Keynote Address by Karim Rashid

Karim Rashid is one of the most prolific designers of his generation. Over 3000 designs in production, over 300 awards and working in over 35 countries attest to Karim’s legend of design. Karim’s diversity affords him the ability to cross-pollinate ideas, materials, behaviors, aesthetics from one typology to the next, crossing boundaries and broadening consumer horizons. His award winning designs include democratic objects such as the ubiquitous Garbo waste can and Oh Chair for Umbra, interiors such as the Morimoto restaurant, Philadelphia and Semiramis hotel, Athens and exhibitions for LG Hausys and Audi. Karim has collaborated with clients to create democratic design for Method and Dirt Devil, furniture for Artemide and Magis, brand identity for Citibank and Hyundai, high tech products for LaCie and Samsung, and luxury goods for Veuve Clicquot and Swarovski, to name a few. Karim has recently been selected to design several real estate developments in New York City for HAP Investments, a New York City based International investment group. Karim’s work is featured in 20 permanent collections and he exhibits art in galleries world wide. Karim is a perennial winner of the Red Dot award, Chicago Athenaeum Good Design award, I.D. Magazine Annual Design Review, IDSA Industrial Design Excellence award. He holds honorary doctorates from the Ontario college of Art & Design and Corcoran College of Art & Design. 2011 highlighted Karim’s largest retrospective to date at the Triennale, in Milan, Italy. Karim is a frequent guest lecturer at universities and conferences globally disseminating the importance of design in everyday life. Karim has been featured in magazines including Time, Financial Times, NY Times, Esquire, GQ and countless more. His books include From the Beginning, Forma Edizioni (2014), Sketch, Frame (2012), a monograph of 300 drawings and computer renderings of selected works, KarimSpace, Rizzoli (2009), Design Your Self, Harper Collins (2006), Evolution, Rizzoli (2004) and I Want to Change the World, Universe (2001). In his spare time Karim’s pluralism flirts with art, fashion, and music and is determined to creatively touch every aspect of our physical and virtual landscape.

Explorando a execução de técnicas estendidas no oboé encontradas em quatro peças contemporâneas

This dissertation presents an investigation of the evolutionary process of extended oboe techniques, through literary analysis and practical research. The objective of this work is to provide assistance to oboists interested in learning these techniques. Additionally, this work encourages the student, through the process of experimentation, to explore the questions that may arise around the aesthetics of sound, the concept of gesture as an additional visual and aural element in music, and the collaboration and “real-time” creation processes. Discussed within the work, are the relationship between the instrument (the oboe) and extended techniques, and two possible definitions of extended techniques, provided by Luk Vaes (2009) and Gardner Read (1993). Also explored are the how and why some composers have utilized extended techniques in their compositions, including brief discussions relating to extended techniques in real-time composition (improvisation), extended techniques and technological resources, theatrical gesture as an extended technique, and suggestions of how musicians might approach theatrical gestures in performance. Four works were visited: “I Know This Room So Well” – Lisa Bielawa (2007-9); “Four Pieces for Oboe and Piano” – Ernst Krenek (1966); “In Freundschaft” – Karlheinz Stockhausen (1978); “Atem” – Mauricio Kagel (1969-70); and an exploration of the difficulties and solutions associated with each extended technique found within these pieces, was carried out. The following founding works on extended oboe techniques were used, as a basis for research: books - Heinz Holliger’s Pro Musica Nova (1972); Gardner Read’s Compendium of Modern Instrumental Techniques (1993); Peter Veale & Claus-Steffen Mahnkopf’s The Techniques of Oboe Playing (1994); and Libby Van Cleve’s Oboe Unbound: Contemporary Techniques (2004); and articles - Nora Post’s “Monophonic sound resources for the oboe: Part I – Timbre” (1984), “Part II- Pitch and other techniques” (1984), and “Multiphonics for the oboe” (1982).

