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Este artigo apresenta alguns resultados de uma pesquisa em torno da prática de música-teatro no Brasil. Concentra-se em verificar os apagamentos a que tal repertório esteve relegado nas narrativas musicológicas brasileiras da segunda metade do século XX. Para tanto, analisa os discursos de Vasco Mariz no livro História da Música no Brasil em contraponto ao livro Música Contemporânea Brasileira de José Maria Neves, ambos lançados em 1981 e igualmente referências no meio acadêmico brasileiro. Defende-se que a música-teatro é uma prática permanente na música contemporânea brasileira e que seu apagamento das obras referenciais se deu tanto por um projeto de identidade musical nacionalista no qual tal prática não se encaixava, quanto por uma inexistência de léxico para se referir a esse tipo de composição. Ao final, demonstramos os espaços de germinação da música-teatro no Brasil durante as décadas de 1960 e 1970 e uma catalogação não-exaustiva de obras que demonstra a quantidade e diversidade do repertório.

The article analyses the digitisation of the music industry in Brazil, taking into consideration the new productive structure that emerges from its 'creative destruction'. To do so, it presents a historical overview of the record industry in the country and assesses the key components of the structural transformation of its economy in the early twenty-first century, from the sharp decrease in the consumption of CDs and DVDs to the entry of the global streaming services that presented an international modus operandi to the local music industry, or what has come to be known as the celestial jukebox. In the conclusion, it discusses the challenges for the distribution and circulation of music produced in Brazil in the global digital music market. [ABSTRACT FROM AUTHOR]

Copyright of Musica Theorica is the property of Musica Theorica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article is an exploratory study of the local music scene in the city of Curitiba in the state of Paraná, in Brazil, and the impact Covid-19 has had on local musicians. A case study was carried out, in which three participants answered a semi-structured interview on how the dynamics between musicians and concert-goers have changed during the pandemic. The participants were selected using purposeful sampling and a thematic analysis was conducted through data interviews that were transcribed and analysed. It was possible to note how the music scene crosses different spheres of the lives of its participants, how their social lives and connections with the city are related to local music, and how the pandemic directly affected this consumption, mainly from the difficulties arising from transitioning the local experience to the digital world. [ABSTRACT FROM AUTHOR]

Alto do Moura, the largest figurative art center in the Americas, is a neighborhood in the city of Caruaru, known mainly for the production of figurative clay art. In addition to clay crafts, there are several other types of expressions, most of them with music, that are performed by the locals - or by other people who go to the place to make such expressions happen -, among them: Reisado, Bacamarte, poesia, pífano and others. One of the aspects of the artistic and cultural expressions carried out in Alto do Moura is their relationship with clay figurative art and the Festas Juninas (June festivals). This article, which aims to discuss how these expressions are changing to continue existing, is an excerpt from a qualitative research, with ethnographic methodological procedures and fieldwork, based on semi-structured interviews, observations, and personal experience. Part of the data was obtained through the work carried out for the "Inventário do Ofício dos Artesãos e Artesãs do Barro do Alto do Moura - Caruaru-PE". It is possible to notice that, to remain alive, the expressions of Alto do Moura transit between the new (change) and the old (tradition), the art of clay and Festas Juninas. [ABSTRACT FROM AUTHOR]

This article aims both to discuss and bring a reflection about the role of the musical genre Choro in the formation of the musician. It has sought guiding elements for lines of action in the musical pedagogical scenario, subsidized by the characterization of Choro in the study of the musical instrument. It is also emphasized that the gender in question is very widespread in the realm of music in Brazil in which the compositional precepts have been used in the formation of the Young apprentice musicians. The theme shows another aspect of music education: the insertion of this popular Brazilian music in school academic guidelines, seeking plausible evidence to the question of learning and musical stimulation.

This article presents a path regarding on researches carried out on the composer from Minas Gerais (Brazil) Flausino Valle (1894-1954). Valle was a violinist, writer, poet, teacher and composer who was born in Barbacena, but lived the greater part of his life in Belo Horizonte. The aim of this text is to contribute with an overview of researchers who have interested themselves in Valle's work, proposing paths for initial development or continuity in their studies. In methodological terms, the point of departure is a survey of university repositories and a search for references in already published texts on the composer. As an outcome we may observe an important range of research done on Valle, with distinct approaches and objectives, which do not, however, exhaust new possibilities for avenues of research. [ABSTRACT FROM AUTHOR]

