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  • ItemTrabalho apresentado em evento
    THE TIMELESSNESS OF MAXIMAL MUSIC
    (2011-01-01) Menezes, Flo [UNESP]; Universidade Estadual Paulista (UNESP)
    If we consider as music that speculative, pleasant activity, yes, but which is at the same time essentially investigative, experimental in nature – the radicalism of which standing above all on the dialectical relationship between the new and the revisitation of the old in a new context –, we should recognize that, since such field of knowledge exists in a considerably autonomous manner, it has always been connected to its close cousins: mathematics and physics. From the earliest times, when Pythagoras expressed his view concerning the harmony of spheres, passing through the trivium and quadrivium of the Middle Ages and later through the scientific further developments of that Pythagorean concept by Johannes Kepler [2], until contemporaneity, when physicists themselves appeal to musical constitutions to solve problems of physics and the universe, the degree of relativeness between music and science is remarkable and evident. Simultaneities, decompositions, space/time and light are discussed here under an aesthetic approach.
  • ItemArtigo
    De como La Llorona se tornou um Miserere de Willy Corrêa de Oliveira
    (Escola de Música da UFMG, 2013-06-13) De Bonis, Mauricio [UNESP]; Universidade Estadual Paulista (Unesp)
    Em nossa pesquisa sobre o ciclo de peças para piano Miserere, de Willy Corrêa de Oliveira (DE BONIS, 2010) discutimos uma série de procedimentos composicionais pertinentes a essa obra e à produção do compositor em geral, a saber: a metalinguagem, a relação com as artes plásticas, a condensação de ideias, a superposição de citações à maneira de um ideograma, o teatro musical, e a possibilidade de uma análise estrutural de cada peça ao lado de uma leitura semântica (incentivada pela própria partitura). Obra aberta, o Miserere tem recebido adições do compositor após a publicação da pesquisa. As mesmas ferramentas de análise aplicadas para o ciclo todo são aqui utilizadas para o estudo de uma das últimas peças a serem acrescentadas, em 2009.
  • ItemArtigo
    Teledescante nº1: polyphony in time of plague
    (Universidade Estadual do Paraná (UNESPAR), 2021-11-30) De Bonis, Maurício Funcia [UNESP]; Universidade Estadual Paulista (Unesp)
    Esse relato de experiência contempla uma composição instrumental como projeto para realização audiovisual em isolamento social, durante a pandemia da Covid-19. A partir da problematização do impacto da pandemia e do isolamento social no fazer musical, buscaram-se soluções não apenas viáveis como resultado artístico para os meios empregados, mas que também se apresentassem de forma propositiva e prospectiva em tempos de crise humanitária, de sombria simetria entre neoliberalismo capitalista e negligência programada nas políticas de saúde pública. Após uma descrição da pesquisa sobre o recurso à arte em pandemias passadas como princípio norteador na escolha dos materiais, é detalhada a realização audiovisual da peça. A peça foi escrita em abril de 2020 como desdobramento da análise de um moteto renascentista que, por sua vez, fora concebido ao mesmo tempo como homenagem a um compositor que perecera da peste e como paliativo contra a doença.
  • ItemArtigo
    Working memory in Music: Main Theoretical Milestones and Some of the Challenges in its Study
    (2021-03-12) Yamaguchi, Vitor Djun [UNESP]; Bortz, Graziela [UNESP]; Universidade Estadual Paulista (UNESP)
    The working memory as a phenomenon provides many debates about human storage capacity, even before the emergence of experimental psychology. This paper will discuss two main theoretical concepts: Baddeley's multifaceted holding mechanism (1986; 2000) and Cowan's embedded-processes model (1988; 2005). We showed their common and complementary elements, bringing a non-hegemony approach, considering that some musical tools remain misunderstood. The pure concept of limit, generally discussed under chunking terms, is a challenge for this investigation, since it is supposed to be a simplifying construct that does not express all influence of previous knowledge. Also, behavioral and neuroimage evidence shows that the storage capacity will range according to each parameter that was seized.
