Post-ip: Journal of the International Forum for Studies in Music and Dance

Introduction

Margarida Cardoso — 2020-11-04

Post-in-progress: 5th International Post-Graduate Forum for Studies in Music and Dance (Post-ip ’19) was organized by post-graduated students, associated to the INET-md (Institute of Ethnomusicology – Centre of Studies in Music and Dance) of University of Aveiro.

Eighteen proposals were sent to publication and sixteenth of them were accepted the Editorial Committee and the Consultant Committee of Post-ip’19 Journal. Three authors said they couldn’t correct their articles, according to the evaluator’s suggestions, so this journal has thirteen articles. It contains articles inserted in various studies about music and dance. The articles are written in Portuguese, Spanish or English and they are organized by name of the authors.

All keynote speakers were questioned about if they want to publish their communications and only Clarissa Foletto accepted because the other Keynote Speakers couldn’t adapt their communications to articles to be published.

Editorial Committee of Post-ip’19 appreciates very much the support gave by the Consultant Committee on the article’s revision and also thanks to the authors and participants of Post-ip’19 congress. Besides them, many other participants, professors, researchers and musicians collaborated on Post-ip’19 to keep this international meeting on a high academic level. The team also thanks to DeCA (Department of Communication and Arts), University of Aveiro, Foundation for Science and Technology and Aveiro’s Municipality, for all their support. Thank you for all of them!

Researching instrumental teaching and learning: perspectives and challenges

Clarissa Foletto — 2020-11-04

Using a discourse that intersects my personal and professional experience as well as my analysis of the literature, this paper presents some common challenges identified in researching in instrumental lessons and some perspectives that shape the current paradigm in this territory. Besides, issues concerning how research on instrumental teaching and learning may have a substantial potential to make a difference in professional practices and the need to create bridges between teachers and academic researchers are also approached.

A Padronização Gestual dos Golpes de Arco na Performance do Violino - O Son Filé

Ana Catarina Pinto — 2020-11-01

There are countless authors who legitimize the relevance of the bow technique in the performance of the violin: Galamian (1962); Auer (1925); Viotti (cit. in Salles 1998); Salles (1998); Gerle (2011); Mozart (1951 cit. in Gerle 2011); Capet (1916 cit. in Gerle 2011); Flesch (1928); Casorti (1880), and Pinto (2016). Thus, the main objective of this study focuses on understanding the somatic movements necessary for the reproduction of different bow strokes. Through an experimental laboratory investigation involving 30 violinists, it was possible to record - in sound, video and Motion Capture format, a total of 1260 interpretations, the result of a careful selection of 42 musical excerpts representative of each bow stroke under study. All sound recordings were subject to the appreciation of a jury, which selected the best interpretation of each excerpt from group 1 (participants with suits), the best interpretation of group 2 (participants without suits), and the worst interpretation of both groups. In the specific case of Son Filé, represented by a musical excerpt from the 2nd movement of the “Kreutzer” Sonata, op. 47 (Salles 1998, 60), the jury selected the interpretation of participants nº 4 and nº 14 as the best interpretations of group 1 and 2, respectively, and interpretation nº 15 as the worst interpretation of both groups. Through the analysis of the videos of the aforementioned interpretations, it was found that interpretation nº4 and nº14 coincide in all the components under analysis (bow inclination, bow velocity, bridge distance, arm movement, wrist movement and bow direction), and that interpretation nº15 differs from the others in the bow inclination, bow velocity, wrist movement and bow direction. All interpretations captured were further analyzed in detail using the data collected in Motion Capture and went through the same analysis process. This research is carried out within the scope of the doctoral project: "THE BOW - The Gestural Standardization of Bow Strokes for the Teaching-Learning of Violin", with the ultimate goal of achieving gestural standardization of the different strokes in the mainstream repertoire of violin, assisting violinists and violin teachers.