Templo Central da Igreja Evangélica Assembleia de Deus do Natal/RN: um estudo sobre música e educação musical

This study aims to investigate the music and the existing music education in Central Temple of the Evangelical Assembly of God Church of Natal/RN. The research question asks how are the musical practices, teaching and learning music that happens in this place. I used the qualitative approach conducting a case study. The theoretical framework were Arroyo (1999, 2000a, 2000b, 2002), Kraemer (2000), Souza (1996), Souza (2000, 2008, 2009), Green (1997), Queiroz (2004a, 2004b, 2005, 2007, 2010, 2011, 2013), Geertz (1989), Nettl (1992) and Merrian (1964). I conducted semi-structured interviews and participant observation with the direction of the music department, teaching coordination, students, teachers, musicians and conductors of the church. The study revealed that the relationship between music and education is beyond just a musical training, there are many relationships established as faith, belief in God and devotion. It was found that the views of musicians and conductors think the music teaching in the church to play in worship and praise God. In the musical training of students, he was working not only musical content; It was understood that music is a mediator of meanings that go beyond experiences and musical practices. The worship of God and the worship featuring musical practices and their effects are direct music classes. The research contributes to reflection and understanding of music and music education happens in the evangelical church and a greater understanding in the relationship between music education and the cultural context where it happens.

Aprendizagem musical na Orquestra Sinfônica da UFRN

Music and music education are present in the daily lives of people in different ways and in multiple contexts. In this study, we highlight the musical training in the orchestral context aiming to understand how learning music happens in the Symphony Orches tra of the Universidade Federal do Ri o Grande do Norte – OSUFRN. To achieve this goal, we identified all the activities, structure and functioning in OSUFRN; we have observed the development of activities of the group by checking the interactions among the participants of the orchestra and the different ways to learn music in that orchestral context. The research is based on discussions about collective musical practice, instrumen tal training in music education, the process of learning and the relationship between young people and music in the context of collective musical practice learning. Qualitative approach and case study were used as methodological procedures. Data collection was established by means of on - site observations, accompanying of the activities, rehearsals and performances of group and semi - structured interviews with the conductor and some participants with more time in the orchestra. We have also used photographs a nd footage that helped us in the procedure collection and construction of data. The analysis and interpretation of these data were enforced by Content Analysis featuring. It reveals the musical learning, through learning instances perceived in rehearsals, concerts, in living with the conductor and between musicians, teachers, employees and guest musicians, individually in travel and exchanges with other orchestral groups. In this way the activities developed by the group enable a comprehensive musical educa tion that guides to acquire autonomy in their learning and preparing them for future careers.

Matizes de cultura de massa na obra de Caio Fernando Abreu

The Brazilian writer, Caio Fernando Abreu, was strongly influenced by a period of changes in social values and perspectives. When he enters the Brazilian literary scene using a writing style free from form and content, he applies in his works all the affliction of the contemporary values. His work embodies all the spirit of a generation that, despite its anxiety for freedom, was still suffocated by the military dictatorship period. Abreu’s narrative also reveals an author with an extreme ability to shift between the erudite and the popular. In his short stories, he develops a performative language mingled by references that turns his text into a sort of Pop Art iconography. Just like Pop Art paintings, full of Coke images, cigarettes, tooth paste and food cans, Abreu’s literary discourse is painted by many symbolical references to modern consumerism, as well as to movies, music and to pop stars. This trace in the writer’s works exerts a great deal of attractiveness on the contemporary reader. In this work, we attempt to analyze this resource in Abreu’s literature under the concepts of cultural studies; thus, we aim at analyzing the various forms of the mass culture expression inside Abreu’s literature, recognizing his allusions as a stylish resource in his writings and highlighting its relevance in the study of the author work. In order to do so, we are based essentially on the reflections of theoreticians: Lipovetsky (1996) and Adorno (2011) who debate the culture and social formation in contemporaneity.

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.

Da Merry Boys O Greenland : Explorations into the Musical Dialogue of Shetland’s Nautical Past

Peer reviewed

Artisans, génies et vedettes : le statut des compositeurs dans la presse musicale française

Ce mémoire propose d’explorer quel(s) statut(s) sont accordés aux compositeurs contemporains dans le contexte musical parisien des premières années du XXe siècle à travers une analyse de la presse musicale spécialisée de l’époque. Le corpus de notre recherche est constitué de trois revues, chacune ancrée dans des sphères de sociabilités bien distinctes : La Revue musicale (histoire et critique), une « revue savante » proche du milieu de la Schola cantorum ; Le Mercure musical, une « petite revue » d’avant-garde militant en faveur de la musique de Maurice Ravel ; et Musica, une « grande revue » destinée à un lectorat issu de la petite bourgeoisie en plein essor, essentiellement féminin et pratiquant la musique en amateur. Cette étude révèle que la traditionnelle opposition entre la conception du compositeur-artisan et celle du compositeur-génie issue de la fin du XVIIIe siècle et du XIXe siècle voit apparaître un troisième joueur à l’aube du XXe siècle : le compositeur-vedette, un statut qui était jusqu’alors généralement réservé aux interprètes. Ces trois statuts coexistent dans le panorama de la presse musicale du tournant du XXe siècle, et leur promotion par certains organes de presse spécifiques répond à une logique tantôt esthétique, tantôt économique. Il se dégage de cette étude que la presse musicale constitue non seulement un indice des variations qu’a subies la figure du compositeur dans le spectre de la grandeur en culture, mais qu’elle a également joué un rôle actif dans ces transformations.

