Uma memória ímpar: a trajetória de Arthur Napoleão na sociabilidade musical de dois continentes (1843-1925)

Essa tese tem como objetivo primordial estudar a trajetória musical do pianista português Arthur Napoleão (1843-1925), desde a sua iniciação musical na cidade natal do Porto, até o falecimento no Rio de Janeiro em 1925. Discute-se aqui a relevância da inserção do pianista e de sua música nos meio sócios-culturais dos países da Europa e Américas, em cujas cidades se apresentou durante os primeiros quinze anos de sua carreira. Do mesmo modo, estuda-se também as circunstâncias da permanência do notável intérprete no Brasil, como imigrante radicado, desde 1868, bem como se deu a consolidação da sua nova perspectiva laboral no campo da música, como empreendedor e mediador cultural. E ainda por meio da organização de estabelecimentos comerciais voltados para a venda de pianos e partituras musicais, que se tornaram importantes espaços de sociabilidade musical na Corte, depois capital federal da República, ao longo de sua vida. As numerosas e variadas fontes aqui utilizadas são caudatárias do texto autobiográfico legado por Arthur Napoleão, de 1907. Essas "Memórias", ao mesmo tempo fonte de informação e objeto de estudo, possibilitam traçar, pelo exame vis-à-vis com a documentação restante, a trajetória artística de Arthur Napoleão, desde Portugal até o Brasil, no universo sócio-cultural em transformação, da segunda metade do século XIX ao primeiro quarto do XX.

Mobilizazio ziklo eta konfrontazio bortitzaren arteko harremana Europan 1960-70 hamarkadetan. Analisi konparatu bat: Euskal Herriko, Irlandako, Italiako eta Alemaniako kasuen azterketa

Lan honen ikergaia, Europan emandako gatazka bortitzen, eta zehazki armatuen, analisia izango da. Horretarako, gatazka armatu horien eta mobilizazio zikloen artean dauden harremanak eta zubiak aztertzen saiatuko gara. Analisi hau, 1960 hamarkadaren bukaeran eta 1970 hamarkadaren hasieran zentratuko da, izan ere, denbora tarte horretan eman ziren gatazka bortitzen espresiorik nagusienak, gatazka armatuak alegia. Hori aztertzeko, 4 kasu hartuko dira: ETA Euskal Herrian, IRA Irlandan, Brigate Rosse Italian eta Rote Armee Fraktion Alemanian.

Chimparra gneisak: analisi petrografiko eta mikroestrukturala (Cabo Ortegal)

[EUS] Lan honetan Chimparra Gneisak izeneko milonitak aztertuko dira, gradu eta presio altuko metamorfismoa jasan duten jatorri bolkanosedimentariodun arrokak. Bilatzen den xede nagusia Chimparra Gneisen petrologia eta mikroegiturak deskribatzea da; alde batetik, deformazio faseak ezberdintzeko eta arrokak jasandako presio eta tenperatura baldintzak ezagutzeko, eta bestetik, milonitizazio faseari buruzko informazioa lortzeko: mineralen orientazio preferenteak bilatzea, mineral ezberdinek kristal barneko deformazioan aktibatutako irristatze-mekanismoak ezagutzea eta lineazio eta zizaila motak argitzea. Horretarako, landa eta laborategi lana egin izan da, ikerketa bibliografikoaz gain. Mikroskopio optikoan azterketa petrologikoa burutu, eta EBSD teknika berria erabili da datu petrologiko osagarriak eta datu mikroestrukturalak lortzeko.

Enseñanza-aprendizaje musical: una visión de los docentes de instrumento en los conservatorios profesionales

471 p.

Vamos montar uma banda?: um olhar sobre os processos de criação musical de crianças

