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Organized by
Núcleo de Estudos em Música na Imprensa (NEMI) CESEM
II Jornadas NEMI
A imprensa periódica como fonte para a Musicologia
II NEMI Meeting
The periodical press as a source in Musicology
Organização:
Núcleo de Estudos em Música na Imprensa
CESEM / NOVA FCSH
Comissão organizadora:
Isabel Pina (CESEM / NOVA FCSH)
Mariana Calado (CESEM / NOVA FCSH)
Comissão Científica:
Elena Alessandri (Hochschule Luzern)
Luísa Cymbron (CESEM / NOVA FCSH)
Manuel Pedro Ferreira (CESEM / NOVA FCSH)
Mário Vieira de Carvalho (CESEM / NOVA FCSH)
Paula Gomes Ribeiro (CESEM / NOVA FCSH)
Paulo Ferreira de Castro (CESEM / NOVA FCSH)
Equipa de apoio:
Ângela Baltazar
Bárbara Carvalho
Filipa Cruz
Joana Freitas
João Pedro Costa
Organização concerto:
MPMP - Movimento Patrimonial pela Música Portuguesa
1
As Jornadas NEMI são um encontro organizado pelo Núcleo de Estudos em Música
na Imprensa (NEMI – CESEM), que tem por objectivo reunir trabalhos de investigação
que usam a imprensa periódica como fonte principal para o estudo da música. A
primeira edição teve lugar em Março de 2017 e procedeu a uma breve revisão do
estado da arte quanto aos estudos sobre música na imprensa periódica em Portugal.
Contou com a participação dos membros do Núcleo e recebeu, como conferencista
convidada, a Doutora Elena Alessandri (Hochschule Luzern), que proferiu uma
palestra com o título An empirical perspective on music criticism e dirigiu um
seminário dedicado a métodos de análise de crítica musical.
Para as II Jornadas NEMI, abrimos a chamada de trabalhos a todos os interessados,
o que resultou na recepção de uma grande diversidade de propostas em torno do
tema central da conferência: a imprensa periódica como fonte para a Musicologia. Ao
longo dos três dias da conferência será possível participar na reflexão e debate em
torno de assuntos como: formas de recepção de compositores, obras musicais e
intérpretes; o crítico de música e características da escrita de crítica musical;
imprensa periódica e ideologia; crítica musical em plataformas digitais; a imprensa
periódica e a actividade teatral; circulação de discursos sobre música em fonte
hemerográficas; e a criação de opinião e o estabelecimento de cânones musicais. O
programa conta ainda com a presença da Prof.ª Doutora Katharine Ellis (University of
Cambridge), que apresentará uma palestra com o título Music criticism beyond the
Capital City: Smaller Ponds, Bigger Fish. Os participantes são também convidados a
assistir ao concerto comentado por Philippe Marques (piano) e Tomás Costa (violino),
organizado pelo MPMP – Movimento Patrimonial pela Música Portuguesa. No concerto
serão interpretadas peças de vários compositores, entre eles, Luís de Freitas Branco
(1890-1955) e Ruy Coelho (1889-1986), que também se destacaram como críticos
musicais e animadores de intensas contendas na imprensa periódica.
1
diversity of subjects, such as: the reception of composers, musical works and
musicians; the music critic and characteristics of the writing process of music criticism;
periodical press and ideology; music criticism on digital platforms; the periodical press
and theatrical activity; the circulation of music discourses in hemerographic sources;
and the creation of opinion and the establishment of musical canons, amongst others.
Prof. Katharine Ellis (University of Cambridge) will present a lecture entitled Music
criticism beyond the Capital City: Smaller Ponds, Bigger Fish. Participants are also
invited to attend the commented concert by Philippe Marques (piano) and Tomás
Costa (violin), organized by MPMP – Movimento Patrimonial pela Música Portuguesa.
In the concert, pieces by several composers will be interpreted, amongst them Luis
de Freitas Branco (1890-1955) and Ruy Coelho (1889-1986), who also stood out as
music critics and animators of intense disputes in the Portuguese periodical press of
their time.
