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Mais do que um neologismo proposto para dar efeito a algum jogo conceitual, o termo violonismo, em contraste com o violonistico, reflete uma concepcao especifica sobre o comportamento do violao na pratica da cancao de câmara brasileira. Trata-se das possibilidades de atuacao do violonista na cancao de câmara para canto e violao, sobretudo quando nos damos conta de que este repertorio tem no cerne da sua criacao nao apenas a musicacao de um texto para a composicao de uma melodia cantavel, a ser acompanhada, mas sim um processo no qual esta musicacao e a sua vocalidade intrinseca integram o instrumento na unidade discursiva tridimensional deste tipo de cancao. Como um exercicio de analise sobre estas possibilidades apresentamos algumas impressoes sobre “Proposicao”, cancao de Ricardo Tacuchian, sobre texto de Gabriel Neves.

Çalışmada amaç, repertuvarda fa# kararda notasyona alınmış eserlerin geleneksel bağlama icrasına göre kullandıkları perdeleri ve elde edilen perde dizilim tipleri arasındaki ilişkileri inceleyerek elde edilen bağlantılarla eser temelli Misket düzeni öğretimi gerçekleştiren öğreticilere bir repertuvar önerisi sunmaktır.Çalışmada, örneklemi, TRT THM repertuvarında yer alan fa# kararda notasyona alınmış altmış iki adet eser oluşturmuş, veriler dokümanlar ve kaynak kişilerle yapılan görüşmeler aracılığıyla toplanmıştır. Örneklemdeki her bir türkünün TRT THM repertuvarı notasyonu Finale nota yazım programı aracılığıyla yeniden yazılmış, ardından eserlerin, ses kayıtlarına ulaşılarak ve örneklemde yer alan bazı türkülerin kaynak kişileri ile görüşmeler gerçekleştirilerek veri çeşitliliğinin sağlanması amaçlanmıştır. Notasyonlar, araştırmacı tarafından bu kaynaklar aracılığıyla güncellenmiş, notasyonlar doküman analizi ve perde analizi yöntemleri kullanılarak analiz edilmiştir. Araştırma sonucunda, örneklemde yer alan fa# karar perdeli olarak notasyona alınmış eserlerin, yirmi farklı perde dizilimi tipine sahip olduğu ve bu dizilim tiplerinin daha çok giriftli/değişimli perde düzenleri ile ilişkili olduğu tespit edilmiştir. Elde edilen veriler ışığında, türkü/eser odaklı Misket düzeni öğretimi gerçekleştiren öğreticilere, derslerinde kullanabilecekleri perde dizilimi temelinde taksonomize edilmiş bir repertuvar demeti sunulmuştur., The aim of the study is to present a repertoire proposal to the teachers who teach the work based Misket tune system through the links accessed by examining the relationships between the curtains used in the repertoire according to the traditional baglama performance of the works notated in the fa # ending point and the types of the pitch arrangement obtained. In the study, the sample was made up of sixty-two works notated in the fa # ending point in the TRT THM repertoire, and the data was collected through interviews with documents and source persons. The TRT THM repertoire notation of each Turkish Folk songs in the sample was rewritten through the Finale note writing program, and it was aimed to provide data diversity by reaching the audio records of the works and conducting interviews with the source people of some of the songs in the sample. The data were analyzed by the researcher by using document analysis and pıtch analysis methods over the updated notations via these sources. As a result of the research, it was determined that the works included in the sample, which were notated as fa # decision pitched, brought up twenty different types of pitch arrangement in the light of their updated notations and that these types of sequences were mostly associated with intricate curtain arrangements. In the light of the obtained data, a taxonomized repertoire bundle was presented on the basis of the curtain arrangement that the teachers who teach folk / work oriented Misket tune system can use in their lessons.

Este trabalho buscou conhecer a pesquisa científica nacional da área de Violão disponível em periódicos brasileiros no período de 2009 a 2019. Por meio de levantamento bibliográf ico mapeamos o acervo digital de oito revistas científicas da área de Música, selecionando os artigos que apresentam o violão como sujeito ou instrumento principal da pesquisa. Os resultados trazem o número absoluto de publicações e sua distribuição segundo subárea, ano e periódico; bem como análise das referências e palavras- chave mais utilizadas, por meio do uso do software Nvivo12. A partir da discussão e reflexão sobre os dados obtidos e sobre as limitações desta pesquisa, são sugeridas práticas científ icas que futuramente podem preencher as lacunas existentes.

A performance musical exige um alto nível técnico e artístico que, sem a preparação adequada, pode gerar sintomas de adoecimento. Os sintomas físicos, em geral, são mais discutidos do que os emocionais. Esta pesquisa, de metodologia mista, objetivou investigar as possíveis relações entre autoestima e improvisação musical de um grupo de músicos, antes e após o processo musicoterapêutico. Os critérios de inclusão foram: ter mais de 18 anos de idade; ser aluno da Universidade Federal de Goiás (UFG); cursar Graduação em Música e praticar improvisação em música popular. Os instrumentos utilizados para coleta e análise dos dados foram: a Escala de Autoestima de Rosenberg (EAR) e a Improvisation Assessment Profiles (IAPs), ambas aplicadas antes e após o processo musicoterapêutico. O grupo teve três músicos, que participaram de seis sessões de musicoterapia. A análise deu-se por meio da comparação dos dados iniciais e finais das duas escalas em relação aos relatos dos participantes no final do processo musicoterapêutico. Os resultados evidenciaram que o nível de autoestima pode impactar no perfil de improvisação musical do músico, mas são necessários estudos que aprofundem as investigações acerca da relação entre estes dois elementos analisados. Concluiu-se que a musicoterapia trouxe benefícios aos músicos participantes, impactando na autoestima e no fazer musical dos mesmos.

Surviving in an environment that seems to be not encouraging music performances for entertainment or for mental contemplation, Malaysian musicians have to strive very hard in order to earn a living. The situation gets worse when it comes to a particular group of musicians who have no choice but share the similar job opportunities. Apparently, the market is not offering enough opportunities for flautists compared to pianists and string instrument players. This eventually leads to a very competitive situation in both the performing and teaching scene. The time frame of this observation reaches back to the time between 2011 and 2016, a cut in cultural market matters caused by the last general election. By and large, watching pure instrumental performances is yet a new controversy for local audiences. This is the major reason stopping potential sponsors to support local arts though musicians have no way to showcase their passion for music without funding. The situation is more frustrating when focussing on flute performance alone as there is no commonly organised major flute event in Kuala Lumpur. For instance, "The Flute Festival in Malaysia" in 2007 was the first and only flute festival so far, in Malaysia. It was organized by the Japan Foundation, Kuala Lumpur (JFKL) together with The Kuala Lumpur Performing Arts Centre (KLPac), the Embassy of Japan and the Flute Festival in Malaysia Organizing Committee. The flute festival opened the eyes and ears of the local flute lovers by giving flute masterclasses, bringing in different kinds of flute brands and models for free trials on the spot and having a flute orchestra to perform. It consisted of 60 professional and amateur musicians from Malaysia, Japan and other countries, who came hoping to inspire each other and to purely enjoy flute music. Not to forget the famous saxophone ensemble from Japan, the “Mi-bemol Saxophone Ensemble” that gave a marvellous performance which was greatly inspiring Malaysian audiences of wind instruments. However, this also shows that flute performances alone might not get to stand resolutely in the local market.

