Playing free: an ethnography of Brazilian free improvisers

In this article I investigate the practice of free music improvisation in Brazil. The reflections and findings presented here are derived from research conducted as part of a four months Higher Education Academy (HEA, UK) Fellowship, carried out between February and June 2014. The aim was to enquire whether or how the practice of free improvisation is taught in the Brazilian higher education system.
As part of this ethnographic study visits to the following universities were scheduled:
The Federal University of Rio de Janeiro - UFRJ
The Universidade Federal do Estado do Rio de Janeiro (UNIRIO)
The University of São Paulo - USP
The Federal University of Minas Gerais – UFMG
The Federal University of Bahia – UFBA.
The Federal University of Rio Grande do Norte in Natal (UFRN) and
The ELM, the Escola Livre de Música in Unicamp.

I discuss here some general background thinking to the research process, specifically recalling the work of French composer and educator Alain Savouret. I proceed to examine the improvisational spirit, the improvisatory worldmaking approach (the ‘jeitinho brasileiro’) that is often considered to be integral to the Brazilian way of life. In the final part of the article I discuss applied ethnographic methodologies, including the design of questions that were used for over 50 video interviews with Brazilian musicians during the research. I conclude with a final reflection on the video interviews with a specific focus on whether free improvisation can be taught, and the importance of listening in the context of free improvisation practices.

Cidade Museu

Through the concept of sonic resonance, the project Cidade Museu – Museum City explores five derelict or transitional spaces in the city of Viseu. The activation and capture of these spaces develops an audio- visual memory that reflects architectures, stories and experiences, while creating a sense of place through sounds and images.

The project brings together musicians with a background in contemporary music, electroacoustic music and improvisation and a visual artist focusing on photography and video.

Each member of the collective explores the selected spaces in order to activate them with the help of their respective instruments and through sound projection in an iterative process in which the source of activation gradually gives way to the characteristics of each space, their resonances and acoustic characteristics. The museum city (a nickname for the city of Viseu), in this performance, exposes the contrast between the grandeur and multi-faceted architecture of Viseu’s Cathedral with spaces that spread throughout the city waiting for a new future.

The performance in the Cathedral (Sé) is characterised by a trio ensemble, an eight channel sound system and video projecting audio recordings and images made in each of the five spaces. The audience is invited to explore the relations between the various buildings and their stories while being immersed in their resonances and visual projections.

The performance explores the following spaces in Viseu: the old Orfeão (music hall), an old wine cellar, a mansion home to the national road services, a house with its grounds in Rua Silva Gaio and an old slaughterhouse.

Composing with Graphics: Revealing the Compositional Process through Performance.

The research presented here is product of a practice-based process that primarily generates knowledge through collaboration and exchange in performance situations. This collaboration and exchange with various musicians over a period of five years that constitutes a body of practice that is here reflected upon. The paper focuses on non-instructional graphic scores and presents some insights based on performances of works by the author. We address how composition processes are revealed in graphic scores by looking at the conditions of decision making at the point of preparing a performance. We argue that three key elements are at play in the interpretation of these types of graphic scores: performance practice, mapping and musical form. By reflecting particularly on the work Cipher Series (Rebelo, 2010) we offer insights into the strategies for approaching the performance of graphic scores that go beyond symbolic codification.

The Royal Dublin Society Concert Archive

This research project documents the occurrence of the Royal Dublin Society (RDS) classical music recitals which were established in 1886 for the promotion of chamber music. Some 120 years of recitals spanning from 1886 to 2006 are recorded in the archives extant in the RDS Library and Archives, Ballsbridge, Dublin. The year 1925 marked the opening of the current concert hall (The Members’ Hall) and the initial phase of this research project focuses on the period 1925 to 1950. The archive documents appearances in Dublin by internationally renowned musicians in addition to the first Dublin performances of several twentieth-century works. Examination of the archive contributes to knowledge of chamber music performance in Dublin from the late nineteenth to the early twenty-first century and facilitates analysis of networks, repertory and reception.

Characteristics of Corticospinal Projections to the Intrinsic Hand Muscles in Skilled Harpists.

