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.

Sobre música portuguesa para viola d’arco no séc. XX: a influência de François Broos (1903-2002) na criação musical em Portugal

A presente dissertação procura explorar a figura que foi François Broos. Contactando alguns antigos colegas e alunos, procurou-se retratar de forma fidedigna o seu percurso pessoal e profissional, e de que forma a sua vinda para Portugal terá alterado o panorama nacional violetístico, tanto a nível educacional, como artístico. Procurou-se abordar, também, as relações pessoais e profissionais que estabeleceu, tanto no Porto como em Lisboa, com figuras de referência da música em Portugal. Assim, fez-se um breve itinerário pela produção musical para viola no século XX e, de igual forma, uma lista das obras de compositores portugueses para viola e piano ou viola e orquestra, de 1900 a 2000, de forma a verificar se, de facto, houve algum crescimento na produção nacional na música para viola desde que François Broos se instalou em Portugal, e indicar quantas dessas obras lhe terão sido dedicadas. Na segunda parte desta dissertação, e no seguimento do ponto acima mencionado, foram escolhidas duas obras de grande relevância no repertório português para viola, ambas dedicadas ao professor Broos, para serem analisadas do ponto de vista artístico, valorizando os aspetos técnicos da performance, através das respetivas gravações disponíveis.

Caught in the dance : dream poems, experiential narrative, and the continuity hypothesis

This thesis explores the efficacy of the dream poem as a narrative device and is the outcome of practice-led research. The creative component, a novella, includes significant dreams of the main characters in the form of lyric poetry. The author’s own dream reports are used as source material for the poetry, and are contextualised within a prose fiction framework. Caught in the Dance is an experiment in combining prose with dream poetry and in investigating the experiential power of dreams on the formation of character identity. The exegesis discusses dreaming as an experience and the place of that experience in the context of identity narratives. Central to this discussion is the continuity hypothesis regarding the symbiosis of waking and sleeping life. Fludernik’s theory of experiential narrative is applied to dreaming and to the composition of poetry. This theory moves the emphasis of narrativity from events and the action of telling to ‘grounding narrativity in the representation of experientiality’ (Fludernik 1996:20). Ricoeur’s theories on identity and narrative are also applied to the reading of dreams, and experiences in general. He calls the system through which we ‘read’ life the ‘semantics of action’ (Ricoeur 1991b:28). Fludernik’s and Ricoeur’s approaches build on each other and they are brought together in the context of theories of the self, consciousness, and the processing of experience. Lyric poetry, as a creative product of that same consciousness, is discussed as experienced narrative moment. Furthermore, those moments are identified as defining elements in the identity narratives of characters. By combining the experience of dreaming with the experience imparted through lyric poetry, this thesis argues that the continuity hypothesis serves effectively as a demonstration of the wider narratological importance of experiential narrative.