No presente trabalho, dois álbuns de música da família Perdigão são estudados a partir da proveniência documental de Laura Agnes Millar. O estudo da proveniência focou os aspectos de custódias, marcos temporais da sua produção, e sua relação com o repertório nos locais onde seus proprietários viveram. Paralelamente, foi feito um estudo organológico do violão no Maranhão oitocentista, uma vez que os álbuns apresentam a questão da f ixação de nomenclatura relativa ao instrumento. Como resultado, foi verif icado que os álbuns foram produzidos ao longo do Império Brasileiro, mantidos por quatro gerações, e que o seu repertório expressa estreita relação com os traslados dos seus proprietários.

XIX. yüzyıl bestekârlarından Sermüezzin Rifat Bey farklı makamlarda ve çeşitli formlarda eserler bestelemiştir. Tanzimat dönemi bestekârı olan Rifat Bey, Batılılaşma akımının getirdiği değişikliklere ayak uydurmuştur. Türk mûsikîsi ile Batı müziği alanında yaptığı eserler, her iki alan için de önem teşkil etmektedir. Bu çalışmada, Sermüezzin Rifat Bey’in hicâzkâr makamında notası tespit edilen 22 adet eserindeki usûl-arûz vezni ilişkisi incelenmiştir. Eserler içerisinde kullanılan arûz vezinlerinin, benzerlikleri ve farklılıkları tespit edilmiştir. Elde edilen sonuçlar ışığında güftelerin, müzik cümleleri ve usûller ile uyum içerisinde şekillendiği görülmüştür.

Жанр колискової пісні має важливе значення в традиційній культурі. Попри те, що чимало пісень, які мали відношення до циклу родинно-обрядового фольклору, припинили своє функціонування, колискові пісні не втрачають актуальності. У сучасній практиці призначення колискових пісень має більш практичне застосування, проте, у традиційній культурі їх роль була значно більшою, ніж заколисування дитини. Дослідження взаємозв’язку між компонентами колискових пісень та виокремлення їх етнічної своєрідності є актуальним завданням, що сприяє розумінню специфіки традиційної культури. Мета дослідження полягає у дослідженні специфіки колискових пісень та їх ролі в контексті традиційної культури. Методологія дослідження ґрунтується на культурно-історичному та музично- аналітичному підходах. В даному дослідженні культурно-історичний підхід використовується з метою виявлення соціокультурних умов, в яких формуються побутові фольклорні жанри. Велика увага приділяється семантичному рівню аналізу вербального тексту колискових пісень, який виявляє специфіку вірувань предків, взаємозв’язок тексту з функціональним призначенням цих пісень. Музично-аналітичний підхід дає змогу дослідити і порівняти певні спільні інтонації, ритмічні характеристики у колискових піснях, які існують в різних культурах. Наукова новизна дослідження полягає у розкритті ролі колискових пісень в контексті традиційної культури та виокремленні їх специфіки. Висновки. Колискові пісні виступають формою трансляції досвіду багатьох поколінь. Встановлено подібність музичних характеристик цього фольклорного жанру, які стосуються різних етнічних культур – це невеликий амбітус, низхідний рух, повторення одного інтонаційного звороту та вибір ритмічних малюнків, що відтворюють специфіку гойдання. Зміст колискових пісень відображає особливості вірувань предків. На прикладі колискових пісень, поширених в європейській культурі можна зазначити поєднання елементів християнської релігії та міфологічних уявлень. У колискових піснях є певні стабільні компоненти, що пов’язані із заспокоєнням дитини, прагненням її заколисати. Водночас існують відмінності, зокрема у вербальному тексті, які відтворюють специфіку соціокультурних умов, в яких вони формувались. Колискові пісні мають такі функції, як комунікативна, соціальна, магічна. Кожний елемент вербального тексту колискової має глибоке символічне значення та спрямований на виховання дитини, привертання певних духовних сил; сприяє її здоров’ю та забезпеченню їй щасливої долі.

O presente artigo consiste em uma discussao sobre diversos processos criativos relacionados a obra For guitar para violao solo, composta por Samuel Peruzzolo Vieira. A peca teve origem em um processo colaborativo entre o compositor e o violonista Marlou Peruzzolo Vieira, seguindo um padrao de colaboracao definido por John-Steiner (2000) como colaboracao por complementariedade. O processo colaborativo conduzido durante a composicao da peca e apresentado a fim de contextualizar tanto as decisoes composicionais quanto as escolhas direcionadas a preparacao da performance. For guitar apresenta aspectos relevantes relacionados a notacao musical, ao uso de tecnicas estendidas e de recursos percussivos. Estes elementos sao discutidos pelo compositor, expressando seu processo criativo; e pelo performer, que analisa e adapta elementos da peca, fundamentando-se em escolhas interpretativas, a fim de dar fluencia a performance.

El encuentro con la obra y pensamiento de Bertolt Brecht puede ser considerado un momento crucial para el desarrollo artístico del cantautor y poeta portugués José Afonso (Aveiro, 2 de agosto de 1929—Setúbal, 23 de febrero de 1987), dibujando un marco creativo que se ampliará a partir de 1967 como contexto teórico y práctico desde el que entender mucha de su producción. En este sentido, José Afonso lleva al terreno musical popular portugués la reivindicación de Brecht como modelo de intervención cultural que impregna la oposición socialista a la dictadura de Salazar. De este modo, es posible identificar tanto en sus ideas como en sus prácticas compositivas e interpretativas una apropiación consciente de las concepciones brechtianas. Esta apropiación se produce no solo en lo que concierne al papel cultural y político del músico y su música en la ruptura del monolítico orden cultural salazarista, sino también en una dimensión intrínsecamente estética, en la propia utilización de voces cronológica y estilísticamente múltiples para ensamblar artefactos de gran poder expresivo y movilizador. En las canciones de José Afonso, particularmente en las que compuso sobre textos de Brecht, están presentes muchos de los principios y procedimientos constructivos que sitúan al dramaturgo en una línea simultáneamente moderna y políticamente comprometida. Especialmente destacable es la transferencia a la música de los métodos de montaje y superposición de lenguajes, lo que se traduce en un juego ambivalente entre lo tradicional y lo urbano para promover una reconstrucción crítica de lo real. Esto permitiría definir su producción como moderna y popular.