PANDEIRO DE NÁILON: O estilo interpretativo de Bira Presidente

Gustavo Surian Ferreira — 2020-11-04

After the 1970s years, when the Bloco Carnavalesco Cacique de Ramos started promoting “rodas de samba” on Wednesdays at its headquarters, a space outside the carnival period was created for composers in order to expose their new songs. This movement called “Pagode” expose many artists and led to the consolidation of the group Fundo de Quintal. The main purpose of this article is to understand how Ubirajara Félix do Nascimento – central figure in this movent – performs the nylon tambourine on the LP “De Pé no Chão” (RCA 1978). The album mentioned is extremely relevant because it was the first time that instruments as repique de mão and banjo with cavaquinho tuning appeared in a record and started to be part of traditional samba ensemble (REIS 2003, SILVA 2013). Due a research through videos, was possible to find specific material related to details of Bira Presidente style, which was almost impossible to perceive just hearing the songs. In this case study, excerpts from the tambourine's execution of three songs were transcribed in order to understand the language present in the style of Bira Presidente. I chose the notation for tambourine developed by Stasi and Ferreira (2019), because with only two line is possible to represent the most used tambourine sounds in urban samba.

O violino em Portugal no primeiro quartel do século XX: perspectiva sobre a Escola de Música do Conservatório de Lisboa

Hélder Sá — 2020-11-04

Since its foundation, the Lisbon Conservatory of Music had a fundamental role in the Portuguese music scene (Castro 1991; Gomes 2002; Rosa 2000, 2009, 2010). At the dawn of the First Republic, the violin was the second most representative instrument, with nearly seventy students distributed among Alexandre Bettencourt's and Júlio Cardona's classes.

This research proposes a characterization of violin teaching during the First Republic, identifying relevant personalities and repertoires through the analysis and systematization of documentation from the Conservatory's Historical Archive (school grades, frequencies, exams and classroom programs) and press information.

During this period, four teachers were hired, and more violin students were admitted (exceeding 150 in 1916-17). Data indicates that most of the students in the general programme were women, surpassing the 43% of the Academia de Amadores de Música at the same time. In the superior course, the situation was inverse, and the students Paulo Manso, Hermínio do Nascimento, Artur Fernandes Fão, Frederico de Freitas, António Cabral, Mário Garibaldi e Maria da Luz Antunes became success cases in the Portuguese music scene.

Advanced students predominated in the auditions promoted by the Conservatory, which may explain the reduced participation of Pavia de Magalhães and Tomás de Lima’s students, who attended the less advanced classes. Bettencourt's students presented compositions by Leonard, Viotti, Vieuxtemps and Wieniawsky. Cardona often chose authors less often represented in the current violin repertoire (Scharwenka, Sgambati, Sinding, Schillings). The repertoire selected by Cunha e Silva included thirty-seven composers from the Baroque to the 20^th century. The presentations by Flaviano Rodrigues and Tomás de Lima's students included works by Viotti, Seitz, Bériot, Leonard and Raff. This data confirms the predominance of virtuosic repertoire, and the secondary role of expressive music.

“... and Words on Music”: Transcribed Text as Basis for Musical Composition

João Ricardo — 2020-11-04

This investigation dwells on a composition support, or aid, as a methodology of transcription and codification of text, in an exploration of cryptographic examples and processes in music and how these results can be used as musical material to be developed artistically and creatively.

"The evolution of Scott Joplin as a composer from classic Ragtime. A musicological approach to a genre located in “no man's land "

Jorge Gil Zulueta — 2020-11-04

2017 marked the 100th anniversary of the death of classic ragtime composer Scott Joplin (1868-1917) and the following year, 2018, the 150th anniversary of his birth. Except for your country of origin, EE.UU. these ephemerides went unnoticed in Spain and in much of Europe. The general ignorance of what the musical genre called ragtime supposes and more specifically the derivative as classic ragtime is one of the reasons for its scarce treatment in the different areas of music, such as its (no) consideration for an in-depth study or its scarce interpretation or presence in cultural programs, both by musicians and by cultural managers of musical programs in the scenic spaces, whether dedicated to classical music or jazz. Hence, it is necessary to place a genre in the spotlight of musical interest that, in its reception in Europe and especially in our country, continues in "no man's land".

