Jazz, identidade musical e o piano Jazz em Portugal

Ao longo de todo o séc. XX, o jazz construiu um espaço alternativo às dicotomias heurísticas tradicionais, como por ex. tradição/inovação, erudito/popular, composição/improvisação, entre outras. Por entre discursos polarizados, o jazz afirmou-se como domínio musical conciliador de diferenças culturais e sociais, configurando um espaço novo de mediação, um “jazz art world” como definido pelo sociólogo Paul Lopes. Nesse espaço, a individualidade sempre assumiu enorme centralidade, em virtude do papel particularmente criativo do performer e também da sua relação elástica com os «modelos» referenciais para a performance. Assim, o jazz afigura-se um domínio privilegiado para a expressão da individualidade e, por conseguinte, para a construção e identificação de uma «identidade musical», tal como a expressão é proposta nesta tese. Para a discussão destes problemas conceptuais, esta tese recorre, como estudos de caso, a um conjunto de pianistas portugueses: António Pinho Vargas (1951-), Mário Laginha (1960-), João Paulo Esteves da Silva (1961-) e Bernardo Sassetti (1970-2012). É traçada a sua trajectória pessoal e formativa, e é apresentada uma análise da sua produção musical, com recurso à «teoria das tópicas» enquanto modelo particularmente orientado para a análise da música popular. No sentido de compreender os processos de construção das identidades musicais destes pianistas, são ainda abordadas outras temáticas, como a própria definição de «jazz», o jazz enquanto música dialógica, ou os fluxos diaspóricos do jazz (incluindo as respectivas implicações e variantes terminológicas, como “jazz diaspora”, “musical cosmopolitanism” e “glocalization”). Recorrendo a pesquisa bibliográfica, trabalho de campo (mormente a entrevista) e técnicas de análise musical, esta tese realiza uma exploração aprofundada destes tópicos e do trabalho dos músicos em particular. Desta forma, pretende oferecer um contributo para uma reflexão conceptual sobre o jazz em geral no âmbito dos jazz studies, e também para um mapeamento estilístico e identitário do jazz em Portugal.

Ciríaco de Cardoso e O burro do Sr. Alcaide : percursos de formação de um compositor de comédia musical no Portugal finissecular

O principal objetivo deste estudo foi compreender as etapas do percurso artístico do compositor portuense Ciríaco de Cardoso (1846 – 1900) e os discursos em torno de uma das suas obras mais célebres: O burro do Sr. Alcaide (1891). No primeiro capítulo procurou-se identificar e discutir os critérios que estiveram na base das opções profissionais tomadas por Ciríaco. O decurso da sua carreira leva a crer que possuía uma noção profunda das atividades que, no espaço lusófono, apresentavam maior potencial de aquisição quer de capital económico, quer de capital simbólico. É por isso que, mobilizando recursos das suas redes de sociabilidade, circula por instituições no Porto e em Lisboa mas, também, pelo lucrativo mercado teatral do Rio de Janeiro, assim como em Paris. Concentra-se no popular teatro musical – principal fonte de sustento – em paralelo com a atividade concertística e operática – forma de distinção atendendo à competitividade no mercado musico-teatral. Percebe também que a maximização do seu poder simbólico depende da legitimação alcançada pela sua associação às elites socioculturais locais, pelo que fomenta o estabelecimento de sociabilidades que se estendem inclusive às casas reais portuguesa e brasileira. Paradoxalmente, as edes mais próximas de Ciríaco estavam vinculadas a um idealismo republicano, relacionamento que exponencial proliferação de discursos dessa índole pelos media lusófonos (sobretudo a partir do tricentenário camoniano de 1880) e, por outro, pela aparente inexistência de registos que associem inequivocamente o artista ao ativismo republicano. Não obstante, é provável que Ciríaco de Cardoso tenha explorado o filão antimonárquico na programação da temporada de 1891 do Teatro da Avenida. O segundo capítulo explora a produção de O burro do Sr. Alcaide, através da análise da sua estrutura e das relações da obra com a realidade portuguesa da última década do século XIX. Embora respeite o modelo da opereta francesa, apresenta também características que poderão levar a que seja interpretada como transmissora de uma portugalidade idealizada, em linha com o nacionalismo português do último quartel do século. A ação decorre em Lisboa, cenário de interação entre personagens-tipo e caricaturas de personalidades concretas da elite sociopolítica portuguesa. Através de referências ao sebastianismo, satiriza-se o comportamento dessas elites, assim como as instituições da monarquia constitucional e a prevalência de uma visão messiânica dos governantes por parte da sociedade em geral. Faz-se a apologia da ruralidade através de tópicos musicais e de quadros onde se constrói uma imagem da música tradicional, correspondendo a uma idealização da nação – notada e enfatizada na receção pela crítica. Utiliza também outros tópicos pertencentes à paisagem sonora do público burguês, completando a expressão da urbanidade de um país onde essas duas realidades não eram ainda completamente dissociáveis. Contudo, ao não propor alterações efetivas à hierarquia da sociedade portuguesa finissecular, o desfecho da obra leva a concluir que esta terá consistido numa forma de propaganda o que, por um lado, explica o seu mediatismo e, por outro, vincula os seus autores – mais ou menos conscientes disso – às lutas políticas em curso aquando do ano da sua estreia.