  • ItemArtigo
    O concerto para viola e orquestra de antônio borges-cunha: Forma e interpretação
    (2013-10-21) Kubala, Ricardo Lobo [UNESP]; De Biaggi, Emerson Luiz; Universidade Estadual Paulista (UNESP); Universidade Estadual de Campinas (UNICAMP)
    This article has as object of study the Concerto for Viola and Orquestra by Antônio Borges-Cunha. We investigated the work by observing its formal structure. This resulted in data which were relevant to the understanding of the work itself and to decisive procedures in its interpretation. These data were then applied to specific issues in the area of performance, by means of a process whereby the sensations of movement and direction were delineated. This investigation discusses interpretation and the queries regarding the paths which performers can choose in their quest for positive results in expressivity. It is a study specifically geared to the area of performance and, in a broader sense, serves composers that are interested in the performer's contribution to the creative process of a work.
  • ItemArtigo
    Agrupamentos sonoros plenos na música de simultaneidades acústicas e estruturais
    (Univ Federal Goias, 2012-01-01) Pupo Nogueira, Marcos Fernandes [UNESP]; Universidade Estadual Paulista (UNESP)
    The present article reflects about the concepts of linearity, space and acoustic complexity in the definition of sound grouping as a criticism to the linear concept of phraseology mainly when applied to the music of imitative texture or of complex simultaneities. It takes as examples works by Bach, Josquin des Prez and a fragment of "Lontano" by Ligeti, to study them in two distinct dimensions, simultaneous and interconnected: the acoustic dimension with its entire spectral complexity and the relational dimension which establishes the interaction among the figures in voices and texture layers with some kind of acoustic and structural simultaneity.
  • ItemArtigo
    Agrupamentos sonoros plenos na música de simultaneidades acústicas e estruturais
    (Univ Federal Goias, 2012-01-01) Pupo Nogueira, Marcos Fernandes [UNESP]; Universidade Estadual Paulista (UNESP)
    The present article reflects about the concepts of linearity, space and acoustic complexity in the definition of sound grouping as a criticism to the linear concept of phraseology mainly when applied to the music of imitative texture or of complex simultaneities. It takes as examples works by Bach, Josquin des Prez and a fragment of "Lontano" by Ligeti, to study them in two distinct dimensions, simultaneous and interconnected: the acoustic dimension with its entire spectral complexity and the relational dimension which establishes the interaction among the figures in voices and texture layers with some kind of acoustic and structural simultaneity.
  • ItemArtigo
    As Junções de Palavras no Português Brasileiro Cantado:estudos para uma aplicaçaõo
    (2012-12-01) Starling, Juliana [UNESP]; Herr, Martha [UNESP]; Universidade Estadual Paulista (UNESP)
    This article is a reflection on the possibilities for the linking and or connection of words in Brazilian Portuguese lyric diction with the intention of contributing this as a tool for singers, singing and diction teachers working with BP. The proposal came from a study of the norms for the Brazilian Portuguese pronunciation 1938 and 1958 rules, which addressed the issue, in conjunction with the analysis of the current norms, published in 2007.
  • ItemResenha
    A educação musical sob a perspectiva da pedagogia histórico -crítica
    (2010-12-01) Benedetti, Kátia Simone [UNESP]; Kerr, Dorotea Machado [UNESP]; Universidade Estadual Paulista (UNESP)
    This work, from of theorist perspective of Historical-Critical Pedagogy, presents the school Music Education like a social mediator environment between the practices, listening and musical everydaylife knowledges and the not-quotidian, which are constitution and accumulated, throughout the centuries of History, by the human societies. The purpose is to present a possible theorist foundation to define the importance of Music Education insert in the elementary school, like a subject destined to guarantee the whole children formation and the enrichment of their relations with the music. It is a theorist reflection that indicates the importance of observation of the quotidian and not-quotidian knowledges characteristics, moreover of complete importance of formal education and, in specific, of school Music Education on human development.