The idea of a 'universal music,' which develops alongside the supposed hegemony of European classical music, has historical roots that have been expressed as disciplinary content since at least the Enlightenment. However, its current relevance is shown in processes of symbolic appropriation, which we analyze in the contemporary Brazilian scenario, where the dissemination of universalism as an unquestionable paradigm of cultural superiority guides the relationship with musical discipline and is shaped by the context of social, political, and economic fragility, which we will analyze in the case of the São Paulo Symphony Orchestra, concluding, finally, the difficulty of music in constituting itself as an epistemic object in this context. [ABSTRACT FROM AUTHOR]

Copyright of Revista Brasileira de Ciencias Sociais is the property of Revista Brasileira de Ciencias Sociais and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The extensive output of the Brazilian composer Maria Helena Rosas Fernandes comprises more than 60 pieces, written since the 70's. Her works contribute considerably to the repertoire of contemporary music, not only due to the timbristic, rhythmic and gestural richness of her writing, but also for transmitting an important element of Brazilian culture: the indigenous topic. This article aims to reflect on current approaches to Brazilian national topics, taking as a model, the topic of Indianism, applied in the symphonic work Wãnĩ A’Ama (1982) by Rosas Fernandes. Through the analysis of the resources that constitute its compositional and expressive language, this article also intends to encourage the dissemination of her repertoire, still overshadowed by the works of other representatives of the 20th and 21st century, both towards theoreticalmusicological research and in field of symphonic performance.

Copyright of Methaodos: Social Science Journal / Methaodos: Revista de Ciencias Sociales is the property of Departamento de Ciencias de la Comunicacion y Sociologia, Universidad Rey Juan Carlos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper explores the images related to Carnival in the texts of early Brazilian modernist writers, who wanted to minimize the feeling of inauthenticity due to the systematic emulation of European aesthetic matrices. This critique of Brazilian 'nationalist' complexes was manifested in cultural forms which were unlinked from academic approaches, but were instead expressed in the registers of the popular songbook - sung-poems in which Carnival-related images abounded. In the analysis of this set of poems, the paper outlines the emerging of a poetry of 'masking', raising the hypothesis that these poets had invented a tradition that aimed for a native originality, having the celebration of Carnival and its mythical variants as its literary motivation. During the 1930's, Carnival-related images became rare in written poetry, establishing the sung poems as their permanent ground. With Orfeu da Conceição, in 1956, Vinicius de Moraes converged these two elements, dissolving the remaining boundaries that set them apart. This paper explores the images of Carnival and the mask, and attempts to unmask the characteristics of a form of Brazilian culture, including, in particular, its racism. [ABSTRACT FROM AUTHOR]

This article aims both to discuss and bring a reflection about the role of the musical genre Choro in the formation of the musician. It has sought guiding elements for lines of action in the musical pedagogical scenario, subsidized by the characterization of Choro in the study of the musical instrument. It is also emphasized that the gender in question is very widespread in the realm of music in Brazil in which the compositional precepts have been used in the formation of the Young apprentice musicians. The theme shows another aspect of music education: the insertion of this popular Brazilian music in school academic guidelines, seeking plausible evidence to the question of learning and musical stimulation. [ABSTRACT FROM AUTHOR]

This article focuses on the career of Brazilian tambourine player Russo do Pandeiro, who participated as a background musician in musical numbers of Brazilian and Hollywood films from the 1930s to the 1950s, yet his work remains mostly uncredited. Although these background musicians consistently appear throughout the films in which they starred, they still constitute a largely unexplored object of research. I aim to revive this Brazilian tambourine player from a marginalised setting and invest in an understanding of his contribution to cinema through an intermedial perspective rather than privilege films as exclusive objects of reflection. My hypothesis for this intermedial approach will argue that the trajectory of Brazilian supporting musicians, if observed closely, reveals significant and previously unexplored aspects of the Brazilian cinematographic universe in the first decades of sound cinema.

This article discusses industrial and aesthetical aspects of the musical numbers in 1950s Brazilian chanchadas. The chanchadas were a body of films made between the 1930s and 60s, that combined a mixed style derived from domestic influences of radio and popular music routines and from local forms of comic theatrical revues. I propose an examination of the entertainment industry’s influence on the musical numbers chosen for these 1950s chanchadas. This intermedial approach is based on the strong links between cinema and other cultural practices. I will argue the need to take into account not only theatrical practices, but also the routines of carnival culture, as well as the music industry and radio performances, in order to reconsider longstanding historical accounts based on the specificity of film media.

