DEBATES - Cadernos do Programa de Pós-Graduação em Música

Editorial

Maya Suemi Lemos, Mário Sève — Fri, 05 Jan 2024 00:00:00 -0300

Sobre memória, criação musical e Paulinho da Viola

Mário Sève — Fri, 05 Jan 2024 00:00:00 -0300

Apresentação do dossiê temático "Memória e Criação Musical".

Memory of the future

Jô Gondar — Fri, 05 Jan 2024 00:00:00 -0300

The paper develops the relationship between memory, creation, and sonority from a psychoanalytic and philosophical perspective, pointing out the relevance of sounds and rhythm in the constitution of memory, subjectivity and creation. In psychoanalysis, research on autism and on the relationship between babies and their mothers shows the importance of sounds and rhythms in the subjective constitution. In philosophy, Henri Bergson makes memory and its rhythmic contractions the conditions for freedom and creation. The idea that runs through the whole paper is that memory has a paradoxical function: while preserving the past, it enables the invention of the future.

"Nostalgias de las cosas que han pasado"

Avelino Romero Simões Pereira — Fri, 05 Jan 2024 00:00:00 -0300

The paper argues that tango has been one of the ways in which Argentine society relates to its past, inscribing in music and verses the historical process experienced between the decades of 1880 and 1960. It is a musical and social memory, also affective and political, built and updated over more than a century of history. Since the Argentine redemocratization in 1983, tango has been object of cultural and commercial interest, in institutional actions and in the rescue promoted by the phonographic industry. It is, in fact, a movement intrinsic to the very historical trajectory of tango in the fields of dance, music and poetry. The paper considers the cases of the poetry of Homero Manzi, responsible for the renewal of the poetic of tango in the 1930s and 40s, and the music of Astor Piazzolla, whose "tango nuevo" from the 1950s onwards proposed to update the tradition in a contemporary expression. In one and the other, however, the notes of nostalgia and melancholy, tribute and representation of the past mark the character of collective memory inscribed in both verses and music.

The collective memory of musicians

Rafael Velloso — Fri, 05 Jan 2024 00:00:00 -0300

This article aims to explore the relationship between musical creation and collective memory, drawing on the works of Halbwachs (1992), Schultz (1964) and Cook (2007). It also seeks to extend this discussion to other topics such as improvisation, interpretation and composition. The initial focus will be on each of these topics, examining the musical memory, creation, and construction of solos through the adaptation of improvisation concepts to the practice of choro. This will be illustrated by analyzing the performances of two saxophone soloists, Jaime Araújo and Juarez Araújo, as part of the fieldwork for my master's research conducted at UFRJ in 2003. Theoretical and methodological references include dialogues in the field of ethnography with Laplantine (2014), performance studies with Nettl (1997) e Turino (2008), studies on popular music genres with Middleton (2002), and improvisation studies with Cazes (2019), Côrtes (2012), Ferand (1956), Horsley (1980) e Blum (1997).

Clube da Esquina

João Victor Marques da Silva, Cristiano Hamann — Fri, 05 Jan 2024 00:00:00 -0300

The present study seeks to investigate how black Brazilian music mobilizes experiences of political resistance, an aspect intrinsically related to the process of (re)memory and narrative. For him, memory is understood as a subjective movement of invocation of the past, a bell of social production based on the demands of the present. The investigation was elaborated in a cartographic perspective, carried out during a year of field work in Porto Alegre in quilombola territories and the active search for musical and cultural records derived from the city route. It was possible to list as key points of the investigation how the whitening logic historically structured in Brazil produces, for black populations, a lack of self-knowledge, an element that denotes the value of the production of memory as political resistance; the importance of the relationship between the occupation of urban territories and black music production, is to be decided, in the (re)creation of spaces of cultural belonging, dialogic encounters and, finally, the importance of black music memory as a subjective marginal formation, power of belonging and counter-normative social identification.

Friends of Good Music

Camila Roberta Muniz Serra, Juliano Maurício de Carvalho — Fri, 05 Jan 2024 00:00:00 -0300

This article presents the Club "Amigos da Boa Música" (ABM) held in the Bauru town since the 1940s. The research problem of this study arises from the investigation around the changes in the music sector in the context of the creative industry starting from of the ABM Club. To achieve the objective of presenting the trajectory of the Club "Amigos da Boa Música" in the Bauru town in the context of the creative industry, bibliographical research was carried out with reference to concepts related to musical art, music, the creative industry and the music sector. Then, a case study was carried out identifying the motivations for the initiative in the Bauru town, as well as its resumption; the stages for the organization and promotion of this initiative in the city; the impact of this event on the city's music industry and club participants; the investment required for the meetings to take place; and the profile of the team of organizers of the meetings in the city. After reporting on ABM from its creation to the present day, changes that the club has undergone over the years were identified, observing the evolution and protagonism of recording technologies and their importance in the music sector in the Bauru town. Club ABM's eighty-year path illustrates aspects of the creative industry, emphasizing the importance of creativity in the job market, favoring the economy, technology and culture, the context in which the club is inserted in the construction of its history.