Esta tese possui como tema os processos de criação musical de crianças e tem como objetivo geral problematizar e compreender esses processos no contexto de uma oficina musical. Derivam-se daí questões mais específicas que consistem em saber que aspectos musicais estão envolvidos, como as crianças se relacionam e se organizam, e que sentidos as crianças atribuem a esses aspectos nos processos de criação musical. Através de uma leitura sócio-histórica, o percurso dessa pesquisa compreendeu discussões acerca da infância, da cultura e da linguagem em articulação à criação musical, que abordaram diferentes perspectivas acerca do tema. São conceitos fundamentais dessa tese o pensamento de Mikhail Bakhtin, Lev Vigotski e Walter Benjamin acerca de criação e experiência intrínsecos ao ser humano. Apresenta-se uma perspectiva crítica à infância contemporânea destacando aproximações ao universo da cultura e da música. Nesse sentido, discute-se uma concepção de música que leve em consideração os aspectos sociais articulados à produção musical, propondo-se um diálogo acerca de criação musical entre os campos da vida, da ciência e da arte. Apresentam-se como principais interlocutores dessa tese: Solange Jobim e Souza, Manoel Sarmento e Rita Pereira, sobre infância; Johan Huizinga e Gilles Brougère, sobre o lúdico; John Blacking, sobre conceito de música; e Teca de Alencar Brito, François Delalande e Lucy Green, sobre crianças, música e educação musical. O trabalho de campo teve como objetivo realizar composições numa oficina musical, sob o formato de uma banda de música popular, realizada numa escola pública federal da cidade do Rio de Janeiro, com um grupo de crianças entre nove e onze anos. Para interlocução com as crianças, adotou-se como suporte teórico e metodológico a perspectiva sobre alteridade e dialogismo de Mikhail Bakhtin, assim como a perspectiva de uma pesquisa-intervenção e de uma pesquisa como experiência estética. Como achados da pesquisa, observa-se que os processos de criação dessas crianças na oficina são negociados entre pares, obedece a condições próprias para seu desenvolvimento e se dão entrelaçados às suas experiências musicais revelando laços da criança com aspectos da cultura. Destacam-se nesse processo também uma integração entre as atividades de criar, aprender, reproduzir e as motivações que dão conta disso e que sugerem uma singular relação com a cultura contemporânea. Ressalta-se a importância da atividade de criação musical como lugar de compartilhamento de significados e sentidos

Bayesian estimation of simultaneous musical notes based on frequency domain modelling

This paper proposes a Bayesian method for polyphonic music description. The method first divides an input audio signal into a series of sections called snapshots, and then estimates parameters such as fundamental frequencies and amplitudes of the notes contained in each snapshot. The parameter estimation process is based on a frequency domain modelling and Gibbs sampling. Experimental results obtained from audio signals of test note patterns are encouraging; the accuracy is better than 80% for the estimation of fundamental frequencies in terms of semitones and instrument names when the number of simultaneous notes is two.

Syntax-Based Analytic Reading of Musical Scores

As part of a larger research project in musical structure, a program has been written which "reads" scores encoded in an input language isomorphic to music notation. The program is believed to be the first of its kind. From a small number of parsing rules the program derives complex configurations, each of which is associated with a set of reference points in a numerical representation of a time-continuum. The logical structure of the program is such that all and only the defined classes of events are represented in the output. Because the basis of the program is syntactic (in the sense that parsing operations are performed on formal structures in the input string), many extensions and refinements can be made without excessive difficulty. The program can be applied to any music which can be represented in the input language. At present, however, it constitutes the first stage in the development of a set of analytic tools for the study of so-called atonal music, the revolutionary and little understood music which has exerted a decisive influence upon contemporary practice of the art. The program and the approach to automatic data-structuring may be of interest to linguists and scholars in other fields concerned with basic studies of complex structures produced by human beings.

A Parallel Processing Model of Musical Structures

Euterpe is a real-time computer system for the modeling of musical structures. It provides a formalism wherein familiar concepts of musical analysis may be readily expressed. This is verified by its application to the analysis of a wide variety of conventional forms of music: Gregorian chant, Mediaeval polyphony, Back counterpoint, and sonata form. It may be of further assistance in the real-time experiments in various techniques of thematic development. Finally, the system is endowed with sound-synthesis apparatus with which the user may prepare tapes for musical performances.