Isabel Pina
Mariana Calado
2
Programa | Program
3
4
16 DE MAIO | 16TH MAY
9h - Registo | Registration
Eugénie Tessier, Christopher Moore: Le café- Marília Moledo: «The club can’t even Handel me
concert en disparition: Nostalgie et right now» - recepção e (re)interpretação de
représentation des chanteuses populaires dans memes musicais na plataforma Imgur
les écrits de Gustave Fréjaville au début des
années 1930 Marcelo Franca: «My metal is better than yours»:
o elitismo como crítica musical no circuito online
Alessandro Garino: US Jazz Musical Press in the do heavy metal contemporâneo
Early 1960s: Down Beat magazine and the New
Thing André Malhado: «Cyberpunk Music Dossier»:
uma reflexão sobre a crítica musical na página
Héloïse Rouleau: Post-Press Speech Analysis: de internet Neon Dystopia
Digital Prints of Quebec’s Rap Scene
5
Isabel Pina: A simple «judgment about a musical
piece», or reading the critic himself: music Daniel Moro Vallina: «Un camino de vuelta a
criticism as a mirror of who writes it normas de validez universal». La recepción del
serialismo en Madrid a través de la crítica
musical
Jamie Blake: Transnationalism in Print: Russian Rui Magno Pinto: A «tremenda» «missão» de
Music and Musicians in Musical America, 1917- transmitir o «espírito da civilização» no dealbar
1939 da década de 1870: a (re)emergência da crítica
pela pena de Joaquim de Vasconcelos
Patrícia Lopes: A presença de José Mário
Branco na imprensa periódica nacional entre Alberto Caparrós: Letters without paper: the
1970 e 1974 musical press in Spain during early Francoism
(videoconference)
Riccardo La Spina: Bel Raggio Lusinghier –
Gaging Rossini’s Impact on Spanish Society in Luís Miguel Santos: A música sinfónica e o
Press Reflections on Modern Italian Opera (1817- campo da crítica musical em Lisboa nos anos da
33) Primeira República
6
17 DE MAIO | 17TH MAY
10h00-11h30 – 4ª sessão / 4th session
Sala multiusos 3 Sala 0.07
Imprensa e criação de opinião / The press and the Estudo da crítica e estratégias de análise /
opinion making The study of criticism and analysis strategies
Moderador / chair: Christopher Moore Moderadora / chair: Mariana Calado
Theresa Henkel: Beethoven: «a hero with a sword Belén Vargas: Música y prensa en España en
and without armour» - Carl Banck as music critic for el siglo XIX: Tipología de fuentes y
the Dresdner Journal 1848-1889 aproximación metodológica
7
Stephen Armstrong: The Diva Queen of England: David Brodbeck: Korngold Father and Son in
Rossini’s Elisabetta, regina d’Inghilterra and the Vienna’s Pre-War Public Eye
London Press (videoconference)
David Cranmer: The reception of Bizet’s Carmen in Ana Martinez: Luigi Boccherini in XX century
Lisbon 1885-1915 Spanish and Italian newspapers and journals
Mariana Calado: The reception of Bach’s St. Matthew Robert Ferrer: Leoš Janáček en la prensa
Passion in Portugal (1931): context and content of musical española
the music criticism
Sala Multiusos 3
17h30-19h00 - Keynote lecture
Katharine Ellis:
Music Criticism beyond the Capital City: Smaller Ponds, Bigger Fish
8
18 DE MAIO / 18TH MAY
9h30-11h30 - 7ª sessão / 7th session
Sala multiusos 2 Sala multiusos 3
José Ignacio Suaréz García: Imagen gráfica Benjamin Knysak: Westwards Moves the
y musicología: el motivo iconográfico del History of Art? On Foreign Perceptions of
«Lohengrin» wagneriano como fuente para Musical Life in the Musical Press
el estudio de la sociedad española de
cambio de siglo (1892-1908). Inês Thomas de Almeida: A música
portuguesa nas publicações periódicas
María del Carmen Lorenzo: La prensa berlinenses entre 1780 e 1800: uma visão
compostelana de finales del s. XIX y geral
principios del XX como fuente para el
conocimiento de la vida escénica en Virginia Whealton: Parisian Musicians as
Santiago de Compostela French Romantic voyageurs: Récits de
voyage in Nineteenth-Century Periodicals
João Pedro Costa: Das atuações por
«curiosos» aos profissionais: a afluência de Amanda Black: Festivals and Ferias:
espectadores no Teatro Garcia de Resende Investigating Contemporary Musical Press
in the «Best City in the World»
Marcos Santos: A imprensa como veículo de Francesco Finocchiaro: «Im Spiegel der
conhecimento do papel de tenor na estreia Kritik»: The film-music debate on
de Lucia di Lammermoor em Itália e em Reichsfilmblatt from 1924 to 1930
Portugal.
