The “Revista Música”, is an academic refereed journal, published by the Graduate Program in Music of the School of Communication and Arts, University of São Paulo (Brazil). Founded in 1990, this journal publishes predominantly original articles, including also other types of significant contributions to the field of research in music (translations, interviews, reviews, scores). We welcome submissions on any aspect of music research in English, Spanish, and Portuguese. Reviews of books are also welcome. This journal accepts submissions continuously. Submission guidelines: http://www.revistas.usp.br/revistamusica Should you have any questions, do not hesitate to contact the editor: revistappgmus@usp.br
Universidade de São Paulo. Escola de Comunicações e Artes
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Towards a Decolonial-Insurgent Musicology: listening regimes, grammars of the audible, and friction between regimes.
Copyright (c) 2025 Diósnio Machado Neto https://creativecommons.org/licenses/by-nc-sa/4.0
Presentation of the Thematic Dossier: Insurgent Musico-logics and Decolonial Listenings: bodies and epistemologies in transit
Little Death and Sound Experience of Passage
This is a narrative of a sound experience lived under the influence of the wine of the soul. In a world where various wines and champagnes are commonly enjoyed in concert halls modeled after European traditions, I recount this passage experience where sounds encounter different dimensions of vibrations. Transitions through other environments. Transitions through other perspectives. Transitions of death, life, and healing. Here, I describe the experience of experiencing music in a completely different context from what I had previously known, reflecting on the duality between experiences and highlighting how the connection with nature and community can provide a deeper and more transformative musical experience. The search for the sacred in music is a central theme, showing how different contexts can enrich the human experience.
Copyright (c) 2025 Roberta Benjamim https://creativecommons.org/licenses/by-nc-sa/4.0
Before Mermaids, We Were Travestis: An Exploration in Artistic Research on Sound and Gender
This article is a body of water that welcomes tributaries of reflections on a sonic epistemology under construction, which flows into an ongoing artistic research. It connects at the confluences of perceptions on temporality, gender, and listening. The first tributary to be navigated is that of Artistic Research, charting the course to venture into sonic creations, evoking reflections based on Isabel Nogueira (2025) and her methodology of enchantment, which contributes to a path at this epistemological crossroads through “travestilidades” a performance under construction entitled “Encantaria” (2024-). To think of this body that is in constant transition is a puzzle whose landscape is modified by time.
Copyright (c) 2025 Luca D' Alessandro, Manuel Silveira Falleiros Silveira Falleiros https://creativecommons.org/licenses/by-nc-sa/4.0
Who Can Speak About Music? Gender and the Construction of Authority in 1950s Music Criticism
This article analyzes how Brazilian music criticism in the 1950s contributed to the construction of a canon marked by the structural exclusion of women, particularly black women, from positions of authorship and intellectual authority over popular music. Drawing on an examination of the formation of the Clube dos Cronistas de Disco (Record Critics’ Club), volume II of Panorama da música brasileira (1964) by Ary Vasconcelos, writings by Lúcio Rangel, and the work O Cancionista (2002) by Luiz Tatit, the article develops an approach that combines quantitative analysis of entries, discursive reading, and feminist and decolonial theoretical frameworks. The findings reveal that women predominantly appear as performers or moralized figures, while roles such as critic, composer, and cultural mediator are reserved for educated white men located in major urban centers. Engaging with thinkers such as Simone de Beauvoir, María Lugones, Lélia Gonzalez, bell hooks, Susan McClary, among others, the text demonstrates that music criticism operated as a technology of power, as conceptualized by Foucault (1988), responsible for naturalizing gender and racial hierarchies under the guise of aesthetic neutrality. The article concludes that a feminist and decolonial history of Brazilian popular music requires not only the inclusion of new names but also a revision of value criteria, modes of listening, and conditions of enunciation that uphold the canon.