The twentieth century jazz piano trio: the rise of an iconic jazz paradigm

Considerando a gravação de 1947 The Bud Powell Trio como a gravação referência de trio de piano de jazz moderno, esta tese centra-se no surgimento e evolução do trio de jazz moderno cujo líder é pianista. Começando por apresentar, uma resenha dos estilos e técnicas para piano de da época pre-Powell, esta tese investiga a génese dos trios de piano jazz e examina três dos mais influeciais pianostas de jazz e lideres dos mais legendários trios de piano jazz modernos: Bud Powell, Bill Evans e Keith Jarrett. Esta tese também abordará o paradoxo inerente a um sistema democrático - a expressão própria do individuo, em justaposição com a responsabilidade para com o todo – e a sua inequivoca analogia com o gestalt do trio de piano de jazz moderno. Desde a primeira gravação de um trio de jazz com pianista como líder em 1935, o trio de jazz moderno, evoluiu tornando-se um exemplo de democracia – um contexto de igualdade em que as funções rítmicas, harmónicas, e melódicas estão igualmente distribuídas entre os três instrumentistas, que são ao mesmo tempo solistas e acompanhadores. Esta tese sublinha a eficácia do trio de jazz moderno – o seu início, e porque subsiste – baseado na sua força e beleza estética; ABSTRACT: THE TWENTIETH CENTURY JAZZ PIANO TRIO – The Rise of an Iconic Jazz Paradigm by Susan Muscarella Designating Bud Powell’s 1947 recording, The Bud Powell Trio, as the modern jazz piano trio benchmark, here, this thesis traces the emergence and evolution of the pianistled, piano-bass-drums-comprised modern jazz piano trio. Beginning with a general overview of pre-Powell jazz piano styles and techniques, this thesis investigates the earliest, most salient pre-Powell jazz piano trios, and examines three seminal modern jazz pianists and leaders of legendary modern jazz piano trios, Bud Powell, Bill Evans and Keith Jarrett. This thesis also brings to the fore the paradox inherent in a democratic system – individual self-expression juxtaposed with responsibility to the whole – and its unequivocal analogy to the modern jazz piano trio gestalt. From the earliest recording of a primarily piano-dominated piano-bass-drums-comprised jazz piano trio in 1935, the modern jazz piano trio has evolved to become a paragon of democracy – an egalitarian playing field in which rhythmic, harmonic and melodic roles are evenly distributed among all three instrumentalists who have come to serve as both soloists and accompanists.

Seis miniaturas de Mesías Maiguashca: análisis de seis de las siete piezas para piano

La presente tesis de maestría tuvo como propósito analizar seis de las 7 Piezas para piano de Mesías Maiguahsca. Se llevó a cabo una investigación bibliográfica-histórica que nos revela el trabajo de un compositor ecuatoriano de vanguardia desde sus inicios como pianista hasta sus recientes propuestas creativas, enfocándose principalmente en la producción musical realizada para piano. El trabajo se dedica al análisis de seis de las 7 Piezas para piano pero no sin antes conocer el contexto creativo, el cual es de importancia ya que esto nos proporciona una aproximación al lenguaje en la música instrumental de Mesías Maiguashca; en este caso: música sin transformaciones ni mixturada con algún otro elemento sonoro-musical. Esto permitió conocer sobre las influencias y materiales utilizados para la creación de una obra de carácter pedagógico para piano solo. El estudio se basó en la singularidad de cada una de las seis piezas, es decir, no existen parámetros estrictos y fijos para el análisis del corpus de la obra, sino que cada pieza dada su originalidad, ha sido objeto de un estudio particular; por supuesto que algunos aspectos del análisis se comparten pero la metodología propuesta es distinta en cada una de las piezas. Para finalizar se aporta un video donde el compositor explica y describe brevemente estas piezas para piano y una entrevista donde expone el modo de construcción de la pieza “Tres melodías”; estos elementos permitieron recabar información sobre las demás piezas y coadyuvaron a la resolución de cuestiones analíticas

A docência no piano : representações sociais de professores de escolas de música em Taguatinga

Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Departamento de Música, Programa de Pós-graduação em Música, 2015.

Evolution of classifiers for pitch estimation of piano music using cartesian genetic programming

