Produções Acadêmicas e Cientificas - UEA
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Item Criação, produção, usos e funções da Iconografia Musical(Universidade do Estado do Amazonas, 2024-09-10) Sotuyo Blanco, Pablo; da Silva Souza, Nilton; Pablo Sotuyo Blanco; Nilton da Silva SouzaThe RIdIM-Brasil (International Repertory of Musical Iconography in Brazil) is a national project focused on indexing, cataloging, researching, and disseminating Brazil's musical iconographic heritage. It holds biennial congresses in Brazil, during which the scientific community that studies the relationships between music and image presents the progress of individual and collective research projects. With the same frequency, motivated by the renewal of knowledge brought about by such exchanges, a book featuring the most relevant research by professors from national and international institutions is published after each congress. The present volume was inspired by the event held in 2023 in Maceió, Alagoas, and is therefore the result of a collaboration between UEA, through the PPGLA,UFAL and UFBA.Item Teoria, percepção e criação musical: nível 1A: material do(a) estudante(Universidade do Estado do Amazonas, 2023-06-24) Caregnato, Caroline; Ventura, Fábio Silva"Music Theory, Perception and Creation - Level 1A"; is the first volume of a series of four that brings contents and exercises in music theory, ear training, and solfege alongside music creation projects that seek to integrate theoretical learning with music practice. Developed by teachers from the Universidade do Estado do Amazonas (UEA), this material is meant to be used with children and teenagers from nine years old on and can be adopted by music theory and ear training teachers, but also in instrument or musicalization classes. Each volume is divided into four sections (Music Theory, Ear Training, Solfege, and Music Creation), which have exercises graded in difficulty and that were developed and improved over years of experimentation in classes from UEA extension courses. The book's sections should be combined so that the learning of theory, ear training, and solfege occurs in a way connecting practice and listening, that is, therefore, more meaningful to the students. The "Student Book" has explanatory texts and exercises, and is also richly illustrated with pictures that can be painted by the student. This material can be freely downloaded from the internet and printed on a home printer. Also included in this volume are the "Teacher's Book" and the "CD 1A".Item Teoria, percepção e criação musical: nível 1A: material do(a) professor(a)(Universidade do Estado do Amazonas, 2023-06-24) Caregnato, Caroline; Ventura, Fábio Silva"Music Theory, Perception and Creation - Level 1A"; is the first volume of a series of four that brings contents and exercises in music theory, ear training, and solfege alongside music creation projects that seek to integrate theoretical learning with music practice. Developed by teachers from the Universidade do Estado do Amazonas (UEA), this material is meant to be used with children and teenagers from nine years old on and can be adopted by music theory and ear training teachers, but also in instrument or musicalization classes. Each volume is divided into four sections (Music Theory, Ear Training, Solfege, and Music Creation), which have exercises graded in difficulty and that were developed and improved over years of experimentation in classes from UEA extension courses. The book's sections should be combined so that the learning of theory, ear training, and solfege occurs in a way connecting practice and listening, that is, therefore, more meaningful to the students. The “Teacher’s Book” presents guidelines for the approach and execution of the activities in the book. They are based on theoretical reflections by renowned authors in the fields of music education and music psychology. The material also contains chords and music sheets that can be played live by the teacher. Also included are the "Student’s Book's and the CD 1A".Item José Palomino e João Cordeiro da Silva : obra completa para tecla(Universidade do Estado do Amazonas, 2020-01-05) Páscoa, Márcio; Trilha, Mário; Sbaffi, Edoardo; Souto, Luciano; Medina, Gustavo; Lima, GabrielAll volumes have critical, historical and analytical on the works in question and with biographical approaches to build a context that allows us to understand artistic creation. The organizers would like to thank everyone indistinctly the archives and libraries that keep the originals of these works, in many cases for making the material available for free on platforms digital or in other cases by being able to meet the copy requests in a timely manner. Thanks also to the Historical Archive of the Brotherhood Santa Cecília and Montepio Filarmônico for availability of consultation and transfer of images, as well as to the scientific researcher Dr. Ana Paula Tudela, for the information and diligence she kindly provided in relation to the contents of that collection and the connections made possible with other funds. Thanks are extended to all students, colleagues and external collaborators who, within the scope of the Laboratory of Musicology and Cultural History, as well as the Baroque Orchestra from Amazonas, participated in the experience of restoration of this material musical. In particular, thanks here to those who worked in the transcription with the organizers, as is the case of André Ferreira da Silva, Francisco Jayme Cordeiro da Costa, Guilherme Aleixo da Silva Monteiro, Maira Dessana Ferreira da Silva and Mario André Vlaxio Lopes. The work is dedicated to those who, like us, feel that its history is not irrelevant and is as important as any to be told. This is the story of many who, regardless of their origin, here came together to give meaning to a culture.Item Música e interfaces(Universidade do Estado do Amazonas, 2020-12-05) Caregnato, Caroline; Páscoa, MárcioAs much as postmodern thinking turns against the separation and isolation of the different areas of human knowledge, and which were