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
Autores que publicam nesta revista concordam com os seguintes termos: Autores mantém os direitos autorais e concedem à revista o direito de primeira publicação, com o trabalho simultaneamente licenciado sob a CC Attribution-NonCommercial-ShareAlike 4.0 que permite o compartilhamento do trabalho com reconhecimento da autoria e publicação inicial nesta revista. Autores têm autorização para assumir contratos adicionais separadamente, para distribuição não-exclusiva da versão do trabalho publicada nesta revista (ex.: publicar em repositório institucional ou como capítulo de livro), com reconhecimento de autoria e publicação inicial nesta revista. Autores têm permissão e são estimulados a publicar e distribuir seu trabalho online (ex.: em repositórios institucionais ou na sua página pessoal) a qualquer ponto antes ou durante o processo editorial, já que isso pode gerar alterações produtivas, bem como aumentar o impacto e a citação do trabalho publicado (Veja O Efeito do Acesso Livre).
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
Notes on bereavement: mourning sonorities in the essay films Elena and Heart of a Dog
Heart of a dog (Laurie Anderson, 2015) and Elena (Petra Costa, 2012) are essay films that explore reflections on the death of the other through the essayists’ subjective perspectives. In these works, sound is largely separated from visuals, highlighting acoustic elements in the discursive construction. This article investigates the uses and key aspects of sound in essay films shaped by the experience of mourning. Analytical procedures are based on the film’s materials and compositional modes, followed by the articulation of possible theoretical-conceptual dialogues to examine similarities and differences. The study concluded that sound plays a crucial role in composing these cinematic mourning processes by intensifying the fragmentary and dialogic nature of the essay form, as well as shaping rhetorical strategies that embrace the enunciative complexities involved in the elaboration of bereavement.
Copyright (c) 2025 Ana Paula de Aquino Caixeta https://creativecommons.org/licenses/by-nc-sa/4.0
The phonogram as a contested object: listening, platforms, and insurgency in digital ethnomusicology
This article offers a critical and ethnographic reflection on the phonogram in the digital age, understanding it as a technical, affective, economic, and political object constantly under dispute. We begin with international and Brazilian legal definitions that still frame the phonogram through material paradigms, despite its transformation into a digital, algorithmic, and dematerialized flow. Drawing on authors such as Gilbert Simondon, Jonathan Sterne, Brian Massumi, Steven Feld, Georgina Born, and Christopher Small, we argue that phonograms do not merely contain sound, they produce listening, relations, and presence. Through an ethnomusicological lens and autoethnographic accounts, we explore how phonograms operate as vehicles of memory, affect, and sonic territoriality, while simultaneously being subjected to systems of erasure, decontextualization, and hierarchical visibility on streaming platforms. We discuss the political economy of the phonogram within platform capitalism, exposing the concentration of symbolic and financial capital in a few corporations and the systemic disauthorship that disproportionately affects independent, LGBTQIAPN+, and racialized artists. We advocate for listening as both an epistemological and political gesture, a sensory practice that enables us to map worlds, resist algorithmic silencing, and reforge connections fragmented by the commodified logic of music circulation. In this context, ethnomusicology emerges as a field of confrontation and creative reinvention of listening practices. Even in digital form, the phonogram remains a living archive and a space of insurgency.
Copyright (c) 2025 Ollivia Maria Gonçalves https://creativecommons.org/licenses/by-nc-sa/4.0
Practices with music for Augusto Boal's theatrical games
This paper is an excerpt from a doctoral research project conducted at the Universidade de São Paulo, which addressed performance practices in Music, associating them with performances developed by teachers of musical instruments, more specifically, the cello. These practices were approached from artistic and anthropological points of view. This article aims to present the ideas that constituted one of the theoretical references of the work, more precisely, the conceptions of Augusto Boal (1982; 2009) on the practices of the Theater of the Oppressed. The text also indicates 10 practical proposals collected from the author's book entitled Games for actors and no-actors (1982) and adapted for practices with music. These ideas were discussed in dialogue with the thinking of Paulo Freire, Richard Schechner and Christopher Small. As the main considerations of the work, we believe that Boal's game proposals adapted for practices with music are instruments capable of dismantling certain muscular structures related to them and enabling the construction of distinct forms of expression. We consider that such approaches are paths to a Liberating Musical Education.
