Introdução à música contemporânea portuguesa de viola d’arco : um estudo de caso

Esta dissertação baseia-se no estudo da introdução da música contemporânea portuguesa de viola d’arco num grupo de alunos de viola d’arco da Casa Pia de Lisboa, através de composições encomendadas a nove compositores portugueses. Incide também na análise das atitudes em relação à música contemporânea portuguesa por parte de professores de viola d’arco portugueses. Procurou-se ampliar o repertório da viola d’arco através da encomenda de obras didáticas, e o repertório expressivo dos alunos envolvidos. Verificou-se que a introdução tardia da música contemporânea no ensino da música e a desatualização dos programas podem condicionar a atitude dos músicos em relação à mesma, sendo importante uma mudança de paradigma. Parecem não existir dificuldades técnicas na abordagem a estas obras por parte dos alunos. Houve também uma aceitação por parte dos professores em introduzir estes conceitos, tendo existido igualmente uma abertura por parte dos compositores contemporâneos envolvidos, em criar obras didáticas para viola d’arco.

Introdução à libras: língua, história e cultura

Reading the book Introduction to Libras: Language, History and Culture enables enter the world of the deaf, increasing thus the own existential universe by contact with the richness of Brazilian Sign Language (Libras) and the history and culture of deaf people. This work is proposed by the subject of knowledge, raise awareness of the need to build a society in which vigore the principle of social justice for all; promote the revision of prejudice suffered by the deaf that impose discriminatory compactuando with the lack of social equity; and awaken the desire for a full communication with deaf people through Pounds learning, valuing differences.

"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.

Dori Caymmi e o processo de ressignificação musical

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

Uma Introdução à Sintaxe do C++: C++03 e C++11

A interacção dos humanos com os computadores envolve uma combinação das tarefas de programação e de utilização. Nem sempre é explícita a diferença entre as duas tarefas. Introduzir comandos num programa de desenho assistido por computador é utilização ou programação numa linguagem interpretada? Modificar uma folha de cálculo com macros é utilização ou programação? Usar um “Integrated Development Environment” ou IDE para inserir dados num ficheiro é utilização (do IDE) ou programação? A escrita de um texto usando LaTeX ou HTML é utilização ou programação numa “markup language”? Recorrer a um programa de computação simbólica é utilização ou programação? Utilizar um processador de texto é utilização ou programação visual? Ao utilizador não se exige um conhecimento completo de todos os comandos, todos os menus, todos os símbolos do software que utiliza. Nem a memorização da sintaxe e de todos os pormenores de funcionamento de um programa é um atributo necessário ou sequer útil ao utilizador; a concretização desse conhecimento não assegura maior eficiência na utilização. Quando se começa, apenas algumas instruções elementares são recebidas, por vezes de um colega, de um Professor, ou obtidas recorrendo à pesquisa na Internet. Com a familiarização, o utilizador exige mais do Software que usa e de si próprio: um manual passa a ser um recurso de grande utilidade. A confiança conquistada gera, periodicamente, a necessidade de auto-exame e de aumento do âmbito do conhecimento. Desta forma, quem utiliza computadores acaba por ser confrontado com uma tarefa que, efectivamente, pode ser considerada ou requer programação. Põe-se uma questão no imediato (se ninguém decidiu por si) que é a da selecção da linguagem de programação. A abordagem multiparadigma e longa experiência de utilização do C++ tornam-no atractivo para aplicações onde a eficiência se combina com a disponibilidade de estruturas de dados e algoritmos adoptados pela indústria (o que coloquialmente se denomina STL, Standard Template Library, cf. [#breymann, #josuttis], mais geralmente biblioteca Standard). Adicionalmente, linguagens populares como o Java, C# e PHP possuem sintaxes inspiradas e em muitas partes coincidentes com as do C e C++. Por exemplo, um ciclo “for” em Java é parcialmente coincidente com o do C99, que é um sub-conjunto do “for” do C++. São os pormenores, a eficiência e as capacidades do C++ que permitem a criação de software Profissional. Todos os sistemas operativos clássicos (Unix, Microsoft Windows, Linux) dispõem de compiladores, IDE, bibliotecas e são em grande parte construídos recorrendo a C e C++. Relativamente a outras linguagens, a quantidade de ferramentas disponível e o conhecimento adquirido durante décadas é difícil de ignorar. Esse conhecimento faz com que a sintaxe do C++ pareça muito maior do que o estritamente necessário e afaste potenciais interessados. A longa evolução do C++ introduziu também uma diferença no estilo muito marcada. Código dos anos 80 e 90 do século XX é frequentemente menos legível do que o que correntemente se produz. Muitos tutoriais disponíveis online fazem parecer a linguagem menos rigorosa (e mais complexa) do que na realidade é, já que raramente é apresentado o caso geral da sintaxe. Constata-se que muitos autores ainda usam os cabeçalhos do C, quando já não são necessários. Scott Meyers afirma que o C++ é uma federação de linguagens [#scottmeyers] e por esse facto requer perspectivas de abordagem distintas de outras linguagens. Sem alguma sistematização é difícil apreciar a sua compacidade e coerência. Porém, a forma harmoniosa como as componentes sintácticas se encaixam é uma grande mais-valia do C++ só constatada com experimentação e leitura atenta. A presente monografia dirige-se a quem pretenda utilizar o C++ como ferramenta profissional de Software. Em termos de pré-requisitos Académicos, dir-se-á que um curso (1º Ciclo) de Ciência ou de Engenharia aumentará o interesse por certos aspectos mais técnicos da linguagem mas qualquer indivíduo com gosto pela experimentação tirará proveito do conteúdo. Este texto não busca a exaustividade enciclopédica na cobertura do tema. Neste texto forneço, de forma directa, uma introdução ao C++ a qual permite começar a produzir código sem os custos da dispersão de fontes e notações na recolha de informação. Antecipo assim a sua utilização nos Países de Língua Portuguesa, uma vez que os textos que encontrei são ora mais exigentes ora menos completos, frequentemente ambos.