inherited (separation and isolation) from Cartesian thought, we must admit that the establishment of zones of adherence, of relations or, in other words, of interfaces between the different fields of knowledge is still a challenge for many of us, researchers trained in a multidisciplinary tradition. Music and the researchers who discuss it sometimes close themselves off in the specialization and hermeticism of their debates, not allowing themselves to see, in fact, a reality that can hardly go unnoticed: music is not a phenomenon that manifests itself isolated in the world. Although we all know this, it never hurts to remember that the integration of points of view, or knowledge, is necessary for us to approach a less naive understanding of the reality that we were willing to study. Music, like a prism of countless faces, has a “nucleus” where we could place the most specific discussions in the area, but which is surrounded by a multifaceted surface, which relates to the outside, makes contacts, establishes relationships with other areas of knowledge. For this reason, it is necessary to talk about musical “inter-faces” or, in other words, about the relationships that this prism, which composes musical knowledge, establishes with the other areas of knowledge by placing their infinite “faces” in “interrelation” ”With its surroundings. This collection of texts, according to my reading, presents us with the “hard core” of this multifaceted prism that corresponds to musical knowledge, but also presenting some of the countless faces and relationships that this object can establish with its surroundings. . The first section of this book, dedicated to “Interpretative practices”, contains a set of texts that reflect on the construction of musical performance. In “Allaudistic resources to the guitar: a case study for the performance of JS Bach's Fugue BWV 997”, Vitor de Souza Leite discusses the appropriation, in the performance of a piece by Johann Sebastian Bach to the guitar, of elements of the auditory execution rescued 18th century treatise Theoretisch und Practische Untersuchung des Instruments der Lauten, by Ernest Baron. The guitarist interpretation is also the object of study by Ricardo César dos Santos Castilho Filho and Luciano Hercílio Alves Souto, in “Technical-idiomatic resources of the Baroque repertoire for strings plucked in guitar transcriptions: a critical-reflexive study of the medium change procedures instrumental and notational ”. In this article, the authors discuss the problem 8 involved in the transcription and modern execution, on the guitar, of ancient notations originally produced for strummed string instruments such as vihuelas, guitars and lutes from the Baroque period. A similar theme is addressed by Luciano Hercílio Alves Souto, in “The English guitar and the wire viola in the 18th century: notational, technical-idiomatic approaches and transcription of excerpts from Musical Example No. II, extracted from The Art of Playing the Guitar or Cittra (1760) by Francesco Geminiani ”.The authors, in this work, present characteristics of African rhythm, relating this, then, to the rhythm of Brazilian music. Brazilian music is also the focus of the analysis proposed by Íngrid Lívero, in “The discourse in the arrangements and melody of songs by the Engineers of Hawaii: tracing a musical process of subjectification”. In this article, after a brief historical exhibition on Brazilian rock, consolidated from the 1980s, the author starts from the concept of parrhesia, proposed by Michel Foucault, to analyze the discursive practices that permeate the music “Toda forma de poder”, by Hawaii engineers. The article section entitled “Cognition, training and music education” presents works that provide theoretical foundations in the fields of cognition and / or music education, in addition to reports of pedagogical experiences in the area of music that can contribute to teacher training.Item Música, linguagem e (re)conhecimento(Universidade do Estado do Amazonas, 2020-12-05) Caregnato, Caroline; Páscoa, MárcioThe musical experience gained an enormous dimension with the advancement of digital technologies. One of the main differences huge sound supply that has never been greater in any other time like now. The complete work of an author, however productive has been, however many papers he used to write it and yet hours of rehearsals and recordings have been spent, it is now up to on small devices ranging from the size of a toothpick to a or not at all: they can be accessed from a remote point, which we figuratively call the cloud, even our electronic devices. In fact, we can have entire catalogs, authors diverse, from the same epoch, from all epochs, if we wish. The incredible ease with which it became to make a recorded record, with incredibly high quality compared to two decades past, rivals the stunning availability of documents from the past and of the present, through initiatives of public and private digital portals, large library or new virtual repositories that reorganize in a coherent file many libraries. The experience of doing and listening to music became more common, after all we can have a home recording and music editing studio to make our own demonstration feasible, or even listen in the car or on public transport the repertoires once available only for special and sometimes very exclusive occasions, such as summer mornings Sunday of a Venetian parish church from the early 18th century, a small Parisian cafe from the 1930s, or an unrepeatable night of a rock festival in the late 1960s. But our capacity for enjoyment cannot be intended to be total, nor at the same level of processing of these incredible repertoires that we access today. Something that can be seen at the time of these two decades 21st century is that our capacity for reflection on ideas and musical practices also need to change. Instead of the apparent trivialization of all this musical heritage transformed into computer data, we can understand how different times and places achieved their music. In a world that is being rapidly