Copyright (c) 2025 Marta Macedo Brietzke, Fabio Soren Presgrave, Mário André Oliveira https://creativecommons.org/licenses/by-nc-sa/4.0
Seetha, the serpent, the tomb, tiki pop and surf rock: the “Orientalism” in soundtrack
This article analyzes the representation of the East in Western media culture through music, taking as a case study the scene of Seetha’s dance in the film Indian Sepulchre (Fritz Lang, 1959). The original track makes use of orchestral arrangements associated with exoticism to build a soundscape that evokes mystery and sensuality. The analysis is based on the concept of audiovisual contract by Chion (1990), revealing how sound and image are articulated to produce meaning. In counterpoint, the replacement of the track by Misirlou, in an arrangement by Martin Denny, inserts the tiki pop aesthetic and significantly changes the atmosphere of the scene, emptying its drama and intensifying the kitsch aspect. The article addresses how the "East" is systematically represented as exotic, in a stereotypical way, by the bias of the West. Based on the semiotics of the culture of Iuri Lotman (1981), it is considered the incorporation of the song Misirlou as an example of "movement" of the work (Zumthor, 2005), allowing the incorporation of extrinsic to a given culture. The persistent aestheticization of the exotic, in media contexts, creates soundscapes that, although decontextualized, remain in the western imaginary. Having as theoretical references, the concepts of musical topics, song of the media, nomadism, it is asked: What elements are present in them that lead to the concept assimilated by the imaginary of the western ear, elaborated by the arrangers? The presence of elements captured -and filtered-by the culture of the West, remain as components of a generic and imprecise "East": the adoption of the Hijaz scale (dominant Phrygian) and specific timbres point out that modal systems still cause estrangement, given the lack of listening habit.
Copyright (c) 2025 Heloísa de Araújo Duarte Valente, Paulo César Baptista https://creativecommons.org/licenses/by-nc-sa/4.0
Music, Word, and Meaning in the Romantic Lied: an Analysis of Robert Schumann’s Waldesgespräch
This article presents an analysis of the song Waldesgespräch (Op. 39, No. 4), composed by Robert Schumann (1810–1856) based on the poem by Joseph von Eichendorff (1788–1857), with the aim of examining the relationship between music and text in the construction of meaning in the work. The study begins with a consideration of aesthetic issues related to the Lied genre in German Romanticism, as well as Schumann’s own reflections found in his critical writings. Subsequently, various musical aspects—such as harmony, rhythm, dynamics, and texture—are analyzed in light of these reflections, in order to understand how they interact with the meaning conveyed by the poem. The article concludes that, rather than merely reflecting the meaning of the words, the music contributes additional layers of meaning, going beyond what is expressed in the text.
Copyright (c) 2025 Beatriz Stervid, Jonathan Morais https://creativecommons.org/licenses/by-nc-sa/4.0
É com prazer que apresentamos este novo número da Revista Música. Depois de um processo de retomada do ritmo de publicações após a estabilização da pandemia da Covid-19, tivemos um aumento notável de submissões. Isso nos incentivou a fazer pequenas mudanças no processo editorial visando uma otimização da avaliação dos textos recebidos, tornando o processo mais criterioso, buscando manter a boa qualidade dos textos apresentados. Este número traz vários artigos sobre aspectos diferentes da cultura musical brasileira, abordando temas como a capoeira, o samba, o carnaval, a cultura dos cocos e do bumba meu boi. Esse bloco se complementa com uma análise dos fã-clubes na projeção da popularidade de uma artista. Um segundo bloco é composto de quatro textos voltados para a composição. Dois dos artigos trazem reflexões sobre a prática da criação contemporânea. Na sequência, outros dois textos promovem uma abordagem musicológica do campo. O primeiro traz a questão da retórica e da teologia na música Bach, enquanto o segundo coloca a produção de Villa-Lobos em perspectiva. Fechando este número, temos uma instigante entrevista com Aylton Escobar, um dos músicos brasileiros mais criativos da sua geração. Desejamos a vocês uma excelente leitura!
