Djabote [videorecording]: Senegalese drumming & song from master drummer Doudou N'Diaye Rose

A film of Eric Serra's audio recording session of Doudou N'Diaye Rose and his drumming ensemble outdoors on the island of Gorée, off the coast of Dakar, Senegal. The film concentrates on two performances -- one shot in daytime, and one at night. Two performances are filmed, punctuated by images of the island.

Étude du syncrétisme de l’assiko à travers le geste et le foyer socioculturel d’un guitariste Bassa.

Ce mémoire porte sur le rôle du geste musical dans le développement de styles musicaux devenus syncrétiques. Il s’attarde à définir dans le détail le style de guitare populaire assiko propre aux Bassa du Cameroun du Sud lequel est représenté internationalement par le guitariste et percussionniste traditionnel Atna Njock. Grâce à une approche dialogique et participative, les techniques du jeu assiko sont explorées et comparées à des exemples de jeu de guitare européenne, afro-américaines et africaines. Les influences qui définissent le jeu d’Atna découlent de la culture Bassa et de son histoire marquée par l’influence coloniale et missionnaire, mais sont aussi alimentées par la «philosophie» (voire la spiritualité) et le passé musical de l’artiste. L’approche participative fournit une perspective émique, c’est-à-dire interne à la culture, de la gestuelle et de la structure du jeu assiko même si nous confrontons les propos du musicien à notre propre regard analytique. La comparaison avec divers instruments de percussion auxquels Atna a été initié montre comment ceux-ci ont forgé son jeu guitaristique. Son rôle de « garant » de la tradition musicale Bassa influence son approche et se manifeste par une préoccupation particulière pour l’« authenticité » dans la reproduction des rythmes d’un « langage » musical donné. Ses liens avec la culture Bassa, s’expriment notamment par le biais de sa reproduction du style de jeu de son maître, Jean Bikoko « Aladin ». La contribution particulière d’Atna à la technique de guitare de Bikoko est comprise comme un ajout à la lignée ancestrale. Une analyse d’un morceau du répertoire assiko issu du plus récent album d’Atna illustre d’ailleurs comment son incorporation de styles « modernes » reproduit les processus traditionnels en intégrant des éléments culturels étrangers.

Introduction des sonorités du Mexique préhispanique dans l'orchestration moderne

Les compositions musicales de l’étudiante qui accompagne cette thèse sous la forme d’un disque audio est disponible au comptoir de la Bibliothèque de musique sous le titre : Cristina García Islas (http://atrium.umontreal.ca/notice/UM-ALEPH002385786)

War song of Tyrtaeus = Hymne Athénien, op. 31, no. 3 /

Caption title.

Practical instrumentation /

Pt. 1. The strings.--Pt. 2. The wood-wind.--Pt. 3. Strings and wood-wind combined.--Pt. 4. The horns.--Pt. 5. The combination of strings, wood-wind and horns.--Pt. 6. The trumpets, cornets, trombones, tubas and instruments of percussion.--Pt. 7. Harp, mandoline, zither, guitar, piano (cembalo), organ and harmonium.

In a nutshell suite : for piano solo /

Originally for orchestra, piano and Deagan percussion instruments.

A clinical introduction to the practice of auscultation, and other modes of physical diagnosis, in diseases of the lungs and heart...

Mode of access: Internet.

Dr. Dock's clinic - Hospital Amphitheatre - Jan. 1898

George Dock (with percussion hammer) and James Arneill (behind Dock) teaching in amphitheather of Catherine Street Hospital (source: Not Just Any Medical School by Horace W. Davenport). Handwritten on mount: G. M. Livingston. Ann Arbor, MI. On verso: George Dock (Pathology)

Traité pratique d'auscultation; ou, Exposé méthodique des diverses applications de ce mode d'examen à l'état physiologique et morbide de l'économie;

Mode of access: Internet.

Música e surdez: o ensino de música numa perspectiva bilíngue na escola regular

The present study focuses on the development of pedagogical activities in Music Teaching, aiming to enhance the accessibility of musical knowledge for both deaf and hearing students, using a bilingual approach in regular schools. Few studies address Music and Deafness, and those that do focus exclusively on the context of special education, and specifically the deaf student, which signals the urgent need for conducting research on this issue in the context of inclusion – empirically and carried out on school grounds. Therefore, we developed our study at a Natal City Public Elementary school, in a class of 6th graders, comprised of 37 students, 3 of whom were deaf. The objective of the study was to develop a proposal for a pedagogical intervention in Music Teaching, using a bilingual approach, with deaf and hearing students, in the context of regular school classes. The research is based on the theoretical framework presented in Penna (2010), Brito (2001) and Fonterrada (2008), with reference to music education, and Haguiara-Cervellini (2003), Finck (2009) and Louro (2006), with reference to inclusion in teaching music. To achieve this objective, we developed a proposal for intervention based on the methodological dictates of intervention research, presented in studies by Jobim and Souza (2011) in light of the theoretical concepts posited by Mikhail Bakhtin, which assert that knowledge is produced through interaction between subjects, dialogically and through alterity. This methodology was carried out in pedagogical workshops, conceived as spaces for the construction of knowledge, mobilizing participants to engage in ludic activities of musical experimentation. Content covered in these workshops focused on Pulse and Rhythm – basic elements in music education – demonstrating that awareness about and sensitivity to these elements is not limited to the auditory sensory perception of the student, once the entire body is used as an agent of acquisition and expression. Thus, we began the trajectory of our research from the starting point of the identification and perception of „Pulse‟, using one‟s own body and the body of classmates, representing it through physical expressions and movement. Subsequently, this Pulse was extended from the body to a percussion instrument, and was then represented graphically as lines of rhythm, constituting a process of reading and writing; ultimately the intervention culminated in the class presentation with the musical group De Pau e Lata (Stick and Can). In our analysis, faced with the challenges and possibilities presented in our study, findings showed satisfactory results with regard to the participation of all of the students: completing the activities proposed in the class, asking questions when they did not understand, positioning themselves when they thought it necessary, expressing opinions about the work completed, evaluating the workshops given, interacting, helping in the activities, constructing knowledge collaterally, experimenting and experiencing musical elements through the body in activities that applied to both groups (deaf and hearing) in the one class. These indications elucidate the viability of teaching music to deaf and hearing students, using a bilingual approach, and based on experiences with the body and communicative and cultural specificities involved, confirming, as well, the role of Sign Language as a mediator in the teaching/learning process.