Aspectos formais da trilha musical de Yasunori Mitsuda para o game Chrono Cross e sua interação com o enredo

This work has the aim of evince compositional tools used in the development of musical scores for role-playing videogames through the analysis of Yasunori Mitsuda’s music for Chrono Cross (1999). This research is divided in two main parts: the first traces a historic path of the RPG genre on videogame consoles, since its birth as a tabletop game in the decade of 1970 until its consolidation on 3D game machines released in the 1990’s. The focus of this historical study concentrates on the aesthetics of this kind of game and on the multiple relations it settles with sound throughout the years. The second part is an analytical work on an assortment of pieces by Mitsuda for the aforementioned game, bringing up the most interesting aspects of the connections established between these compositions and the whole game.

Gênero discursivo cinema, o filme musical: análise dialógica de Across the Universe

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Inter-relações entre Performance e Musicologia Histórica: perspectivas para a interpretação musical

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Response of cardiac autonomic modulation after a single exposure to musical auditory stimulation

The acute effects after exposure to different styles of music on cardiac autonomic modulation assessed through heart rate variability (HRV) analysis have not yet been well elucidated. We aimed to investigate the recovery response of cardiac autonomic modulation in women after exposure to musical auditory stimulation of different styles. The study was conducted on 30 healthy women aged between 18 years and 30 years. We did not include subjects having previous experience with musical instruments and those who had an affinity for music styles. The volunteers remained at rest for 10 min and were exposed to classical baroque (64-84 dB) and heavy metal (75-84 dB) music for 10 min, and their HRV was evaluated for 30 min after music cessation. We analyzed the following HRV indices: Standard deviation of normal-to-normal (SDNN) intervals, root mean square of successive differences (RMSSD), percentage of normal-to-normal 50 (pNN50), low frequency (LF), high frequency (HF), and LF/HF ratio. SDNN, LF in absolute units (ms (2) ) and normalized (nu), and LF/HF ratio increased while HF index (nu) decreased after exposure to classical baroque music. Regarding the heavy metal music style, it was observed that there were increases in SDNN, RMSSD, pNN50, and LF (ms (2) ) after the musical stimulation. In conclusion, the recovery response of cardiac autonomic modulation after exposure to auditory stimulation with music featured an increased global activity of both systems for the two musical styles, with a cardiac sympathetic modulation for classical baroque music and a cardiac vagal tone for the heavy metal style.

Coro Infanto-juvenil nos grupos corais do Projeto Guri (Regional Ribeirão Preto): repertório e formação do regente (educador musical)

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Efeitos do estímulo auditivo musical sobre a resposta autonômica cardíaca e parâmetros cardiorrespiratórios durante e após exercício submáximo

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Emoções de uma escuta musical afetam a percepção subjetiva de tempo

Este estudo verificou se emoções percebidas durante uma escuta musical influenciam a percepção temporal. Músicos e não músicos foram submetidos a tarefas de escuta de trechos musicais do repertório erudito ocidental com 20 segundos de duração cada um e tarefas de associação temporal de cada trecho ouvido a durações padrões, que variavam de 16 a 24 segundos. Os trechos musicais empregados eram representativos de uma dentre as categorias emocionais Alegria, Tristeza, Serenidade ou Medo / Raiva. Uma análise de variância mostrou que, enquanto os não músicos apresentaram subestimações temporais associadas a pelo menos um trecho musical de cada uma das categorias emocionais, os músicos subestimaram todos os trechos musicais tristes, relacionados às características de baixo arousal e valência afetiva negativa.