Copyright (c) 2024 Fernando Iazzetta https://creativecommons.org/licenses/by-nc-sa/4.0
Resonances of the crossroads: Lorenzo Dow Turner and the Capoeira Angola Group Estrela do Norte
In recent decades, European and North American institutions' sound archives have emerged as abundant research sources for ethnomusicologists, folklorists, and anthropologists, offering unique records of musical practices from the Global South. Although ethnomusicologists have explored the possibility of repatriating these archives, addressing a colonial legacy, certain aspects of this research approach diminish the agency and subjectivity of the collaborators participating in the repatriation process. This paper investigates the past and present dialogue by collaborating with Mestre Iuri Santos' Capoeira Angola Group Estrela do Norte, based in Bloomington, Indiana, to create a capoeira musical album. The album draws inspiration from interviews with contemporary capoeira practitioners and capoeira sound archives produced by the African-American linguist Lorenzo Dow Turner in 1940 and 1941 in Salvador, Bahia, stored in the Archives of Traditional Music (ATM) at Indiana University. Based on two years of fieldwork, the study includes semi structured interviews, participant observation of capoeira classes, sessions of close listening to the Lorenzo Dow Turner collection, and the album's pre-recording, recording, and post-production process. This paper introduces a novel theoretical-methodological approach to sound archives, presenting a different modality of scholarship that juxtaposes the archive and the repertoire and establishes a dialogue in performance-based ethnomusicology focused on sound-based participatory research.
Copyright (c) 2024 Caio de Souza https://creativecommons.org/licenses/by-nc-sa/4.0
Villa-Lobos’s Nonetto (1923): a savage’s music?
Composed during his first trip to France, Heitor Villa-Lobos' Nonetto (1923) is intended to be a link between French musical taste between the two wars and a Brazil teeming with popular music. Influenced by the model of Igor Stravinsky and Edgar Varèse, this nonet received an enthusiastic reception from the Parisian public. The piece has a single movement of about thirteen minutes. It contains many singularities of construction that this article aims to analyze. Its unusual formation, the presence of a mixed choir, strangely underused, the extreme fragmentation of the discourse, the incantatory melodies, the abrupt accentuations, the rhythmic scansion, the rhapsodic and composite structure: everything seems to indicate that this is music for "savages", according to the criteria understood as such in interwar France, eager for exoticism and a change of scenery. Unlike the young European nations, sometimes cultivating a quest for purity in national expression, like the ethnographic work of Béla Bartók, Villa-Lobos restores the perception of a multiplicity of influences, which the Nonetto and other scores of the same period such as Uirapurú (1917) or Amazonas (1917) manifest by a relative juxtaposition of the way in which communities often very separate live: Portuguese-speaking immigrants (or not), descendants of slaves, Amerindians. It will be a question of putting into perspective the characteristics of the "savage" in France throughout history and then showing, through musical analysis, how the Brazilian composer integrated them to his advantage in this work, which constitutes a decisive milestone in his rich musical production.
Copyright (c) 2024 Etienne Kippelen https://creativecommons.org/licenses/by-nc-sa/4.0
For a Sound Sketch: The Study as a Poetic Genre of Musical Performance
This article proposes an inquiry about the Study as genre providing a space for creative experimentation, seeking to understand from this perspective the realization of the compositional process in music. At first, we survey the notion of sketch in the thought of the French philosopher Denis Diderot, relating it to the conception of the sketch in the work of the Brazilian composer Silvio Ferraz and the conception of essay in Adorno. Subsequently, we seek in Mikhail Bakhtin the theoretical foundation on the intertextuality present in the Study, understanding it as a primary discursive genre that, from the incorporation in the performance, is re-elaborated as a secondary genre. Finally, we suggest some applications of the discussion in the scope of performance and its creative possibilities, focusing on the elaboration of studies for viola caipira, reporting this creative process.