ratified by globalization determined by the canonical imposition of the great centers radiators of technology and information, we realized, however, that some things do not change. This is because new tools and techniques serve old ideas.In the first chapter, Geoffrey Baker, of long years studying the phenomenon of multiplication of orchestras in the recent history of Venezuela, which should correspond to a massive process of musical education and consequent citizen emancipation, offers arguments that weaken such idea and point to the process as a tool of doubtful purpose, because in the end it seems to be a strategy of social control and domination of the state on the individual, a finding that is never consistent with the construction of free will. Baker refers to Favio Shifres, who in the next chapter does not leave room for doubts to those who still have them: the cultural south is necessary recognize and value their own experiences of manifesting language, in this case musical, to then reach an emancipation of knowing. The (re) knowledge is therefore to make the experience visible outside of the canon, since otherwise only a silent and subordinate, full of mistakes. Graziela Bortz's text refers to the first words of this presentation leading to think that the technological race also ends because it is a challenge to understand the human being. The challenges educational aspects of the previous text here seem to echo as challenges to human essence itself. The social dimension of music continues to be discussed by João Quadros Jr. in order to complete the section dedicated to cognition and music education. To close the block, Beatriz Ilari discusses the latest research in the field of musical cognition, involving central aspects that the previous authors were concerned, such as the construction of a rationale musical, emotionality and impact on social relationships.The second block is intended for musicological discussions that lose sight of many of the preceding elements. Here we see diverse concerns with theory, analysis and musical interpretation for which historical, semiotic contributions and approaches are called intertextual analytics. Robert Gjerdingen's work echoes in almost everyone the texts here in this section, since this researcher revealed effectively the teaching-learning and musical creation of the tradition of Neapolitan origin that in the 18th century would reach with consequences and traces for many decades. This tradition provided for pre-compositional stages that guided a massive process of musical formation and elaboration. These are the counterpoint schemes, virtual models from which they were oriented (and are still oriented) many practical achievements with great possibility of uses and variations. Mário Trilha looks at one of these schemes in particular, Romanesca, identifying wide use in the middle of instrumental works of 11 several authors from the second half of the 18th century, in contrast to its frequent application in the opening of movements, until then the way most commonly seen in the European repertoire. Romanesque remains the point of attention in the following text, in which I argue for her interaction with the subject of love in opera would be Italian. The theory of musical topics, were they not problems methodological factors that have restricted it, could have come here as a support for understanding meanings. However, the issue seems to be much more correct in a discussion on how to represent and interpret ideas and their context, thus being a debate about mimesis.The last text in this block could be the first in the next section. Guilherme Monteiro, who carried out the first integral analysis of a work dimension of a Brazilian author, following the theoretical framework Gjerdingen and showing associations with musical topics, highlights here some excerpts from the Six Funeral Responsibilities of João de Deus Castro Lobo who connect because of the unusual structure and textual similarities. For the interpretative analytical approach I took the exciting opportunity to collaborate, literary sources were brought and above all iconographic ones that seem to make sense of what the Minas Gerais composer in his last musical creation. Thus, the next section, dedicated to musical iconography, appears in a timely manner. In it, Vergara shows us approximations of musical education, or through music, and homoerotic social practice in iconographic representations in Classical Antiquity, which reveals other social constructions and artistic understandings.Item Sonatas setecentistas portuguesas para violino: III Sonatas a dois violinos e baixo, de Avondano, e XIII Sonatas a violino e baixo, de Nogueira(Universidade do Estado do Amazonas, 2020-11-20) Páscoa, Márcio; Trilha, Mário; Sbaffi, Edoardo; Souto, Luciano; Medina, Gustavo; Lima, GabrielThe construction of existence: (re) knowing the history that makes sense In 15 years of activities, the Laboratory of Musicology and Cultural History of the State University of Amazonas developed several projects with sponsor support several. The lines of action sought to promote the meeting of historical musicology, with interpretative practices, approaches analytical and historical-cultural views of the representations of music. In the last decade, work on sources Luso-Brazilian women of the Old Regime, or relative to them. There was then the transcription of material from many authors and collections, immediate results to performance in concerts and scenic montages and master's dissertations. In the case of musical performance, the program Opera in Colonial Brazil, with arias extracted from several works in circulation through the Portuguese-speaking space of the 18th and 19th centuries, a proposal that, sponsored by the Petrobrás Cultural Program, reached between 2013 and 2016 dozens of cities in Brazil and Portugal. It is also mentionable the repertoire developed for presentation under the auspices of SESC, in its Amazônia das Artes program, which dates back to 2010. Together several presentations that took place in Manaus, interspersed