The process of learning to play a musical instrument necessarily alters the functional organisation of the cortical motor areas that are involved in generating the required movements. In the case of the harp, the demands placed on the motor system are quite specific. During performance, all digits with the sole exception of the little finger are used to pluck the strings. With a view to elucidating the impact of having acquired this highly specialized musical skill on the characteristics of corticospinal projections to the intrinsic hand muscles, focal transcranial magnetic stimulation (TMS) was used to elicit motor evoked potentials (MEPs) in three muscles (of the left hand): abductor pollicis brevis (APB); first dorsal interosseous (FDI); and abductor digiti minimi (ADM) in seven harpists. Seven non-musicians served as controls. With respect to the FDI muscle–which moves the index finger, the harpists exhibited reliably larger MEP amplitudes than those in the control group. In contrast, MEPs evoked in the ADM muscle–which activates the little finger, were smaller in the harpists than in the non-musicians. The locations on the scalp over which magnetic stimulation elicited discriminable responses in ADM also differed between the harpists and the non-musicians. This specific pattern of variation in the excitability of corticospinal projections to these intrinsic hand muscles exhibited by harpists is in accordance with the idiosyncratic functional demands that are imposed in playing this instrument.

Tools and Environments for Networked Electronic Performance

A collection of software and hardware tools and environments that facilitate collective networked performance between electronic musicians. Tools include 'Chat Monkey', a live chat tool for performance, 'DMA Sequencing', a step sequencer using open sound control messaging and multi nodal control, 'tutti, duet, trio, solo, quartet', an ensemble management environment, and 'Por Larrañaga', a cigar box based electro-acoustic instrument with embedded sensors and controllers. Notable performances: w/BLISS, NCAD, Dublin, 1 March 2015; w/BLISS, NI Science Festival, Belfast, 21 Feb 2015

‘At First I Saw It as a Toy’: Life Stories, Social Consciousness and Music Ethnography

This article examines the role of life narratives as discursive spaces for the performance of individual resistance. Through the inspection of three interviews with professional musicians in Athens, the essay will illustrate how the recounting of nodal events in their lives and careers facilitates an assertion of their current social ideology and their disillusionment with the popular music industry in which they operate. Ultimately, what follows will suggest a mode of listening to individual utterances and narratives as discursive forms of resistance that need to be appreciated as social acts as opposed to mere ethnographic data.

"No Encores" The Royal Dublin Society Concert Archive Recitals in Retrospect: 1925-50

A large archive of sources for the RDS classical music recitals is extant in the Society’s Library, Ballsbridge, Dublin. The recitals were established in 1886 for the promotion of chamber music and in order to expose Dublin audiences to the works of the great composers. Extant in the collection are minute books; autographed programmes; newspaper cuttings which include previews, reviews and advertisements; correspondences with artists and agents; promotional material; selections of photographs; records of attendance, artists fees and takings; and volumes of printed music.
This paper will document the organisation, management and occurrence of the RDS classical music recitals for the period 1925 to 1950 and will encompass the opening of the current concert hall (The Members’ Hall, 1925), the Society’s bi-centenary celebrations (1931) and the continuance of the recitals within the context of the Second World War (1939- 45). The paper will examine and analyse the following: networks, repertoire and reception.
The RDS music committee established significant links with many performers and UK-based classical music agents. Recitalists include musicians of international renown; Myra Hess, Isolde Menges, Lili Kraus, Joseph Szigeti, Leon Goossens, Sir Hamilton Harty and The Hallé Orchestra, The Catterall Quartet and many local, Dublin-based musicians; Raidió Éireann Orchestra, Dublin String Orchestra, Dublin Philharmonic Orchestra and Culwick Choral Society. The compromises and collaborations in evidence between the music committee, agents and performers resulted in the presentation of varied and well-balanced programmes featuring sonatas, quartets, trios, concerti, overtures, symphonies and songs by composers including Beethoven, Mozart, Haydn and Brahms. Works by contemporary composers including Bax, Dohnanyi, Szymanowski and Suk were also regularly performed, as were works with an Irish influence or flavour. Audiences mainly consisted of members of the Society, music students were encouraged to attend at a reduced rate and reviews were regularly published in the Irish Times, Irish Independent and Irish Press.