“Este som que se sente cá dentro!”: um estudo etnomusicológico sobre os bombos portugueses

Lucas Wink — 2020-11-04

This is an ongoing PhD research on Portuguese Bombos supported by the theoretical framework of Sound Studies. Bombos is a term referring to: 1) a percussion instrument with its own organology; 2) a set of instruments consisting of bombos, caixas and in some contexts of a melodic instrument such as the fife, the bagpipe and/or the accordion; 3) a predominantly male, collective, intergenerational performative practice integrated in local festivities. The study stands on observation, participation and analysis along with the Grupo Regional de São Simão Os Completos and the Grupo de Bombos da Casa do Povo do Paul. In the scarce literature, it is easy to find references that, based on a very narrow understanding of music, stress the “noise”, the “thunderous crash”, a “noise that drives people away” produced by a "diabolical orchestra" through the "infernal meeting of various percussion instruments” that make "music without music" (Pimentel 1902; Lambertini 1902; Herculano 1855 in Braga 1885; Oliveira 1966). Stasi (1998) and Santos (2015) allude to the essentialist appraisals that depreciate percussion under the premise of being excessively simple and defective. Taking into account that in both localities Bombos are central in guaranteeing social well-being and sustaining the collective memory, through a regular coming together for rehearsals and performances, and maintenance of artisans with the associated transmission of knowledges, this research aims to overcome all these judgments. It therefore suggests that Bombos should be approached not in terms of their noise, but of the potential and impact of their sound on local social life (Feld 1990, 2004, 2012; Erlmann 2004; Sterne 2012; Stoller 1989). Preliminary fieldwork reveals, in this regard, the intense meaning that the practice and the sound of these instruments have for local actors. António Duarte, for example, a bombo player from Paul, pointing into his chest, clarifies that circumstance by synthesizing his experience in the phrase “this sound that one feels here inside!”.

Breathe in for nothing: an interpretative phenomenological analysis exploring the influence of a Pilates warm-up in singers. An overview of the study

Marcelle Sutton — 2020-11-04

Research on the use of Pilates for classical singers is limited, despite the well-documented benefits of this somatic (mind-body) exercise modality on the general public. This study sought to ascertain the mental, physical and vocal benefits of a Pilates warm-up on four university singing students and one professional singer using Interpretative Phenomenological Analysis (IPA). A Pilates warm-up for singers was taught to the participants over six weeks, with three workshops of five days each interspersed with home practice. The effects thereof were documented, before-and-after questionnaires (GAD-7, Becks Depression Inventory and the RAND 36-Item short-form quality of life survey instrument) were completed, heart rate measurements taken (to determine if the warm-up initiated a parasympathetic nervous system response) and three semi-structured interviews were conducted with each participant. A focus group was then held with the participants to discuss the effects of the regime. The lived experience of the participants’ use of the Pilates warm-up was analysed and together with the collected data, was grouped into sub-themes named: Singing; Wellbeing; Preparation for Singing/Preparing the Body to Sing; Tools; Resilience; Mindfulness; Mind-Body Communication; Nervous System; Strengthening the Body; Relaxation through Movement and Pilates Breathing. In the cyclical interpretative process of an IPA, these sub themes were then grouped to form the main themes of the study, namely: Tools; Nervous System and Singing.

The results showed an overall improvement in the quality of life as well as an increase in mindfulness and relaxation which benefitted all of the singers vocally in some way. Heart rate measurements and anxiety and depression scores showed a generally positive trend, although these results were inconclusive and require further study. The Pilates warm-up provided the singers with specific tools with which to address their various issues which had an impact on their singing. Performance preparation and posture were found to be enhanced, as well as reduced muscle tension, increased vocal range and improvements in stamina and breathing. This study highlights the potential benefits of the use of a Pilates warm-up for classical singers and the areas of research that should be undertaken to further delineate these benefits.