Copyright (c) 2025 Renata Leticia Marques https://creativecommons.org/licenses/by-nc-sa/4.0
Singing-Territory and the Listenings That Yield
This article investigates how colonial and neoliberal listening regimes shape vocal training, performance, and pedagogy in Brazil and Latin America, producing subtle forms of vocal and subjective silencing. Drawing on a decolonial and autoethnographic approach, it analyzes how institutional and media practices configure the field of listening and expressivity, turning the voice into an instrument of distinction and productivity. The study introduces the concept of singing-territory (“canto-território”) as an ethical, political, and methodological horizon that seeks to expand the relationships between body, technique, and belonging, preserving the creative and relational power of the vocal gesture. It engages theorists such as Nina Sun Eidsheim, Leda Maria Martins, Lorena Cabnal, Katherine Meizel, Simone Franco Valle, Vladimir Safatle, and Milton Santos, combining theoretical reflection with situated experience. The findings suggest that pedagogical and performative practices grounded in shared listening, vulnerability, and reciprocity can operate as forms of acoustic justice and symbolic repair, contributing to rethinking vocal training curricula, listening practices, and cultural policies.
Copyright (c) 2025 Lívia Oliveira Itaborahy https://creativecommons.org/licenses/by-nc-sa/4.0
Colombian, Musicologist, and Maricón: When Music Becomes Resistance
This article weaves an autobiographical narrative with a musicological and ethnographic analysis of the ways LGBTQI+ people in Colombia have transformed music into a tool of resistance. From a situated standpoint as a Colombian, mestizo, cisgender, gay musicologist, the author offers a self-reflective approach to music as a space of expression, exclusion, and reivindication. The first section examines personal experiences in the city of Pasto, where Latin American popular music operated as a mechanism of heteronormative regulation throughout childhood and adolescence; it also discusses the impact of early migration to Norway, where transnational music such as Shakira’s opened possibilities for new experiences of liberation. The second section provides a critical survey of scholarly production on music and sex-gender diversity, highlighting the limitations of Anglophone frameworks and the need for intersectional, Latin American perspectives. Finally, the article presents findings from the research project Sounding a Queer Rebellion! LGBTQI+ Musical Resistances in Latin America, focused on musicians in Colombia who have re-signified traditional and contemporary genres to denounce structural violence against dissident bodies. Through cases such as singer-songwriter Magdalena Moreno and her Afro-transvesti bullerengue, the article explores how music articulates lived experiences marked by racism, classism, and transphobia, and how terms such as maricón may be reclaimed from standpoints grounded in the Global South.
Copyright (c) 2025 Luis Gabriel Mesa Martínez https://creativecommons.org/licenses/by-nc-sa/4.0
Decolonizing the body: toward a cosmovision of listening – dream and creation as strategies to postpone the end of the world
This article proposes a reflection on listening as a practice of decolonizing the body and thought. Drawing from a near-death experience in which sound and vibration manifested as the final forms of consciousness, the study investigates listening not merely as a perceptual act, but as a mode of existence, a way of relating to the world that transcends the dichotomy between body and mind, subject and object. Inspired by a dream that gave rise to an artistic-scientific project conceived as a wearable interface and art installation, the article seeks to articulate body, dream, and technology through the perspective of a “cosmovision of listening,” understood here as expanded listening, or, in other terms, a cosmolistening: of the visible and the invisible, the human and the nonhuman, the material and the immaterial. Grounded in authors such as Krenak (2019), Maturana and Dávila (2018), Deleuze and Guattari (1992), Santaella (2001), Schafer (1969), Oliveros (2005), Schaeffer (1966), among others, the article suggests that, by invoking the sensible, dream and the act of creation are powerful strategies for restoring to art and life their dimension of presence and connection with the whole, through a listening of the self and of the world.