Reti complesse e analisi del segnale elettroencefalografico

The identification of subject-specific traits extracted from patterns of brain activity still represents an important challenge. The need to detect distinctive brain features, which is relevant for biometric and brain computer interface systems, has been also emphasized in monitoring the effect of clinical treatments and in evaluating the progression of brain disorders. Graph theory and network science tools have revealed fundamental mechanisms of functional brain organization in resting-state M/EEG analysis. Nevertheless, it is still not clearly understood how several methodological aspects may bias the topology of the reconstructed functional networks. In this context, the literature shows inconsistency in the chosen length of the selected epochs, impeding a meaningful comparison between results from different studies. In this study we propose an approach which aims to investigate the existence of a distinctive functional core (sub-network) using an unbiased reconstruction of network topology. Brain signals from a public and freely available EEG dataset were analyzed using a phase synchronization based measure, minimum spanning tree and k-core decomposition. The analysis was performed for each classical brain rhythm separately. Furthermore, we aim to provide a network approach insensitive to the effects that epoch length has on functional connectivity (FC) and network reconstruction. Two different measures, the phase lag index (PLI) and the Amplitude Envelope Correlation (AEC), were applied to EEG resting-state recordings for a group of eighteen healthy volunteers. Weighted clustering coefficient (CCw), weighted characteristic path length (Lw) and minimum spanning tree (MST) parameters were computed to evaluate the network topology. The analysis was performed on both scalp and source-space data. Results about distinctive functional core, show highest classification rates from k-core decomposition in gamma (EER=0.130, AUC=0.943) and high beta (EER=0.172, AUC=0.905) frequency bands. Results from scalp analysis concerning the influence of epoch length, show a decrease in both mean PLI and AEC values with an increase in epoch length, with a tendency to stabilize at a length of 12 seconds for PLI and 6 seconds for AEC. Moreover, CCw and Lw show very similar behaviour, with metrics based on AEC more reliable in terms of stability. In general, MST parameters stabilize at short epoch lengths, particularly for MSTs based on PLI (1-6 seconds versus 4-8 seconds for AEC). At the source-level the results were even more reliable, with stability already at 1 second duration for PLI-based MSTs. Our results confirm that EEG analysis may represent an effective tool to identify subject-specific characteristics that may be of great impact for several bioengineering applications. Regarding epoch length, the present work suggests that both PLI and AEC depend on epoch length and that this has an impact on the reconstructed network topology, particularly at the scalp-level. Source-level MST topology is less sensitive to differences in epoch length, therefore enabling the comparison of brain network topology between different studies.

The musical enculturation of Irish traditional musicians: An ethnographic study of learning processes

The enculturation of Irish traditional musicians involves informal, non-formal, and sometimes formal learning processes in a number of different settings, including traditional music sessions, workshops, festivals, and classes. Irish traditional musicians also learn directly from family, peers, and mentors and by using various forms of technology. Each experience contributes to the enculturation process in meaningful and complementary ways. The ethnographic research discussed in this dissertation suggests that within Irish traditional music culture, enculturation occurs most effectively when learners experience a multitude of learning practices. A variety of experiences insures that novices receive multiple opportunities for engagement and learning. If a learner finds one learning practice ineffective, there are other avenues of enculturation. This thesis explores the musical enculturation of Irish traditional musicians. It focuses on the process of becoming a musician by drawing on methodologies and theories from ethnomusicology, education, and Irish traditional music studies. Data was gathered through multiple ethnographic methodologies. Fieldwork based on participant-observation was carried out in a variety of learning contexts, including traditional music sessions, festivals, workshops, and weekly classes. Additionally, interviews with twenty accomplished Irish traditional musicians provide diverse narratives and firsthand insight into musical development and enculturation. These and other methodologies are discussed in Chapter 1. The three main chapters of the thesis explore various common learning experiences. Chapter 2 explores how Irish traditional musicians learn during social and musical interactions between peers, mentors, and family members, and focuses on live music-making which occurs in private homes, sessions, and concerts. These informal and non-formal learning experiences primarily take place outside of organizations and institutions. The interview data suggests these learning experiences are perhaps the most pervasive and influential in terms of musical enculturation. Chapter 3 discusses learning experience in more organized settings, such as traditional music classes, workshops, summer schools, and festivals. The role of organizations such as Comhaltas Ceoltóirí Éireann and pipers’ clubs are discussed from the point of view of the learner. Many of the learning experiences explored in this chapter are informal, non-formal, and sometimes formal in nature, depending on the philosophy of the organization, institution, and individual teacher. The interview data and field observations indicate that learning in these contexts is common and plays a significant role in enculturation, particularly for traditional musicians who were born during and after the 1970s. Chapter 4 explores the ways Irish traditional musicians use technology, including written sources, phonography, videography, websites, and emerging technologies, during the enculturation process. Each type of technology presents different educational implications, and traditional musicians use these technologies in diverse ways and some more than others. For this, and other reasons, technology plays a complex role during the process of musical enculturation. Drawing on themes which emerge during Chapter 2, 3, and 4, the final chapter of this dissertation explores overarching patterns of enculturation within Irish traditional music culture. This ethnographic work suggests that longevity of participation and engagement in multiple learning and performance opportunities foster the enculturation of Irish traditional musicians. Through numerous and prolonged participation in music-making, novices become accustomed to and learn musical, social, and cultural behaviours. The final chapter also explores interconnections between learning experiences and also proposes directions for future research.