A VOICE OF THEIR OWN: MUSIC AND SOCIAL COHESION IN TURKISH ALEVI LIFE

This dissertation examines the role that music has played in the expression of identity and revitalization of culture of the Alevis in Turkey, since the start of their sociocultural revival movement in the late 1980s. Music is central to Alevi claims of ethnic and religious difference—singing and playing the bağlama (Turkish folk lute) constitutes an expressive practice in worship and everyday life. Based on research conducted from 2012 to 2014, I investigate and present Alevi music through the lens of discourses on the construction of identity as a social and musical process. Alevi musicians perform a revived repertoire of the ritual music and folk songs of Anatolian bards and dervish-lodge poets that developed over several centuries. Contemporary media and performance contexts have blurred former distinctions between sacred and secular, yet have provided new avenues to build community in an urban setting. I compare music performances in the worship services of urban and small-town areas, and other community events such as devotional meetings, concerts, clubs, and broadcast and social media to illustrate the ways that participation—both performing and listening—reinforces identity and solidarity. I also examine the influence of these different contexts on performers’ musical choices, and the power of music to evoke a range of responses and emotional feelings in the participants. Through my investigation I argue that the Alevi music repertoire is not only a cultural practice but also a symbol of power and collective action in their struggle for human rights and self-determination. As Alevis have faced a redefined Turkish nationalism that incorporates Sunni Muslim piety, this music has gained even greater potency in their resistance to misrecognition as a folkloric, rather than a living, tradition.

A construção do habitus musical dos músicos amadores

Com esta dissertação pretende-se estudar a construção dos habitatus musicais nos projetos musicais amadores, com base, sobretudo, na teoria da prática de Pierre Bourdieu, procurando-se igualmente compreender o papel da reflexividade e dos quadros de interação ao longo das trajetórias musicais. Entende-se que os músicos amadores assumem uma relação específica com a música, ainda que entre si seja heterogénea e, desta forma, tomou-se como objetivos centrais apreender as matrizes e os modos de socialização, analisar o papel da reflexividade na produção musical e também comparar os habitatus musicais dos músicos amadores. Para tal, utilizou-se uma metodologia qualitativa, dado o cariz analítico do estudo, através da aplicação de entrevistas semidiretivas e, complementarmente, de observação direta não participante; ABSTRACT: With this dissertation it is intended to study the construction of the musical habitatus in amateur musical projects, based, especially, in the Theory of Practice of Pierre Bourdieu, looking for to understand, as well, the role of reflexivity and the interaction settings along the musical trajectories. It is considered that the amateur musicians assume a specific relation with music, even if it’s heterogeneous between them and, therefore, it was taken as the main objectives to learn the pattern and methods of socializing, to analyze the role of reflexivity in the musical production and to compare the musical habitatus between amateur musicians. For such, was used a qualitative methodology, given the analytical nature of the study, through the application of semi directive interviews and, complementarily, of the nonparticipating direct observation.