with 5 international tours that covered Portugal, Spain, France and Italy, the entire repertoire in question was defended by the Orchestra Amazon Baroque and its most chamber formation, Amazonas Baroque Ensemble, which also includes 5 CDs. But not only: in the case the musical restoration of Wars of the Rosemary and Mangerona (1737), Antonio José da Silva (1705-39) and Antonio Teixeira (1707-74), the score resulting from the musicological work was used so much for the 2010 montage by OBA and cast of soloists during the Festival Amazonas de Ópera - then the contemporary debut in Brazil of this work - as it was, after being edited by Universidade Nova de Lisbon, made available for the shows made by the group Portuguese The Musicians of the Tagus, in 2019. In the list of master's defenses that used these materials there are some that operated on the feasibility of the presentations, because they looked at the issues of reconstruction, and there are those who provided, and still provide, theoretical input for all practical activities, it being remarkable that all these now Masters, some already Doctors, were on stage to complete the experience in this universe that they helped to unravel. Noteworthy are the works on Vanessa Monteiro, who offered a critical and annotated version of the Rules of accompanying, for harpsichord or organ (1758), by Alberto José Gomes da Silva, and, in this same sense, Gabriela's contribution Dácio referring to the Method or explanation for learning to dance the contradictions (1761), by Julio Severin Pantezze, to which is added very recently Gustavo Medina's work on the voluminous pedagogical work by Pedro Lopes Nogueira (1686-d.1770), entitled Lisões variety (c.1720-40). Dedicated to transcription, restoration and criticism of musical works are: the work of Gabriel de Sousa Lima on Antonio Teixeira's remaining arias, in a manuscript of late 18th century containing music for Precipices of Phaeton (1738); the study with complete transcription of the opera Varieties of Proteu (1737) by the same Teixeira, directed by Tiago Soares; the transcript that Fábio Melo made the opera Demetrio (1765-6), by David Perez, in a version bilingual, drawing on the collation of manuscripts in Italian and Portuguese, that rest in the Help Library and the Library respectively the Paço Ducal of Vila Viçosa, in Portugal; transcription and critical study made by Silvia Lima of the serenade Gli Eroi Spartani (1788), from Antonio Leal Moreira (1758-1819), based on versions in Italian and Portuguese, included in the aforementioned collections of Ajuda and Vila Viçosa; The organization and transcription of Belizário (1777-78?), of multiple authorship in the process of counterfeiting and pastiche, on which Benjamin stopped About; finally, the work of Huan Miranda that discusses a reconstruction of missing parts for a cello concert of Pedro Antonio Avondano (1714-1782). With regard to studies of musical interpretation through interdisciplinary approaches exist: Manoella Costa's works on the Avondano trios, in Dresden; the works of Fabiano Cardoso and Flávia Procópio, who concentrated on the vocal repertoire of modinhas, between the centuries XVIII and XIX; Silvanei Correia's work on the double bass of five ropes used in the late 18th century; and the work of Luciana Pereira, about Waldemar Henrique's songs. The analysis texts also not been forgotten, with Guilherme Aleixo's contribution being the most important, when performing topic-schematic analysis of the 6 Responsories Funerals (1831-2) by João de Deus do Castro Lobo (1794-1832). a an even greater number of transcripts and studies were carried out scientific initiation and undergraduate monograph. They should also be mentioned in general terms that, both mentioned above, as the permanent members of this laboratory, namely the organizers of this collection, also produced books, chapters and articles in indexed and qualified journals, in addition to contributing entries for dictionaries and advising and would appear to scientific vehicles and events of national merit and international level, evidencing the recognition for the work that has being developed in this research unit. The Clinâmen series. The atomist doctrine of Democritus and Epicurus conceptualized the determinism of the movement of atoms. The different forms, arrangements and positions of atoms, understood here according to the theory philosophical, like the infinite variety of minimal materials, would give substance to everything you see. Lucretius as a follower of epicureanism believed that the doctrine found the key to understanding the all universal and with that happiness is achieved. Democritus defended that atoms fell into the void, always in parallel direction. The idea of emptiness facilitated the movement of the atom. The different weight of the atoms would make the shocks happen at different speeds and moments, generating the worlds. The critic of Aristotle, that there was no emptiness, because if he had would not show resistance to the movement and weight of the atoms causing a simultaneous fall and shock, made Epicurus would argue for a lateral deviation in the movement of the particles. That movement without cause is already the notion of Clinâmen. But Lucrecio understood this deviation as intentional because so, even in the face of inexplicable quiddam, which was explained it was the free will of all living things and therefore emphasized the stamp humanistic of his doctrine of election. In much more recent times, several theorists and scholars have used the concept of Clinâmen, like Jacques Lacan, Jacques Derrida, Gilles Deleuze and Harold Bloom, however showing differences between their understandings, but always in a divergent condition. In a sense closer to Lucretius, the idea that is adopted here it is inspired by Boaventura Sousa Santos. The Portuguese sociologist notes that, in view of the canonical power that provokes an action routine, conformist, repetitive and reproductive, by reducing realism for what exists only in the face of the recognition of such power, an