Perspectives esthétique et compositionnelle d’une dialectique entre le son et la musique

Visant à contribuer à la pérennité de la musique d’art instrumentale, cette thèse aborde plusieurs sujets la concernant, autant sur les plans théorique et esthétique que pratique et compositionnel. Les deux principaux contextes observés sont ceux de la modernité et de l’économie de marché. Le premier, par le triomphe de la raison technicienne, aurait conduit à l’autonomie de l’art désormais confronté aux risques de l’autoréférence. Le deuxième, par la pression exercée sur le compositeur à la base de la chaîne création-production-diffusion, compromettrait cette autonomie qu’elle avait pourtant contribuée à rendre possible. Or, l’autonomie de l’art, en tant que conquête sur les plans esthétique, social, politique, économique et intellectuel, représente un enjeu de taille, puisque d’éventuelles compromissions envers des impératifs extérieurs impliquent un recul sur tous ces plans. Pour répondre à cette problématique, la thèse explore des pistes de réflexions et d’opérations pour réaffirmer – en le revendiquant – ce que la musique d’art possède en propre et qui mérite encore d’être entendu, militant ainsi pour la survie de ce qui la rend possible. Plus précisément, la dialectique du son et de la musique que je développe ici me permet, dans un premier temps, d’aborder les médiations successives conduisant des ondes mécaniques à se structurer dans notre conscience jusqu’à se transmettre à nous sous forme de patrimoine; puis, dans un deuxième temps, de décrire ma propre intention de communication par la musique en analysant deux œuvres de ma composition : Musique d’art pour quintette à cordes et Musique d’art pour orchestre de chambre II (partie 1.). Musique d’art pour quintette à cordes est une œuvre-concert de soixante-cinq minutes pour quatuor à cordes et contrebasse, spatialisation, traitement et mise en espace des musiciens. Il s’agit d’un projet de recherche-création de mon initiative que j’ai aussi mené à titre de producteur. Musique d’art pour orchestre de chambre II (partie 1.) est une œuvre de commande de quatorze minutes. Le retour critique portant sur l’ensemble des composantes caractéristiques du média ouvre la voie à une corrélation plus étroite entre son contenu et sa forme privilégiée de présentation, le concert. Cette corrélation peut amener le public à désirer visiter les œuvres et apprécier leur signification, préservant la musique d’art comme mode spécifique de connaissance du monde.

La música en el desarrollo de la espiritualidad y la religiosidad. Una aproximación al Cristianismo y al Budismo

La música puede afectar al individuo en todos sus niveles –físico, mental y espiritual–. El presente artículo se centra en el papel que ésta desempeña en el desarrollo de la vida espiritual y trascendental. Para ello, realizaremos un repaso histórico de su evolución estética y social, abordaremos dicho fenómeno a nivel fisiológico y presentaremos sus aplicaciones clínicas y sociales. Seguidamente y a modo de ejemplo de las concepciones de pensamiento occidental y oriental, trataremos la forma en que el cristianismo y el budismo conciben la música dentro de su doctrina. Finalizaremos con algunas reflexiones sobre el tema.

Commentary on International Copyright Act 1844

Legislation replacing the International Copyright Act 1838 (uk_1838) and providing that the British monarch could, by Order in Council, grant to foreign authors both copyright protection for works of literature, drama, music and art, as well as performance rights for dramatic pieces and musical compositions. The document contains the following associated material: Bill to amend Law relating to International Copyright 1844 (uk_1844a).
This Act addressed perceived inadequacies of the International Copyright Act 1838 (uk_1838) by expanding upon both the subject-matter and the nature of the rights that might be included in a reciprocal copyright arrangement with a foreign state. It also specifically linked the protections that foreign authors would enjoy within Britain to existing domestic copyright legislation. Following this legislation Britain successfully negotiated a series of bilateral international copyright treaties the first of which was concluded with Prussia in May 1846.
The commentary locates the Act within existing legislative provisions designed to address the problem of the market for cheap foreign imports of British books. It suggests that, regardless of the existence of stringent measures targeting unlawful foreign imports, the British government regarded a system of international copyright protection as integral in both addressing the import issue and in fostering a more secure overseas market in the interests of the British book trade.