Musical Training Induces Functional Plasticity in Human Hippocampus

Training can change the functional and structural organization of the brain, and animal models demonstrate that the hippocampus formation is particularly susceptible to training-related neuroplasticity. In humans, however, direct evidence for functional plasticity of the adult hippocampus induced by training is still missing. Here, we used musicians' brains as a model to test for plastic capabilities of the adult human hippocampus. By using functional magnetic resonance imaging optimized for the investigation of auditory processing, we examined brain responses induced by temporal novelty in otherwise isochronous sound patterns in musicians and musical laypersons, since the hippocampus has been suggested previously to be crucially involved in various forms of novelty detection. In the first cross-sectional experiment, we identified enhanced neural responses to temporal novelty in the anterior left hippocampus of professional musicians, pointing to expertise-related differences in hippocampal processing. In the second experiment, we evaluated neural responses to acoustic temporal novelty in a longitudinal approach to disentangle training-related changes from predispositional factors. For this purpose, we examined an independent sample of music academy students before and after two semesters of intensive aural skills training. After this training period, hippocampal responses to temporal novelty in sounds were enhanced in musical students, and statistical interaction analysis of brain activity changes over time suggests training rather than predisposition effects. Thus, our results provide direct evidence for functional changes of the adult hippocampus in humans related to musical training.

Common parietal activation in musical mental transformations across pitch and time

We previously observed that mental manipulation of the pitch level or temporal organization of melodies results in functional activation in the human intraparietal sulcus (IPS), a region also associated with visuospatial transformation and numerical calculation. Two outstanding questions about these musical transformations are whether pitch and time depend on separate or common processing in IPS, and whether IPS recruitment in melodic tasks varies depending upon the degree of transformation required (as it does in mental rotation). In the present study we sought to answer these questions by applying functional magnetic resonance imaging while musicians performed closely matched mental transposition (pitch transformation) and melody reversal (temporal transformation) tasks. A voxel-wise conjunction analysis showed that in individual subjects, both tasks activated overlapping regions in bilateral IPS, suggesting that a common neural substrate subserves both types of mental transformation. Varying the magnitude of mental pitch transposition resulted in variation of IPS BOLD signal in correlation with the musical key-distance of the transposition, but not with the pitch distance, indicating that the cognitive metric relevant for this type of operation is an abstract one, well described by music-theoretic concepts. These findings support a general role for the IPS in systematically transforming auditory stimulus representations in a nonspatial context. (C) 2013 Elsevier Inc. All rights reserved.

Introduction XXIX European Seminar in Ethnomusicology: Cultural Mapping and Musical Diversity

«Cultural mapping» has become a central keyword in the UNESCO strategy to protect world cultural and natural heritage. It can be described as a tool to increase the awareness of cultural diversity. As Crawhall (2009) pointed out, cultural mapping was initially considered to represent the «landscapes in two or three dimensions from the perspectives of indigenous and local peoples». It thus transforms the intangible cultural heritage to visible items by establishing profiles of cultures and communities, including music traditions. Cultural mapping is used as a resource for a variety of purposes as broad as peace building, adaptation to climate change, sustainability management, heritage debate and management, but can also become highly useful in the analysis of conflict points. Music plays a significant role in each of these aspects. This year’s symposium invites to highlight, yet also to critically reassess this topic from the following ethnomusicological perspectives: - The method of cultural mapping in ethnomusicology What approaches and research techniques have been used so far to establish musical maps in this context? What kinds of maps have been developed (and, for example, how far do these relate to indigenous mental maps that have only been transmitted orally)? How far do these modern approaches deviate from the earlier cultural mapping approaches of the cultural area approaches that were still evident with Alan P. Merriam and in Alan Lomax` Cantometrics? In how far are the methods of cultural mapping and of ethnomusicological fieldwork different and how can they benefit from each other? - Intangible cultural heritage and musical diversity As the 2003 UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage pointed out in Article 12, each state signing the declaration «shall draw up, in a manner geared to its own situation, one or more inventories of the intangible cultural heritage, present in its territory and monitor these.» This symposium calls for a critical re-assessment of the hitherto established UNESCO intangible cultural heritage lists. The idea is to highlight the sensitive nature and the effects of the various heritage representations. «Heritage» is understood here as a selection from a selection – a small subset of history that relates to a given group of people in a particular place, at a specific time (Dann and Seaton 2001:26). This can include presentations of case studies, yet also a critical re-analysis of the selection process, e.g. who was included – or even excluded (and why)? Who were the decision makers? How can the role of ethnomusicology be described here? Where are the (existent and possible) conflict points (politically, socially, legally, etc.)? What kinds of solution strategies are available to us? How is the issue of diversity – that has been so strongly emphasized in the UNESCO declarations – reflected in the approaches? How might diversity be represented in future approaches? How does the selection process affect musical canonization (and exclusion)? What is the role of archives in this process? - Cultural landscape and music As defined by the World Heritage Committee, cultural landscapes can be understood as a distinct geographical area representing the «combined work of nature and man» (http://whc.unesco.org/en/culturallandscape/). This sub-topic calls for a more detailed – and general – exploration of the exact relation between nature/landscape (and definition of such) and music/sound. How exactly is landscape interrelated with music – and identified (and vice versa)? How is this interrelation being applied and exploited in a (inter-)national context?