João Pinto: Vedetas Precisam-se (1961): a
Alejandro Reyes-Lucero: Uma história imprensa periódica enquanto geradora de
construída sobre referências na imprensa, fluxos musicais
9
revistas e jornais: a recepção de Wanda
Landowska em Lisboa e no Porto
Painel 2 / Panel 2: Music and the French- Entre bandas filarmónicas e tunas
Speaking Press 2 /Between brass bands and tunas
Moderador / chair: A designar / To be
announced
Federico Lazzaro, Michel Duchesneau:
Musicographic incompetence: historical Leslie Freitas: De Galicia a Portugal: la
discourse analysis and post-truth história de la Tuna Compostelana de 1888
narrada por el periódico Gaceta de
Galicia (videoconference)
10
Oradora principal / Keynote speaker
11
12
Katharine Ellis (University of Cambridge)
Music Criticism beyond the Capital City: Smaller Ponds, Bigger Fish:
Through the lens of France, this paper focuses as much on the press
itself as on its criticism and its critics, and asks what characterises a
local, or regional, musical press in contradistinction to that of the
capital. What, if any, were the models for the large number of French
regional journals specialising in music between c.1850 and c. 1950,
and amid what patterns of continuity and change did music critics
such as Étienne Destranges (Nantes), Léon Vallas (Lyon) or Jean
Nattiez (Amiens) write in the specialist or general press or their
respective towns? Finally, what do papers from provincial France tell
us about regional power-bases, readerships and relationships not only
with Paris but with other Francophone centres, notably Brussels?
In this paper I argue that when working on the music criticism of a
centralised country such as France it is of prime importance to analyse
provincial documents from a comparative perspective involving at
least four points of view: local relationships, dialogue with Paris,
independence from Paris, and dialogue with neighbouring and/or
international centres. Where the French capital offered innumerable
professional openings and a Babel of conflicting opinions expressed in
the papers, in smaller urban centres with a handful of outlets for
music criticism, ‘linchpin’ critics or journals were clearly evident, with
all the responsibility that entailed for musical education and advocacy.
Education and advocacy for whom, though, and to what end? The
decentralist and regionalist characteristics of provincial France are
interwoven here with music-critical histories from urban centres of
radically different sizes and shapes.
13
on music/text relations. Her monographs explore the historical press
(Music Criticism in Nineteenth-Century France, 1995), the French early
music revival (Interpreting the Musical Past, 2005), and the tangled
web of Benedictine musical politics and Church/State relations c.1900
(The Politics of Plainchant in fin-de-siècle France, 2013). She is
currently finishing a book on French regional music in century to
Vichy.
A former editor of Music & Letters and the Journal of the Royal Musical
Association, from 2006 to 2009 she was inaugural director of the
Institute of Musical Research, University of London. She was elected
to the Academia Europaea in 2010, to the British Academy in 2013
and to the American Philosophical Society in 2017, and currently
serves on the Board of Directors of the American Musicological
Society.
14
Comunicações / Papers
15
16
Alberto Caparrós (Universidad Complutense de Madrid)
Letters without paper: the musical press in Spain during early Francoism: The
aim of this communication is to study the impact of the Spanish social, political
and economic situation on musical press in the middle of the 20th Century
(1945-1956).
After the Civil War (1936-1939) Spain was in a ruinous economic condition: the
Potsdam Condemnation to Franco’s regimen and its consequent diplomatic
ostracism, the lack of materials, infrastructures, the scarcity of electrical
current, etc. The ministerial change of 1951 was an attempt to improve the
situation which was the beginning of an ideological liberalization.
