Commemorative edition of the 80th anniversary of RBM
The Revista Brasileira de Música (Brazilian Journal of Music) celebrates its 80th anniversary, and consolidates its editorial policy of internationalization and democratization of access to knowledge. Founded in 1934, RBM is the oldest scholarly journal devoted to music in Brazil and Latin America still in circulation. RBM has been published under the tutelage of the oldest institution for musical educational in this country – Federal University of Rio de Janeiro’s School of Music, founded in 1848 as Conservatory of Music –, and currently RBM lies under the responsibility of UFRJ Graduate Studies Program in Music, which is also the oldest in Brazil, established in 1980. The pioneering role of this institution in the implementation of graduate courses on music in Brazil has imposed the burden and the bonus of the challenges affecting the entire filed in the university’s context, and mostly in the conceptualization of its contribution as research area to construction of knowledge. The institutional ballast of RBM and its zeal for academic quality have sensitized the community on a wide range of segments, including scholars, researchers, employees, partners, readers and institutional representatives, from Brazil and abroad, and its continuing publication is a victory not only for the university but also for the whole Brazilian society.
The idea of a scholarly journal dedicated to music was a natural consequence of the insertion of the National Institute of Music in the structure of the first Brazilian public university, the University of Rio de Janeiro, created on 7 September 1920. Without losing its historical character as center for training musicians, the National Institute of Music (INM), since then, has opened up new areas of musical knowledge, especially after the end of the Old Republic and the modernizing changes resulting from the new political order established in Brazil with the 1930 Revolution.
Decree No. 19.852 of April 11, 1931, signed by the Minister Francisco Campos, launched the reform of Brazilian system of higher education. A committee formed by Luciano Gallet, Sá Pereira, and Mário de Andrade drawn up INM’s new curriculum. Among the many proposals for INM was the implementation of new disciplines such as Music History and National Folklore, which laid the basis for the creation of the Revista Brasileira de Música. In March 1934, RBM released its first issue with the musicologist Luiz Heitor Corrêa de Azevedo as its editor. In his presentation text, INM’s director Guilherme Fontainha stated that “the Institue lacked a publishing agency through which the student could follow every step of musical progress.” Until 1945, RBM has been continuously published, and issued twenty-five numbers in ten volumes. In 1946, paradoxically after the democratization of the country with the end of the dictatorship of Getúlio Vargas, the RBM ceased publication. It passed 37 years of silence. The removal of RBM’s editor was certainly decisive for the interruption of its periodicity. In 1980, the publication of RBM resumed on an annual basis. The regularity of its publication, however, always depended on the interest of the Director of the School of Music, according to the statue, who held the function of editor of RBM. The last number was published in 2002, during the administration of professor João Guilherme Ripper.
At the proposal of the Director of the School of Music at UFRJ, during professor André Cardoso’s administration, and the decision of the School of Music Congregation, the RBM passed to the responsibility of the Graduate Studies Program in 2008. Initially under the editorship of the Head of the Graduate Studies Program, RBM’s publication was resumed by professor Marcelo Verzoni. In 2010 professor Maria Alice Volpe was nominated RBM’s editor-in chief by the Graduate Studies Program Deliberative Committee and the School of Music Congregation. Since then, the editorship of RBM took on the challenge of keeping its periodicity of twice a year, and adapting the publication to the demands of contemporary indexing systems aiming at indicative statement of quality. The RBM today reaches the classification A2 – the second top extract Qualis Capes. The RBM sums efforts for institutional growth of a school that has played a leading role in the field, and is in the course of implementing its course at doctoral level in the Graduate Studies Program in Music.
The RBM aims at fostering research on music through different interdisciplinary approaches as it upholds its broad scope concerning all fields of music inquiry. A scholarly journal traditionally focusing on issues related to Brazilian music and music in Brazil, the RBM also welcomes articles on issues and topics from other cultural areas that may further the dialogue with the international community of scholars as well as critical discussions concerning the field.
Journal of a long-standing tradition, the RBM has counted on the contribution ofdistinguished scholars such as Mário de Andrade, Luís Heitor Correa de Azevedo, Ayres de Andrade and, more recently, Robert Stevenson, Gerard Béhague, Régis Duprat, Ricardo Tacuchian, Ilza Nogueira, Elizabeth Travassos, Samuel Araújo, Cristina Magaldi, Manoel Aranha Corrêa do Lago, Juan Pablo González, Robin Moore, Elliott Antokoletz, Ralph Locke, David Hesmondhalgh, among others.
The RBM is aimed at the academic community in its broad spectrum of music researchers, musicians, historians, anthropologists, sociologists, culture scholars, and specialists from other related areas. The RBM is published twice a year in printed and electronic versions with national and international circulation. The printed version is distributed in libraries, universities and other educational, scientific and cultural institutions, from Brazil and abroad, interested in either Brazilian, Latin or Ibero-American music.
This volume celebrating the 80th anniversary of the Revista Brasileira de Música consists of articles that contribute to the understanding of the historical, political and institutional context in which this jornal was created, as well as the trajectory of its main editor, Luiz Heitor Corrêa de Azevedo.