Copyright (c) 2025 Maria Lucília Borges https://creativecommons.org/licenses/by-nc-sa/4.0
Cavalo-Marinho Boi Pintado by Mestre Grimário: participatory action research methodology with an oral tradition group in northeastern Brazil
This article presents the methodological challenges and dynamics of collaboration in an ethnomusicological study of Mestre Grimário's Cavalo-Marinho Boi Pintado during the COVID-19 pandemic. Using a Participatory Action Research approach, the study sought to understand how the health crisis and social isolation impacted the group's Sound Praxis. The methodology favored collaborative and dialogical practices, incorporating multiple voices in the analysis of the musical, performative, and social dimensions of the folguedo. Cavalo-Marinho is a sound-kinetic-poetic manifestation of oral tradition that occurs mainly in the Zona da Mata Norte region of Pernambuco: a mixture of dance, music, theater, and poetry in the form of a street performance lasting up to eight hours. Music plays a fundamental role in this tradition, from the opening tune to the final moments with the coco and the incelências. We will present data on the ethnography carried out in a master's degree academic work with the Cavalo-Marinho Boi Pintado, from the municipality of Aliança - PE, as well as testimonials from research agents that reveal how the COVID-19 pandemic functioned not only as an obstacle, but as a revealer of the structures of solidarity and resistance of the revelry. The results indicate that the Cavalo-Marinho, even in the face of contemporary pressures and the reduction of its traditional performances, remains a space for identity and political affirmation. The research reaffirms the importance of participatory methodologies in ethnomusicology, contributing to strengthening the dialogue between academia and communities that hold traditional knowledge.
Copyright (c) 2025 Igor Cavalcante de Sa https://creativecommons.org/licenses/by-nc-sa/4.0
Between local and global: identity, crisis and regional labels around tango
Tango is an artistic manifestation that emerged during the last two decades of the nineteenth century in the Río de la Plata basin. Throughout the twentieth and twenty-first centuries, tango has undergone various local, (inter-) transnational, regional, and global processes of mobility and mediation, which have led to the proliferation of new and increasingly diverse cultural hybrids. This study aims to analyze different uses of the label “Rioplatense tango,” created through regionalist discursive systems and reinforced in response to various economic and representational or national-organizational crises between the 1980s and 2020. The proposed methodology relies on a genealogical-discursive and historiographical analysis of cultural policies, institutions, and products, as well as of musicological studies on tango. The central hypothesis is that such labels function as regionalist geocultural ideas, whose practical resources and concrete realities are materialized through projects, budgets, audiences, and commercial circuits serving the purposes of representing and organizing nationalist ideological and political differences. All of this is produced, funded, and distributed by private companies or international organizations with the participation of various nation-states, both for profit and to revalorize national symbols that reinforce mechanisms of organization, domination, normalization, and the perpetuation of diverse cultures within a specific region. Finally, the study suggests that a decolonial mode of listening –embodied in non-hegemonic (local) phenomena, corporealities, and spaces– may disarticulate or reconfigure dominant epistemologies, concepts, and labels.
Copyright (c) 2025 Mauricio Andrés Pitich https://creativecommons.org/licenses/by-nc-sa/4.0
Rethinking Musicology: the Historical Subject and the Decolonial Critique in Local Narratives of Argentine Music
This article proposes to examine the theoretical category of historical subject in Argentine music historiography from a decolonial perspective. It seeks to explore approaches and modes of listening appropriate to local music histories, decentred from the Eurocentric musicological canon. Therefore, the perspective of analysis is delocalised from the historiographical model of European modernity to situate itself in narratives that emerge within Argentine territory. In particular, two musicians from the Cuyo region (central-western Argentina) in the early decades of the 20th century are taken as case studies. Based on a comparative analysis of the figures of Buenaventura Luna and Inocencio Aguado Aguirre, the ways in which subalternity, Hispanicism and cultural regionalism influenced their conception as historical subjects who challenged the epistemological hierarchies of traditional musicology are examined. It is argued that both musicians embodied forms of historical agency that questioned the purported representativeness of a nationalist narrative and allow us to conceive of a relational and situated historiography of music in Argentina.