Este artigo discute as associacoes entre a mulher e o violao a partir do discurso literario brasileiro, estabelecendo tambem um dialogo com o contexto cultural e a propria historia do instrumento. Para isso, pesquisamos textos que abarcassem as intersecoes entre as mulheres e o violao, tanto sob a perspectiva da autoria feminina, quanto da escrita masculina. Percebemos, atraves das analises que, se por um lado, o violao revela a inquietude, a violacao, e o desejo libertario da voz feminina; por outro, evidencia a reiteracao de estereotipos vinculados ao espelhamento entre o corpo da mulher e o instrumento. Observamos tambem que, alem da escassez de registros do violao em maos femininas, prevalece um discurso que reforca o imaginario masculino, assim como nao contempla a importância das mulheres violonistas ao longo da trajetoria do instrumento.

Представлене дослідження присвячене висвітленню стилістичних особливостей жанру обробки в фортепіанній творчості Чжан Чжао. Творчість Чжан Чжао спрямована на збереження традиційного музичного мистецтва Китаю та популяризацію його на світовій музичній арені. З цієї точки зору жанр обробки в творчості Чжан Чжао займає особливе місце. Як матеріал для обробки композитор обрав народні пісні різних етносів, що населяють територію КНР. Однак методи обробки цих пісень, незалежно від їх національної приналежності, дуже близькі. Аналіз фортепіанних п’єс в жанрі обробки продемонстрував прихильність композитора до певних засобів.Мета дослідження – визначити палітру засобів, яку використовує композитор Чжан Чжао у своїх фортепіанних п’єсах, написаних в жанрі обробки.Методологією дослідження є комплексний підхід, в руслі якого використані методи культурологічного, історичного, порівняльного та музично-теоретичного аналізу: цілісний, стильовий, жанровий. Окрім того, використано метод активної ілюстрації (термін О. Вязкової), націлений на підтвердження розглянутих положень через залучення значного наочного матеріалу у вигляді нотних прикладів, поетичних текстів, ілюстрацій. Теоретико-методологічну основу концепції склали праці загального характеру, в яких висвітлюються питання теорії стилю, в тому числі національного.Наукова новизна дослідження полягає в тому, що в ньому вперше виявлено характерні стилістичні риси фортепіанних п’єс в жанрі обробки композитора Чжан Чжао.Висновки. Аналіз фортепіанних п’єс Чжан Чжао продемонстрував, що більшість цих творів має структуру з опорою на дворазове проведення теми і невеликий заключний розділ. Головними засобами розвитку автор найчастіше обирає фактурні і регістрові зміни, тобто ті засобі, які сприяють збереженню оригінального тематичного матеріалу. Велику роль у багатьох фортепіанних обробках Чжан Чжао грає остинато партії супроводу. При цьому переважання певних методів розвитку в проаналізованих п’єсах не виключає наявність інших засобів перетворення. Їх вибір визначається прагненням, по-перше, зберегти в обробці максимально близьке до оригіналу звучання тематичного матеріалу, по-друге, розкрити всю палітру виразного потенціалу тематизму в кожній конкретній п’єсі., Представленное исследование посвящено освещению стилистических особенностей жанра обработки в фортепианном творчестве Чжан Чжао. Творчество Чжан Чжао направлено на сохранение традиционного музыкального искусства Китая и популяризацию его на мировой музыкальной арене. С этой точки зрения жанр обработки в творчестве Чжан Чжао занимает особое место. В качестве материала для обработки композитор избрал народные песни различных этносов, населяющих территорию КНР. Однако методы обработки этих песен вне зависимости от их национальной принадлежности очень близки. Анализ фортепианных пьес в жанре обработки продемонстрировал склонность композитора к определенного рода средствам.Цель исследования – определить палитру средств, которую использует композитор Чжан Чжао в своих фортепианных пьесах, написанных в жанре обработки.Методологией исследования является комплексный подход, в русле которого использованы методы культурологического, исторического, сравнительного и музыкально-теоретического анализа: целостный, стилевой, жанровый. Кроме того, использован метод активной иллюстрации (термин Е. Вязковой), нацеленный на подтверждение рассмотренных положений через привлечение значительного наглядного материала в виде нотных примеров, поэтических текстов, иллюстраций. Теоретико-методологическую основу концепции составили труды общего характера, в которых освещаются вопросы теории стиля, в том числе национального.Научная новизна исследования заключается в том, что в нем впервые выявлены характерные стилистические черты фортепианных пьес в жанре обработки композитора Чжан Чжао.Выводы. Анализ фортепианных пьес Чжан Чжао продемонстрировал, что большинство этих произведений имеет структуру с опорой на двукратное проведение темы и небольшой заключительный раздел. Главными средствами развития автор чаще всего избирает фактурные и регистровые изменения, то есть те средства, которые способствуют сохранению оригинального тематического материала в неизменности. Большую роль во многих фортепианных обработках Чжан Чжао играет остинато партии сопровождения. При этом преобладание определенных методов развития в проанализированных пьесах не исключает наличие иных средств преобразования.Их выбор определяется стремлением, во-первых, сохранить в обработке максимально близкое к оригиналу звучание тематического материала, во-вторых, раскрыть всю палитру выразительного потенциала тематизма в каждой конкретной пьесе., The presented research is devoted to highlighting the stylistic features of the processing genre in the piano work of Zhang Zhao. Zhang Zhao’s work is aimed at preserving the traditional musical art of China and popularizing it in the world music arena. From this point of view, the genre of processing in the work of Zhang Zhao occupies a special place. The composer chose folk songs of various ethnic groups inhabiting the territory of the PRC as material for processing. However, the methods of processing these songs, regardless of their national identity, are very close. The analysis of piano pieces in the genre of processing demonstrated the composer’s penchant for certain kinds of means.The purpose of the research is to determine the palette of means used by the composer Zhang Zhao in his piano pieces, written in the genre of processing.The research methodology is a comprehensive approach, in line with which the methods of culturological, historical, comparative and music-theoretical analysis such as holistic, stylistic and genre are used. In addition, the method of active illustration (E. Vyazkova’s term) aimed at confirming the considered provisions through the involvement of significant visual material in the form of musical examples, poetic texts and illustrations is used. The works of a general nature which cover the issues of style theory including national one were the theoretical and methodological basis of the concept.The scientific novelty of the research lies in the fact that for the first time the characteristic of stylistic features of piano pieces in the processing genre by the composer Zhang Zhao were revealed.Conclusions. Zhang Zhao’s analysis of piano pieces showed that most of these pieces have a structure based on a two-time theme and a small concluding section. The author most often chooses texture and register changes as the main means of development, that is, those means that contribute to the preservation of the original thematic material unchanged. The ostinato of the accompaniment part plays an important role in many of Zhang Zhao’s piano arrangements. At the same time, the predominance of certain developmental methods in the plays analyzed does not exclude the presence of other transformation means. The choice is determined by the desire, firstly, to preserve in the processing as close as possible to the original sound of the thematic material, and secondly, to reveal the full range of expressive potential of the theme in each piece.