action-with-clinamen is used. The Clinâmen then assumed itself as in Lucretius, as the power of inclination, of spontaneous movement, of the will to deflect. It means that it is not necessary to deny the past, refusing it. Rather, it is important to recognize the connection, to assume it, to build a particular narrative that allows for redemption. Its about operate on the boundary between the past that existed and the one that did not have recognition, license or authorization to exist. Anyway means give voice to other epistemologies, which have gone hand in hand with established itself as a canon, but it was not unique. These experiences are precisely the ones that give us meaning, because without them we are speechless and will continue to build non-existence. This indolence of reason is not answered with the act revolutionary break. It also does not favor us, because we continue to live in the world as it is. But we can and we must recover our ways of being and doing, this time imposing a dialogue to the canon that is uncomfortable to him. The canon is only interested in what it justifies or strengthens you. The parallel voices, the deviation of their purposes, the appropriations that are made of it, or those that we revert from it, the different forms of knowledge, reason, production, communication, of conception, and of Art, disturb his speech, which one day becomes he wanted unitary, globalizing and not heterotopic. Rather, the unifying context must be more universal than global, more plural than unitary, less immediate so that the present includes the past in our lives as well as to start to live already the future that is desires for the act of building it. The various experiences that affect us are that make us what we are, and that is how our Art manifests. It was in this spirit that we decided on the choices that fill the 4 volumes that start this series. Since it also had been the research guideline of the last 15 years, nothing more just than give them continuity, publishing and exposing effectively, because digital and free, on the stage of cultural events to anyone who wants of that if you use it.These 4 volumes include sources for the understanding of traditions that unite part of the Mediterranean world and will meet in Portugal in the 18th century, consequently affecting Brazil, because after all this is part of that in the period in question. They are works made for a context that does not concern Europe belonging to the Cultural North. At most they integrate the culture of the semi-periphery where silences rest, but with much to say. This is because even authors that may have arisen and related to the canon, were diverted to other trajectories and built other epistemologies. Of these volumes, 3 were dedicated exclusively to music instrumental. First, because the idea is not exclusive to thought Anglo-Franco-Saxon. Second because in this way that are raised here this music obeys another tradition of representation and interpretation. Volume 1 brings together the work of two musicians who have deprived of mutual friendship and admiration in their lives. Both met far from the homeland, to become artists, whose work and scope only one starts to have a notion. Pedro Lopes Nogueira (1686-d.1770) came from Tavira to Lisbon, becoming a shoemaker and violinist, to register what can be considered the musical corpus for pedagogical purposes most important of the entire eighteenth century. Fruit of his practice in Lisbon and Coimbra, the Casta de Lições, from which we extracted the 13 sonatas that here they are edited for the first time, it is composed of diversified material for technical and expressive teaching that must refer to a tradition previous. The answer may lie in the relevant biographical survey Pietro Giorgio Avondano (1692-1750 / 52) who was best known like Pedro Jorge Avondano. Coming from Novi [Ligure] to Lisbon, in amidst a migratory wave of several families from that city, a exponent in his music profession with enormous prestige that he achieved their offspring and family members. The testimony of a respectable source like Nicolau Mongiardino, a long-time neighbor of Avondano, attributes the degree of excellence of this to his teacher of name Geminiani. The presence of a musician from Corelli's circle in Lisbon would also explain the high degree, not only of Avondano, but of Nogueira, dealing with the instrument and the musical material itself. To join Nogueira's 13 sonatas, they were selected the three trios that bear the name of Avondano, that are part of the estate of the Dresden Public Library. Accustomed to copying music chamber and orchestral, especially for strings, in large quantities and select quality, the copyists of the local official orchestral group that had one of the highlights under Augusto, the Fort, gathered works of different origins. Avondano's sonatas deposited there did not specify the first name, but the date of the copy allows to affirm if dealing with Pedro Jorge. Like Nogueira's, made for violin and bass, the three Avondano sonatas, for two violins and bass, demonstrate the hand skills of creative interpreters, both in handling the technique, as in the elaboration of semantic aspects, involving themes, tops and styles with a lot of ownership, combining them in order to offer singular aspects. The second volume opens a sequence for concerts for soloist and orchestra. Like the works in volume 1, they may have destined to moments of sociability in court spaces, religious or bourgeois. David Perez's flute concert (1711- 1778) seems to have been written around the years when he moved to Portugal, where there would certainly be no shortage of interpreters. This concert it is probably a second attempt by the author to approach writing of the soloist flute, compared to another example attributed to him and today he is in Brussels. Violinist, harpsichordist and singer, Perez can only have been interested in writing for flute in the presence of interpreters who demanded it. Although no name in particular it seems to have crossed its path during the Italian stage