the notions attached to prosody production and perception. From these aspects some crucial issues in speech prosody are discussed. [ABSTRACT FROM AUTHOR]

Jazz and neoplasticism are expressions of a new life. They express at once the joy and seriousness that are missing in our exhausted cultural forms. They appear as simultaneous movements in many spheres of reality that try to resist to individual form and subjective emotion: they don't appear as expressions of "beauty", but as "life" that manifests itself through pure rhythm. [ABSTRACT FROM AUTHOR]

This study aims to verify if the rhythmic activities are inserted in Physical Education classes for children that are 07 to 11 years old. A questionnaire was applied for 05 professors and a trainee to verify the acceptance and the difficulties to insert such activities into the school planning. The acquired results pointed out there is a difficulty, mainly, in relation to the differences of sorts. Also, the boys showed less acceptance than the girls. We conclude that the teachers should not insist that activities that involve power and rigidity are for boys and rhythmic activities are for girls, and, that the experience of the youngsters in the activities that involve rhythm is relevant. [ABSTRACT FROM AUTHOR]

Using experimental means called «meta position», I managed to notice that the actualisation process reflection favours the conceptualisation in the after stage of rhythm variations and the emergence of meta-cognitive auto-referenciation operations. The latter are accompanied with a rich internal language which inflexions are of an empathical nature. Also, the "meta position" seems to reproduce the conditions and the relational texture of the therapistclient relationship, leaning heavily on the body referent. Finally, it contributes to the conceptualisation of stages that temporalize the actualising tendency. [ABSTRACT FROM AUTHOR]