Este trabajo es un acercamiento al conocimiento de la capilla de música de la antigua colegiata de Santa María de los Reales Alcázares de Úbeda, Jaén (1258-1852), la primera de las tres existentes en la ciudad, a través del estudio y presentación de la documentación conservada en el Archivo Histórico Municipal de Úbeda —en las actas capitulares municipales conservadas de los siglos XVII y XVIII— y en el Archivo Ducal de Medinaceli (Sevilla), en donde recientemente se han localizado las únicas actas capitulares conocidas de la colegial. Las dificultades del estudio vienen marcadas por la lamentable escasez de fuentes documentales que a su vez lleva a la limitada, aunque importante, existencia de bibliografía sobre el tema. Con todo, se aportan datos de enorme interés sobre un aspecto de la historia musical ubetense muy desconocido —objetivo fundamental del estudio—, al tiempo que se abren caminos para nuevas investigaciones como objeto de futuros trabajos.

In this article, I will discuss the role of the electric guitar in the conception, development and composition of three recent works: Recessional Motion, Flexidra IV, and Volpi/Formentera. In Recessional Motion, I will address compositional, technical and notational issues to explain the underlying creative process. In Flexidra IV, all the pre-compositional materials were the result of extensive experimentation sessions with electric guitars, pedals and found objects that subsequently were extrapolated to other instruments to generate the instrumental textures. In Volpi/Formentera, the electric guitar is at the centre of the compositional processes and all the musical parameters orbit around it. I will examine in detail how the different preparations and instrumental textures were derived from my own ‘exploratory sessions’ presenting possible solutions to notate the necessary actions to produce the sounds in the guitar.

Nota do editor: carta para o dossiê da Vórtex em homenagem a Julian Bream.

Throughout history, we find some music styles that can be associated to places that for some reason, like certain cities, confer a symbolic and identity charge to a characteristic sound. Currently, Barcelona is a focus of attraction for many musicians since it has a broad background in international-level production of popular urban music. The objective of this work is to determine whether the popular music of the city of Barcelona has its own sound that can be identified from the music produced in this city. For this purpose, several musical producers working in Barcelona have been interviewed who have analyzed the cultural and musical situation of the city and have pointed out the difficulties and contradictions between the recording industry and cultural policy that both help and hinder the current production of a sound Made in Barcelona.

Este artigo investiga uma colecao de manuscritos autografos contendo obras para duo de violoes escritas por Francisco Mignone em agosto de 1970. A colecao, que denominei de Manuscritos de Buenos Aires, esta depositada no Instituto Nacional de Musicologia “Carlos Vega”, na capital argentina, e sua existencia era inteiramente desconhecida pela comunidade musical e academica brasileira. Por meio de 1) contatos e entrevistas com pessoas proximas a Mignone e aos violonistas do Duo Pomponio-Zarate, a quem as obras foram dedicadas e 2) consulta a fontes textuais, bibliotecas e aos acervos do compositor e do duo, investigo as circunstâncias de surgimento das obras. As informacoes levantadas propiciaram um olhar mais refinado e aprofundado sobre a genese da grande obra violonistica de Francisco Mignone, cuja composicao se iniciou em agosto de 1970. Dados surgidos durante a pesquisa implicaram tambem em algumas correcoes e acrescimos aos catalogos da obra violonistica do compositor.

Muslim Magomayev (1942-2008) is an outstanding singer who played a significant role in the history of vocal musical culture in Azerbaijan and the world. Arias from operas by various composers occupy an important place in Magomayev’s creative activity. He turned to these arias from the earliest stages of his career and managed to create unique pieces of art. The article thoroughly analyses the vocalist’s performance of opera arias and gives a distinct explanation of his performance principles. It should be noted that the peculiarities of M. Magomayev’s performance of opera arias have not been scientifically and theoretically studied and extensive research has not been previously carried out. The purpose of this research is to identify Magomayev’s principles of performing opera arias, the interpretation features of some of the works performed by the singer. The research methodology consists of various analysing methods of vocal performance. All this is presented in connection with the information about the singer published in various newspapers and magazines, and some moments from his life. The performance analysis carried out in the article is associated with the theoretical foundations for vocal science. Along with it, the analysis of vocal performance is presented on note samples. The scientific novelty of the research. It is for the first time M. Magomayev’s opera aria creativity has been reviewed, and the singer’s vocal peculiarities and his method of approaching the images have been determined. The study includes performance analyses of samples of musical works by Azerbaijani and Western European composers, as well. Conclusions. M. Magomayev gave priority to addressing opera arias by various composers in his repertoire. One of the main features of Magomayev’s performance is the preservation of the style of any aria during the performance. This is manifested both in a variety of performance techniques and in various ways of artistic expression. The singer brought out the subtle details of each image and transforms them into a characteristic feature of the protagonist. In these arias, he could demonstrate all capabilities of his voice. Features of his voice character, including the strength, volume range, good state of the voice apparatus, a wide range of vocal performance techniques and rich voice palette give grounds to say that the singer’s voice apparatus was given him by nature. The singer’s wide voice range allowed him to masterly perform arias written for bass and baritone timbres.

O objetivo do trabalho e a analise do Estudo Op. 6, n.8, de Fernando Sor atraves dos conceitos de Ritmo de Frase (Phrase Rhythm) e expressividade. Como metodologia principal recorreu-se a analise teorico-experimental dividida em duas frentes: a primeira parte do trabalho versa sobre as teorias analiticas ritmico-fraseologicas contidas nos tratados de Lussy (1874, 1883) e Riemann (1884, 1903). E na segunda parte foi realizada a justaposicao entre as teorias ritmico-fraseologicas e a expressividade violonistica. Para alcancar esses objetivos, recorreu-se a analise de gravacoes de expert performances valendo-se de tecnicas de extracao de dados dos parâmetros dinâmico e agogico. Os resultados demonstram que o Ritmo de Frase pode ser um caminho efetivo para a concatenacao entre analise e performance.