Copyright (c) 2025 Fátima Graciela Musri https://creativecommons.org/licenses/by-nc-sa/4.0
Rethinking the classification of musical instruments: a decolonial approach using cladistics
The most widely used scientific classifications of musical instruments are part of a Western epistemological paradigm. Therefore, they focus on Western musical instruments and marginalize non-Western ones, impacting how they are perceived, collected, described, studied and exposed. In systematics, scientific classifications of living beings are agglomerative (or upward), functional and based on cladistic methods. This study proposes to import them in order to construct new and decolonial classifications of musical instruments. Based on three major impacts of current classifications (the hegemony of Western instruments, the names and the ethnographic status of non-Western ones), which are reviewed in detail, we show how cladistics can resolve them. The global approach allowing the methodology to be decolonial is explained through five conditions (addressing the characters, the scientific collaboration, the nomenclature, the goals of the new scientific classification and the consideration of indigenous knowledge). The production of such decolonial scientific classifications is the first step to visibilize, individualize, contextualize, and historicize non-Western musical instruments in science. This will provide richer perspectives on these instruments, through the incorporation of subjugated epistemologies, thereby changing the way they are perceived, interpreted and studied, and increasing our understanding of their diversity.
Copyright (c) 2025 Salomé Strauch https://creativecommons.org/licenses/by-nc-sa/4.0
Sound Confluences and Writing for Black Women
This article offers a critical reflection on the intersections of race, gender, and music from an Afrodiasporic and decolonial perspective. Grounded in the understanding that music is not neutral act, but is deeply embedded in social, historical, and political relations, the article foregrounds Black sound production as a territory of resistance, memory, and spirituality. Drawing on the work of authors and artists such as Beatriz Nascimento, Lélia Gonzalez, Eurides de Souza Santos, Abdias Nascimento, Mãe Stella de Oxóssi, and Dona Dalva, the study problematizes the epistemicide promoted by coloniality in artistic and academic fields, emphasizing the role of terreiros as spaces of aquilombamento and the reclamation of Black African ancestry. The centrality of Black women, particularly within musical and religious knowledge systems, is highlighted as a driving force behind political and cultural movements that resignify Brazilian history. Finally, the article affirms Black musicality as a powerful tool for identity formation, collective healing, and intellectual insurrection.
Copyright (c) 2025 Stefani Silva Souza https://creativecommons.org/licenses/by-nc-sa/4.0
Apresentação: Dossiê Temático: Reverberações do som em outras artes - narrativas permeáveis
A ideia deste dossiê nasceu da parceria entre as editoras convidadas em aulas experimentais ministradas conjuntamente nas semanas de Cultura e Extensão da ECA USP, nas quais tratamos das vanguardas artísticas pensando em confluências entre Música e Artes Visuais. A cada ano dessa atividade, percebemos o enriquecimento mútuo de nosso diálogo: de modo mais nítido, um campo refletia-se no outro, e nos lançamos a falar musicalmente sobre o que se vê e experimentar visualmente o que se escuta. Expandindo a ideia inicial e abrindo a conversa, surge o dossiê Reverberações do som em outras artes: narrativas permeáveis como um convite às colaborações e às ressonâncias de saberes entre as artes. Neste dossiê encontraremos portanto trabalhos que apontam para a colaboração, saberes e entrelaçamentos que nascem da integração entre as artes com o foco nas transformações dos sons nesses processos. As possibilidades são inúmeras, e os artigos deste volume trazem contribuições diversificadas, abarcando transformações conceituais, históricas, formativas e artísticas que derivam dessas conversas. Em linhas gerais, serão discutidas iniciativas que abordam a Música Popular e suas difusões na mídia; a Música e a corporeidade em entrelaçamentos pedagógicos; as aproximações da Música com a Literatura; os diálogos entre Música, Criação e Artes Visuais; a construção de trilhas sonoras no Cinema e, por fim, os desdobramentos da relação entre a Música e o Teatro.
