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Copyright of Investigación Administrativa is the property of ESCA Santo Tomas - IPN and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of ABEI Journal: The Brazilian Journal of Irish Studies is the property of Associacao Brasileira de Estudos Irlandeses and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pensares em Revista is the property of Editora da Universidade do Estado do Rio de Janeiro (EdUERJ) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article seeks to trace connections that certain musical instruments perform between the plane of human beings and the plane of the sacred in different religious contexts. The xigubo will be analyzed in zione cults in Mozambique and, in Brazil, the use of the tambourine in the Assembly of God church, and the atabaque in Candomblé through ethnographies made by a musician and two anthropologists. To do so, we went into topics such as permissions for use, position within the rite, electrification and embodiment, to demonstrate how such a connection is implemented. The media role played by the investigated musical instruments demonstrates that, even in research fields with little (or no) relationship to each other, the contact between both planes (human and supernatural) has in the music produced the current of contact that connects beings human to the sacred. [ABSTRACT FROM AUTHOR]

More than 52 years ago, on October 18, 1970, the Armorial Movement was launched in the church of São Pedro dos Clérigos, in Recife. The movement, led by writer and playwright Ariano Suassuna, and made up of Northeastern artists and intellectuals, had as its main objective the creation of Brazilian classic art. For that, it was based on the Iberian Baroque and on the popular cultures of the interior of the Northeast region of Brazil. More than half a century after its launch, we heard about contemporary armorial, post-armorial and neo-armorial. This article aims to present a discussion on armorial music and the possible existence of a neo-armorial today. For this purpose, we interviewed musicians who are part of groups such as SaGRAMA, oQuadro and Quarteto Encore, as well as with the artist Antúlio Madureira. [ABSTRACT FROM AUTHOR]

The attributes of the ethnomusicological discipline and the need to relate to Brazilian ancestral music become clear, with the aim of socially valuing the different musical evidences of the original native peoples. Historically, ethnology was developed in Brazil, being the basis for the analysis of musical manifestations of various musical styles. The particularities of the science in question are appropriate in this article for the rescue and evaluative knowledge of ancestral peoples and their musicalities. Thus, we hope to collaborate with the characterization and identification of the musical cultural diversity and the cultural identity of our country. [ABSTRACT FROM AUTHOR]

Copyright of ouvirOUver is the property of ouvirOUver and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Patrimônio e Memória is the property of Centro de Documentacao e Apoio a Pesquisa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Roda de Choro offers a rich environment in order to analyze the musical context of performance and the social context which nourishes the musical relations. This article aims at analyzing the relationship of both musical and social contexts according to the concept of musical order established by John Blacking (1995), who argues that "music cannot exist without the perception of order that organizes sound". Empirical data was carried through interviews and based on ethnographic field work realized during eighteen months in a live music restaurant in Brasilia. Through discourse analysis and registers analysis it was possible to identify elements which form musical order inside the Choro according to the musician's proposal. Analyses unveil the role of Rodas de Choro as social contexts for maintaining and to recreating choro musical tradition. As a musical gender, Choro involves a whole set of extra-musical factors that impacts musicians' performance. [ABSTRACT FROM AUTHOR]

The article discusses the native notion of authorship that resulted from a political process of the emergence of the Kapinawá Indian community in Pernambuco, northeast Brazil. It explores the contexts of construction of the Toré ritual which justifies itself by using categories referring to Jurema's complex, a religious tradition of northeast Brazil. It relates the relationship between the Toré ritual and the emergence of the native notion of authorship.