Research has indicated that one-to-one teaching in higher music education in Western classical music typically favours technical over interpretive aspects of musicianship, and imitation of the teacher's rather than the student's explorative interpretation. The aim of the present study is to investigate students' and teachers' understandings of how musical interpretation of Western classical music is learned in this context. Semi-structured qualitative interviews with six piano students and four teachers in Sweden were conducted and hermeneutically analysed using haiku poems and poetical condensations. The analysis found that the conditions for learning musical interpretation centred upon students achieving a high level of autonomy, as affected by three key aspects of teaching and learning: (1) the student’s and the teacher's understandings of what musical interpretation is, (2) the student's experience of freedom of interpretation as acknowledged by the teacher, and (3) (expectations of) the student's explorative approach. As none of these aspects were reported as being explicitly addressed during lessons, there might be a need for both teachers and students to verbalise them more clearly to support piano students' development. Validerad;2021;Nivå 1;2021-01-13 (alebob)

Sammendrag Den norske trommeslageren Jon Christensen (1943–2020) var en av de mest innflytelsesrike musikerne i samtidas jazz og bidro til over 70 innspillinger for plateselskapet ECM. Med utgangspunkt i Deleuze og Guattaris begreper om «territorialisering» og «deterritorialisering», samt M. M. Bakhtins «kronotop»-begrep, søker artikkelen å kartlegge Christensens musikalske erfaringer på 1960-tallet. Spesielt vektlegges interaksjonen mellom Christensen og andre innflytelsesrike musikere, blant dem Dexter Gordon, Bud Powell, George Russell, Don Cherry, Jan Garbarek, Zbigniew Namysłowski, Steve Kuhn, Stan Getz, Sonny Rollins og andre. Ved en dialogisk-metodisk tilnærming er målet å belyse Christensens egne musikalske perspektiver og synspunkter, sett i relasjon til aktuelle jazzhistoriografiske begreper. Tilnærmingen er derfor både biografisk og antropologisk. Sentralt i Christensens egne refleksjoner stod begreper om «lyd» og «lytting». Mens mye akademisk og journalistisk litteratur synes å fokusere på «nasjonaliteter» og europeiske og/eller amerikanske «identiteter», viser mangfoldet av forbindelser Christensen inngikk i på 1960-tallet et langt mer sammensatt og detaljert (vei)kart, enn om utgangspunktet var reifiserte kategorier som «nordisk jazz» eller den «nordiske tonen».

Recent studies of female guitar students in upper secondary school ensemble education suggest that girls behave, and are encouraged to behave, in more immanent ways than boys. They seem to receive less encouragement to stretch their bodies and become full musical human beings. Instead they become the second musical sex. During the course of my work with the problem of how to create space for girls playing the electric guitar in educational settings, I have continually found myself wondering how to create educational spaces and relations in ways that let all pupils, independent of sex, realize ideas, transcend as musical bodies, and become what they already are. If teachers and pupils are interrelated bodies, teachers must be aware of how they use their bodies when it comes to creating space for all pupils to develop and stretch out their bodies. The actions of the music teacher, as a musical body, must be balanced in relation to the other musical bodies in the room, as well as to physical preconditions, goals, visions, and expectations of the students. In this article, I want to delve into the subject of bodily interaction, teachers’ responsibilities, and questions of intentional educational bodily relations. The aim is to share my close reading of Young’s philosophical thinking regarding gender structures and especially female comportment, motility, and spatiality, and develop a set of prerequisites for intentional bodily (music) educational relations. With a starting point in research-based inspiration and motivation for conducting the current philosophical investigation, I share my close reading of Young’s theories regarding female situated bodies. Continually I relate to excerpts from two interviews with female guitar students, exemplifying musical body-relational experiences. Finally I share and reflect upon a developed thinking about mindful bodily (music) educational relations.

This article examines the development of reflection-in-musicking in a Write an Opera project at a Norwegian upper secondary school. As part of a PhD project, this case study focuses on a group of seven participants collaborating to create music for an opera with a professional composer facilitating the process. Interviews, observations and video-recordings make up the body of the empirical material. Theories of musicking (Small 1998) and reflection-in-action (Schön, 1983, 1987), and a sociocultural perspective, have been central to understanding the creative practices examined in this study. Learning features found build on socially and culturally co-constructed repertoires of experience, knowledge and skills. Three modes of reflection-in-musicking are identified from the empirical data: aesthetic, artistic and structural.

This article explores the meaning and function of streaming media as a potential facilitator of musicalBildung. Taking the affordances of streaming media technologies as a starting point, the article thusfocuses on the formative and cultivating dimensions a music streaming service such as Spotifymight offer. The specific aim of this article is to describe and analyse how musical Bildung may evolvewithin a Spotify context from a user perspective. To address the aim from the point of view of musiceducation, Spotify users’ activities and experiences of streaming media interactions were accessed,inspired by internet-related ethnography. Stimulated recall interviews, focusing on the participants’experiences as well as their actual use of Spotify’s streaming service, were conducted, recorded, andtranscribed. The generated material was subjected to co-operative hermeneutic content analysis.The results illuminate how Bildung evolves in users’ encounters with the service and with art mediatedvia Spotify. Relevant topics occurring in the human-art-technology relationship of Bildung from aHeideggerian perspective were Being-possible, the ability-to-be, and Spotify as the Other. In sum, itcan be stated that Bildung evolves when Spotify exceeds the thingness of the Other, becoming a workof art in itself, throwing the user into Being.

The overall aim of this single case study is to find aspects of musical leadership relevant to ensemble conducting, using the theory of practice architectures to analyze a record producer’s practice. Data generation is performed mainly through transcripts and reflection logs based on YouTube interviews and videos. Insights into ensemble conducting are offered by exploring the following question: “What aspects of musical leadership relevant to conducting can be identified by applying the theory of practice architectures to an analysis of record producer Daniel Lanois’s practice?” The materials are analyzed based on three contexts of interpretation of meaning in hermeneutics. The theory of practice architectures serves as the analytical lens for the third context of interpretation. Main findings from this study are extracted into nine concepts that may serve as aspects of musical leadership relevant to conducting: a fast communication system, a self-adjusting act, black dubs, locations, operating by limitation, master station, the philosophical fiber, preparing, and sonic ambience. These and similar concepts may offer new insights into ensemble conducting in contexts similar to recording situations.

Este artigo aborda as 19 canções de câmara compostas por Carlos Alberto Pinto Fonseca para canto e piano. Trata-se de uma síntese de trabalhos realizados sobre a obra vocal deste compositor mineiro do século XX, ainda pouco mencionado na literatura sobre a música brasileira. Após uma breve exposição sobre o compositor e seu legado composicional, há uma discussão sobre o ecletismo contido em sua obra e, especialmente, no conjunto das 19 canções de câmara sob duas perspectivas: a histórica e a analítico-musical. Sob o ponto de vista histórico, as canções de câmara são apresentadas tendo como base as etapas da produção do compositor e os aspectos pessoais e estéticos que o influenciaram. Na sequência, o ecletismo é discutido com base nos elementos musicais e poéticos contidos nas canções: textos, tratamento dado ao piano, presença de vocalises e estéticas adotadas, a partir das quais são apresentadas características individuais de cada canção.