'That Puissant City': John Milton's Roman Sojourns 1638-1639

John Milton’s sojourns in Rome (1638-9) are attested by his comments in Defensio Secunda, by the minutes of the English College, by Latin encomia which he received from Roman academicians, and, not least, by his Latin letter to Lucas Holstenius (19/29 March 1639), and several Latin poems which he composed in the course of his residency in the capital city: Ad Salsillum, and three Latin epigrams extolling the praises of the virtuosa soprano, Leonora Baroni. Read together, these texts serve to reveal much about Milton’s participation in, and reaction to, the ‘Puissant City’, (History of Britain, Bk 2).

The present monograph presents fresh evidence of Milton's integration into the academic and cultural life of seventeenth-century Rome. It argues that his links with two Roman academies: the Accademia dei Fantastici and Accademia degli Umoristi constitute a sustained participation in an academic community paralleling that of his independently attested performance in Florentine academies (on which I have published extensively). It also investigates his links with Alessandro Cherubini, David Codner, Giovanni Batista Doni, and the Baroni circle hymned in three published anthologies.

Chapter 1: Milton and the Accademia dei Fantastici investigates the cultural climate surrounding Milton's Ad Salsillum by examining two of that academy's publications: the Poesie dei Signori Accademici Fantastici di Roma (Rome, 1637) and the Academia Tenuta da Fantastici a. 12 di Maggio 1655 (Rome, 1655), the latter celebrating the creation of Fabio Chigi as Pope Alexander VII on 5 April 1655. Read in a new light, Milton’s self-fashioning, it is argued, takes its place not only alongside Salzilli’s encomium in Milton's honour, and his Italian sonnets in the 1637 Poesie, but also in relation to other poems in that collection, and the academy's essentially Catholic eulogistic trend. The chapter also provides fresh evidence of Salzilli’s survival of the illness described in Milton’s poem by his epistolary correspondence with Tomaso Stigliani.

Chapter 2: Milton and the Vatican argues for links between Milton’s Latin letter to Holstenius and a range of Holstenius’ published works: his edition of the axioms of the later Pythagoreans gifted by him to Milton, and his published neo-Platonic works. This is achieved by mutual appropriation of Similitudes in a series of Miltonic similes, the anabasis/katabasis motifs in a reworking of the Platonic theory of the transmigration of souls, and allusion to etymological details highlighted in Holstenius’ published editions. The chapter also reveals Milton’s alertness to typographical procedures and, by association, to Holstenius’ recent role (1638) as Director of the press of the Biblioteca Vaticana.

Chapter 3: Milton and the Accademia degli Umoristi argues for Milton’s likely participation in this Roman academy, as suggested by his links with its members. His three Latin epigrams in praise of Leonora Baroni, the only female member of the Umoristi, have hitherto been studied in relation to the 1639 Applausi in her honour. In a new reading, Milton, it is suggested, invokes and interrogates Catholic doctrine before a Catholic audience only to view the whole through the lens of a neo-Platonic Hermeticism (by echoing the phraseology of the sixteenth-century Franciscan Hannibal Rosselli) that refreshingly transcends religious difference. Crucially, the hitherto neglected L’Idea della Veglia (Rome, 1640) includes further encomiastic verse, sonnets to, and by Leonora, and details of the conversazioni hosted by her family at the precise time of Milton’s Roman sojourns. Milton may well have been a participant. The chapter concludes in an assessment of his links with the youthful prodigy Alessandro Cherubini, and of his audience with Francesco Barberini.

Chapter 4: Milton at a Roman Opera analyses the potential impact of ‘Chi Soffre, Speri’, which he attended on 18/28 February 1639, mounted by Francesco Barberini to inaugurate the recently completed theatre of the Palazzo Barberini. A detailed analysis of the opera's libretto, music, and theatricality casts a backward glance to Milton's Comus, and a forward glance to Paradise Lost. It also assesses Milton’s musical interests at this time, as attested by his links with Doni, and his purchase of works by Monteverdi and others.