“In The Good Old Days of Long Ago": Echoes of Vaudeville and Minstrelsy in the Music of Uncle Dave Macon

Uncle Dave Macon provided an essential link between nineteenth-century, urban popular stage music (especially the minstrel show and vaudeville) and commercialized country music of the 1920s. He preserved through his recordings a large body of songs and banjo techniques that had their origins in urban-based, nineteenth-century vaudeville and minstrelsy. Like the minstrel and vaudeville performers of the nineteenth century, Macon told jokes and stories, employed attention-grabbing stage gimmicks, marketed himself with boastful or outrageous slogans, and dressed with individual flair. At the same time, Macon incorporated many features from the rural-based folk music of Middle Tennessee. Overall, Macon’s repertoire, musical style, and stage persona (which included elements of the rube, country gentleman, and old man) demonstrated his deep absorption, and subsequent reinterpretation, of nineteenth-century musical traditions. Macon’s career offers a case study in how nineteenth-century performance styles, repertoire, and stage practices became a part of country music in the 1920s. As an artist steeped in two separate, but overlapping, types of nineteenth-century music—stage and folk—Macon was well-positioned to influence the development of the new commercial genre. He brought together several strains of nineteenth-century music to form a modern, twentieth-century musical product ideally suited to the new mass media of records, radio, and film. By tracing Macon’s career and studying his music, we can observe how the cross-currents of rural and popular entertainment during the nineteenth and early twentieth centuries interacted to form the commercial genre we now know as country music.

"Encanta-me, canta-me histórias : a literatura para a infância de mãos dadas com a expressão musical"

O trabalho que iremos apresentar pretende ser um instrumento de reflexão e aprofundamento crítico sobre uma prática, que vai demonstrar como, de uma forma lúdica e cativante, se pode utilizar a Literatura Infantil nos seus mais variados géneros e a Expressão Musical, em atividades de exploração, aprendizagem e criatividade. A partir dessas atividades, que devem ser motivadoras de forma a envolver o grupo de crianças do Jardim de Infância de Valdossos, pretendemos promover a aquisição de diversas competências associadas ao desenvolvimento da linguagem, nomeadamente no que se refere à oralidade. A questão que orientou a nossa pesquisa foi: “ Como construir, implementar e avaliar um Projeto Artístico-Pedagógico com enfoque na Literatura Infantil e na Expressão Musical, que contribua para o desenvolvimento da oralidade das crianças do Jardim de Infância de Valdossos?” O trabalho empírico vai assentar numa metodologia qualitativa. A partir da análise de toda a informação recolhida da observação direta, das gravações, fotografias, diálogos e registos das crianças, pudemos constatar que ambientes educativos que promovam o acesso à Expressão Musical e a Literatura Infantil nas suas mais diversas modalidades farão com que as crianças desenvolvam vários conhecimentos e adquiram competências importantes para a sua formação como um todo integrado. Constatámos também, que o contacto precoce com a Música e a Literatura interferem positivamente na aquisição e desenvolvimento de competências relacionadas com o desenvolvimento da oralidade, permitindo-nos verificar a relevância deste projeto.

Design de comunicação aplicado à educação musical

Dissertação de Mestrado para obtenção do grau de Mestre em Design de Comunicação, apresentada na Universidade de Lisboa - Faculdade de Arquitectura.

Os efeitos do programa musical nos estádios moderados e graves de demência

O objetivo deste estudo foi verificar qual o efeito de um programa musical de 12 semanas, na sintomatologia neuropsiquiátrica e depressiva, e nas expressões emocionais em doentes com Doença de Alzheimer (DA). Participaram 13 sujeitos com diagnóstico de DA em fase moderada-grave da doença: 8 dos participantes integraram o programa musical e, os restantes 5, o grupo de controlo. Para identificar os estádios de demência foi utilizada a Escala de Deterioração Global e para a avaliação dos sintomas foram aplicadas, antes e depois do tratamento, o Inventário Neuropsiquiátrico, a Escala de Cornell para a Depressão na Demência e a Escala de Observação Emocional. Sem resultados significativos, a participação no programa musical melhorou as pontuações das provas utilizadas, revelando efeitos positivos nos sintomas psicológicos e comportamentais em estádios moderados-graves da Doença de Alzheimer, embora o grupo de controlo também beneficiasse da atividade a que foi sujeito. / ABSTRACT: The purpose of this study was to analyse the effects that a musical program held for 12 weeks had in neuropsychiatric and depressive symptoms and emotional expressions in participants with Alzheimer's disease (AD). There were 13 participants with Alzheimer's disease diagnosis in a moderate to severe stadium of the disease, 8 of them were integrated in a musical program and 5 of them constituted the control group. ln order to identify the dementia stadiums, the Global Deterioration Scale was used. ln order to evaluate the symptoms, before and after, the Neuropsychiatric lnventory, the Cornell Scale for Depression in Dementia and Observed Emotion Rating Scale were used. Without significant results, the participation in the musical program improved the scores in the performed tasks, becoming a program with positive effects regarding behaviour and psychological symptoms in moderate to severe stadiums of Alzheimer's disease, although the control group also profited from doing the task that they were exposed to.