Copyright (c) 2025 Ana Luisa Fridman, Liliane Benetti https://creativecommons.org/licenses/by-nc-sa/4.0
Performance of sonority as a practice of a Poetics of Relation
This essay discusses the possibility of a Poetics of Relation, as proposed by Édouard Glissant, applied to collaborative musical creation practices, especially free improvisation. The text adopts fragmentary writing as a methodological strategy, in dialogue with the discontinuous nature of performance and improvisation. The key concepts are linked, whenever possible, to concrete experiences of collective creation, in order to reinforce the practical dimension of reflection.
Copyright (c) 2025 Fabio Cintra https://creativecommons.org/licenses/by-nc-sa/4.0
Movement-image, time-image: philosophy of images, technology and their intersections in sound and visual creation.
This article reports on the creative process behind Peça x, an acousmatic piece mirrored in visual experimentation through drawing and painting. The report is accompanied by theoretical reflections on the philosophy of images developed by Gilles Deleuze and revisited by Anne Sauvagnargues, focusing on the concepts of movement-image and time-image. Philosophy, technology, sound images, and visual images contaminate each other, outlining what is understood as the process of creating a work of art. The composition is comprehended as an agency of multiple images that collide and transform one another, structuring a rhizomatic path of creation. The visual images that accompany the text are not illustrative but constitute a non-verbal discourse parallel to words and sound. The composition is carried out as a collage, a combination and recombination of images that are cut, compressed, stretched, and superimposed. As with philosophy, technical concepts drawn from literature specifically focused on digital audio appear throughout the text, contextualizing certain procedures used, especially the technique of timestretch. The intention here, however, is not to present a technical study of these tools, but rather to demonstrate how a few resources can contain a variety of creative possibilities as well as being nourishment for poetics. The focus of the research is on the path: a ramified trajectory which goes beyond the boundaries of this text, with the constant discoveries made along the way being the driving force of the creative movement.
Dossiê Temático - Reverberações do som em outras artes: narrativas permeáveis
Copyright (c) 2025 Giovanna Lelis Airoldi https://creativecommons.org/licenses/by-nc-sa/4.0
Musical transcription and literary translation: a bibliographic survey toward a promising dialogue
The interdisciplinary dialogue between musical transcription and literary translation has contributed to an increasing conceptual refinement of transcription practices. These developments are strongly influenced by the innovative approaches proposed by translation theory and its longstanding critical and artistic traditions. This article aims to support the consolidation of this research field by presenting an annotated bibliographic review that outlines its trajectory of growing complexity and the deepening interplay between music and literature. The review also encompasses key developments related to interpretation, expression, and creation, identifying emerging trends that may foster the continued advancement of research in this area.
Literary Translation and Musical Transcription
Copyright (c) 2025 Flavio Terrigno Barbeitas, Ricardo Marçal de Souza e Silva https://creativecommons.org/licenses/by-nc-sa/4.0
Teaching listenings: sound pedagogies between Murray Schafer and Sound Art
This article draws an approximation between Sound Art and music education, especially that of R. Murray Schafer, based on the centralization of listening that both share as a fundamental characteristic. To formulate this approximation, we mobilize the concepts of sound-musical education (LATORRE, 2014), sound pedagogy (TINKLE, 2015) and listening pedagogy, which indicate an internal pedagogical character to the artistic work that would consist of teaching listenings. We begin initially from the Sound Studies discussion on the the musical avant-gardes of the 20th century and the concept of musicalization of sound (KAHN, 1999), which critically points to the split in the sound world between musical sound and noise, and identifies the musical paradigm as founded on a conception ofsound and listening that excludes signifyingand relational dimensions. Next, we explore Murray Schafer's educational propositionsthrough his formulation of acoustic ecology and sound education, highlighting his formulation of a moralistic listening based on the dichotomy between silence and noise and the pedagogical limitations arising from this conception. Finally, we approach Sound Art by positioning its sound pedagogy methods as a possible opening point for the teaching of plural listenings, investigating the diversity of its understandings of sound and listening that would engender what we call relational listening. We conclude by proposing that Sound Art could contribute to the development of a pedagogy of listening that expands the scope and interrelations of sound and listening, consequently expanding the listening conditions that could be pedagogically approachedby a sound-musical education.