Documental 103 nuestra música en radios

El documental aborda el artículo 103 de la ley de comunicación desde la visión de músicos cuencanos de géneros independientes, alternativos a la música tradicional y convencional cuencana ecuatoriana, su acogida dentro de las radios, la opinión de los públicos a una nueva ley, y los organismos encargados de velar por el cumplimiento de la ley.

Para uma sistematização do método transcricional guitarrístico

O presente trabalho apresenta um levantamento de processos transcricionais usados por músicos, desde compositores do período barroco até músicos contemporâneos. Este conjunto de técnicas permite encontrar alternativas às eventuais problemáticas levantadas durante a transcrição e simultaneamente, processos para manter inalterada a significação proposta pelo compositor. Seguidamente, apresenta-se um conjunto de obras transcritas com apoio nas técnicas anteriormente observadas.

Systematics and evolution of coastal and deepwater Hydrozoa from the NE Atlantic

The study of the Portuguese Hydrozoa fauna has been abandoned for more than half a century, except for the Azores archipelago. One of the main aims of this Ph.D. project was to contribute new hydrozoan records leading to a more accurate perception of the actual hydrozoan diversity found in Portuguese waters, including the archipelagos of Azores and Madeira, and neighbouring geographical areas, for habitats ranging from the deep sea to the intertidal. Shallow water hydroids from several Portuguese marine regions (including the Gorringe Bank) were sampled by scuba-diving. Deep-water hydroids, from the Azores, Madeira, Gulf of Cadiz and Alboran Sea, were collected by researchers of different institutions during several oceanographic campaigns. Occasional hydroid sampling by scuba-diving was performed in the UK, Malta and Spain. Over 300 hydroid species were identified and about 600 sequences of the hydrozoan ‘DNA barcode’ 16S mRNA were generated. The families Sertulariidae, Plumulariidae, Lafoeidae, Hebellidae, Aglaopheniidae, Campanulinidae, Halopterididae, Kirchenpaueriidae, Haleciidae and Eudendriidae, were studied in greater detail. About 350 16S sequences were generated for these taxa, allowing phylogenetic, phylogeographic and evolutionary inferences, and also more accurate taxonomic identifications. Phylogenetic analyses integrated molecular and morphological characters. Subsequent results revealed: particularly high levels of cryptic biodiversity, polyphyly in many taxonomic groups, pairs of species that were synonymous, the identity of several varieties as valid species, and highlighted phylogeographic associations of hydroids in deep and shallow-water areas of the NE Atlantic and W Mediterranean. It was proved that many (but not all) marine hydroid species with supposedly widespread vertical and/or horizontal geographical distributions, correspond in fact to complexes of cryptic taxa. This study further revealed that, in the NE Atlantic, shallow environments sustain higher hydrozoan diversity and abundance, but the importance of bathyal habitats as a source of phylogenetic diversity was also revealed. The Azorean seamounts were shown to be particularly important in the segregation of populations of hydroids with reduced dispersive potential. The bathyal habitats of the Gulf of Cadiz proved to harbour a considerably high number of cryptic species, which may mainly be a consequence of habitat heterogeneity and convergence of various water masses in the Gulf. The main causes proposed for speciation and population divergence of hydroids were: species population size, dispersal mechanisms and plasticity to inhabit different environmental conditions, but also the influence of oceanic currents (and its properties), habitat heterogeneity, climate change and continental drift. Higher phylogenetic resolution obtained for the family Plumulariidae revealed particularly that glacial cycles likely facilitated population divergence, ultimately speciation, and also faunal evolutionary transitions from deep to shallow waters.