Physiological and morphological responses to feeding in broad-nosed caiman (Caiman latirostris)

Broad nosed caiman are ectotherm sauropsids that naturally experience long fasting intervals. We have studied the postprandial responses by measuring oxygen consumption using respirometry, the size changes of the duodenum, the distal small intestine, and the liver, using repeated non-invasive ultrasonography, and by investigating structural changes on the level of tissues and cells by using light- and electron microscopy. The caimans showed the same rapid and reversible changes of organ size and identical histological features, down to the ultrastructure level, as previously described for other ectothermic sauropsids. We found a configuration change of the mucosa epithelium from pseudostratified during fasting to single layered during digestion, in association with hypertrophy of enterocytes by loading them with lipid droplets. Similar patterns were also found for the hepatocytes of the liver. By placing the results of our study in comparative relationship and by utilizing the phylogenetic bracket of crocodiles, birds and squamates, we suggest that the observed features are plesiomorphic characters of sauropsids. By extending the comparison to anurans, we suggest that morphological and physiological adjustments to feeding and fasting described here may have been a character of early tetrapods. In conclusion, we suggest that the ability to tolerate long fasting intervals and then swallow a single large meal as described for many sit-an-wait foraging sauropsids is a functional feature that was already present in ancestral tetrapods.

Herramienta para mejorar la afinación vocal en Android

In this paper, a tool to improve vocal tuning in Android devices is presented. This application aims to offer exercises to practice and improve singing skills. The designed tool includes two main functionalities: sound synthesis, to provide with singing sound references, and fundamental frequency analysis, to analize the sound and check if the user sings the right musical note. The well-known Yin algorithm has been selected to perform the fundamental frequency analysis. Three different singing exercises are included: sing single notes, sing intervals and sing a note in order to complete a chord. The system also includes a graphical interface in which musical notation is employed to write down the singing sound. The system has been evaluated in order to test out its correct performance regarding both the analysis and synthesis of musical sounds.

Dori Caymmi e o processo de ressignificação musical

Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Departamento de Música, 2016.

The Hibernicon and Visions of Returning Home: Popular Entertainment in Irish America from the Civil War to World War I

Thesis (Ph.D.)--University of Washington, 2012

Maturity index and cold storage effects on postharvest quality of 'Packham's Triumph' and 'Rocha' pears.

Pears have been grown in the south region of Brazil, where the climatic conditions are favourable. The aim of this work was to determine the harvest maturity index as well as maximum storage period of 'Packham's Triumph? and 'Rocha' pears to maintain quality attributes. The ?Packham?s Triumph? fruit were harvested from a commercial orchard at 7 days intervals and flesh firmness was used as a maturity index (MI1=76, MI2=67 and MI3=58 N). ?Rocha? pears were harvested twice and they were considered as MI1 and MI3 because of the firmness values. The fruit were stored at 1±1C and 90-95% RH for 15, 30, 45 and 60 days and evaluated at the end of each storage period and after five days at room temperature (24±1C), simulating a helflife period. Flesh firmness, water loss, peduncle dehydration, epidermis colour, soluble solids, titratable acidity were measured. ?Packham?s? pears harvested at MI1 and MI2 showed firmness loss after 30 days of cold storage, whereas fruit harvested at MI3 retained the initial values, resulting in firmer fruit after 60 days (P<0.001). Fruit harvested in MI3 had less firmness loss after 5 days at room temperature following 45 and 60 days of cold storage. ?Rocha? pears harvested in MI1 and MI3 showed firmness reduction during cold storage, which was intensified at room temperature. Maximum values of water loss approached 6%. Fruit peduncles of both cultivars dehydrated after 60 days of cold storage, but their colour remained green, independent of harvest maturity index. ?Packham?s Triumph? and ?Rocha? pears harvested at MI3 showed better quality attributes after 60 days of cold storage plus 5 days of shelf-life than fruit harvested at other maturity stages.