Music is one of the most cherished topics in Brazilian documentary filmmaking. Vinicius (Miguel Faria Jr., 2005), Raul: O início, o fim e o meio (Raul: The Beginning, the End and the Middle, Walter Carvalho, 2012) and Chico: Artista brasileiro (Chico: Brazilian Artist, Miguel Faria Jr., 2015) feature among the most successful Brazilian documentaries from the last twenty years, which makes clear their appeal to national audiences. However, to better articulate their significance it is also crucial to understand them from an international context. The In-Edit – International Music Documentary Film Festival, an event solely devoted to the screening and discussion of music documentaries, allows us to do so. First organised in Barcelona in 2003 and swiftly exported and adapted in multiple countries, the current In-Edit occurs annually in Chile, Brazil, Greece and the Netherlands. Throughout the years, it has also been celebrated in Argentina, Mexico, Germany, Colombia and Peru. In-Edit Brasil was first organised in São Paulo in 2009 and showcases a wide variety of music documentaries both from Brazil and abroad. At the same time, some Brazilian music documentaries are screened in other In-Edits, such as Chile and Spain. In effect, In-Edit organisers hold a privileged perspective on the role that Brazilian music and Brazilian music documentaries play within the international scene. Cristian Pascual (Barcelona, 1980) was the director of In-Edit Barcelona from 2007 to 2019, and he is still part of the organising committee. We met him in São Paulo in 2017, and he provided us with a programmer’s view of music documentaries from all over the world. Despite how political events have altered the country’s international influence in global politics (most notably Jair Bolsonaro taking over as president at the beginning of 2019), we believe that Pascual’s views present a rich reflection on Brazilian specificities regarding the production and reception of music documentaries today.

In December 2019, Rolling Stone magazine ran a piece on the best videos of the year which began by asking, “What even counts as a music video now?” (Shaffer). Vevo, Tiktok and Instagram TV have blurred the lines. Videos can be an hour long. They can be events on YouTube Premiere. They can be virtual reality. The idea that the world of the earliest creators of pop promos was simple in comparison to today subtends this dossier. In 2015, I was awarded an Arts and Humanities Research Council (AHRC) grant to investigate the history of music videos in Britain since 1966. At the end of the grant, I curated a collection of the most significant of those videos into a limited-edition box set (Power). Selecting them involved very detailed discussions with our interviewees and industry consultants about just what a “music video”—known as a “promo” until the mid 1980s—is. The term “music video” arose in the 1980s. It was used in record labels to describe visual products mastered on physical videotapes for television broadcast. In fact, almost all of those products were shot on celluloid (16mm or 35mm) until digital technologies allowed HD to become the norm in the 2000s. For the purposes of this dossier, I define music videos and pop promos as a type of musical short film for mass audiences commissioned and released by record labels (usually) at the same time as the release of a synchronised audio “single”; the shorts comprise a copyrighted synchronised picture and audio track in which a percentage of the royalties accrue to the recording artist and/or record label. This dossier is a collection of core materials emerging from the AHRC project.

In his conversation with us, Lula Buarque de Hollanda analyses Conspiração’s precursor role in the recent wave of music documentaries in Brazil and reflects on the production process of O mistério do samba (The Mystery of Samba, Lula Buarque de Hollanda and Carolina Jabor, 2008).

In this text, composer Flo Menezes shares his impressions on teaching composition. The specif ic context is his experience as a selected composer at the Royaumont courses in 1995, under the supervision of British composer Brian Ferneyhough and Swiss composer Michael Jarrell, while he was writing his “TransFormantes II” (1995) for piano and clarinet. Menezes describes his impressions of Ferneyhough's teaching methods, on his behavior towards students, and how Ferneyhough put himself, aesthetically speaking, always in solidarity with the stundent’s work. In comparison to Royaumont, he also mentions his experience as a student from Willy Corrêa de Oliveira in Brazil, who, on the other hand, was quite critical on the students' aesthetic decisions. Based on these encounters, Menezes discusses the specif icities of teaching composition, from the benefits of musical analysis to the impossibilities of teaching inventive process. [note by editor]