These circumstances affected both the discipline of musicology as such and
the musicological hemerography. After the War, a great portion of the Spanish
intellectuals were living in the exile: critics and reviews became the
representation of the only opinion that was allowed and the voice of the
battle’s winners that did not permit any disagreement. On the other hand, the
shortage of basic resources came with a pressing paper scarcity that also
affected those publications, whose spaces were usually reserved for well-
established writers.
This communication starts with a brief contextualization of the Spanish
situation. Secondly, the situation of journals and reviews will be shown through
examples, analyzing the contents of the articles and the reviews themselves in
relation with the dominant power, what will allow us to reach some
conclusions.
17
Alejandro Reyes Lucero (CESEM / NOVA FCSH)
18
offers us a certain discursive information that models the sounding image and
the audience. Taking into account that the facts themselves do not constitute
meanings but it is the media who determines the importance of them, it is
important to study how discourse generates realities and establishes
hegemonic relationships.
In this presentation, we will observe through different journalistic genres how
it is possible to create a discourse about music that begins to seek the
consensus of the audience. For this purpose, we will analyze the newspapers
ABC and El País, in the context of the Spanish «Transición». With the idea of
the news as an object that generates a specific discourse, we will observe how
both newspapers attempt to unify public opinion about the popular music of
the time.
19
The most up-to-date announcements about the musical offerings for the fair,
usually Mexican regional music, are published on crowd-sourced Facebook
news pages «San Miguel Sin Censura» and «San Miguel Noticias Con Valor»,
with over 100,000 followers. These sites also serve as the main Spanish-
language news outlets for the area. For musical coverage, the periodical press,
Atención San Miguel, is heavily weighted towards the uncritical celebration of
the chamber music festival, while the online press, known in their shortened
versions as «Sin Censura» and «Noticias Con Valor», act as open forums for
complaints, jokes, and even warnings of violence in the municipal fair. In this
paper, I discuss strategies for and reflect on the difficulties of navigating limited
channels for information–especially as diametrically opposed as these sources
seem to be–as a music researcher. By considering both periodical and online
press sources, a more complete view of musical scene emerges, in real time
and with a multiplicity of voices, underlining the challenges of analyzing
musical press in the idiosyncratic and highly divided San Miguel cultural
sphere.
20
The analysis of content of the articles on the life Luigi Boccherini, with their
errors and myths, will be the object of this conference.
21
participativa pelo autor e os utilizadores que os comentam, revelando assim a
forma como este grupo socialmente interpreta e reconhece uma música
ciberpunk.
Esta comunicação propõe-se a observar este formato de crítica musical curta,
e a forma como os utilizadores comentam cada artigo, muitas vezes
acrescentando informação ou procurando corrigir o seu conteúdo, de modo a
compreender como a música ciberpunk é categorizada, em regime
participativo, nesta comunidade digital. Para isso, procura-se responder às
seguintes questões: que critérios determinam o que pode ser apresentado na
rubrica, e como isso revela um conjunto de convenções da música ciberpunk,
como instrumentação, títulos ou letras das músicas, géneros ou estilos
musicais? Os artistas ou bandas mencionados assumem-se como sendo
ciberpunk, ou esta associação faz parte apenas do discurso desta comunidade?
A crítica musical pode, neste contexto, ser entendida como uma convergência
entre o que o autor escreve no corpo do texto, e a secção dos comentários?
22
publicación periódica donde aparece, la temática musical y el género
periodístico del contenido catalogado.
A continuación, se mostrarán ejemplos de estudios musicológicos basados
íntegra o principalmente en la prensa decimonónica, centrados en distintos
puntos de vista, como la crítica musical, la publicidad de productos musicales,
los suplementos de partituras distribuidos por revistas, las imágenes
contenidas en la prensa ilustrada, los ensayos y artículos de opinión en torno
a las constantes musicales del momento, o las noticias y crónicas sobre la vida
musical de determinados centros urbanos.
Finalmente, se reflexionará sobre la necesidad de establecer una metodología
común para abordar el estudio de la prensa desde el punto de vista musical, e
incidir en la importancia del trabajo en equipo y el uso de las nuevas
tecnologías para realizar de forma sistemática registros de la información
musical obtenida en las fuentes hemerográficas.