"Desmemória"

Simone do Rocio Cit — Fri, 05 Jan 2024 00:00:00 -0300

This text reports a creative journey that began based on the listening of the work Everywhere at the end of time by composer James Leyland Kirby. Kirby's composition, which he signed with the alias The Caretaker, is a musical representation of memory damage caused by Alzheimer's disease. One of the expressive resources used in the work was the electronic deterioration of a 1930s American love song named Heartaches. An exercise was proposed to me: that I should create new lyrics for this love song, approaching the same subject of Everywhere at the end of time - Alzheimer's effects - so that, after that, it could be arranged and performed as Choro. The exercise was developed based on procedures frequently employed by songwriter Chico Buarque to write song lyrics: these procedures were found in testimonials given by him through his musical career. Two test versions were created plus a definitive one, through partnership, named Desmemória (Unmemory): the three versions are about memory loss and the difficulty of registering new ones, treating Alzheimer on its potential analgesic effect by erasing, amongst many memories, heartaches from the past. One of the goals of the creative exercise is to reproduce Buarque's way of putting lyrics into melodies, so the main resources used in the process were the use of a thesaurus and a rhyming dictionary, followed by attention to some literary principles such as poetic forms and prosody. By the end of the report the access link to a recorded version of the choro song Desmemória (Unmemory) is made avaliable so the listening can be possible.

Musical genres and expectation

Cláudia Azevedo — Fri, 05 Jan 2024 00:00:00 -0300

In December 2011, Gal Costa released the studio album, Recanto (Universal Music) in which all the songs were composed by Caetano Veloso, almost all especially for her. The work, mostly electronic, represented an aesthetic surprise in the midst of the singer's repertoire. Among the tracks on Recanto, “Neguinho” was the object of an analytical experience about the formation of meaning in music. Musical reception tests, in addition to post-listening semi-structured interviews, were used to assess associations, whether musical or not, made by thirteen non-musician adult listeners with similar level of education (university), over 40 years old. The listening to the material, tests and interviews were carried out separately and individually. Participants declared that they did not know the song. As expected, most associations referred to electronic music and urban settings. However, 69% of the test participants did not recognize the singer's voice – she, who is considered one of the most important and well-known interpreters in the history of Brazilian popular music – due to the expectations about the musical genre associated with her.

The Suvaco de Cobra da Penha Circular and choro’music in the 1970's

ALBERTO BOSCARINO JUNIOR — Fri, 05 Jan 2024 00:00:00 -0300

This article proposes an analysis of the daily life of a Rio bar from a sociological, historical, musicological perspective and the occupation of geographic territories associated with the concept of cultural heritage. The objective is to present the context of musical practices and social relations that took place at Bar Suvaco in Cobra da Penha Circular (RJ), between the 1970s and 1980s, highlighting characters, musicians and, above all, the importance of the Choro genre as an rescue element of collective memory and affirmation of Rio’s cultural identity. The Suvaco de Cobra choro circles rescued pieces by great authors and performers and promoted the initiation of musicians and composers who work today in the Brazilian cultural scene. The theoretical support adopted is based on the concept of memory and space proposed by Maurice Halbwachs, on the studies of collective and individual memory, by Michael Pollak, among others. The appropriation of the geographic space by individuals who are part of a social and cultural network is based on Howard Becker's concepts which was seekingan understanding of the social constitution of a Rio bar. The methodology includes a literature review and the memory recovery through interviews given by members of Suvaco de Cobra to the author of this article.

Expediente

Fri, 05 Jan 2024 00:00:00 -0300

Challenges of teaching in higher music education

Fri, 05 Jan 2024 00:00:00 -0300

This article is the result of a doctoral thesis in Education. The question that guided the study was: which knowledge base predominates among the professors graduated in Music who teach at Music courses at the three São Paulo state universities and which knowledge need to be developed in the search for the quality of teaching in order to overcome a pedagogical action based on the logic of instrumental teaching instead of training that goes beyond learning a particular musical instrument? Supported by the qualitative paradigm, three types of data collection were carried out: online questionnaire, semi-structured interviews, and participant observations. The analysis was based on Bardin's (2011) content analysis assumptions. The theoretical framework was built on the ideas of authors in the field of Education and Music Education, such as Tardif (2014); Gauthier, Martineau, Desbiens, Malo and Simard (2013); Azevedo (2009) and Araújo (2005). In the final considerations, we highlight the importance of unveiling knowledge base teaching, contributing to the pedagogical action of teachers who work in music courses, since their professional actions are linked to teaching and not just to the instrumentalist action of teaching. In this sense more studies and researches are urgently needed to advance the teaching qualification of music teachers in higher education.

La apropiación de los golpes de arco a través de la tutoría entre pares en el aula de violín

Monserrat Trujillo- Peña, Laia Viladot — Fri, 05 Jan 2024 00:00:00 -0300

Despite the fact that musical practices are eminently group activities, the cultural tradition of scholarly music teaching is highly regulated and depends on individual learning, in which knowledge is transferred directly from teacher to student. Faced with this reality, peer tutoring turns out to be an interesting strategy in musical instrument teaching and learning, because it proposes a model in which level differences are not seen as a problem but rather as a resource. With bowed string instruments, in order to achieve richness in the interpretation of various articulations, it is necessary to master the right hand technique called bow strokes. The objective of this study is to analyze elementary violin students’ appropriation of two bow strokes (spiccato and martelé) through peer tutoring. To this end, a complementary didactic intervention in the violin classes has been developed and implemented. The study focuses on a couple with fixed roles and is analyzed under the qualitative paradigm as a case study, with the tutor being 16 years old and the mentee being 12. The data are obtained through videos of the sessions, observation sheets of the violin teacher and questionnaires for the students, which are analyzed and later triangulated. The results show that peer tutoring facilitates the appropriation of spiccato and martelé on the violin, especially for the student with the role of tutor. These results coincide with other previous works on the identification of key aspects of appropriation in peer tutoring and are added, as a contribution, to the specific area of musical instrument education.