Generation in context : an exploratory method for musical enquiry

This paper discusses a method, Generation in Context, for interrogating theories of music analysis and music perception. Given an analytic theory, the method consists of creating a generative process that implements the theory in reverse. Instead of using the theory to create analyses from scores, the theory is used to generate scores from analyses. Subjective evaluation of the quality of the musical output provides a mechanism for testing the theory in a contextually robust fashion. The method is exploratory, meaning that in addition to testing extant theories it provides a general mechanism for generating new theoretical insights. We outline our initial explorations in the use of generative processes for music research, and we discuss how generative processes provide evidence as to the veracity of theories about how music is experienced, with insights into how these theories may be improved and, concurrently, provide new techniques for music creation. We conclude that Generation in Context will help reveal new perspectives on our understanding of music.

Eco-structure data forms : classification of data analysis using perceived design affordances for musical outcomes

This paper explores a method of comparative analysis and classification of data through perceived design affordances. Included is discussion about the musical potential of data forms that are derived through eco-structural analysis of musical features inherent in audio recordings of natural sounds. A system of classification of these forms is proposed based on their structural contours. The classifications include four primitive types; steady, iterative, unstable and impulse. The classification extends previous taxonomies used to describe the gestural morphology of sound. The methods presented are used to provide compositional support for eco-structuralism.

Changing musical emotion : a computational rule system for modifying score and performance

When communicating emotion in music, composers and performers encode their expressive intentions through the control of basic musical features such as: pitch, loudness, timbre, mode, and articulation. The extent to which emotion can be controlled through the systematic manipulation of these features has not been fully examined. In this paper we present CMERS, a Computational Music Emotion Rule System for the control of perceived musical emotion that modifies features at the levels of score and performance in real-time. CMERS performance was evaluated in two rounds of perceptual testing. In experiment I, 20 participants continuously rated the perceived emotion of 15 music samples generated by CMERS. Three music works, each with five emotional variations were used (normal, happy, sad, angry, and tender). The intended emotion by CMERS was correctly identified 78% of the time, with significant shifts in valence and arousal also recorded, regardless of the works’ original emotion.

View from a bridge : what makes a musical city

The attention paid by the British music press in 1976 to the release of The Saints first single “I’m Stranded” was the trigger for a commercial and academic interest in the Brisbane music scene which still has significant energy. In 2007, Brisbane was identifed by Billboard Magazine as a “hot spot” of independent music. A place to watch. Someone turned a torch on this town, had a quick look, moved on. But this town has always had music in it. Some of it made by me. So, I’m taking this connection of mine, and working it into a contextual historical analysis of the creative lives of Brisbane musicians. I will be interviewing a number of Brisbane musicians. These interviews have begun, and will continue to be be conducted in 2011/2012. I will ask questions and pursue memories that will encompass family, teenage years, siblings, the suburbs, the city, venues, television and radio; but then widen to welcome the river, the hills and mountains, foes and friends, beliefs and death. The wider research will be a contextual historical analysis of the creative lives of Brisbane musicians. It will explore the changing nature of their work practices over time and will consider the notion, among other factors, of ‘place’ in both their creative practice and their creative output. It will also examine how the presence of the practitioners and their work is seen to contribute to the cultural life of the city and the creative lives of its citizens into the future. This paper offers an analysis of this last notion: how does this city see its music-makers? In addition to the interviews, over 300 Brisbane musicians were surveyed in September 2009 as part of a QUT-initiated recorded music event (BIGJAM). Their responses will inform the production of this paper.