El discurso periodístico de Gastón Talamón en torno al nacionalismo musical argentino : los escritos publicados en la revista ‘Tárrega’

Se explican los mecanismos receptivos que contribuyeron a mantener el ideario nacionalista y los procesos de identifi cación cultural, a través de la música, mediante el análisis de dos escritos del musicógrafo y crítico Gastón Talamón, publicados en 1926 en la revista Tárrega. Figura principal entre los teóricos del denominado ‘nacionalismo musical argentino’, los artículos se titulan “Tres nuevas nacionalidades musicales" y “El anti-argentinismo". La metodología utilizada apela a herramientas del análisis discursivo y el marco teórico entrecruza nociones de teoría de la recepción y teoría de la mediación, en línea con una historia socio-cultural de la música argentina.

De la programación miscelánica a la consolidación de la ópera : Devenir y conformación del gusto musical en Buenos Aires (1821-1828)

El objetivo del presente trabajo reside en analizar el proceso de conformación del gusto musical por el género lírico en la sociedad porteña durante el período 1821-1828. Dicho proceso será abordado mediante la reconstrucción y análisis de la programación musical presente, principalmente, en la prensa del período. Asimismo, se indaga en torno a la dinámica de los espacios musicales inaugurados e impulsados para tal fin -academia, sociedades y teatro- y sobre los principales músicos y cantantes intervinientes en dicho proceso cultural.

De la programación miscelánica a la consolidación de la ópera : Devenir y conformación del gusto musical en Buenos Aires (1821-1828)

El objetivo del presente trabajo reside en analizar el proceso de conformación del gusto musical por el género lírico en la sociedad porteña durante el período 1821-1828. Dicho proceso será abordado mediante la reconstrucción y análisis de la programación musical presente, principalmente, en la prensa del período. Asimismo, se indaga en torno a la dinámica de los espacios musicales inaugurados e impulsados para tal fin -academia, sociedades y teatro- y sobre los principales músicos y cantantes intervinientes en dicho proceso cultural.

De la programación miscelánica a la consolidación de la ópera : Devenir y conformación del gusto musical en Buenos Aires (1821-1828)

El objetivo del presente trabajo reside en analizar el proceso de conformación del gusto musical por el género lírico en la sociedad porteña durante el período 1821-1828. Dicho proceso será abordado mediante la reconstrucción y análisis de la programación musical presente, principalmente, en la prensa del período. Asimismo, se indaga en torno a la dinámica de los espacios musicales inaugurados e impulsados para tal fin -academia, sociedades y teatro- y sobre los principales músicos y cantantes intervinientes en dicho proceso cultural.

Vocal fold biomechanical analysis for the singing voice

Teaching the adequate use of the singing voice conveys a lot of knowledge in musical performance as well as in objective estimation techniques involving the use of air, muscles, room and body acoustics, and the tuning of a fine instrument as the human voice. Although subjective evaluation and training is a very delicate task to be carried out only by expert singers, biomedical engineering may help contributing with well - funded methodologies developed for the study of voice pathology. The present study is a preliminary study of exploratory character describing the performance of a student singer in a regular classroom under the point of view of vocal fold biomechanics. Estimate s of biomechanical parameters obtained from singing voice are given and their use i n the classroom is discussed.