“Tocam por qualquer preço”: O estatuto do músico na vila termal de Vidago durante o Estado Novo

Maria Teresa Lacerda — 2020-11-04

Vidago, a rural village in Trás-os-Montes, gained visibility for its prized thermal waters (Cruz 1970; Pereira 1971; Salvador 2004). To become a privileged tourist destination, Vidago underwent a process of sudden growth, introducing modern products and technologies. The hotels promoted sports activities and live musical events to entertain visitors during the spa season (Pereira 2014). Interpreted musical styles included, among others, arrangements for bands, chanson française, tangos, arias of opera, fado, jazz, classical music, folklore - with a clear preference for versions of works with wide dissemination and popularity, associated with radio broadcasts. (Moreira, Cidra, and Castelo-Branco 2010). It was a favorable period for the amateur musical groups in Vidaguense and allowed the hiring of professional instrumentalists from urban centers. In this context, the musicians were understood as service providers and were subject to the seasonality of the thermal activity, failing to be financially independent. As a result, musicians were forced to reconcile musical work with other annual jobs. They used this argument to revolt against the mandatory professionalization and payment of quotas throughout the year to the Union of National Musicians, so they avoided unionization or, once unionized, systematically delayed the payment of quotas (Silva 2010; Fernandes 2018). This chapter will address the status of musicians in Vidago between 1933 and 1974, highlighting the dynamics between them and the managers of the hotels, the Union of National Musicians and the local People's House. This study uses methods of History and Historical Ethnomusicology, namely interviews with people who attended the musical practices under study and research in the union's archives (Howard 2014). In line with what has been advocated in the area of Anthropology of Tourism, thermal tourism is perceived as a holistic phenomenon, with economic, political, social, symbolic and sound implications (Pinto and Pereiro 2010; Pereiro and Fernandes 2015; Sanchez and Carvalho 2019).

Em Busca de uma Metodologia: conflitos na definição de identidades

Matheus Pezzotta Gonçalves — 2020-11-04

This work seeks to discuss methodological procedures appropriate to the characteristics and problems resulting from the reminiscences of musical practices in the Quilombo do Carmo Remaining Community located in the municipality of São Roque in the State of São Paulo (Brazil), based on public policies aimed at the musical memory of the municipality.

The academic research, through the social practice of writing, promotes knowledge, within the stability of the written object. However, research procedures should consider methodological tools compatible with orality and instability that presents itself in the constant social transformations of the community, in order to contemplate the understanding of identities from their protagonist agents.

Within this context, we use the theoretical orientation of authors such as Sardo to elucidate the concepts of Identity and Music; Bosi and Reily in the field of memories (Collective and Individual); Marchuschi in relation to Orality and Writing.

The political systematization of this Cultural Heritage to the detriment of the current legislation, leads to social problems of intense deepening that demand great mobility of agents to revive the cultural practices of that community. In this sense, the Action Research proposed by Tripp presents itself as a methodological procedure that contemplates both the theoretical (academic) and practical demands of the experiences of the object of study.

The parallel between musical practices, collective memory and identity is established here.

Popular Music in a colonial city: musicians’ experiences and socio-racial issues in Lourenço Marques (1960-75)

Pedro Mendes — 2020-11-04

Lourenço Marques, nowadays known as Maputo, was the main city in Mozambique, a territory which was under Portuguese colonial rule until 1975. As a result of the urban planning promoted by the Portuguese colonial administration, social inequalities of the colonial system were inscribed in the urban geography of Lourenço Marques. There was the city centre, known as the “city of cement”, a place mainly occupied by European white population from the middle/upper classes; outside there was an extended area of neighbourhoods with poor living conditions, mainly inhabited by African population and by a smaller part of low-class Europeans and immigrants. This had an important impact on the social life of the city, reinforcing structural inequalities of the colonial system and promoting dynamics of spatial segregation, racial discrimination and creating more obstacles for those who had precarious positions in the city. In recent years, some studies have been focusing on the relation between cultural expressions and social processes in the urban context of Lourenço Marques – for example, the case of football (Domingos, 2012). Music was an activity with particular relevance in that context, since Lourenço Marques was a city with an intense nightlife activity, in which popular music had a notorious presence. There are already important accounts about music and the colonial context of Mozambique (Freitas, 2018; Lichuge, 2017; Filipe, 2012; Carvalho, 1997). However, the articulation between the activities of popular music groups from different areas of Lourenço Marques and the social dynamics in the city is a topic that still has a lot to explore. Its analysis can demonstrate the ambivalence felt by the individuals involved, but also the way they managed to overcome the constraints of the colonial system. With the main focus on the period between 1960 and 1975, marked by the historical processes of late colonialism (Castelo et al., 2012) this work approaches musical activities as a way to understand social and racial distinctions in a colonial city, based on ethnographic interviews.