  • ItemTrabalho apresentado em evento
    Dissemination of Computer Music Theory outside academia
    (2010-01-01) Porres, Alexandre Torres; Universidade de São Paulo (USP)
    This UnConference topic discusses the Dissemination of Computer Music Theory outside academia like: what factors helped to promote it? what are the consequences and impact outside and inside academia? And what can we expect to happen in the near future? The issues raised should make us think on how to engage ourselves in this process of renewal and change that is being taken place.
  • ItemArtigo
    A educação musical brasileira e três modelos explicativos de mundo: em busca de significados
    (Univ Federal Goias, 2012) Fonterrada, Marisa Trench de Oliveira [UNESP]; Universidade Estadual Paulista (Unesp)
    In this paper we study the main modalities of music education in Brazil and how they can be compared to different views worldwide. Recognition that modern practices in music education are inserted in contemporary knowledge paradigms shows their relevance to a changing world. According to this contemporary paradigm the practices included herein point to alternatives in the relationship between men and themselves, men and other men and men and the environment. They also encourage cooperation, the relationship among the arts, the conduction of actions ruled by the principles of ecology and the recovery of values lost or weakened.
  • ItemArtigo
    The chromatic cadences of Nicola Vicentino
    (Assoc Nac Pesquisa & Pos-graduacao & Musica, 2021-05-01) Nogueira, Marcos Pupo [UNESP]; Peinado Pereira, Maria Clara [UNESP]; Universidade Estadual Paulista (UNESP)
    Nicola Vicentino (1511-1576/1577) was an important Italian musician and theorist who widely discussed chromatic music in the 16th century. His treatise, L 'antica musica ridotta alla moderna prattica (1555), on the application of Greek genera practiced at the time is an important source for understanding the chromatic music of this period. Chromaticism of 16th-century music is still comprehended in many divergent ways by researchers in this area. Seeking greater depth in this aspect of the repertoire, the present study aims to elucidate the cadential foundations of Vicentino's chromatic music presented in his treatise and examine the composer's use of this theory in his compositional practice. To achieve this aim, we conducted a bibliographic review of the main works about Vicentino and his theory in parallel with a careful examination of his treatise, the main source of his ideas, and some other contemporary writings of the author. The focus was placed on the particular aspects of the theory of chromaticism proposed by Vicentino, the premises of his compositional thinking, and its possible practical applications. As a result, we present the structure and peculiarities of Vicentino's cadential movements, tracing the relationship of these peculiarities to his theory and demonstrating the composer's use of chromatic cadences in pieces of his treatise and his fifth book of madrigals (1572).
  • ItemArtigo
    Em busca de definições
    (USP, 2014-05) De Bonis, Maurício Funcia [UNESP]; Universidade Estadual Paulista (Unesp)
    A constituição crítica da música erudita como uma forma de linguagem compartilhada em nosso tempo é abordada a partir de revisão bibliográfica, percorrendo desde a historiografia da arte até as discussões sobre a abordagem linguística da música no contexto do repertório serial das décadas de 1950 e 60.