of his career, he must have found in Portugal the members Rodil, Plá and Heredia families, who had skilled flutists. Next to the Perez concert is a violin concert, made decades later by José Palomino (1753-1810). Born in Spain and very early immigrated to Portugal where he developed almost his entire career as an instrumentalist and composer, Palomino combines great technical precision, with melodic refinement, rhythmic vigor and effective orchestration, for strings without guitar and two horns. Better than many of the most notable contemporary violin concerts, this it may have been one among other possible concerts he wrote for the instrument, since the copy that we use here goes dated 1804 and there is news of his concerts in 1778 and on dates nearby though you don't need to. The volume concludes with a rare Iberian concert for cello. The manuscript bears the name of Antonio Policarppi, who is completely unknown who he was, unless talking about the owner of the parts and that there was some confusion with the name; the tenor Policarpo José Antonio da Silva (1745-1803), who joined the services of the Portuguese Court, served as a composer and key instrumentalist, but still managing groups for religious activities or at the service of nobles and bourgeois in their homes, which surely involved hiring musicians and collect repertoire for such purposes. The concert in question can be from the work of any of the virtues of the Royal Chamber Orchestra and its more cameristic texture would adapt well to different spaces that these professionals went through. The third volume of the series brings the complete work to the João Cordeiro da Silva (c.1735-1808) and a significant part of the work instrumental by José Palomino. The major work is the concert or quintet for harpsichord or pianoforte, two violins, viola and bass. More mature than the previous violin concert, the work works well with the harpsichord or the piano, with basso reinforcement or having solo cello, proving that Palomino was in fact an expert of the trade. The quality of writing shows a composer far ahead of the rest of craft within a radius of many kilometers of it and, if placed alongside the quintets produced in the same year 1785, which went out of Portugal, it projects itself at the high level of the best that has been done end of the 18th century and not only in the Iberian panorama. In this sense, the volume also brings the surprising duo of pianoforte and violin, worthy of the repertoire of the best sonatas of the time. The fourth volume of the inaugural stage of the series is the only one dedicated to vocal music. This is the first edition of the opera Ezio, by Niccolo Jommelli (1714-1774), one of his most important works. This was the fourth time that the Neapolitan wrote music for the same libretto by Pietro Metastasio (1698-1782). He did not do so willingly, having even complained about having to do it, but he did it because it was D.'s choice José, who kept it under contract and wanted the work to be to an important date like the queen's birthday. Jommelli, already victim of a stroke, was delayed in elaboration and the debut of the opera was for the anniversary of the discovery of Brazil, having subsequent reruns. The composer repeated some arias of versions precedents, but inserted new text and music, of which stand out the counterpoint treatment richer than in ordinary works of time and complex ensemble scenes. At that same time the Metastasio's libretto received a new Portuguese translation, intended for according to the lusophone audiences, with graceful characters inserted. Such version seems to have traveled Brazil from North to South at that end 18th century, without knowing if it had Jommelli's music, it is only presumed that it served the pastiche model and counterfactual that characterized the lyrical spectacles of the time in most popular context. All volumes have critical, historical and analytical about the works in question and with biographical approaches to build a context that allows understanding of artistic creation. The organizers would like to thank indistinctly to all archives and libraries that guard the originals of these works, in many cases for making the material available free of charge in digital platforms or in other cases for being able to meet the requests copy in a timely manner. The Historical Archive of the Brotherhood Santa Cecília and Montepio Philharmonic for availability consultation and transfer of images, as well as to the scientific researcher Dr. Ana Paula Tudela, for the information and diligences that you kindly provided in relation to the contents of that collection and connections made possible with other funds. Thanks are extensive to all students, colleagues and external collaborators who the Laboratory of Musicology and Cultural History, as well as the Barroca do Amazonas Orchestra, participated in the experience of restoration of this musical material. Thanks in particular here those who worked on the transcription with the organizers, as is the case of André Ferreira da Silva, Francisco Jayme Cordeiro da Costa, Guilherme Aleixo da Silva Monteiro, Maira Dessana Ferreira da Silva, and Mario André Vlaxio Lopes. The work is dedicated to those who, like us, feel that their history is not irrelevant and is just as important as any other to be told. This is the story of many, regardless of their origin, here they came together to give meaning to a culture.Item Diálogo musical(Universidade do Estado do Amazonas, 2019-10-16) Márcio Leonel Reis PáscoaMusic research in Brazil has multiplied over the past 20 to 30 years at a remarkable rate compared to previous decades. Undergraduate and postgraduate courses that house the study of music have also grown. Most of this research is done in the field of postgraduate studies, whether in music or the arts, but still in letters, linguistics, history, sociology, philosophy, education, teaching, psychology, anthropology, geography, communication, and even science. not infrequently in programs or with interdisciplinary objectives. This comprehensiveness