Forma e memória na improvisação

O presente trabalho propõe-se abordar os problemas mais significativos da improvisação da música contemporânea. Tendo como foco principal a procura do pensamento do improvisador durante a performance, assim como, a exploração dos diferentes constrangimentos que regulam a abertura da improvisação, a tese é composta por duas partes: na primeira apresenta-se os modelos teóricos da improvisação e suas principais características, assim como, uma reflexão sobre o papel da memória no processo de criação no decorrer da performance. Explora-se ainda a temática da organização do discurso musical improvisado em relação aos problemas da Estrutura e do controlo da Forma. A partir dos pressupostos teóricos, apresenta-se na segunda parte, uma vasta compilação de performances improvisadas desenvolvidas sobre os diferentes constrangimentos da criação em tempo real, explorando-se os vários conceitos de abertura. Desenvolve-se ainda um estudo empírico baseado na retrospecção da improvisação de onze instrumentistas sobre um motivo comum, no sentido de recolher uma compilação dos termos e dos processos mais usados na sintaxe da improvisação, representativos do pensamento do improvisador. Os dados obtidos permitem concluir que o comportamento da improvisação assenta maioritariamente num discurso Associativo, fortemente apoiado na biografia musical do improvisador e no controlo da Memória. Conclui-se também que a improvisação varia consoante a exposição do processo às diferentes categorias de abertura.

Metais em águas e sedimentos da plataforma dos Açores

A presente tese tem por objetivo principal contribuir para o conhecimento da geoquímica sedimentar da zona oceânica da crista da Terceira e montanhas submarinas a sul (região entre 29-39ºN e 27-32ºW), integrando também a caraterização dos metais e nutrientes na coluna de água e propondo concentrações para servirem de referência nesta região do Atlântico Central. Para o efeito foram realizadas amostragens na coluna de água em sete locais e de sedimento em cinco locais, durante a campanha oceanográfica designada por EMEPC/AÇORES/G3/2007 a bordo do navio SV Kommandor Jack, no âmbito do projeto da Estrutura de Missão para a Extensão da Plataforma Continental (EMEPC). Os perfis de CTD da coluna de água na região estudada revelam a presença de massas de água distintas: a Western North Atlantic Central Water (WNACW), a Eastern North Atlantic Central Water tropical (ENACWt), a Eastern North Atlantic Central Water polar (ENACWp), a Mediterranean Overflow Water (MOW), a Deep Mediterranean Water (DMW) e a North Eastern Atlantic Deep Water (NEADW). Observou-se nos perfis de temperatura e salinidade, referentes aos primeiros 200 m da coluna de água, um gradiente meridional negativo entre as estações localizadas na crista da Terceira e as estações localizadas mais a sul. Observou-se nas águas superficiais valores de oxigénio dissolvido de 93% e de pH de 8,1, assim como que as concentrações dos nutrientes NOx, PO4 e SiO2 variam de acordo com a atividade biológica, tendo-se registado concentrações medianas mais baixas, respetivamente de 6,5, 0,23 e 1,3 mol L-1, que aumentam com a profundidade devido à ausência de produção primária (respetivamente 31, 1,4 e 22 mol L-1). As concentrações de NH4 e de SO4 não variam significativamente nas massas de água, sendo os valores medianos mínimos e máximos de 0,69 a 0,79 mol L-1 para o NH4 e de 30 a 32 mol L-1 para o SO4. São propostas concentrações de referência para as massas de água, para os elementos cobre, cádmio, chumbo e arsénio. Os perfis de sedimento analisados permitem distinguir os sedimentos na crista da Terceira (core A) dos restantes (cores B a E). A grande variabilidade textural encontrada no core A, que contrasta com os outros cores analisados, deve-se a importantes contribuições terrígenas, originadas pela erosão sub-aérea e pela atividade vulcânica das ilhas próximas. iv resumo (continuação) A análise mineralógica, efetuada à fração areia e à fração fina (< 63 μm), confirma que os sedimentos do core A derivam de rochas vulcânicas formadas maioritariamente por piroxenas, olivinas, anfíbolas, biotite, alterites e ainda calcite, plagióclase e magnetite, tendo-se identificado ao microscópio a glauconite e o vidro vulcânico. De acordo com a composição química destes minerais o core A apresenta valores mais elevados de Al, Fe, K, P, Mg, Si, Na, Zn, V, Cr e Mn relativamente aos cores B a E. Os cores B a E apresentam grandes quantidades de calcite (>80%) formada maioritariamente por foraminíferos e nanoplâncton calcário (cocolitóforos). A fração areia confirma a composição maioritariamente carbonatada com grande abundância de material biogénico formado por oozes de foraminíferos (planctónicos e bentónicos) com raras espículas de espongiários e restos de conchas. Os cores B a E apresentam valores muito mais elevados que o core A para os elementos Ca e Sr. Os resultados para o Al, Fe, K, P, Si, Na, As, Cu, Ni, Zn, V, Cr, Li, Pb, Cd e Co presentes nos locais B, C, D e E sugerem que estes cores são comparáveis aos sedimentos de fundo carbonatados. Propõe-se concentrações de referência para a região do Atlântico compreendida entre 29-39ºN e 27-32ºW considerando a primeira camada colhida em cada core. Para o core A as concentrações são normalizadas a 5% de Al e CaCO3, enquanto que para os cores B a E são normalizadas a 2% de Al e CaCO3. Assim as concentrações de referência para o core A são: As – 18 mg kg-1, Cr – 91 mg kg-1, Cu – 127 mg kg-1, Ni – 84 mg kg-1, Pb – 41 mg kg-1, Hg – 41 ng g-1 e Zn – 482 mg kg-1. Para os cores B a E as concentrações de referência são: As – 3 mg kg-1, Cr – 10 mg kg-1, Cu – 36 mg kg-1 Ni – 12 mg kg -1, Hg – 3 ng g-1 e Zn – 20 mg kg-1. Para os restantes metais as concentrações de referência para o core A são: Al – 9%, Si – 25%, Fe – 6%, Ca – 13%, K – 2%, Mg – 2%, Na – 3%, P – 0,4%, Sr – 900 mg kg-1, Li – 10 mg kg-1, Mn – 1200 mg kg-1, Ba – 700 mg kg-1 e V – 140 mg kg-1. Para os cores B a E as concentrações de referência são: Al – 0,9%, Si – 2%, Fe – 0,2%, Ca – 95%, K – 0,3%, Mg – 0,4%, Na – 0,3%, P – 0,04%, Sr – 2600 mg kg-1, Li – 5 mg kg-1, Mn – 240 mg kg-1, Ba – 345 mg kg-1, Co – 2 mg kg-1 e V – 6 mg kg-1. Os resultados da presente tese constituem um contributo para a caraterização geoquímica da região e podem servir de referência à monitorização futura do mar dos Açores e montes submarinos a sul.

