RBM 26/2

Music in urban spaces




     
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This issue proposes the theme “Music in urban spaces”, and presents some approaches that have engaged musicology recently, alongside other approaches that have occupied music research for a longer time. The articles that make up this issue deal with musical contexts of the Americas and Europe.

The first three articles share the methodological framework grounded in urban ethnography, and deal with aspects related to musicians’ professionalization process. The first and third articles deal with the relationship between the independent music production and the recording industry. The second discusses musical practices regulated by native excellence criteria that eventually bring about the musicians’ insertion in the market. The fourth article discusses regionalism in its search for local specificities, and its relation to nationalism in Brazilian music. The following article offers a literary studies approach aiming at a critical appraisal of Brazilian popular song. The last article contributes with a case study in line with a consolidated approach in music education.

The opening article by David Hesmodhalgh (University of Leeds, UK) discusses the new musical technologies in processes of appropriation of the local by the global, and their ethical, political and financial implications regarding copyright – authorship and ownership – in the use of musical materials drawn from other authors or from musical heritage of diverse cultural traditions. It raises edge questions about intertextuality, recontextualization of sound materials and “cultural borrowing” in the context of commodification of entertainment and globalization of the music industry. It offers reflection of particular interest in addressing a group of musicians and recording studios staff who are conscious, oriented and even committed to ethical, racial, religious and political issues. The following article by Ricardo Pinheiro (Lusíada University of Lisbon) offers an analysis of jazz’s main performative occasion as regulatory context in which the mastering of repertoire and musical language, along with the development of new approaches to improvisation allow the building of authority relations among the musicians, and the establishment of professional networks. The article by Lucas de Freitas (José Lacerda Filho College, Ipojuca, Pernambuco) deals with the independent music production and its relationship with the music industry in the context of new technologies, especially the wide use of digital processes and the internet in music production and dissemination. It addresses the new dynamics of musical consumption and some new authoring settings allowed by new technologies. Of special interest, the case study contradicts the contemporary trend of increasingly collectivized production since it concentrates all stages of creation and production of the music album in the single author, the ultra-author.

The article by Carlos Eduardo Amaral (Federal University of Pernambuco) deals with the construction of regionalism as a form of nationalism, and questions the biases in the construction of the regionalist style and repertoire as well as in the insertion of the regionalist movement in public policies as far as transformative action parameters for social, educational and cultural empowerment. The article by Luis Eduardo Veloso Garcia (State University of Londrina) offers a critical assessment of the prolific Brazilian lyricist songbook, in the view of chroniclers and music critics, composers and musicians. The article by Rosemyriam Cunha (Faculty of Arts of Paraná) approaches collective music making by proposing a discourse analysis that considers the social, cognitive and affective dimensions of its relational universe.

In the Memory section, Ricardo Tacuchian (Brazilian Academy of Music) pays a posthumous tribute to Vicente Salles with a sensitive essay on the legacy of the historian, ethnologist and Brazilian musicologist. This issue’s interview, conducted by the composer Edino Krieger (Brazilian Academy of Music) pays homage to the composer Aylton Escobar, who celebrates his 70th birthday by reflecting on his musical career and his time, and providing with an assessment of contemporary musical creation.

In the Brazilian Music Archive section, Alberto Pacheco (New University of Lisbon) presents an introduction to the edition here published of D. Pedro I’s Brazilian Independence Anthem, based on the original manuscript in the custody of the Brazilian Institute of History and Geography.

 

EDITORIAL

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ARTICLES


International times: fusions, exoticism, and antiracism in electronic dance music

David Hesmondhalgh 

Abstract

This essay seeks to analyse the complex politics of technology, representation and institution in popular music. It traces the history of British independent record companies, particularly electronic dance music companies, based on research conducted in London in the 1990s. The ethnographic study of Nation Records is discussed in the light of the complex cultural politics of that 1990s conjuncture.

Keywords

Electronic dance music – 20th century – authorship – recorded music – cultural industry – cultural criticism.

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Jam sessions in Manhattan: socialization among jazz musicians and performance regulation

Ricardo Pinheiro 

Abstract

Ethnographic study of musical and social practices of jam sessions as regulatory context of jazz performance and socialization of musicians, in particular as regards the integration of the musicians in the jazz scene and to establish its statute. It analyses the jam sessions in Manhattan, New York, USA, between the years of 2003 and 2005, in their musical aspects and aesthetic tendencies, the interplay between the musicians in mutual recognition of musical capacity and hierarchical relationships, the development of new approaches to improvisation, the establishment of professional network, the relationship with the audience, and other important components on the configuration of the event and its relationship with the surroundings.