While Martin Luther’s message of the Reformation was circulated through a variety of sources, music was highly regarded by Luther and had an undeniably crucial role in spreading his ideas. Luther’s theological stance determined his purpose for music. He emphasized the value of God’s Word and saw music as a means to share truth from the Bible. Luther even compared the importance of music to that of theology. He claimed that music was a gift from God, capable of fighting evil and promoting good. This research traces the effects of music on the transmission of Luther’s message by considering Luther’s reasoning behind his high regard for music, his use of music to share his beliefs, and the lasting impact of his music philosophy. Through understanding Luther’s esteem for music, its purpose becomes clear: Luther utilized the gift of music to spread the message of God’s Word and the Reformation.

In recent years, increased demand for music education has promoted discussions related to the efficiency of the music conservatory and its unique characteristics in responding to this demand. The objective of this study focuses on analyzing the management perspectives of those who administrate both municipal and private music conservatories to define the management and organizational styles of these institutions and the differences that may correspond to the type of ownership. We use an interpretive research approach applying a mixed methodology carrying out both qualitative series of semi-structured interviews and a quantitative research questionnaire given to school administrators to establish a set of variables that are the object of analysis. The results revealed that there are significant differences in the management and organization between public and private music conservatories, even though both types of institutions comply to the same legal regulations. Furthermore, both the number of students and the organizational and management styles of music conservatories are highly influenced by the numerous peculiarities of local musical traditions.

This commentary addresses von Hippel and Huron's (2020) work on "tonal and anti-tonal" structures in twelve-tone music and offers a possible extension making use of discrete Fourier transforms.

O presente artigo trata das discussões acerca de tecnologias de gravação, reprodução e difusão sonoras entre educadoras e educadores de movimentos pedagógicos de renovação escolar. Para tanto, as fontes analisadas consistem principalmente nas revistas pedagógicas Progressive Education (EUA) e La Nouvelle Éducation (França), publicadas por associações homônimas nas décadas de 1920, 1930 e 1940. Dirigir a atenção a estas publicações se justifica pela sua profusão e protagonismo no cenário internacional à época. Defende-se que, assim como outras áreas dos estudos musicais, a educação sofreu impactos significativos e particulares com a popularização dessas novas tecnologias, constituindo um quadro de discussão crítica sobre elas. O estudo sobre os materiais selecionados dá a ver que, em alguns momentos, avanços tecnológicos e modernização pedagógica convergiram de maneira positiva, como nas possibilidades trazidas pelo uso de gravadores. Entretanto, frequentemente as discussões foram pautadas por reservas e resistência, especialmente quando tematizaram novos hábitos de escuta e novas relações de consumo.

O presente estudo busca analisar, discutir e compreender a conformação do trabalho do músico às regras impostas pelo mundo do trabalho e a forma como esta força de trabalho vem sendo apropriada por mecanismos de exploração próprios à atual fase do modo de produção capitalista. Em particular, destacamos o Rio de Janeiro como um estado protagonista no ranking cultural – de acordo com dados estatísticos produzidos pela Firjan –, porém, que reflete uma outra realidade quando investigado a partir do depoimento e da observação do trabalho de músicos neste estado. A partir de grandes transformações no modo de produzir e consumir música, é delegada ao músico a necessidade de “reinventar-se” e “sair da caixa”, o que seria uma premissa para a permanência desse trabalhador no mercado de compra e venda de produtos e serviços musicais. Do nosso ponto de vista, o que ocorre é um acirramento na precarização das relações de trabalho, e, tal qual nos demais setores produtivos, os músicos estão entregues a um mar de incertezas, próprio da atual fase do modo de produção capitalista.

In this commentary, a number of problematic aspects of the studies presented in the target article are discussed. Suggestions have been made for further analyses of some of the data and for additional experimental investigations.

We show that the twelve-tone rows of Arnold Schoenberg and Anton Webern are "anti-tonal"—that is, structured to avoid or undermine listener's tonal schemata. Compared to randomly generated rows, segments from Schoenberg's and Webern's rows have significantly lower fit to major and minor key profiles. The anti-tonal structure of Schoenberg's and Webern's rows is still evident when we statistically controlled for their preference for other row features such as mirror symmetry, derived and hexachordal structures, and preferences for certain intervals and trichords. The twelve-tone composer Alban Berg, by contrast, often wrote rows with segments that fit major or minor keys quite well.

O artigo apresenta a análise da série Acalantos do Folclore Brasileiro, que reúne 17 cantigas de ninar harmonizadas por Aloysio de Alencar Pinto (1911-2007). A análise é metodologicamente orientada pelas propostas do Grupo Resgate da Canção Brasileira (UFMG) e do Grupo Africanias (UFRJ), com a finalidade de contribuir para uma construção da performance musical a partir de decisões interpretativas fundamentadas. O estudo foi aprofundado no diálogo com autores que se dedicaram à investigação da canção de ninar no Brasil e em Portugal, possibilitando compreender essas cantigas como representativas dos (des)encontros culturais que constituíram a diversidade brasileira. As harmonizações de Aloysio, que integram a busca modernista por uma identidade nacional, apresentam características típicas dos acalantos, como a previsibilidade, a pequena duração e a repetição – muito visível no acompanhamento rico em ostinatos; e a presença de sons nasais e palavras com o fonema /u/, fechado, interiorizado e nasal, compondo como que um mantra que pretende induzir ao sono. Tudo isso enriquecido com figuras de terror de origens portuguesa e afro-brasileira, com a mística indígena e revelando traços da escravidão que marcou a história do Brasil. A análise das africanias presentes nas canções possibilita que intérpretes (brasileiros e estrangeiros) compreendam mais profundamente as palavras e suas variações que são portadoras de significados culturais mais amplos. O estudo contribui para a superação da ideia dos acalantos como canções ingênuas, ampliando suas possibilidades interpretativas.

While there has been a renewed interest in recent years on Carl Philipp Emanuel Bach and his place as a transitional figure in Western music history, little academic thought is given to his musical philosophy. Emanuel’s father, Johann Sebastian Bach, taught him the German-Protestant view that the primary purpose of music was to highlight scripture. Through his education, Emanuel gained an appreciation for the secular philosophies of humanism and the Enlightenment. In contrast to J. S. Bach’s Protestant views, the philosophies of the Enlightenment asserted that the primary purpose of music was to highlight the essence of humanity through emotions and reasoning. During his many years of working with Frederick the Great, Emanuel developed his musical style as he was influenced by many Enlightenment philosophers and musicians, primarily René Descartes and Jean-Philippe Rameau. Emanuel’s use of the Empfindsamer Stil in music expanded the Enlightenment musical philosophy of the Doctrine of Affections by representing the unstable nature of human emotion. Emanuel’s Versuch über die wahre art das clavier zu spielen was not only a profound declaration of musical theory technique but also demonstrated his belief that music should be guided by emotion.