Amphibian

Amphibian is an 10’00’’ musical work which explores new musical interfaces and approaches to hybridising performance practices from the popular music, electronic dance music and computer music traditions. The work is designed to be presented in a range of contexts associated with the electro-acoustic, popular and classical music traditions. The work is for two performers using two synchronised laptops, an electric guitar and a custom designed gestural interface for vocal performers - the e-Mic (Extended Mic-stand Interface Controller). This interface was developed by one of the co-authors, Donna Hewitt. The e-Mic allows a vocal performer to manipulate the voice in real time through the capture of physical gestures via an array of sensors - pressure, distance, tilt - along with ribbon controllers and an X-Y joystick microphone mount. Performance data are then sent to a computer, running audio-processing software, which is used to transform the audio signal from the microphone. In this work, data is also exchanged between performers via a local wireless network, allowing performers to work with shared data streams. The duo employs the gestural conventions of guitarist and singer (i.e. 'a band' in a popular music context), but transform these sounds and gestures into new digital music. The gestural language of popular music is deliberately subverted and taken into a new context. The piece thus explores the nexus between the sonic and performative practices of electro acoustic music and intelligent electronic dance music (‘idm’). This work was situated in the research fields of new musical interfacing, interaction design, experimental music composition and performance. The contexts in which the research was conducted were live musical performance and studio music production. The work investigated new methods for musical interfacing, performance data mapping, hybrid performance and compositional practices in electronic music. The research methodology was practice-led. New insights were gained from the iterative experimental workshopping of gestural inputs, musical data mapping, inter-performer data exchange, software patch design, data and audio processing chains. In respect of interfacing, there were innovations in the design and implementation of a novel sensor-based gestural interface for singers, the e-Mic, one of the only existing gestural controllers for singers. This work explored the compositional potential of sharing real time performance data between performers and deployed novel methods for inter-performer data exchange and mapping. As regards stylistic and performance innovation, the work explored and demonstrated an approach to the hybridisation of the gestural and sonic language of popular music with recent ‘post-digital’ approaches to laptop based experimental music The development of the work was supported by an Australia Council Grant. Research findings have been disseminated via a range of international conference publications, recordings, radio interviews (ABC Classic FM), broadcasts, and performances at international events and festivals. The work was curated into the major Australian international festival, Liquid Architecture, and was selected by an international music jury (through blind peer review) for presentation at the International Computer Music Conference in Belfast, N. Ireland.

Developing a best practice framework for implementing public private partnerships (PPP) in Hong Kong

Public Private Partnership (PPP) is a well established methodology for procuring public works projects. By incorporating the private sector’s expertise, efficiency, innovation, business sense, risk sharing, financing etc. into public works projects, the quality of public services and facilities can be uplifted. Like many jurisdictions, Hong Kong is also keen to take aboard this methodology which is so familiar but yet so distant. Although they have been one of the first jurisdictions to utilise the private sector in public works projects, their comfortable financial reserves has meant that there has been no urge to push the movement until recently. PPP has become increasingly popular amongst governments. The Hong Kong Special Administrative Region (HKSAR) government is no exception. Some of the more active works departments have commissioned studies to investigate the best ways to deliver these projects, others have even trialed the method themselves. The efficiency Unit of the HKSAR government has also become an active arm in conducting research in this area. Although so, the information that is currently available is still very broad. Building from their works there is a need to develop a best practice framework for implementing PPP projects in Hong Kong by incorporating international experiences. To develop a best practice framework will require thorough investigation into the benefits, difficulties and critical success factor of PPP. PPP should also be compared with other procurement methods. In order to do so it is important to clearly understand the local situation by an analysis of projects conducted to date. Lessons learnt can further be derived from other countries and incorporated to those derived locally. Finally the best conditions in terms of project nature, complexity, types, and scales for adopting PPP should be derived. The aim and objectives of this study were achieved via a comprehensive literature review, in-depth case analyses, interview survey with experts from both Hong Kong and overseas, and finally a large scale data collection was conducted via a questionnaire survey with PPP practitioners. These findings were further triangulated before they were used as the basis to form the best practice framework presented in this thesis. The framework was then further validated by PPP experts to ensure it is comprehensive, objective, reliable and practical. This study has presented a methodology that can be adopted for future studies. It has also updated our knowledge on the development trends of PPP as well as opened up the experiences of other jurisdictions. The findings have shown that the local industry is familiar with “what” should be done in PPP projects but they are unsure of “how” these goals can be achieved. This framework has allowed this further knowledge to be delivered to PPP practitioners. As a result, the development of this framework can help to resolve the current economic crisis by encouraging more developments and business opportunities for the private sector. In addition, the correct projects can be delivered by PPP, the advantages of PPP can be maximised, and the general public can benefit from the private sector’s participation.