The increasing rates of domestic violence show how Brazil is still constituted by a patriarchal, sexist, and racist culture, supported by the conception of women as beautiful, modest, and domestic (VEJA, 2016). Based on the Semiolinguistics Theory proposed by Patrick Charaudeau (2008), in this work we analyze the language acts present in the song "Maria da Vila Matilde", composed by Douglas Germano and sung by Elza Soares. The theoretical-methodological approach is based on the classification of the text as stated by the Modes of discourse organization, with focus on the Enunciative Mode as an analytic category. The nature of this work is descriptive-analytical-interpretative, which we have outlined in a chart designed to organize the song lyrics according to their enunciative modes. Following the description contained in the chart, we analyze and interpret how these modes constitute meaning, especially meanings of confrontation/empowerment. [ABSTRACT FROM AUTHOR]

This article points out some elements that can help to understand the difficulty of analyzing popular music in Brazil with the forms of analysis commonly used by classical aesthetics and philosophy of music. In addition, it indicates some possible paths for the development of a critique of national musical material. To this end, this article retrieves some fundamental questions about the history of popular music in Brazil: its triple origin (African, European and Amerindian), the influence of capitalism in the first decades of the twentieth century, the concept of 'popular', its connection with early lyric poetry and its multiple forms of expression. [ABSTRACT FROM AUTHOR]

At the end of the 1980s a new musical movement of Occitan expression developed. Its influences were linked to the arrival of rap and raggamufin, two genres that were growing at the time. Based on three important groups (Fabulous Trobadors, Massilia Sound System and Nux Vomica), each representing an Occitan city (Toulouse, Marseille and Nice), we explore here the characteristics of what is commonly known as “the artists of the Linha Imaginòt”. Their relationship with the langue d'oc, their involvement in the social sphere, their relationships and differences, their individual and collective evolution over a career spanning almost forty years : these are all avenues to try to understand the place they occupy in the history of the Chanson Occitane, between rupture and continuation.

Copyright of Lengas is the property of Presses Universitaires de la Mediterranee and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The extensive output of the Brazilian composer Maria Helena Rosa Fernandes comprises more than 60 pieces, written since the 70's. Her works contribute considerably to the repertoire of contemporary music, not only due to the timbristic, rhythmic and gestural richness of her writing, but also for transmitting an important element of Brazilian culture: the indigenous topic. This article aims to reflect on current approaches to Brazilian national topics, taking as a model, the topic of Indianism, applied in the symphonic work Wãnĩ A'Ama (1982) by Rosa Fernandes. Through the analysis of the resources that constitute its compositional and expressive language, this article also intends to encourage the dissemination of her repertoire, still overshadowed by the works of other representatives of the 20th and 21st century, both towards theoreticalmusicological research and in field of symphonic performance. [ABSTRACT FROM AUTHOR]

More than 52 years ago, on October 18, 1970, the Armorial Movement was launched in the church of São Pedro dos Clérigos, in Recife. The movement, led by writer and playwright Ariano Suassuna, and made up of Northeastern artists and intellectuals, had as its main objective the creation of Brazilian classic art. For that, it was based on the Iberian Baroque and on the popular cultures of the interior of the Northeast region of Brazil. More than half a century after its launch, we heard about contemporary armorial, post-armorial and neo-armorial. This article aims to present a discussion on armorial music and the possible existence of a neo-armorial today. For this purpose, we interviewed musicians who are part of groups such as SaGRAMA, oQuadro and Quarteto Encore, as well as with the artist Antúlio Madureira. [ABSTRACT FROM AUTHOR]

Copyright of ouvirOUver is the property of ouvirOUver and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Tradução em Revista is the property of Faculdades Catolicas - Pontificia Universidade Catolica do Rio de Janeiro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this text, composer Flo Menezes shares his impressions on teaching composition. The specific context is his experience as a selected composer at the Royaumont courses in 1995, under the supervision of British composer Brian Ferneyhough and Swiss composer Michael Jarrell, while he was writing his "TransFormantes II" (1995) for piano and clarinet. Menezes describes his impressions of Ferneyhough's teaching methods, on his behavior towards students, and how Ferneyhough put himself, aesthetically speaking, always in solidarity with the stundent's work. In comparison to Royaumont, he also mentions his experience as a student from Willy Corrêa de Oliveira in Brazil, who, on the other hand, was quite critical on the students' aesthetic decisions. Based on these encounters, Menezes discusses the specificities of teaching composition, from the benefits of musical analysis to the impossibilities of teaching inventive process. [ABSTRACT FROM AUTHOR]

