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In 1926, a New York Times article described the cultural and ethnic flows in south Brazil as a "Melting Pot". The report predicted that German Brazilians, tied to their ethnoracial origin, would soon be Brazilianized. The study of congregational song practices offers insight into the relationship between migration, race, culture, and ethnicity. Moreover, investigating Brazilian Lutheran singing practices helps us understand how the New York Times' prediction unfolded on the ground. This paper examines the Brazilian Lutheran hymnal Livro de Canto, published in 2017, and displays how Brazil's ethnoracial diversity is manifested and negotiated in the Lutheran context, both musically and theologically. By interviewing members of the hymnal committee and investigating how they dealt with Brazil's ethnoraciality in the context of the hymnal compilation, this paper demonstrates ways denominations and churchgoers negotiate theological, cultural, musical, and ethnoracial identities through congregational singing. More importantly, it showcases how Brazilian Lutheran church music practices inform broader social conversations around racism, nationalism, Blackness, and Brazilianness. [ABSTRACT FROM AUTHOR]

Introduced in Brazil at the beginning of the 19th century and widely accepted by the economic and social elite of the time, the guitar was played in aristocratic venues such as the Quinta da Boa Vista palace, where the Empress Leopoldina would practice music daily. Beginning in the 1840s in the hands of foreign artists, who fostered the development of Rio de Janeiro's 19th-century musical life, a busy agenda of musical performances allows us to become acquainted with the guitar's repertory, which was composed of original works and, especially, transcriptions of opera arias. This information is in stark contrast with the highly negative image of the instrument in Brazilian society during the advent of the Republic, due to the guitar's unshakeable association with the cultural practices of the urban poor. [ABSTRACT FROM AUTHOR]

The aim of this study is to discuss, from socio-cultural and music practice perspectives, the presence of the viola (guitar) in Rio de Janeiro at the beginning of the nineteenth century. This bibliographical study is based on literature about the musical life in Brazil from 1750 to 1850, and the study of period sources about the viola, particularly in relation to thorough bass and accompaniment. Issues that stand out from the socio-cultural analysis are the conflict between acceptance and prejudice in relation to the instrument and its performers, and the use of the instrument for music instruction. We consider, taking as a departure point the example given by the Arte de muzica (Anonymous, 1823), that the instrument was conceivably used during early musical instruction and that a simplified version of the rule of the octave, proposed by its author, might epitomize a confluence of oral and written practices of the period. [ABSTRACT FROM AUTHOR]

• A listener can perform practices that internalise the taste for a musical genre • There is a taste normative system that guides the listener practices in a music scene • Music appreciation is improved in a process of learning and experimentation • A listener can develop the faculty of judging and expressing taste in a music scene • Social distinction is achieved by the listener who perform specific taste practices This article characterises the taste internalisation practices of listeners engaged in the consumption of the metal musical genre, delimiting engagement as an active role in performing distinctive actions and/or establishing social relations that enable the metal scene in Brazil. We found that social actors and specialised media propagate the normative system among listeners, who get involved with the aural, visual and verbal dimensions of the style, while appreciating and updating the meanings inherent to it. Cultural competencies are developed for the judgement and expression of taste, considering the peers inserted in the scene. Social distinction is manifested through the elaboration of codes that affirm the particularity of the listener's musical taste. We conclude that the taste internalisation practices promote a process of learning and experimentation during the consumption of the metal musical genre, contributing to the insertion of a new listener and to guide the interactions among listeners already existing in this cultural field. [ABSTRACT FROM AUTHOR]

The work discusses pedagogical dilemmas related to band courses offered to community bands by schools of music, governmental agencies, music festivals, foundations and non-governmental organizations (NGOs) in Brazil. Even though these courses are for bands, most of their educators belong to the classical conservatory practice and teach its manner of playing to the bands' instrumentalists. This article relates a multiple case study of three community bands of the Para State. The study focuses on the manner of clarinet playing in these bands. It considers the instruments and accessories, the didactic approaches, the instrument technique and the performance characteristics. It points out that the clarinetists' manner of playing is common among community bands and yet very different from the approaches employed in the classical conservatory practice. The sonic characteristics of this manner of playing have cultural values and meanings that are part of the bands' identities. Thus, the study opens up a discussion on what pedagogical postures coordinators and teachers may have in band courses when these two contrasting music practices meet. [ABSTRACT FROM AUTHOR]

Motivation can interfere with the music profession, especially by the constant need for instrumental practice. However, the literature does not show clearly the main motivating factors for this professional activity. Thus, we sought to identify the factors related to motivation for developing the work of 22 musicians from an unprofessional orchestra in southern Brazil. The motivation was assessed by questionnaire FERREIRA et al. (2006) with 28 questions that seek to assess the motivation for the development of professional activities related to the organization of work, achievement and power, with the performance and motivation associated with involvement. For the data analysis was performed descriptive statistics through average and standard deviation and factor analysis. The results showed that the factors with the highest score are associated with motivation for professional achievement and power within the orchestra and the motivation for the development of professional activities related to the organization of work. These information reflect themselves in the results of factor analysis and also indicated that both domains as bigger explanatory power to the motivation for the development of practice with the instrument. In general, one can say that the musicians are motivated to carry out the work. [ABSTRACT FROM AUTHOR]