Pitch Estimation, also known as Fundamental Frequency (F0) estimation, has been a popular research topic for many years, and is still investigated nowadays. The goal of Pitch Estimation is to find the pitch or fundamental frequency of a digital recording of a speech or musical notes. It plays an important role, because it is the key to identify which notes are being played and at what time. Pitch Estimation of real instruments is a very hard task to address. Each instrument has its own physical characteristics, which reflects in different spectral characteristics. Furthermore, the recording conditions can vary from studio to studio and background noises must be considered. This dissertation presents a novel approach to the problem of Pitch Estimation, using Cartesian Genetic Programming (CGP).We take advantage of evolutionary algorithms, in particular CGP, to explore and evolve complex mathematical functions that act as classifiers. These classifiers are used to identify piano notes pitches in an audio signal. To help us with the codification of the problem, we built a highly flexible CGP Toolbox, generic enough to encode different kind of programs. The encoded evolutionary algorithm is the one known as 1 + , and we can choose the value for . The toolbox is very simple to use. Settings such as the mutation probability, number of runs and generations are configurable. The cartesian representation of CGP can take multiple forms and it is able to encode function parameters. It is prepared to handle with different type of fitness functions: minimization of f(x) and maximization of f(x) and has a useful system of callbacks. We trained 61 classifiers corresponding to 61 piano notes. A training set of audio signals was used for each of the classifiers: half were signals with the same pitch as the classifier (true positive signals) and the other half were signals with different pitches (true negative signals). F-measure was used for the fitness function. Signals with the same pitch of the classifier that were correctly identified by the classifier, count as a true positives. Signals with the same pitch of the classifier that were not correctly identified by the classifier, count as a false negatives. Signals with different pitch of the classifier that were not identified by the classifier, count as a true negatives. Signals with different pitch of the classifier that were identified by the classifier, count as a false positives. Our first approach was to evolve classifiers for identifying artifical signals, created by mathematical functions: sine, sawtooth and square waves. Our function set is basically composed by filtering operations on vectors and by arithmetic operations with constants and vectors. All the classifiers correctly identified true positive signals and did not identify true negative signals. We then moved to real audio recordings. For testing the classifiers, we picked different audio signals from the ones used during the training phase. For a first approach, the obtained results were very promising, but could be improved. We have made slight changes to our approach and the number of false positives reduced 33%, compared to the first approach. We then applied the evolved classifiers to polyphonic audio signals, and the results indicate that our approach is a good starting point for addressing the problem of Pitch Estimation.

Portfolio of compositions with commentaries 2012-2015

This writing forms part of a portfolio of works which gathers together notations and recordings made between 2012 and 2015. The writing divides into four chapters. The first chapter undertakes an examination of abstraction. From the proposition obtained therein, that it is possible to extend within abstraction beyond a correspondence between its terms and concrete manifestations, I ask in what way abstraction may be considered to function therefrom. The second chapter performs an analysis of radical music notations from the nineteenth, twentieth, and twenty-first centuries. The central analysis identifies what is essentially an evolution of what I call ''figuration'' throughout three non-chronological phases of Christian Wolff's notations. The chapter closes by questioning what form of understanding might yet be pursued in respect of this work given (a) its nature, and (b) the nature of our inquiry. The third chapter reflects on some of the philosophical problematics raised in the preceding chapters, at the same time as it prepares for those that follow in the final chapter. The final chapter is a record of the development of my thought appertaining to my compositional work. It sets out two case studies (prepared piano and postcard notations) before proceeding to a selected set of commentaries. Finally, the notion of the functioning of written and acoustical ''marks'' developed in the preceding commentaries is generalised as I develop an aesthetics of scriptural experience.

University Symphony David Alexander Rahbee with Saeunn Thorsteinsdottir November 4, 2016

Concert Program

Gestaltwandlungen des Imperiums. Heiner Muller und Rom

Die Arbeit schlägt eine systematische Studie der Rezeption des antiken Rom in den Werken von Heiner Müller vor. Die Analyse von Dramen, Gedichten und Essays, sowie von Interviews und Manuskripten, liefert ein umfassendes Bild wiederholter und vielschichtiger Begegnungen mit der römischen Geschichte und Literatur, die bisher weitgehend im kritischen Diskurs im Schatten standen. Der Schwerpunkt der Analyse liegt einerseits auf dem philologisch-literarischen Vergleich mit diesen Quellen und andererseits auf der darauf basierenden Rekonstruktion des umfassenden Bildes eines Imperiums, das seine historischen Grenzen überschreitet, um zu einem zivilisatorischen Prinzip zu werden, so allgegenwärtig wie ambivalent – das "Urbild" einer unauflöslichen Verschränkung von Staat und Gewalt, Kultur und Barbarei, Gesetz und Terror. Diese kulturelle Prägung zeigt sich nicht nur in Werken mit römischem Thema, sondern auch in nachfolgenden historischen Konstellationen, die Müller inszenierte, vom Elisabethanischen England über das Preußen Friedrichs II. bis hin zu den Blöcken des 20. Jahrhunderts. Besondere Aufmerksamkeit wird der Untersuchung literarischer Einflüsse und philosophischer Vorgänger dieser zivilisationskritischen Vision Roms gewidmet – eine Untersuchung, die bestehende Interpretationen korrigiert und neue einführt. Im Lichte des thematischen Komplexes "Rom" wird so ein beträchtlicher Teil von Müllers Produktion neu interpretiert, wodurch ein neues hermeneutisches Paradigma ebenso wie bisher übersehene Einflüsse und intertextuelle Beziehungen bei der Untersuchung von Dramen und Lyrik hervortreten.

