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.

Project Flappy Crab : an edugame for music learning

This chapter discusses some possibilities of gamification and remixing processes for music education. It also analyzes the concepts of gamification, mashup/remix and presents its possible usage in education—music teaching—through the development of the project/educational game FLAPPY CRAB. The chapter begins with a brief introduction to the concepts listed above, trying to consider them in the school context. After that, we will make the summary presentation of the music educational game FLAPPY CRAB, a clone of the GEARS Studios Flappy Bird, developed for mobile devices and other platforms with the UNITY 3D© game engine. In this chapter we’ll talk yet, albeit briefly, about the game engine used in the development of this educational application. This educational game aims to assess the possible impacts that its use has on learning and skill development related to auditory memory, qualitative discrimination of musical sound height (pitch—in the range of an octave with a central point in 440 Hz), visual identification of musical notation symbols and its relative organization according to the grammar rules of traditional music spelling. The game has been tested by a group of approximately 30 teenagers over a period of about 6 months, over which data was collected. In this chapter, we will present a review of the preliminary data collected to date.

Framework for music as store atmospherics to induce buying : a study of Delhi mall customers

Music is a hidden stimulus for retailers. Not much has been researched on Indian luxury stores. This paper attempts to study the composition of music on perception of buyers at luxury stores. A research on customer’s buying intention was done to study their perception of music in the luxury store formats. This study uses exploratory factor analysis to find the significant different factors which constitute music to be played so as to induce buying in a luxury store. The composition of music depends upon music attractiveness, age of the customer and a desire to listen to the music.

Avoiding staff removal stage in optical music recognition: application to scores written in white mensural notation

Staff detection and removal is one of the most important issues in optical music recognition (OMR) tasks since common approaches for symbol detection and classification are based on this process. Due to its complexity, staff detection and removal is often inaccurate, leading to a great number of errors in posterior stages. For this reason, a new approach that avoids this stage is proposed in this paper, which is expected to overcome these drawbacks. Our approach is put into practice in a case of study focused on scores written in white mensural notation. Symbol detection is performed by using the vertical projection of the staves. The cross-correlation operator for template matching is used at the classification stage. The goodness of our proposal is shown in an experiment in which our proposal attains an extraction rate of 96 % and a classification rate of 92 %, on average. The results found have reinforced the idea of pursuing a new research line in OMR systems without the need of the removal of staff lines.

Real-time audio interaction in serious games for music learning

In this LBD, we present several Apps for playing while learning music or for learning music while playing. The core of all the games is based on the good performance of the real-time audio interaction algorithms developed by the ATIC group at Universidad de Ma ́laga (SPAIN).

Sad music as a means for acceptance-based coping

Self-identified sad music (SISM) is often listened to when experiencing sad life situations. Research indicatesthat the most common reason people give for listening to SISM is “to be in touch with or express feelings ofsadness”. But why might this be the case? We suggest that one reason people choose to listen to sad musicwhen feeling sad is to accept aversive situations. We tested if SISM is associated with acceptance copingand consolation. We hypothesized that SISM relates to acceptance-based coping via the recognitionand identification of emotional states, and that people will report more acceptance from SISM than selfidentifiedhappy music when seeking consolation. In Study 1, participants recalled how happy or sadthe music sounds that they normally listen to for consolation, and if they listen to this music to gainacceptance of negative moods and situations. In Study 2, participants reported their goals when listeningto sad music during a recalled time in which they experienced an adverse life situation and whether thislead to acceptance. Study 1: People reported that they were more likely to listen to sad music than happymusic when seeking consolation, though they preferred happy music in general. Listening to SISM (butnot self-identified happy music) when seeking consolation was associated with acceptance of both anegative situation and the associated negative emotions. Additionally, seeking to deal with emotions wasassociated with both SISM listening (for consolation) and acceptance. Study 2: Listening to SISM to get intouch with and express affect was the most important self-regulatory strategy (of six examined) throughwhich acceptance was recalled to be achieved. Experiencing adverse situations or seeking consolation,people report that listening to SISM is associated with acceptance coping (through the re-experiencing ofaffect). Implications for music therapy and theories of emotional coping are discussed.

Music of Today Series presents The 21st- Century Piano with Cristina Valdes, piano February 26, 2013

Concert Program

Music of Today Series February 24, 2015

Concert Program

The verset and fabordão genres in the context of music manuscript 242 from the Coimbra University Library

Este artigo é o resultado de uma pesquisa exaustiva que tenho desenvolvido em torno do Manuscrito 242 da Biblioteca da Universidade de Coimbra (P-Cug MM 242). Este valioso manuscrito do século XVI destaca-se pela importância crucial para o estudo da música instrumental em Portugal, no Renascimento tardio e nas primeiras décadas do século XVII. Neste manuscrito estão reproduzidos alguns dos primeiros exemplos de tento e fantasia, como o atestam as obras para tecla de António Carrreira (c.1530c. 1594). Para além de um grande número de cópias de motetes, andamentos de Missa, canções e madrigais escritos por diversos compositores europeus de meados do século XVI, identificados e inventariados por Owen Rees, este manuscrito inclui também diversas peças instrumentais de autoria desconhecida, que ainda não receberam a atenção que merecem. Deste conjunto, seleccionei dois grupos de obras que reúnem pequenas peças instrumentais, as quais irei aprofundar neste artigo. O primeiro grupo, que representa o objecto central deste estudo, é constituído por um conjunto de obras para tecla com melodias em cantochão que proponho incluir nos géneros verso e/ou fabordão para órgão. Pretendo discutir estas obras a partir das suas características formais, estilísticas e performativas, assim como a sua inclusão nas práticas de alternatim instrumental no Mosteiro de Santa Cruz de Coimbra durante esse período.

THE VERSET AND FABORDÃO GENRES IN THE CONTEXT OF MUSIC MANUSCRIPT 242 FROM THE COIMBRA UNIVERSITY LIBRARY.

Este artigo é o resultado de uma pesquisa exaustiva que tenho desenvolvido em torno do Manuscrito 242 da Biblioteca da Universidade de Coimbra (P-Cug MM 242). Este valioso manuscrito do século XVIdestaca-se pela importância crucial para o estudo da música instrumental em Portugal, no Renascimento tardio e nas primeiras décadas do século XVII. Neste manuscrito estão reproduzidos alguns dosprimeiros exemplos de tento e fantasia, como o atestam as obras para tecla de António Carrreira (c.1530c. 1594). Para além de um grande número de cópias de motetes, andamentos de Missa, canções emadrigais escritos por diversos compositores europeus de meados do século XVI, identificados einventariados por Owen Rees, este manuscrito inclui também diversas peças instrumentais de autoriadesconhecida, que ainda não receberam a atenção que merecem. Deste conjunto, seleccionei dois grupos de obras que reúnem pequenas peças instrumentais, as quais irei aprofundar neste artigo. O primeirogrupo, que representa o objecto central deste estudo, é constituído por um conjunto de obras para teclacom melodias em cantochão que proponho incluir nos géneros verso e/ou fabordão para órgão. Pretendodiscutir estas obras a partir das suas características formais, estilísticas e performativas, assim como a suainclusão nas práticas de alternatim instrumental no Mosteiro de Santa Cruz de Coimbra durante esse período.