Psycho-physio dynamics in violin-piano duo: a pianist's perspective

The case study looked at psychological and physiological responses to stress in musicians, comparing a newly formed and a consolidated violin-piano duo. The common element between these duos was the pianist. Using the psychological tests (STAI Y1 and Y2, K-MPAI, MMPI-2, ICAC), the immunoassay saliva test to measure cortisol (stress hormone) and non- invasive device VitalJacket® developed at the University of Aveiro, Portugal, participants were monitored under various performance conditions. Others quantitative and qualitative dataset were collected including a pianist’s personal diary (analyzed by psychiatrist), semi-structured interviews with members of long-terms chamber music duo and perceptual evaluations (listening test) of the performances by expert listeners. The variables included two performance venues (European university and secondary school), as well as well-known repertoire, recently known repertoire and newly known repertoire. The latter was given approximately one week before each recital. The psychological and physiological dataset were collected for a total of eight recitals – two series of four recitals each. The unexpected results show that state anxiety levels and stress of the pianist, who does not present an anxious profile, either in social or in musical terms, are always higher when playing with a well-known partner. Possible explanations may be due to the highest expectations for quality of performance and implications of mirror neurons (since the reactions are very different according to the partner). In other words, the “known” (i.e., the consolidated duo) can become “trapped” within a predetermined space, especially at the psychological level, while the “unknown” (the occasional duo) seems to be less involved and therefore more reassuring and exciting in positive terms. In addition, the preference of the expert audience is for the consolidated duo.

Ensino da música em Portugal (1868-1930) : uma história da pedagogia e do imaginário musical

Tese de doutoramento, Educação (História da Educação), Universidade de Lisboa, Instituto de Educação, 2015