Despite the large body of research that has examined tonal and atonal harmonies to our perception of tension, there is no work that describes or explores the perception of post-tonal chords, but more specifically, chords that contain both tonal and post-tonal features. This article applies the concept of calculating the total amount of voice-leading movement, to examine its relationship to our perception of tension and release. To do this, three neoclassical pieces are selected to analyze the relationship between theoretical and perceived tension. The findings suggest that in addition to calculating the horizontal motion between harmonies, physical and acoustical factors play a critical role in relating theoretical to perceived tension. This approach is adaptable to other neoclassical works and in addition, this study could have implications in other musical fields such as performance practices and analyzing formal functions in post-tonal repertoire.

This commentary provides two methodological expansions of von Hippel and Huron’s (2020) empirical report on (anti-)tonality in twelve-tone rows by Arnold Schoenberg, Anton Webern, and Alban Berg. First, motivated by the theoretical importance of equality between all pitch classes in twelve-tone music, a full replication of their findings of “anti-tonality” in rows by Schoenberg and Webern is offered using a revised tonal fit measure which is not biased towards row-initial and row-final sub-segments. Second, motivated by a long-standing debate in music cognition research between distributional and sequential/dynamic tonality concepts, information-theoretic measures of entropy and information content are estimated by a computational model and pitted against distributional tonal fit measures. Whereas Schoenberg’s rows are characterized by low distributional tonal fit, but do not strongly capitalize on tonal expectancy dynamics, Berg’s rows exhibit tonal traits in terms of low unexpectedness, and Webern’s rows achieve anti-tonal traits by combining high uncertainty and low unexpectedness through prominent use of the semitone interval. This analysis offers a complementary–and arguably more nuanced–picture of dodecaphonic compositional practice. This commentary provides two methodological expansions of von Hippel and Huron’s (2020) empirical report on (anti-)tonality in twelve-tone rows by Arnold Schoenberg, Anton Webern, and Alban Berg. First, motivated by the theoretical importance of equality between all pitch classes in twelve-tone music, a full replication of their findings of “anti-tonality” in rows by Schoenberg and Webern is offered using a revised tonal fit measure which is not biased towards row-initial and row-final sub-segments. Second, motivated by a long-standing debate in music cognition research between distributional and sequential/dynamic tonality concepts, information-theoretic measures of entropy and information content are estimated by a computational model and pitted against distributional tonal fit measures. Whereas Schoenberg’s rows are characterized by low distributional tonal fit, but do not strongly capitalize on tonal expectancy dynamics, Berg’s rows exhibit tonal traits in terms of low unexpectedness, and Webern’s rows achieve anti-tonal traits by combining high uncertainty and low unexpectedness through prominent use of the semitone interval. This analysis offers a complementary–and arguably more nuanced–picture of dodecaphonic compositional practice.

In the article "Emotion Painting: Lyric, affect, and musical relationships in a large lead-sheet corpus", Sun and Cuthbert (2017) explored the correlations between affect-carrying lyrics and musical features such as beat strength, pitch height, consonance, and mode. Several musical features did indeed turn out to be highly correlated with the affect of the lyrics. However, correlations between other features, particularly mode-related musical features and lyric affect, were either insignificant or even contradicted previous research. In the current commentary, it is argued that the difference between the musical features that show significant correlations and those that do not is that the former have a local musical effect whereas the latter tend to affect the mood of a whole phrase or piece, and that the way Sun and Cuthbert estimate lyric affect for sentences or song may not be appropriate. Furthermore, a few remarks are made about the way Sun and Cuthbert treat multi-syllable words and about some basic assumptions concerning the relation between music and lyrics in a song. Nevertheless, the authors are praised for their innovative and interesting work, while several alternative and additional analyses (for example with scale-degree qualia and syncopations) are proposed.

Body movement has played an important role in music education and there appears to be a consensus that it is one of the most effective means to develop rhythmic skills. In this article, we relate and analyze recent findings of neurocognitive research that support formative actions in this direction. Some results show that the link between sensory and motor systems provides a sophisticated mechanism of temporal prediction and feedback, which has led to the belief that body expression influences the way certain rhythmic elements are perceived. Finally, we propose some suggestions for rhythm education in school and cross training perspectives related to the link between music and movement. El movimiento corporal ha tenido un importante rol en la formación musical y parece existir consenso en que este es uno de los medios más eficaces para el desarrollo de habilidades rítmicas. En el presente artículo se analizan y relacionan hallazgos recientes de investigación neurocognitiva que respaldan acciones formativas que apuntan en esta dirección. Algunos resultados muestran que el vínculo entre sistemas sensoriales y motores proporciona un sofisticado mecanismo de predicción temporal y retroalimentación, lo cual ha llevado a pensar que la expresión corporal influye en la forma en que se perciben ciertos elementos rítmicos. Finalmente, se plantean algunas sugerencias para la educación rítmica en la escuela y perspectivas formativas transversales relacionadas con el vínculo entre música y movimiento.

In the narratives of contemporary musicians, the choro tradition is regularly treated as exclusively employing the specific instrumentation of a musical ensemble known as the regionals. We observe in the literature, however, the use of greater diversity of instruments and formations during performances of the genre in its beginnings. To understand the divergence between these two perspectives, we approach choro from the notion of tradition as conceived by Anthony Giddens. Pervaded with the idea of permanence, tradition is also subject to conflicting discourses and practices by its agents who operate within its abstract systems, thereby able to transform the tradition itself. Based on this observation, we stress that such changes, in the case of choro, are subjugated to negotiations that take place in its ritual space: the roda. We argue, finally, that regionals established themselves–by way of diverse ritual negotiations–as part of an invented choro tradition, which, at present, helps to standardize and particularize the heterogeneity of the instrumental groups dedicated to performing the genre at the turn of the nineteenth to twentieth century. The data used to support our direction and conclusions were extracted from the literature, a participant observation in a choro roda located in the city of Belo Horizonte (Brazil), and from interviews with musicians who dedicated to the performance of the choro genre.

This article is a partial result of a doctoral research study. Through applied means, it aims to demonstrate the “tools for a descriptive transcription of the expressiveness in a guitar performance”. This “tool” is being developed for the purpose of systematically describing the expressive resources used by performers in phonographic recordings. Methodologically, a discussion was carried out around the terminology of expressiveness and the idea of descriptive transcription, the latter developed by the ethnomusicologist John Blacking (2007). In addition, we prepared an exposition of expressive resources to be described (time, dynamics, timbre, articulation, vibrato), and presented an applied proposal that demonstrates the use of the “tool” in a recording of Insistência - Ponteio no. 1 written by the composer Orlando Fagnani (1960) and performed by the guitarist Milton Nunes (RECITAL, 1961). In conclusion, we consider that the application of this “Tool” in a wide number of phonograms of different performers and different periods may help to identify recurring performance choices, which, in turn, would point out similarities and differences among the various schools of performance.