This work aims to propose a comparative, cultural, biographical and literary relationship between the song Exagerado, composed by Ezequiel Neves and Leoni and performed by the singer Cazuza, and the novel Mil rosas roubadas wrote by the writer and essayist Silviano Santiago (2014). In summary, Silviano's novel is based on the friendship and relationship of the character and narrator Silviano with Zeca, in addition, the novel mentioned is crossed by a homosexual love that, many times, is exaggerated, unrequited and frustrated just like Cazuza's song makes explicit. In this way, for Silviano to title his 2014 novel with an excerpt from the song also produced by Ezequiel in 1985, it is justified, through a metaphorical, cultural and biographical reading (SOUZA, 2002), the comparison between both Brazilian artistic manifestations taking into account the sensitive writing-experiences of the subjects involved in this process. Thus, we will work, essentially, with a comparative-bibliographic methodology based on biographic criticism as an epistemological basis for the discussion according to intellectuals Roland Barthes, Mathieu Lindon, Denilson Lopes, Italo Moriconi, Geraldo Majela Martins and Eneida Maria de Souza. [ABSTRACT FROM AUTHOR]

This work comments a section of the symphonic poem Canticum naturale (1972), by Edino Krieger (1928), considering the concept of intertextuality and the Topic Theory. This section consists of a soprano solo in the form of vocalise that alludes to the singing of a folk character: the Mãe d'Água (Mother of Water). There will be addressed some intertextual relations between Krieger's work and different examples from the concert repertoire, such as the French vocalise tradition and programmatic pieces that convey sonic representations of water. A central point of this discussion will be a dialogue between the vocalise present in Canticum naturale and the song Mãe d'Água (1969), by Guerra-Peixe (1914-1993). We believe that a comparative perspective can contribute for a better understanding of structure and meaning in Canticum naturale. [ABSTRACT FROM AUTHOR]

This article presents the results of a two-year research project on the Brazilian music festival Rock in Rio. The research consists of an analysis of the particular circumstances that led to the formation of the festival's multigenerational audience. Rock in Rio was held for the first time in 1985, soon after the end of the military dictatorship in Brazil, which lasted for more than 20 years (1964-1985). Meanwhile, Brazilian youth cultures were experiencing the emergence of a new local rock music scene that highlighted some of the country's most relevant social and political issues at that time. Since then, the festival's various editions, held in its hometown of Rio de Janeiro, have brought together wide audiences from different age groups. [ABSTRACT FROM AUTHOR]

this paper is the result of a research developed at the Universidade de Brasília music major programs. A research for chamber music works with trumpet was conducted between March 2017 to September 2019. The elaboration of a work catalog for trumpet and piano was made possible through researches in public collections, direct contact with composers and performers, and analysis of the available literature. With the cataloging of these works, it is intended to disseminate the Brazilian repertoire for this chamber duo, as well as to promote the production of new works, recordings and academic research. [ABSTRACT FROM AUTHOR]

Copyright of Sociologia & Antropologia is the property of Sociologia & Antropologia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article aims to make a brief history of modinha and lundu, two musical genres that are linked to the history of Brazilian music. Articulated to the complexity of the social subjects involved in their composition, execution and reception practices, the genres in question emphasize both intercultural encounters and conflicts. Moreover, poetic texts and the iconography present in the historiography of these manifestations can help us to find a pedagogy that articulates the synesthetic (perceptive-cognitive) processes linked to musical reality. [ABSTRACT FROM AUTHOR]

This article proposes a reflection on the multidisciplinary potential of the History of Brazilian Music for the pedagogical practice at the elementary, midle and high school levels, emphasizing the historiographic issues that permeate the many areas of knowledge. [ABSTRACT FROM AUTHOR]

Copyright of ouvirOUver is the property of ouvirOUver and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ricercare is the property of Universidad EAFIT and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Yedi is the property of YEDI (Dokuz Eylul Universitesi Guzel Sanatlar Fakultesi Yayini) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

On the 11th December 1964, the musical Opinião directed by Augusto Boal premiered at the ‘Teatro Arena’ in Rio de Janeiro. The show was considered a protest against the socioeconomic situation in Brazil and became a reference to what would be known as protest music against the regime, which established itself in Brazil in March that same year. In this text, we will attempt to analyse how this show substantiated the various social and political demands at the time, and how it became an aesthetic and political paradigm. At the same time, we will compare the original production with a re-interpretation of the spectacle in 2014, organized by the Moreira Salles Institute, with the participation of the group Casuarina and the singer Joyce. The aim is to understand how, fifty years after the coup d’etat and the show Opinião, Brazilian music and art not only reflect that historical moment, but also its role in the contemporary socio-political context.