In the Brazilian Music Archive section, Manoel Aranha Corrêa do Lago (Brazilian Academy of Music) presents an introduction to the edition here published of Heitor Villa-Lobos’s harmonization to the modinha (Brazilian song genre) Onde nosso amor nasceu [Where our love was born] on the basis of the autograph manuscript held by the Mozart de Araújo Collection at the Banco do Brasil Cultural Center, Rio de Janeiro
“For the Genuine Culture of the Americas”: Musical Folklore and the Cultural Politics of Pan Americanism, 1933–50
Corinne A. Pernet
This essay seeks to analyze the complex web of interpersonal relationships among folklorists and cultural professionals in different countries of the Americas at the time of the Good Neighbor Policy. From the perspective of post-colonial theory, it focuses on the arena of cultural networks and transnational institutions related to the field of musical folklore, and proposes that the dichotomy between center and periphery does not always provide a good perspective to understand the impact of the United States in Latin America. The examination of the inter-American politics of the vogue of folklore in the Americas in the 1930s and 1940s shows that a considerable space for exchange and negotiation existed.
Folklore –musical americanism – Pan Americanism – Good Neighbor policy – cultural politics USA and Latin America – 20th century.
The present state and potential of music research in Latin America
Luiz Heitor Corrêa de Azevedo
Lecture by Luiz Heitor Correa de Azevedo (1905-1992) in New York, 1968, by the time he was a visiting professor at Tulane University, USA. This essay offers an overview of musical research, with an emphasis on historical musicology, folklore studies and ethnomusicology in the various countries of Latin America until the 1960s. Latin America has been excluded or misrepresented in European music encyclopedias, dictionaries and histories until World War II. Simultaneously, the musical research in Latin America has developed, especially since the 1930s. The roster of the main topics, authors and publications by Latin American researchers and Latin Americanists is discussed in the institutional context of the musical inter-Americanism.
Musicology – folklore – ethnomusicology – musical historiography – inter-Americanism – Latin America – 20th century.
The Revista Brasileira de Música from the view of Mário de Andrade’s correspondence
Flávia Camargo Toni
Mário de Andrade´s correspondence with Luciano Gallet and Luiz Heitor Corrêa de Azevedo is here analized with the intent to follow the history of three periodicals, namely, Weco, Revista da Associação Brasileira de Musica and Revista Brasileira de Música. Assuming that the writing of journals reflected “sociability networks”, resembling those observed in the epistolary dialogues, I analyze to what extent this equivalence operated among music periodicals: in the letters exchanged between editors and their collaborators, what did they talk about? Did the three musicologists share experiences in the field of journalism? In the particular case of Mário the Andrade, who usually participated his creative projects with friends, is it possible to catch the genesis of his articles?.
Periodism – epistolography – sociability networks – musicology in Brazil – institutonal history.
The correspondence of Luiz Heitor with Dulce Lamas: a historical dimension
Jairo Botelho Cavalcanti
The letters of Luiz Heitor Correa de Azevedo (1905-1992) to Dulce Martins Lamas (1941-1992) reveal a large portion of the projects that made the long pathways of the musicologist in his professional and personal life, as researcher and UNESCO’s representative. During nearly five decades of exile, with sporadic returns to his motherland, Luiz Heitor kept frequent contact, through correspondence, with his greatest collaborator, professor Dulce Lamas. Hundreds of letters bring to light aspects of his institutional and professional trajectory.
Brazilian musicology – folklore – musical historiography – music periodicals – epistolography.
Organization of the Museum Delgado de Carvalho of the School of Music at the Federal University of Rio de Janeiro (UFRJ) from the perspective of the documentary representation of musical instruments
Dolores Castorino Brandão
This study approaches the organization of collection of musical instruments of the Museum Delgado de Carvalho of the School of Music at UFRJ through thematic and descriptive representation of musical instruments for purposes of information recovery. The insufficiency of international regulation of representation for this aim and shortage of studies on the subject in Brazil, gave rise to the present study. Firstly, it discusses the existing regulations and patterns in the areas of Librarianship, Museology and Organology, which could be used for the organization of that collection. As result, it presents a proposal for the representation of musical instruments in UFRJ Minerva database, adopting librarianship standards AACR2 and MARC 21. It also developed an archetype of managed vocabulary for this field of study in order to contribute with the thematic organization of the collection. The research emphasizes the need of additional studies on specialized documentary language in the area of music, aiming at the construction of a thesaurus in the domain of musical instruments.
Descriptive representation – musical instruments – musical instrument classification – documentary language.
Mercedes Reis Pequeno’s reminiscences of Luiz Heitor Corrêa de Azevedo, Carleton Sprague Smith, Charles Seeger, and others
Press conference of Luiz Heitor Corrêa de Azevedo at the Museu da Imagem e do Som, Rio de Janeiro, July, 17, 1972 – interviewers: Cleofe Person de Mattos, Mercedes Reis Pequeno, Aloísio de Alencar Pinto, Dulce Lamas, and Eurico Nogueira França
BRAZILIAN MUSIC ARCHIVE
Villa-Lobos: Onde nosso amor nasceu (coleção Canções típicas brasileiras nº 13), Manuscrito P3015, Coleção Mozart Araújo, CCBB-RJ
Manoel Aranha Corrêa do Lago
Onde nosso amor nasceu (coleção Canções Típicas Brasileiras nº 13) (edição de Manoel Aranha Corrêa do Lago e Carlos Braga)