Characteristics of collective percussion teaching in the Guri Project and its multiplicities in human development

Rafael Y Castro — 2020-11-04

The following research seeks to identify how the percussion teaching of Project Guri manages to develop students within a social range through weekly collective percussion classes. Some of our theoretical references were: Hans-Joachim Koellreutter, Keith Swanwick and Robson Roberto da Silva. We used as methodology the analysis of pedagogical tools of the institution in a comparative way with the activities carried out in the field by the educators, observing artistic presentations and classes of the suit between the years 2016 to 2019. We concluded that there was considerable musical and social growth of the students after their participation in the Project activities.

Constructing Space in Havana’s New Music Scene: Reimagining the Streets of Havana as the Home of Cuban Music

Snezhina Gulubova — 2020-11-04

Cuba’s rich musical legacy has been one of the island’s most important national and international contributions for over 100 years. Since the end of 2011, Cuba has undergone the most significant socioeconomic changes since its 1959 Socialist Revolution. These include the introduction of private property, launch and growth in internet access, and a significant increase in travel from and to the island. As a result, the country entered a new phase in its music production and scholarship, altering Havana’s music scene, profession and the geographies of Cuban music. A key location in Cuba's music scene is "the street", regarded as the home of music, and where both Cubans and visitors have their first encounters with music on the island. Following the new socioeconomic adjustments on the island, the streets of Havana are transforming, and so is their relationship to Cuban music and musicians. The street is a physical locale and an abstract imaginary where music is created, produced and performed, and its image is circulated both on the island and abroad. I argue that with the introduction of private property ownership to the island and the proliferation of privately-owned music venues across Havana, the role of the street as the home of Cuban music has been reconfigured from an actual locale to an imaginary where musicians are searching for identity and authenticity in a rapidly commercialising world. Streets are converted from the site where any underprivileged Afro-Cuban child can learn to play and perform music to world-class standards to the home of five-star hotels, exclusive shopping malls and Chanel’s seasonal catwalk. I further investigate how this image of “the street” as the home of Cuban music continues to infuse contemporary songs through images and lyrics, and is internationally exported, creating a distorted image of Havana’s music scene abroad.

Pesquisa documental nos acervos musicais: em busca dos primeiros manuscritos brasileiros para conjunto de saxofones de Francisco Braga

Vinicius Macedo Santos — 2020-11-04

This publication presents the first results of my doctoral research, incurred, in the field of research: Interpretative practices and their processes Reflexives: Brazilian music for wind instruments: history, text and interpretive practices. Our goal is to search the origin of the Brazilian chamber's repertoire for quartets and saxophone ensembles, in the 20th and 21st centuries, from a historical and interpretative approach to a group performance. The sources research began, in 2018, in two collections in the city of Rio de Janeiro: the Musical Collection of the Fire Brigade Band and the Collection of Musical Manuscripts from the Alberto Nepomuceno Library of the UFRJ Music School. In the first collection, the scores are not cataloged, thus making access to sources difficult. In addition, some of these musical manuscripts are in a state of degradation and have not received adequate conservation treatment over the years, that is, some of them may disappear at any time. According to Castagna and Duarte (2019), “there is a need for methodological awareness for research and management of music collections, in addition to your consultation, since this type of management provides the safeguard and access to increasing numbers of users”. From the comparison with sources (scores, bibliographies, catalogues, for example) it was possible to retrieve relevant historical information about a current musical practice at the beginning of the 20th century, when the chamber repertoire for saxophone ensembles was still mostly constituted by transcriptions of operas, as is the case of Noturno by the opera Condor by Carlos Gomes (transcription made by Francisco Braga, in July 1928). We also rescued the saxophone octet/ nonet versions of the works Cantigas e Danças dos Pretos and Gavião de Penacho from the melodrama of Contratador de Diamantes (with text by Afonso Arinos, 1905) that may be the first pieces written for this camera formation in Brazil. Thus, Braga would have been the pioneer in the formation of this repertoire, thus contributing to the consolidation of the first saxophone ensembles during the Belle-Époque period (1889-1930).