Chapter 5: Milton’s English Connections in Rome develops the work of Miller and Chaney by investigating Milton’s co-diners at the English College in Rome on 30 October 1638, and by analysing his links between David Codner (alias Matteo Selvaggio), and the family of Jane Savage, Marchioness of Winchester, lamented by Milton in 1631. It also assesses his potential relations with the Englishman Thomas Gawen, who ‘accidentally sometimes fell into the company of John Milton’ (Antony Wood).

Musik som en omvårdnadsåtgärd i det dagliga livet för omvårdnad av personer med demenssjukdom : En litteraturstudie

Musik som verktyg för att lindra oro och stress är en tilltalande omvårdnadsåtgärd då den kan anpassas direkt till individen. Den är utan biverkningar samt kostnadseffektiv. Syfte: Att undersöka effekten av musikåtgärder i omvårdnad av personer med demenssjukdom. Metod: Föreliggande studie är en litteraturstudie omfattande båda kvantitativa och kvalitativa studier från databaserna Web of Science, PubMed och CINAHL. 13 artiklar skrivna på engelska utgjorde resultatunderlaget. Resultat: Resultatet är baserat på empiriska studier varav tio stycken var kvantativa studier och två stycken var kvalitativa studier. Resultatet redovisas under sammanlagt fyra teman: Musik och minskning av agitation, Musik och förbättring av kognition, Musik och ökning av välbefinnande samt Musik och höjning av socialt engagemang. Slutsats: Musik som en omvårdnadsåtgärd av personer med demenssjukdom kan med fördel användas av sjuksköterskor som ett moment i den personcentrerade omvårdnaden, som underhållning samt som ett medel att knyta samman människor.

Popsongs im Deutschunterricht : Wie man schwedische Schüler und Schülerinnen durch deutsche Popsongs für Lyrik interessieren kann

It can be hard to inspire teens for poetry and Lyric. Especially when it is to be performed in a foreign language. I am thinking of myself at that age. German was absolutely not my favorite subject. It was far too theoretic and I often did not get through the grammar. I have often thought about how I would have managed the subject of German, if the lessons had been designed in a different way. At the age of 16, I decided to end my German studies, since they impaired the rest of my grades. What did excite me at the age of 13-18 years? Love was of paramount importance. And what touched the most about Love? For me it was the music, and I think that is the same for many other teenagers. Would it be possible to achieve a different result by the processing of German lyrics in the classroom, than my teacher did? If so, how can we design the teaching, so that it serves its purpose, and follows the curriculum?

Musicalidades Quotidianas da Personalidade: estudo sobre o impacto da música na personalidade, comportamentos, emoções e quotidiano de jovens e adultos de língua portuguesa