Copyright (c) 2024 William Teixeira, Lucas Mateus Silva https://creativecommons.org/licenses/by-nc-sa/4.0
Maestro Duda and his relationship with tradicional Maranhão music
In this work, a reflection is carried out and demonstrated about Maestro Duda's contact with Maranhão's traditional music, which first occurred in 1993 and 1994 in São Luís do Maranhão. To this end, we sought to understand in what context the Monette Suite (1994) was written, since the aforementioned work could be identified as the first Brazilian composition for brass written with elements originating from traditional Maranhão music. We also sought to relate the fourth movement of the Monette Suite, the Boi Bumbá, with the Bumba meu boi practiced in Maranhão, by identifying the rhythmic elements contained in the movement in question. Finally, other artistic works carried out by Maestro Duda as conductor, orchestrator and instrumentalist in São Luís do Maranhão between 1996 and 1998 were demonstrated.
Copyright (c) 2024 Daniel Moraes Cavalcante, Paulo Adriano Ronqui https://creativecommons.org/licenses/by-nc-sa/4.0
Sociopolitical contextualization of Cocos: past, present and future
The objective of this article is to offer a brief historical review of the relationship between Cocos and society. In this journey, we present the origin of the genre naming its main characteristics, we go through episodes of persecution and we follow the path of popularization of the language with the advent of radio. The main academic and institutional research initiatives on Cocos are outlined, first impressions are presented from a field study at the Coco de Tebei and the need to move towards the patrimonialization of Cocos is highlighted. The conclusions reinforce the need to transform the relationship between Cocos and society through concrete actions in different areas.
Copyright (c) 2024 Ísis Arrais Padilha, Renata Pompêo do Amaral, Sayonara Sousa Pereira https://creativecommons.org/licenses/by-nc-sa/4.0
Carnival Continuities: some associations and their confluences
This article discusses the creation and/or permanence of some carnival groups that emerged or were maintained between the 1950s and the mid-1980s. This period is known for a supposed cooling of the Rio de Janeiro street carnival, especially when the central region of the city is taken as a basis. In contrast to the second half of the 19th century and the first half of the 20th century (periods that have been very well discussed, especially in the social history of Rio de Janeiro's carnival), this historical context has not yet received due attention from historiography, so the objective of the article is to contribute to the effort to better understand this period. The notions of continuity of black practices in the central space and of the same territory as an area of ​​confluence of the black population, especially during carnival, are central arguments of the text. A counterpoint is also developed to the concepts of “revitalization” and “revival” of the Rio de Janeiro street carnival.
Copyright (c) 2024 Thiago de Souza Borges https://creativecommons.org/licenses/by-nc-sa/4.0
BWV 245 – Johannes-Passion: setting the Passion of Christ to music
This article focuses on the sacred oratorio Johannes-Passion, BWV 245, to explore how baroque music, especially Johann Sebastian Bach's Passions, aims to evoke collective emotions. The study highlights Bach's use of musical rhetoric to express affections in theological poetry, specifically the Doctrine of Affects. We analyze how Bach connects musical elements to specific emotional states, seeking to understand his stylistic pedagogical approach to transmitting faith by integrating music, biblical text and spiritual poetry. This perspective highlights this Baroque composer's unique ability to move between the dimensions of the sacred text and dramatic and emotional expression in music
Copyright (c) 2024 Odilon Duffeck, Marcelo Ramos Saldanha, Fernando Batista de Campos https://creativecommons.org/licenses/by-nc-sa/4.0