Copyright (c) 2025 Lucca Perrone Totti https://creativecommons.org/licenses/by-nc-sa/4.0
The pulsation of goodbye in A Tempestade, by Legião Urbana (and by Shakespeare)
The article aims to analyze the album A Tempestade, the last album of Legião Urbana, released before the death of its composer and vocalist Renato Russo. The principal objective of this text is to clarify the dialogue between the album and other arts, including Shakespeare's last play, wich seems to have inspired its title, as well as other sectors of cultural production, such as literature and cinema. Previously, the production conditions of the musical work in question were discussed based on Pierre Bourdieu’s contributions to the sociology of culture.
Copyright (c) 2025 Rafael de Oliveira Bragança, Thaís Sant'Anna Marcondes https://creativecommons.org/licenses/by-nc-sa/4.0
The sound workflow in audiovisual: reports from two university professors
This paper aims, on the one hand, to present in an introductory way how the audiovisual sound creation process takes place, describing the functions and processes as they occur in the reality of the film industry. It also attempts to emphasize the creative potential of sound and present methodologies that are not necessarily predominant, but which can encourage an active role for sound in narrative and dramatic construction. In this sense, we will present two reports of creative sound processes: Kira Pereira will discuss her work on Pasajeras (Fran Rebelatto, 2021), where she was part of the sound design and worked on the production sound mixer; and Author Y will report on her participation in Café com Canela (Ary Rosa e Glenda Nicácio, 2017), in which she signs as sound director, having participated in the conception of the sound design and executing the sound editing. The discussion includes the relationship between teaching and audiovisual practice, as well as reflections on being a woman in the audiovisual profession and in the field of sound in particular.
Copyright (c) 2025 Kira Santos Pereira, Marina Mapurunga Ferreira https://creativecommons.org/licenses/by-nc-sa/4.0
Karajan vs. Niebeling: the maestro and filmmaker`s conflict beyond the screen
This article departs from Herbert von Karajan’s dissatisfaction with filmmaker Hugo Niebeling’s work on the video recording of Beethoven’s Pastoral Symphony - as documented in Karajan: Maestro for the Screen (2009). Our aim is to analyze the aesthetics of Niebeling`s imagery and speculate reasons beyond those highlighted in the documentary as the primary cause for the maestro’s rejection of the director’s approach: namely, the alleged overshadowing of music by visuals. To this end, the works of Taylor (2012, 2013) and Zumthor (1993, 2002) will serve as theoretical foundations, as their theories on performance emphasize the centrality of images, gestures, and corporeality in constructing musical meaning, operating in complementarity with the sonic dimension. Additionally, we will analyze Karajan’s performance of the first movement of Schumann’s Symphony No. 4 in two distinct settings: rehearsal and concert. Here, a marked reduction in gestural expressiveness at the concert - compared to a far more eloquent bodily practice in rehearsal - would stem from the same underlying issue as his discontent with Niebeling’s visual work: Karajan’s constrained vision of performance.
Copyright (c) 2025 Marcos Antônio Silva Santos https://creativecommons.org/licenses/by-nc-sa/4.0
Xianxia Melodrama: music in the TV Series The Untamed
Melodrama is both a dramatic genre (BROOKS, 1985) and a musical procedure and compositional resource (VAN DER VEEN, 1955; NEUMEYER, 1995; PISANI, 2006) employed in the creation of stage music in the Western context. This study analyzes how the television series The Untamed (2019) articulates the aesthetics and ethics of melodrama with elements of the broad Chinese cultural tradition, ranging from adventure and fantasy literature, traditional music and opera, to cinema and other productions in the digital and sociocultural context of contemporary East Asia. The research adopts a cross-cultural approach, examining both the aesthetic dimension and the political, economic and ideological factors that permeate the context of the work's production (KAPLAN, 1993). Based on the idea of audiovision (CHION, 2008), it can be observed that The Untamed makes explicit use of Western melodramatic techniques while also valuing classical sounds and concepts from the Asian country. The series also features music itself as a central element in the plot, changing the course of the narrative, whether as an enunciation of love or as sonic weapons that destabilize the canons of the wuxia genre.