occurred through a change of scientific paradigm that, especially in the case of the Humanities, has become increasingly ontological, thus propelling a hermeneutic view that relates multiple knowledge and methodologies. Thus, the studies also began to promote dialogue between areas, subareas, lines of research, which previously had some difficulty, more or less, in relating. Even the research narratives undergo change. Conference concerts are becoming more and more common in scientific events, as experience reports or the epistolary narrative, which goes back to a recovery from the dialectical process of past manuals, began to occupy qualified scholarly publications just to be a few examples. . This volume brings together some of the most explored themes in these two decades of the 21st century. The field of music education, for example, has now developed the subject of cognition with great interest, and there are already graduate programs with specific lines for it. Thus, the subjects of musical perception went from mere room strategy, to a deeper discussion about fundamentals, criteria and an approach where psychology, sociology, anthropology and, of course, musicology are increasingly present. Three of the contributions to this book refer to the issue of perception and the teaching of leaked songs in the idea of language as a language, thus a social construction, a process that cannot be seen as mere repetition of procedures. This allows us to understand part of this work as systematic musicology, as it reorganizes knowledge in favor of understanding music as science. Musicology, by the way, has spread to many new strands, or currents, also adopting peculiar points of view. Historical musicology itself has renewed itself with new objects and agents of discussion. Interest in Portuguese-Brazilian studies has gained wide attention since it seemed clear that for at least three centuries Brazil and Portugal were united in the same political-administrative unit, sharing different cultural aspects. In this case, both the studies of music - which is called classical - as well as those devoted to what is conventionally called popular, have also interested researchers breaking with boundaries that are no longer explained. Be it the attention of a Portuguese author for a key whose copyist activity disseminated the work of many other authors, such as João Cordeiro da Silva, regarding the case investigation on the origin of a specific lundu, such as Marruá's, or indeed Monroy, who are involved in this attempt to better explain what the Luso-Brazilian musical context was, especially in the eighteenth and nineteenth centuries, where much remains to be transcribed, edited, analyzed and publicized its legacy Such studies place musicology in convergence with cultural history, promoting even broader interdisciplinarity. The studies of Musical Iconography go in this direction. Their association with Painting, Sculpture and the Graphic Arts, as well as referring to other artistic expressions, need the same framework as the Humanities to gain the ballast that allows them a better and deeper understanding. It is an investigation that associates the ideological construction of nationalism through the publication of sheet music in Brazil between the 19th and 20th centuries, or the representation of popular musical practices such as Oscar Pereira da Silva or Carybé, regarding the more international dimension of the subjects. with the significant presence of Brazilian researchers in classical antiquity or in the cinema. This vast list of subjects that are very punctuated here by way of example, still marks a decade of institutionalization of the RIdIM (Repertoire Internationale d'Iconographie Musicale) in Brazil. This important organization, established internationally a few decades ago, is responsible for the initiatives that today bring together works of great associative power of knowledge. What brings it all together is a sample of how musical issues spread in scientific studies, here biased by researchers whose field of expertise is not necessarily music - and there are, of course - but the Visual Arts, Architecture, Archeology, History, Sociology, Letters and Education. What matters is that everyone somehow needs music in their studies or has it for the interpretation of the world. The contributions also sought to demonstrate the great geographical scope of the researchers, including works from Portugal and all parts of Brazil, from Amazonas, but also Goiás, Bahia, São Paulo, Minas Gerais, Paraná, since these scholars are also linked some of the largest Brazilian public higher education institutions, where more than 90% of the research done in the country falls. Without the public university and its constitutional guarantee of autonomy, it would not have been possible for seemingly useless subjects to receive the attention of highly qualified professionals in their fields. Not even qualifications and professionals would ever find themselves in a scenario of lack of diversity. Without such conditions even democracy and human beings would suffer, prevented from exercising their plurality and their hope of emancipation, especially intellectualItem Música em diálogo(Universidade do Estado do Amazonas, 2019-10-16) Márcio Leonel Farias Reis Páscoa; Luciane Viana Barros Páscoa; Caroline Caregnato; Mário Marques Trilha NetoIn May 2018, another edition of the International Symposium of Ibero-American Music took place, returning to Manaus for its 5th edition, after visiting Salamanca, Lisbon and Belo Horizonte, where it was housed by the largest local Universities. V SIMIBA had a large number of participants, with communications, lectures, commented concerts, posters and experience reports. The national and international guests constituted a scientific committee that, in addition to the selection of works, contained in a separate notebook and available on the event website, selected the best texts for this publication. These texts were grouped by lines of research, revealing thematic trends of musical scientific research in or