Scaffolding children’s musical creativity : a case of a kindergarten teacher in Hong Kong

Drawn from a larger mixed methods study, this case study provides an account of aspects of the music education programme that occurred with one teacher and a kindergarten class of children aged three and four years. Contrary to transmission approaches that are often used in Hong Kong, the case depicts how musical creativity was encouraged by the teacher in response to children’s participation during the time for musical free play. It shows how the teacher scaffolded the attempts of George, a child aged 3.6 years to use musical notation. The findings are instructive for kindergarten teachers in Hong Kong and suggest ways in which teachers might begin to incorporate more creative approaches to musical education. They are also applicable to other kindergarten settings where transmission approaches tend to dominate and teachers want to encourage children’s musical creativity.

aa-cell in practice : an approach to musical live coding

Live coding performances provide a context with particular demands and limitations for music making. In this paper we discuss how as the live coding duo aa-cell we have responded to these challenges, and what this experience has revealed about the computational representation of music and approaches to interactive computer music performance. In particular we have identified several effective and efficient processes that underpin our practice including probability, linearity, periodicity, set theory, and recursion and describe how these are applied and combined to build sophisticated musical structures. In addition, we outline aspects of our performance practice that respond to the improvisational, collaborative and communicative requirements of musical live coding.

That's a rap : the making of an Australian hip hop integrated musical film

To date, the majority of films that utilise or feature hip hop music and culture, have either been in the realms of documentary, or in ‘show musicals’ (where the film musical’s device of characters’ bursting into song, is justified by the narrative of a pursuit of a career in the entertainment industry). Thus, most films that feature hip hop expression have in some way been tied to the subject of hip hop. A research interest and enthusiasm was developed for utilising hip hop expression in film in a new way, which would extend the narrative possibilities of hip hop film to wider topics and themes. The creation of the thesis film Out of My Cloud, and the writing of this accompanying exegesis, investigates a research concern of the potential for the use of hip hop expression in an ‘integrated musical’ film (where characters’ break into song without conceit or explanation). Context and rationale for Out of My Cloud (an Australian hip hop ‘integrated musical’ film) is provided in this writing. It is argued that hip hop is particularly suitable for use in a modern narrative film, and particularly in an ‘integrated musical’ film, due to its: current vibrancy and popularity, rap (vocal element of hip hop) music’s focus on lyrical message and meaning, and rap’s use as an everyday, non-performative method of communication. It is also argued that Australian hip hop deserves greater representation in film and literature due to: its current popularity, and its nature as a unique and distinct form of hip hop. To date, representation of Australian hip hop in film and television has almost solely been restricted to the documentary form. Out of My Cloud borrows from elements of social realist cinema such as: contrasts with mainstream cinema, an exploration/recognition of the relationship between environment and development of character, use of non-actors, location-shooting, a political intent of the filmmaker, displaying sympathy for an underclass, representation of underrepresented character types and topics, and a loose narrative structure that does not offer solid resolution. A case is made that it may be appropriate to marry elements of social realist film with hip hop expression due to common characteristics, such as: representation of marginalised or underrepresented groups and issues in society, political objectives of the artist/s, and sympathy for an underclass. In developing and producing Out of My Cloud, a specific method of working with, and filming actor improvisation was developed. This method was informed by improvisation and associated camera techniques of filmmakers such as Charlie Chaplin, Mike Leigh, Khoa Do, Dogme 95 filmmakers, and Lars von Trier (post-Dogme 95). A review of techniques used by these filmmakers is provided in this writing, as well as the impact it has made on my approach. The method utilised in Out of My Cloud was most influenced by Khoa Do’s technique of guiding actors to improvise fairly loosely, but with a predetermined endpoint in mind. A variation of this technique was developed for use in Out of My Cloud, which involved filming with two cameras to allow edits from multiple angles. Specific processes for creating Out of My Cloud are described and explained in this writing. Particular attention is given to the approaches regarding the story elements and the music elements. Various significant aspects of the process are referred to including the filming and recording of live musical performances, the recording of ‘freestyle’ performances (lyrics composed and performed spontaneously) and the creation of a scored musical scene involving a vocal performance without regular timing or rhythm. The documentation of processes in this writing serve to make the successful elements of this film transferable and replicable to other practitioners in the field, whilst flagging missteps to allow fellow practitioners to avoid similar missteps in future projects. While Out of My Cloud is not without its shortcomings as a short film work (for example in the areas of story and camerawork) it provides a significant contribution to the field as a working example of how hip hop may be utilised in an ‘integrated musical’ film, as well as being a rare example of a narrative film that features Australian hip hop. This film and the accompanying exegesis provide insights that contribute to an understanding of techniques, theories and knowledge in the field of filmmaking practice.

Choreographic approaches to music composition for a new musical interface : the eMic

Gesture in performance is widely acknowledged in the literature as an important element in making a performance expressive and meaningful. The body has been shown to play an important role in the production and perception of vocal performance in particular. This paper is interested in the role of gesture in creative works that seek to extend vocal performance via technology. A creative work for vocal performer, laptop computer and a Human Computer Interface called the eMic (Extended Microphone Stand Interface controller) is presented as a case study, to explore the relationships between movement, voice production, and musical expression. The eMic is an interface for live vocal performance that allows the singers’ gestures and interactions with a sensor based microphone stand to be captured and mapped to musical parameters. The creative work discussed in this paper presents a new compositional approach for the eMic by working with movement as a starting point for the composition and thus using choreographed gesture as the basis for musical structures. By foregrounding the body and movement in the creative process, the aim is to create a more visually engaging performance where the performer is able to more effectively use the body to express their musical objectives.