Keywords

Jazz – performance studies – musical and social practice – urban ethnography – U.S.A. – improvisation.

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Vinicius Enter, the ultra-author or the Forefinger of ultraauthorship

Lucas Freitas

Abstract

Organized like a hand with each finger pointing out the relevant aspects for the understanding of a fascinating, ignored and contradictory album, this article pretends to touch the unique work of the musician Vinicius Enter: Dedo indicador (Forefinger). From little finger, with a kind of biography, passing by ring finger and the connection with the Manguebit, and by the middle finger and the musical independent scene, getting to the thumb, discussing the ultra-authorship concept and essaying to arrive at a open conclusion about the album Dedo indicador and the peculiar way in what his author experiments the authorship. This article is a personal reading based on interviews (with the author himself and others journalists), reflections about the historical-cultural context and auditions of the album under discussion. The text focus on the relationships between music, technology, authorship and contemporaneity, and it walks through unusual connections between these subjects in Vinicius Enter’s musical practice and his Forefinger album (Dedo indicador).

Keywords

Brazilian popular music – 20th century – authorship – music technology – music industry – independent music production.

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Aesthetic and ideological premises of the Armorial music

Carlos Eduardo Amaral 

Abstract

The most active period of the Armorial Movement, the artistic manifesto launched by the writer Ariano Suassuna in Recife in 1970, had the Armorial Orchestra and the Armorial Quintet as its most representative musical groups. This essay discusses the esthetical premises that guided the creation of Armorial musical repertoire, points to contradictions in its discourse, and questions some of its esthetical aspects within a cultural context involving musical and extra- musical elements, either contemporary or prior to the 1970’s movement.

Keywords

Brazilian music – 20th century – Armorial Movement – musical nationalism – regionalism – public policies.

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Facets of Aldir Blanc’s songs, the “goldsmith of verbiage”

Luis Eduardo Veloso Garcia

Abstract

This article aims to reflect the production of songs the “Goldsmith’s of Verbiage” Aldir Blanc through several theoretical opinions regarding of the work. Presenting, therefore, the vision of the great names from our culture such as Dorival Caymmi, Roberto M. Moura, Sergio Alcides and many others, we will seek not only define the work of this composer, but also understand the value that this carries for the national song

Keywords

Brazilian popular music – 20th century – song – music criticism.

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Collective music-making

Rosemyriam Cunha 

Abstract

This study investigated collective music-making from the perspective of authors who considered music as a human action. Two the collective musical groups were involved in this research: an instrumental band, and a choir. Structured observations and semisstructured interviews with individuals were used as methodology to gather data. The material was analysed through speech analysis techniques which revealed the complexity of musicmaking setting where, besides music production, the major goal of the groups, some other social, cognitive, and affective aspects took part of the relationships among people whenever they gather to make music together

Keywords

Collective making-music – course of musical life – sociability – emotion - cognition

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 MEMORY

The legacy of Vicente Salles (1931-2013)

Ricardo Tacuchian

Abstract

Vicente Salles was a Brazilian historian, ethnologist, and musicologist who left a legacy to the next generations of researchers, a legacy on the history, music, and popular culture of the Brazil’s north region. His collection is currently held by the Federal University of Pará Museum.

Keywords

Musicology – Northern Brazil – folklore – popular culture – historiography.

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INTERVIEW

Aylton Escobar in his 70th anniversary: a dialogue with Edino Krieger

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BRAZILIAN MUSIC ARCHIVE

Introductory notes to the Brazilian Independence Anthem (ms. IHGB) by D. Pedro I

Alberto Pacheco

Abstract

Introductory text to the critical edition of the Brazilian Independence Anthem, by Pedro I of Brazil, IV of Portugal (Queluz, October 12, 1798 – September 24, 1834), on the basis of no original manuscript under the guard of the Brazilian Historic and Geographic Institute. Provides a description of the source and critical notes.

Keywords

Luso-Brazilian history – 19th century – anthem – D. Pedro

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Brazilian Independence Anthem (edition by Alberto Pacheco)

D. Pedro I

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