related to the Ibero-American space. The commission also found it useful and interesting that works of interdisciplinarity, intertextuality and addressing methodologies applicable to thinking about music or explicit reflection on the actuality of art could be contemplated in order to enrich and broaden horizons on the one hand, but still offer counterpoint of views on the other. The first block of this book brings together work on music analysis and, due to the presence of renowned researcher Robert Gjerdingen of Northwestern University of Chicago, many submissions have focused around the analysis through the counterpoint schematae studied by the American since the last quarter of the year. twentieth century, culminating in his book The Music in the Galant Style (Cambridge, 2007). Other researchers and works succeeded him in a complementary and affirmative manner, however, without exhausting the broad possibilities of the process involving cognitive, educational, and interpretative aspects beyond musical composition. Since music under this bias is understood as language and therefore predisposed to a discursive strategy, some of the works selected for this volume promote the relationship with rhetoric in a broad sense, or from the perspective of some detail; due to the analytical quality or originality of the object or approach, most of the texts in this block on analysis are circumscribed in the aforementioned theme, constituting important contributions to music material circulating in the Luso-Brazilian space. They are analyzes that observe steps of the rhetorical discourse, or the presence of counterpoint schemes, including to obtain meanings or in the service of reconstructing missing parts in musical works, but still as a performance guide and even as an identification of a communicative system in which they are performed. mentioned schemes add up to musical topics, rhetorical figures and creative process. The contributions of researchers from São Paulo, Espírito Santo and Amazonas even reveal, and beyond the bias of the above approach, the spontaneous formation of a network of interests about the repertoire in transit from the Portuguese to the Brazilian environment between the 18th and 19th centuries. , which also include Italian and Spanish authors whose work has appeared in this space of circulation. The next block deals with more circumscribed works in the traditional musicological bias, in which once again the question of the conscious use of rhetoric in Latin space gains reflection, just as the production of peninsular origin is observed in a space that has made it invisible for years, as in Eastern Europe, demonstrating that it is a rich lode of experiences and productions to be revived and better developed. But the approach to national music also gains representation, from different eras, moods, authors and insertions. Part of this musicology has come to stand out in recent times in what are called studies of Musical Iconography. The images and representations of music, performers, sociability and performative practices find in this context an analytical field of interdisciplinary bias. Here, these studies are related to organizational and language issues, in the case of cinema, as a small display of the incredible versatility that can be used. The block on educational and cognitive processes also represents another strand of music research for which the academic community never loses interest. The works gathered here are produced in a sample already examined by the production that was done by students and researchers from the northern region of Brazil, highlighting the presence of a field that is still little explored in the local context: a musical cognition. As an area of recent study, established as such in the international context only from the 1980s, how music and knowledge research show connections with other interests of music education and even with a performance. Among the works gathered in this block, we can find productions that deal with music teaching and learning processes related to the context of the Amazonian capital, which hosted the event and also reflections focused on the Brazilian context, gathering variables. varied to an understanding of phenomena that are not limited to a geographical reality and are not only of interest to researchers in this region. Such studies can contribute with interdisciplinary perspectives, including historical, sociological approaches or even the concentration of different areas in a study, bringing references from different fields, favoring the understanding of local contexts, offering visibility. Do the same, as interpretive practices, which also form a block here, feed on mitigation with other music subareas and even disciplines from neighboring areas. Here are approaches of historical, ethnological, organic and technical scope. Some objects have dimensions to reflect well beyond the Ibero-American field, others are the only examples of this geographical and cultural insertion. It is clear that under this prism of transversality with other lines, areas and disciplines, the study of interpretative practices is even more interesting. The last block of this publication was reserved for analytical methodologies to address other artistic expressions, thus contributing to intertextual and interdisciplinary studies. The predominance of Erwin Panofsky's theory of art and methodology (1892-1968) reveals a strong rapprochement with a hermeneutic view that, directly or indirectly, sees most studies, not just here. The iconographic and iconological approaches described describe peculiar processes of artistic culture as image culture, of historical essence (ARGAN, 1994). There are also appropriations of meanings, meanings, and semiological background procedures. Above all, a diversity of expressions approached refers to experiences that serve the eyes of the Arts researcher, especially here for Music, to understand which degrees of selection may be many, the only and exclusive way of observing objects and understand the process of knowledge building.