Egfr Activating Mutations And Their Association With Response To Platinum-doublet Chemotherapy In Brazilian Non-small Cell Lung Cancer Patients.

The aim of the study was to analyze the frequency of epidermal growth factor receptor (EGFR) mutations in Brazilian non-small cell lung cancer patients and to correlate these mutations with response to benefit of platinum-based chemotherapy in non-small cell lung cancer (NSCLC). Our cohort consisted of prospective patients with NSCLCs who received chemotherapy (platinum derivates plus paclitaxel) at the [UNICAMP], Brazil. EGFR exons 18-21 were analyzed in tumor-derived DNA. Fifty patients were included in the study (25 with adenocarcinoma). EGFR mutations were identified in 6/50 (12 %) NSCLCs and in 6/25 (24 %) adenocarcinomas; representing the frequency of EGFR mutations in a mostly self-reported White (82.0 %) southeastern Brazilian population of NSCLCs. Patients with NSCLCs harboring EGFR exon 19 deletions or the exon 21 L858R mutation were found to have a higher chance of response to platinum-paclitaxel (OR 9.67 [95 % CI 1.03-90.41], p = 0.047). We report the frequency of EGFR activating mutations in a typical southeastern Brazilian population with NSCLC, which are similar to that of other countries with Western European ethnicity. EGFR mutations seem to be predictive of a response to platinum-paclitaxel, and additional studies are needed to confirm or refute this relationship.

Epilepsies Associated With Hippocampal Sclerosis.

Hippocampal sclerosis (HS) is considered the most frequent neuropathological finding in patients with mesial temporal lobe epilepsy (MTLE). Hippocampal specimens of pharmacoresistant MTLE patients that underwent epilepsy surgery for seizure control reveal the characteristic pattern of segmental neuronal cell loss and concomitant astrogliosis. However, classification issues of hippocampal lesion patterns have been a matter of intense debate. International consensus classification has only recently provided significant progress for comparisons of neurosurgical and clinic-pathological series between different centers. The respective four-tiered classification system of the International League Against Epilepsy subdivides HS into three types and includes a term of gliosis only, no-HS. Future studies will be necessary to investigate whether each of these subtypes of HS may be related to different etiological factors or with postoperative memory and seizure outcome. Molecular studies have provided potential deeper insights into the pathogenesis of HS and MTLE on the basis of epilepsy-surgical hippocampal specimens and corresponding animal models. These include channelopathies, activation of NMDA receptors, and other conditions related to Ca(2+) influx into neurons, the imbalance of Ca(2+)-binding proteins, acquired channelopathies that increase neuronal excitability, paraneoplastic and non-paraneoplastic inflammatory events, and epigenetic regulation promoting or facilitating hippocampal epileptogenesis. Genetic predisposition for HS is clearly suggested by the high incidence of family history in patients with HS, and by familial MTLE with HS. So far, it is clear that HS is multifactorial and there is no individual pathogenic factor either necessary or sufficient to generate this intriguing histopathological condition. The obvious variety of pathogenetic combinations underlying HS may explain the multitude of clinical presentations, different responses to clinical and surgical treatment. We believe that the stratification of neuropathological patterns can help to characterize specific clinic-pathological entities and predict the postsurgical seizure control in an improved fashion.

Thermodynamic Study Of The Micellization Of Zwitterionic Surfactants And Their Interaction With Polymers In Water By Isothermal Titration Calorimetry.