  • ItemCapítulo de livro
    Em perspectiva, a crítica de Roberto Schwarz a uma entrevista dos signatários do Manifesto Música Nova
    (ANPPOM, 2020) De Bonis, Maurício Funcia [UNESP]; Universidade Estadual Paulista (Unesp)
    Ainda que não tenham se constituído como um grupo de compositores e intérpretes com uma unidade consistente, tanto no que diz respeito à continuidade da produção quanto a seu alinhamento estético, os signatários do Manifesto Música Nova (publicado em 1963 na Revista Invenção) foram responsáveis pela divulgação no Brasil da música de vanguarda europeia das décadas de 1950 e 1960 e das discussões e questionamentos suscitados em seu entorno. Abriram com essa iniciativa um amplo horizonte de novas influências, materiais e procedimentos composicionais, em oposição às tendências até então hegemônicas. Tanto em suas posições pessoais quanto em seu programa de ação musical, esses compositores e intérpretes reivindicam um alinhamento entre o estado da arte das últimas experiências artísticas e seu significado progressista ou até revolucionário, vendo a composição e a crítica musical um campo de relevo no combate às forças reacionárias na sociedade. Essa prerrogativa, exposta de forma provocativa e bastante irônica em uma entrevista de membros do grupo na grande mídia (Música não-música antimúsica, publicada n’O Estado de S. Paulo em 1967), é questionada no ano seguinte por Roberto Schwarz, em seu texto Nota sobre vanguarda e conformismo. Por um lado, a entrevista ao Estado, realizada por Júlio Medaglia com os compositores Damiano Cozzella, Rogério Duprat, Willy Corrêa de Oliveira e Gilberto Mendes, pode hoje ser avaliada tanto em relação ao Manifesto Música Nova (e ao Plano Piloto para a Poesia Concreta, do qual é diretamente reminiscente) quanto às trajetórias ulteriores, marcadamente contrastantes, de seus protagonistas. Ao mesmo tempo, uma vez colocada em perspectiva a crítica de Schwarz, é possível verificar sua pertinência em relação aos posicionamentos políticos posteriores e à evolução do pensamento musical de cada um desses compositores. Se as contradições no tom geral de seu discurso nessa entrevista são bem apontadas por Schwarz, que inclusive faz uso do mesmo teor irônico daqueles que critica, faz-se necessário precisar uma diferenciação ausente em sua crítica, entre o pensamento, os posicionamentos e as contradições de cada um dos compositores entrevistados, o que é possível de se propor com mais clareza observando sua trajetória em retrospecto.
  • ItemArtigo
    A interpretação da música eletroacústica: aspectos técnicos
    (UNIRIO, 2020-10) Scucuglia, Fábio [UNESP]; De Bonis, Maurício Funcia [UNESP]; Universidade Estadual Paulista (Unesp)
    O presente artigo tem por objetivo discutir o papel do intérprete de música eletroacústica sob o ponto de vista técnico, elencando e qualificando os instrumentos necessários para a captação, o tratamento e a difusão de objetos sonoros. Para isso, recorreu-se ao mapeamento do caminho percorrido pelo sinal de áudio (que pode ser de natureza acústica, elétrica, eletrônica ou digital) durante uma situação de concerto de música mista, realizando-se também uma discussão sobre situações hipotéticas e as escolhas envolvidas na interpretação.
  • ItemResenha
    Music, emotion, and executive functions: A narrative revision of literature
    (2020-09-01) Bortz, Graziela [UNESP]; Jackowski, Andrea Parolin; Ilari, Beatriz; Cogo-Moreira, Hugo; Di Giuseppe Germano, Nayana; Lúcio, Patrícia Silva; Universidade Estadual Paulista (Unesp); Universidade Federal de São Paulo (UNIFESP); University of Southern California; Hong Kong University; Universidade Federal de Sergipe (UFS); Londrina-PR
    This work presents a narrative bibliographic review on music and executive functions (EF) associated with the prefrontal cortex (PFC) in interaction with the limbic system related to the processing of emotions, discussing its indissociability. The article aims to examine the most recent literature on PFC and EF, correlational, longitudinal, and experimental studies about musical practice, and the development of skills related to executive brain functions. It concludes by emphasizing the importance of using validated tests that capture EF sub-functions, emotions, and musical abilities in order to verify the efficacy of interventions that use music teaching as a way of benefitting the human development of populations in risk situations.
  • ItemResenha
    The jesuits and music in german catholic territories (1648-1705)
    (2020-05-01) Griman, Caio Amadatsu [UNESP]; Kerr, Dorotéa Machado [UNESP]; Universidade Estadual Paulista (Unesp)
    This article shows the fundamental role of the Society of Jesus in the development of the music in German Catholic territories during the period between the end of the Thirty Years' War (1648) and the death of Emperor Leopold I (1705). First, we will examine the intimate connection between Jesuit colleges and the German Catholic aristocracy, as well as the influence of these educational institutions on the musical life of Austria and Bavaria. Then, we will discuss one of the Jesuits' principal artistic outputs, the drama school. In this section we will observe how music gradually became essential to the Order's theatrical programs. Finally, we discuss the Society's importance in the writing and publishing of Catholic vernacular songs as an alternative to Lutheran compositions.
