Música de câmara de Rodil, Pla e Avondano: a flauta na 2ª metade do séc. XVIII e o estilo galante ibérico

O presente trabalho é uma abordagem teórica e interpretativa à música para traverso de António Rodil (c.1730-1787), Pedro Avondano (1714-1782) e dos irmãos Pla. A interação entre as duas componentes do discurso são fundamentos essenciais para uma global compreensão das obras, sendo por sua vez, foco central no tratamento do estilo galante ibérico. A dissertação esta dividida em 5 capítulos; 1. contextualização da prática musical em Portugal na segunda metade do séc. XVIII; 2. o percurso artístico do flautista António Rodil (c.1730-1787); 3. a música de câmara de Pedro Avondano (1714-1782) e a primeira obra conhecida para o traverso em Portugal A Collection ofLisbon Minuets for two Violins or two German flutes and bass (1766); 4. o traverso na obra dos irmãos PLA; 5. reflexões em torno das questões interpretativas.

Music and evolutionary computation

This paper presents a brief history of the western music: from its genesis to serialism and the Darmstadt school. Also some mathematical aspects of music are then presented and confronted with music as a form of art. The question is, are these two distinct aspects compatible? Can computers be of real help in automatic composition? The more appealing algorithmic approach is evolutionary computation as it offers creativity potential. Therefore, the Evolutionary Algorithms are then introduced and some results of GAs and GPs application to music generation are analysed.

Sound levels and risk perceptions of music students during classes

It is well recognized that professional musicians are at risk of hearing damage due to the exposure to high sound pressure levels during music playing. However, it is important to recognize that the musicians’ exposure may start early in the course of their training as students in the classroom and at home. Studies regarding sound exposure of music students and their hearing disorders are scarce and do not take into account important influencing variables. Therefore, this study aimed to describe sound level exposures of music students at different music styles, classes, and according to the instrument played. Further, this investigation attempted to analyze the perceptions of students in relation to exposure to loud music and consequent health risks, as well as to characterize preventive behaviors. The results showed that music students are exposed to high sound levels in the course of their academic activity. This exposure is potentiated by practice outside the school and other external activities. Differences were found between music style, instruments, and classes. Tinnitus, hyperacusis, diplacusis, and sound distortion were reported by the students. However, students were not entirely aware of the health risks related to exposure to high sound pressure levels. These findings reflect the importance of starting intervention in relation to noise risk reduction at an early stage, when musicians are commencing their activity as students.