Objetivos: A música, incomum pela sua ubiquidade e antiguidade, constitui uma das atividades humanas que ocupa um lugar significativo nas diversas culturas e vida diária. Geralmente agradável para grande parte das pessoas, produz numerosos e desmedidos efeitos, na sua maioria positivos para o ser humano. Esta investigação teve como objetivo principal estudar a relação entre alguns dos diferentes géneros musicais e os de traços de personalidade de jovens e de adultos com idades compreendidas entre os 18 e os 38 anos, fluentes em português. A investigação pretendeu descrever as preferências musicais em função da idade, género, estado civil e habilitações literárias; identificar os contextos, os períodos e as atividades mais comuns durante a escuta de música; reconhecer se a música é uma das atividades de lazer mais importantes para o grupo estudado; conhecer quais as razões mais frequentes apontadas pelos sujeitos para ouvir música; estudar a perceção que as pessoas têm sobre a influência da música na violência e no consumo de substâncias; verificar se os sujeitos consideram as preferências musicais como um fator importante e revelador de informações sobre a personalidade; avaliar o impacto e relação das preferências musicais com a personalidade e verificar quais os pares de emoções mais comuns, sentidos durante a escuta musical, e respetiva intensidade. Metodologia: A amostra foi constituída por 320 indivíduos com idades compreendidas entre os 18 e os 38 anos sendo a faixa etária mais comum a que se situa entre os 24 a 29 anos, maioritariamente do sexo feminino, solteiros, de nacionalidade portuguesa, detentores ou a frequentar um curso superior, nas áreas das ciências sociais/serviços ou exatas e tecnológicas. Os participantes aceitaram responder voluntariamente a uma bateria de testes (QCS, EPI, QMQEC e STOMP-PT). Para a caracterização da amostra, determinaram-se frequências absolutas e relativas ou valores médios e desvios-padrão. A normalidade da distribuição das pontuações médias dos instrumentos foi validada com o teste de Kolmogorov-Smirnov com correção de Lilliefors. A consistência interna estudou-se através do Alpha de Cronbach e da fórmula de Kuder Richarson. As diferenças entre grupos foram avaliadas recorrendo a uma ANOVA, a intensidade e magnitude das relações entre variáveis determinou-se através do coeficiente Eta quadrado (e 2) e com o coeficiente de correlação de Pearson avaliou-se a associação entre as variáveis em estudo. Resultados: Observou-se que a música energética é a mais típica dos escalões etários mais jovens, sendo que a rebelde trespassa todas as gerações, revelando os mais velhos também uma forte preferência pela música reflexiva. As escolhas musicais parecem não ser influenciadas pelo sexo e estado civil. Os indivíduos menos escolarizados parecem preferir músicas do tipo energético, excluindo as convencionais enquanto os detentores de maiores habilitações preferem os estilos reflexivos e rebeldes. É em casa, no quarto, ao fim de semana e quando estão sozinhos que os participantes mais ouvem música, constituindo esta a mais frequente atividade de lazer, por ser uma atividade essencial para a existência, não apelando à violência e ao consumo de substâncias e revelando as preferências musicais aspetos da personalidade. Encontraram-se diferenças estatisticamente significativas entre as dimensões da preferência musical e os traços de personalidade, sendo a música energética a que mais se destaca na extroversão e a rebelde no neuroticismo. Não se obtiveram resultados estatisticamente significativos entre os tipos de música e as emoções. Conclusão: Os resultados devem ser vistos a título de ensaio e como introdutórios, seguindo no entanto os referidos na literatura quer ao nível das preferências por idade, sexo e habilitações literárias, quer ao nível do contexto onde é ouvida, quer ainda entre as dimensões de preferência musical e traços de personalidade. / Aims: Music, unusual for its ubiquity and age, is one of the human activities that occupies a significant place in different cultures and daily life. Generally pleasant to most people, produces many and huge positive effects in humans. This investigation aimed to study the relationship between some of the different music preferences and personality types of young and adults aged between 18 and 38 years, fluent in Portuguese. The research intended to describe the musical preferences based on age, gender, marital status and educational attainment; identify contexts, periods and the most common activities during music listening; recognize the music as one of the most important leisure activities for the group studied; know which are the most frequent reasons given by the subjects to listen to music; study the perception that people have about the influence of music on violence and substance use; check whether the subjects consider the musical preferences as a major factor that reveals information about personality; assess the impact and relationship of musical preferences with the personality and see which pairs of most common emotions are felt during music listening, and its respective intensity. Methods: The sample consisted of 320 individuals aged between 18 and 38 years being the most common age group of between 24 to 29 years, mostly female, single, Portuguese, holders or to attend a higher education in the areas of social / services or exact science. Participants voluntarily agreed to answer a battery of tests (QCS, EPI, QMQEC and STOMP-PT). To characterize the sample, they were determined absolute and relative frequencies and mean values and standard deviations. The normality of the average scores of the instruments has been validated with the Kolmogorov-Smirnov test with Lilliefors correction. Internal consistency was studied using Cronbach's alpha and Kuder Richardson formula. Differences between groups were assessed using an ANOVA, intensity and magnitude of the relationship between variables was determined by Eta squared coefficient and the Pearson correlation coefficient evaluated the association between the study variables. Results: It was observed that the energetic music is the most usual among the younger age groups, and the rebel pierces all generations, revealing the older ones a strong preference for reflective music. The musical choices do not seem to be influenced by sex and marital status. The less educated individuals seems to prefer the energetic type songs, excluding conventional, holders of higher qualifications prefer reflective and rebellious styles. It is at home, in the room, on the weekends and when they are alone that participants listen more music, making this the most common leisure activity, the essential for existence, not calling for violence and substance use and revealing aspects of personality. We found significant differences between the dimensions of music preferences and personality traits, with the energetic music standing out in extraversion and neuroticism on rebel. We did not get significant results among the types of music and emotions. Conclusions: The results should be viewed under test and has introductory , however following the reported in the literature both in terms of preferences by age, sex and education level , both in terms of the context in which it is heard, still follows music preference dimensions and personality traits .