Partindo de uma discussão sobre escolas nacionais de música, o artigo examina a criação e o impacto da “escola franco-belga” de violino no Conservatório de Bruxelas, a partir da independência da Bélgica, em 1830. Os ensinamentos da escola franco-belga, por sua vez, tiveram grande ressonância entre os músicos brasileiros até a segunda metade do século XX e podem ser sentidos também na fundação do Instituto Nacional de Música, no Rio de Janeiro, a partir de 1890. Procuramos mostrar que, na fundação de ambas as instituições de ensino, as questões musicais, ao serem examinadas com minúcia, mostram-se intrinsecamente ligadas, e por vezes subordinadas, às disputas que eram travadas no âmbito político. Estas se relacionavam à afirmação nacional de Estados que acabavam de passar por transformações em seus regimes.

The authors respond to the commentary by Michael Spitzer which appeared in Vol. 14, No. 1-2 of Empirical Musicology Review. The response 1) points out the problem with equating nostalgia and tension in the perception of single chords, 2) makes a case for why studying the role of vertical harmony, isolated from other musical cues, is insightful, and 3) questions the relevance of appoggiaturas as an explanation for the perception of nostalgia in single chords.

This paper describes the formalization and application of a compositional system, called SIMILARE, which articulates microstructure and macrostructure based on similarity relations among pitch-class sets. After a detailed examination of the two references that give theoretical support to the work (compositional systems and similarity), the system was defined and, from it, two works were planned: one for string quartet and other for solo piano. During the research process, Python applications were designed to assist composers in manipulating sets.

espanolLa integracion de la musica para conjuntos instrumentales en el ceremonial religioso durante el transito del siglo XVIII al XIX es una tematica que ha cobrado cierta relevancia en los ultimos anos en la agenda musicologica espanola e hispanoamericana. En el presente texto se analiza concretamente la inclusion de musica instrumental durante aquellas ceremonias o actos religiosos que, como las procesiones, se caracterizaban por el desplazamiento de comitivas mas o menos numerosas. El analisis de la documentacion administrativa procedente de dieciseis instituciones eclesiasticas espanolas evidencia, por un lado, la pervivencia de los ministriles en estas ceremonias hasta bien entrado el siglo XIX, en su funcion tradicional de alternar con el coro o la capilla de musica, y revela, por otro, la participacion de los conjuntos instrumentales modernos desde ubicaciones fijas, en sustitucion del organo o de los propios ministriles, con el objetivo de solemnizar el movimiento de las procesiones, los celebrantes y/o las autoridades religiosas. Finalmente, algunos repertorios musicales, titulados como versos o marchas, ilustran el tipo de piezas que podian escucharse durante estos eventos. EnglishThe integration of music for instrumental ensembles into religious ceremonies during the transition from the eighteenth to the nineteenth centuries is a subject that has gained importance in recent years in Spanish and Spanish-American musicology. This article analyses the inclusion of instrumental music during these ceremonies or religious acts that, like processions, were characterised by the translation of small or large entourages. The analysis of the administrative documentation from sixteen Spanish ecclesiastical institutions shows, on the one hand, the continued existence of minstrels in these ceremonies until well into the nineteenth century, in their traditional role of alternating with the choir or the music chapel. On the other, it reveals the participation of modern instrumental ensembles from fixed locations, replacing the organ or the minstrels themselves, with the objective of solemnising the movement of the processions, the celebrants and/ or the religious authorities. Finally, certain musical repertories, titled versos or marches, illustrate the type of pieces that could be heard during these events.

No abstract available.

A existência da obra XIV Variações sobre o tema de Xangô, de Almeida Prado, em duas versões (uma de 1961, para piano, e outra de 1998, para fagote e piano), e o depoimento do compositor de que cada variação se refere a um gênero do folclore brasileiro criam um cenário complexo de intertextualidade. Primeiramente, o artigo traz uma contextualização da obra nacionalista, obra esta que segue as instruções de Mário de Andrade e Mozart Camargo Guarnieri. Em seguida são abordados conceitos de intertextualidade que importam neste recorte de trabalho, entre outros, a bússola intertextual de Gabriel de Mesquita, e representamos em gráfico as quatro camadas de intertextualidade encontradas nessa obra. Durante a abordagem destas camadas, damos um enfoque na relação da variação IV com sua referência externa, o Ponteio n. 45 de Guarnieri. A análise comparativa dos dois intertextos, tanto nos seus parâmetros superficiais quanto profundos, mostra que eles se relacionam através de modelagem de perfil. A comparação das duas versões, escritas com uma distância de 37 anos, evidencia como a nova versão, mesmo mantendo o piano inalterado, ambienta a obra na fase pós-moderna do compositor. Por último, compilamos as tipologias de intertextualidade dentro da bússola intertextual e propomos uma reformulação da bússola bidimensional e sua ampliação para três dimensões, no intuito de incorporar nesta um novo conceito, a metaintertextualidade, a partir da relação sugerida pelas duas versões das XIV Variações de Almeida Prado.

Based on works of crossover nature (classical + popular) composed or arranged for the “2019 International Society of Bassists Convention”, I discuss the development of idiomatic writing of the acoustic double bass. Departing from the interaction between three creative musical processes - composing, arranging and playing, in various musical genres (classical song, Broadway musical song, blues, rock, ballad and samba), I discus (1) the refinement of the notation in the score; (2) the heterogeneity of the seven double bass registers; (3) exploring the double bass as a harmonic instrument; (4) exploring the double bass as percussion instrument; (5) the exploration of the text-music binomial (6) the reduction of larger instrumentations (symphony orchestra, chamber groups, blues and rock bands) to smaller groups (duo, trio and quartet with double bass, voice, piano and percussion) and (7) the development of extended techniques on the double bass not documented in the literature.

Este estudio muestra la evolución comercial, transmisión y modelos de la música de inspiración patriótica que se distribuyó en Valencia en la Guerra de la Independencia Española (1808- 1814). Se aborda la identificación de diferentes obras relacionadas con este género, así como los establecimientos de venta que las anunciaron en la prensa local durante dicho periodo, confrontando la información obtenida con la referente a otros anuncios de lotes similares publicados en prensa foránea que pudieron haber comercializado material de características parecidas. También se ha planteado la correspondencia entre el volumen de anuncios y los acontecimientos bélicos que tuvieron eco en la vida de Valencia. Además, se identifica a dos copistas que ejercieron su labor en la ciudad, documentando algunas de sus transcripciones y composiciones conservadas en la Biblioteca Nacional de España. Por último, se ofrecen ejemplos de diferentes tipologías de este género musical que se han podido documentar en los periódicos valencianos.