Copyright (c) 2025 Thaís Amorim Aragão https://creativecommons.org/licenses/by-nc-sa/4.0
Crafting a sensorial cinema: music, voice, and sound effects beyond borders
This article analyzes the dissolution of boundaries between music and sound design in cinema, including speech, over 100 years. The methodology used is a narrative review. Divided into three sections, the text demonstrates how technological limitations and the division of labor in Hollywood separated the production of cinematic sound into three independent departments. Directors such as Rouben Mamoulian, Alfred Hitchcock, Sergio Leone, Lucrecia Martel, Darren Aronofsky, and others contributed to dissolving these boundaries in films like Love me tonight (1932), Un condamné à mort s'est échappé (1956), The birds (1963), Once upon a time in the west (1968), La cienága (2001), and mother! (2017), among others. Technologies such as Dolby Atmos have intensified the immersive character, consolidating the concept of an integrated soundtrack (Kulezic-Wilson, 2019), and promoting organic sonorities that mobilize the spectator's body in a holistic way. Thus, sound in cinema seems to be evolving towards a sensory art, unifying music, voice, and effects in tactile and immersive experiences.
Copyright (c) 2025 Rodrigo Carreiro https://creativecommons.org/licenses/by-nc-sa/4.0
Sound City: architecture, music and visual arts
This article proposes an investigation into the use of graphic scores as an intersection between the fields of music, visual arts, and architecture. We analyze the piece Cidade Sonora — composed in 2022, based on architectural façades in São Paulo — as an example of synesthetic creation and interpretation, bringing different possibilities of musical notation, with a methodology of symbolic transposition from the graphic plane to the sonic/gestural plane, associated with gestures of Conduction (MORRIS, 2017), Soundpainting (THOMPSON, 2006), and Ritmo y Percusión con Señas (VÁZQUEZ, 2013).
Copyright (c) 2025 Pedro de Grammont e Souza, Gabriel Rossetto Amorim, Guilherme Peluci de Castro https://creativecommons.org/licenses/by-nc-sa/4.0
“New year, new magazine”: Revista do Rádio as an example of the legitimisation of Brazilian popular music
Brazilian popular music established itself, even before the acronym MPB, since the early decades of the 20th century, as a cultural expression linked to the development of the recording industry and the mass media. In the context of the so-called Golden Age of Radio in Brazil, between the 1940s and 1950s, this consolidation took place through an integrated circuit that linked recordings, radio broadcasting, and the illustrated press. This article investigates how Revista do Rádio, launched in 1948, contributed to the legitimisation of urban popular music by converting voices into images and repertoires into symbolic value. Based on early editions, a qualitative analysis of editorials, covers, and regular columns is carried out, observing how the periodical articulated phonographic promotion, the construction of celebrities, and national-popular rhetoric. It is concluded that the magazine not only mirrored the success of radio but also operated as an active editorial device in the consolidation of a musical imaginary with national reach.
Copyright (c) 2025 Caio Vitor Priori-dos-Santos https://creativecommons.org/licenses/by-nc-sa/4.0
Hand and matter: the body into discoveries, sound explorations and spatialities
This article deals with percussive objects – our term for natural materials or everyday objects used in a percussive musical performance – and their extramusical developments, in investigative aspects of corporeality, materiality and spatiality in our artistic and educational practices. As well as in approaches and intersections with dance – in aspects of movement and body awareness in artistic and pedagogical applications; and with film sound post-production in the practice of foley – in aspects of sound perception and tactility. Through this study, we will address how percussive objects and the development of a percussive sound perception can contribute to formative issues for students, artists and educators in various areas. In addition to favoring collective creativity and group work based on listening, sound research of the surroundings and the balance between all the voices involved. This is a work resulting from a master’s degree in Musical Creation Processes: Music and Education and an ongoing Doctorate in the same research line focusing on interdisciplinary dialogues between Music and Dance.