The micellization of a homologous series of zwitterionic surfactants, a group of sulfobetaines, was studied using isothermal titration calorimetry (ITC) in the temperature range from 15 to 65 °C. The increase in both temperature and the alkyl chain length leads to more negative values of ΔGmic(0) , favoring the micellization. The entropic term (ΔSmic(0)) is predominant at lower temperatures, and above ca. 55-65 °C, the enthalpic term (ΔHmic(0)) becomes prevalent, figuring a jointly driven process as the temperature increases. The interaction of these sulfobetaines with different polymers was also studied by ITC. Among the polymers studied, only two induced the formation of micellar aggregates at lower surfactant concentration: poly(acrylic acid), PAA, probably due to the formation of hydrogen bonds between the carboxylic group of the polymer and the sulfonate group of the surfactant, and poly(sodium 4-styrenesulfonate), PSS, probably due to the incorporation of the hydrophobic styrene group into the micelles. The prevalence of the hydrophobic and not the electrostatic contributions to the interaction between sulfobetaine and PSS was confirmed by an increased interaction enthalpy in the presence of electrolytes (NaCl) and by the observation of a significant temperature dependence, the latter consistent with the proposed removal of hydrophobic groups from water.

Impaired Incretin Secretion And Pancreatic Dysfunction With Older Age And Diabetes.

To estimate the impact of aging and diabetes on insulin sensitivity, beta-cell function, adipocytokines, and incretin production. Hyperglycemic clamps, arginine tests and meal tolerance tests were performed in 50 non-obese subjects to measure insulin sensitivity (IS) and insulin secretion as well as plasma levels of glucagon, GLP-1 and GIP. Patients with diabetes and healthy control subjects were divided into the following groups: middle-aged type 2 diabetes (MA-DM), aged Type 2 diabetes (A-DM) and middle-aged or aged subjects with normal glucose tolerance (MA-NGT or A-NGT). IS, as determined by the homeostasis model assessment, glucose infusion rate, and oral glucose insulin sensitivity, was reduced in the aged and DM groups compared with MA-NGT, but it was similar in the MA-DM and A-DM groups. Insulinogenic index, first and second phase insulin secretion and the disposition indices, but not insulin response to arginine, were reduced in the aged and DM groups. Postprandial glucagon production was higher in MA-DM compared to MA-NGT. Whereas the GLP-1 production was reduced in A-DM, no differences between groups were observed in GIP production. In non-obese subjects, diabetes and aging impair insulin sensitivity. Insulin production is reduced by aging, and diabetes exacerbates this condition. Aging associated defects superimposed diabetic physiopathology, particularly regarding GLP-1 production. On the other hand, the glucose-independent secretion of insulin was preserved. Knowledge of the complex relationship between aging and diabetes could support the development of physiopathological and pharmacological based therapies.

Multiple Desmoid Tumors In A Patient With Gardner's Syndrome - Report Of A Case.

Desmoid tumor (DT) is a common manifestation of Gardner's Syndrome (GS), although it is a rare condition in the general population. DT in patients with GS is usually located in the abdominal wall and/or intra-abdominal cavity. We report a case of a 32 years-old female patient with familial adenomatous polyposis (FAP), who was already submitted to total colectomy and developed multiple DT, located in the abdominal wall and in the left breast. The patient underwent several surgical procedures, with a multidisciplinary team of surgeons. Wide surgical resections of the left breast and the abdominal wall tumors were performed in separate steps. Polypropylene mesh reconstruction and muscle flaps were needed to cover the defects of the thoracic and abdominal walls. After partial necrosis of the adipose-cutaneous flap in the abdomen that required a new skin graft, she had a satisfactory outcome with complete healing of the surgical incisions. DT is frequent in GS, however, breast localization is very rare, with few cases reported in the literature. Recurrence of DT is not negligible, even after a wide surgical resection. GS patients must be followed up closely, and clinical examination, associated with imaging studies, should be performed to detect any signs of tumor. DT represents one of the most significant causes of the morbidity and mortality that affects FAP patients following colectomy. In general, the surgical procedures to excise DT are highly complex, requiring a multidisciplinary team.