  • ItemArtigo
    A new approach to measuring absolute pitch on a psychometric theory of isolated pitch perception: Is it disentangling specific groups or capturing a continuous ability?
    (2021-02-01) Di Giuseppe Germano, Nayana; Cogo-Moreira, Hugo; Coutinho-Lourenço, Fausto; Bortz, Graziela [UNESP]; Federal University of Santa Maria; University of Hong Kong; Universidade de São Paulo (USP); Universidade Estadual Paulista (Unesp)
    Absolute Pitch (AP) is commonly defined as a rare ability that allows an individual to identify any pitch by name. Most researchers use classificatory tests for AP which tracks the number of isolated correct answers. However, each researcher chooses their own procedure for what should be considered correct or incorrect in measuring this ability. Consequently, it is impossible to evaluate comparatively how the stimuli and criteria classify individuals in the same way. We thus adopted a psychometric perspective, approaching AP as a latent trait. Via the Latent Variable Model, we evaluated the consistency and validity for a measure to test for AP ability. A total of 783 undergraduate music students participated in the test. The test battery comprised 10 isolated pitches. All collected data were analyzed with two different rating criteria (perfect and imperfect) under three Latent Variable Model approaches: continuous (Item Response Theory with two and three parameters), categorical (Latent Class Analysis), and the Hybrid model. According to model fit information indices, the perfect approach (only exact pitch responses as correct) measurement model had a better fit under the trait (continuous) specification. This contradicts the usual assumption of a division between AP and non-AP possessors. Alternatively, the categorical solution for the two classes demonstrated the best solution for the imperfect approach (exact pitch responses and semitone deviations considered as correct).
  • ItemArtigo
    Philosophical perspectives of music education
    (Univ Estadual Parana, Escola Musica & Belas Artes Parana, 2018-01-01) Allsup, Randall; Arroyo, Margarete [UNESP]; Cardoso, Renato de Carvalho [UNESP]; Columbia Univ; Universidade Estadual Paulista (Unesp)
    This is the translation of the chapter written by Randall Allsup, Philosophical Perspectives of Music Education, published in 2010 in the book Critical Issues in Music Education edited by Abeles, H.J. and Custodero, L. The field of philosophy of musical education, which counts with a significant production in English, still has little presence among Brazilian researchers. Allsup is lecturer at Teachers College of Columbia University in courses linked to creativity and solving problems, democracy and music education and philosophy of musical education.
  • ItemArtigo
    Music Education and Public Policies for Primary Social Protection and Socio-Educational Measures Involving Adolescents in the City of Sao Paulo
    (Assoc Nac Pesquisa & Pos-graduacao & Musica, 2019-09-01) Arroyo, Margarete [UNESP]; Chiarini, Caio [UNESP]; Yamaoka, Denise [UNESP]; Universidade Estadual Paulista (Unesp)
    The purpose of this paper is to discuss the implications for the field of music education from two research projects that established a dialogue between music education and public policy for adolescents: one focused on primary social protection and the other on socio-educational measures. Both studies were conducted in the city of Sao Paulo at institutions responsible for implementing these policies, respectively, the Centers for Children and Adolescents and the CASA Foundation. The investigations are qualitative multiple case studies, one focusing on the reason why the music education practices for adolescents lie within a context of primary social protection and the other focusing on the construction, by music educators, of their musical and pedagogical activities within a scenario of socio-educational measures for adolescents in conflict with the law. The discussion proposed in this article addresses the presence of music education in two scenarios that share common aspects governed by public policies that contextualize the music education practices used in these scenarios. Bringing these two studies together in the same text also stems from the interest in placing side by side the music practices involved in two unfortunately related environments: one that aims to prevent adolescent girls and boys who are victims of social injustice in Brazil from reaching the extreme situation of being considered criminal offenders, the condition of the second scenario, and then having their freedom restricted. The implication of the dialogue between music education and public policy is the relevance of situating music education practices within a macropolitical context aiming at greater awareness of the role of the music practices in these scenarios, as well as in the performance of music educators.