Copyright (c) 2025 Igor Caracas de Souza Maia https://creativecommons.org/licenses/by-nc-sa/4.0
The Classical Guitar in Spain, Portugal, Italy and Germany. A general Approach to Its History. E-book de Martín-Gil Damián (editor)
A história do violão recebe agora uma nova publicação, no idioma Inglês, de autoria de diversos professores-violonistas atuantes em quatro países: Alemanha, Espanha, Itália e Portugal. A ideia do e-book surgiu de um evento acadêmico-artístico continuado que reuniu jovens estudantes para formar conjuntos de violões e, como conteúdo adicional, conhecer a história do violão em palestras realizadas pelos professores do evento. A resenha apresenta os destaques do texto, focando no que há de novo e/ou pouco divulgado.
Copyright (c) 2025 Teresinha Rodrigues Prada Soares https://creativecommons.org/licenses/by-nc-sa/4.0
Female Authorship in Brazilian Film Scoring: an Overview from 1995 to 2019
This article presents the findings of a study focused on mapping the presence of women in the field of film scoring within Brazilian cinema. The primary aim is to shed light on the contributions of female composers, whose artistic work has historically been rendered invisible. In addition to identifying these composers, the research also seeks to quantify gender disparity in this specific domain of film production. The study examines films that were commercially released in Brazil between 1995 and 2019 - a period that begins with the so-called "retomada" (revival) of Brazilian cinema and ends just before the outbreak of the Covid-19 pandemic, during which film production expanded steadily due to public funding and cultural incentive policies. Beyond highlighting the evident gender imbalance, the results reveal that few women succeed in composing film scores independently or in establishing long-term careers in the field. This lack of continuity and authorship contributes to the persistent marginalisation of women’s creative presence in Brazilian film music
Copyright (c) 2025 Suzana Reck Miranda, Geórgia Cynara Coelho de Souza, Debora Regina Taño https://creativecommons.org/licenses/by-nc-sa/4.0
The present text aims to present a critical and reflective analysis of a pedagogical activity previously carried out and conducted in an academic setting, directed toward undergraduate and graduate students of the Department of Music at the University of São Paulo. The investigation seeks to establish connections between the didactic proposal and the intersection of technological mediation, the state of presence, as well as the relationship of these elements with the surrounding spatiality. In this way, the intention is to highlight how the sonic experience, when mediated by digital technologies, can influence the perception of space and time, fostering new forms of sensory and cognitive engagement within the educational context.
Copyright (c) 2025 Thayná Aline Bonacorsi Xavier, Caio Conti Milan, Fernanda Vaidergorn https://creativecommons.org/licenses/by-nc-sa/4.0
MUSICS, et al: resonances between music and experimental arts in London, 1975-1979
By studying the archive of the independent publication MUSICS (1975-1979), associated with the London Musicians’ Collective, this article proposes to discuss the interdisciplinary arts scene of the period through three axis of analysis: the context of the magazine and the art practices it addresses, connected to a “second generation” of musical improvisation in London; the networks of contacts between these musicians, who shared headquarters and events with the London Filmmakers’ Co-operative, among others; the interdisciplinary creative process of certain artists, as documented by the magazine. The article thus seeks to address MUSICS both as an important archive and as a catalyst agent of interactions between experimental arts in the period in London, integrating it into the larger repertoire of expanded art poetics in the 1970s.
Copyright (c) 2025 Rodrigo Faustini dos Santos https://creativecommons.org/licenses/by-nc-sa/4.0