23
critical acclaim and popular adulation, leading Pohl to proclaim «Westwards
moves the history of art!» However, the well-known Boston critic John Sullivan
Dwight (1813-1893), editor of Dwight’s Journal of Music and a critic of
Zukunftsmusik, disagreed, claimed these works to be mere novelties, distained
by critics and audiences alike. This resulted in a fascinating tripartite, trans-
Atlantic dispute illuminating issues of musical progressivism, polemical
projection, and political and musical nativism.
In the nineteenth and early twentieth centuries, the musical press functioned
as the prime medium for the dissemination of information about music on an
international scale. Within weeks, topics ranging from the premiere of a new
work, construction of a new theater, or publication of a polemical article could
be known from New York to Moscow and from Berlin to Brazil. In fact, the
speed of transmitting ideas was such that the distance between continents did
not prevent ongoing debate. As such, the inclusion of foreign news in a music
journal could serve as a catalyst for debates over developing national musical
identities. Only now, as the nineteenth-century international musical press
becomes increasingly accessible, can we begin to identify and discuss such
important topics.
24
Bruno Madureira (FLUC e IHC / NOVA FCSH)
25
Christopher Moore (University of Ottawa / OICRM)
The “Flâneur-Critic” and French Popular Song during the Interwar Period: In
The Painter of Modern Life (1863), Charles Baudelaire famously described the
flâneur as «the painter of the passing moment and all of the suggestions of
eternity that it contains». The flâneur is a «passionate spectator», a man of the
crowds who finds aesthetic meaning in the apparent ephemera of the present,
and while doing so relishes his own anonymity and social solitude. The flâneur’s
focus on contemporary reality, a characteristic theorized by a variety of
twentieth-century writers including Walter Benjamin and Michel Foucault,
informed the development of critical discourses around popular forms of
entertainment in interwar France, such as the circus, café-concert, and the
music-hall. Less bound by the critical traditions of high-art critique, the
«flâneur-critic» was drawn to the ostensibly fleeting worlds of popular song
and entertainment and found in these socially and aesthetically
heterogeneous worlds a poetic wellspring through which «modernity» could
be discursively constructed.
In this presentation I will focus on popular music criticism in France during the
interwar period by engaging with texts drawn from the press that reflect the
aesthetic motivations and social situation of the flâneur. I will concentrate on
authors (including Louis Léon-Martin and Michel Georges-Michel) who self-
consciously assume the stance of the flâneur, and by doing so construct a
distinctive poetics of popular music. Freed of expectations of «expertise» or
«objectivity» that informed the milieu of high-art criticism, their approach was
fundamentally poetic, a category of «music criticism» that has only rarely been
theorized by musicologists. This presentation will supply an overview of some
of the primary techniques and strategies of the flâneur-critic while focussing
especially on their discursive representations of the body and the voice in
French popular song.
26
Daniel Moro Vallina (Universidad de Oviedo / Universidad Internacional
de La Rioja)
27
David Brodbeck (University of California, Irvine)
Korngold Father and Son in Vienna’s Pre-War Public Eye: Erich Wolfgang
Korngold (1897–1957) remains best known as one of the most influential
composers in the Hollywood film industry during the 1930s and 40s. Yet his
fame dates back to 1910, when, as a thirteen-year-old boy, he appeared before
the public as both an accomplished pianist and a composer of preternaturally
mature, astonishingly modern-sounding music. Young Erich experienced not
only the blessing but also the curse of being the son of Julius Korngold, Eduard
Hanslick’s successor as music critic of Vienna’s Neue Freie Presse. A man of
strong and often acerbic opinions, Julius Korngold was both a powerful and
polarizing figure in the city’s musical scene. He thus had good reason to worry
about how his many adversaries there would respond to the presentation in
Vienna of his son’s music. Would the boy, because of the father’s position, be
thought to be the beneficiary of undeserved favored treatment? Would the
spite opponents felt toward the father be taken out unfairly on the son?
This paper considers such questions in a close examination of the press
coverage of Erich’s sudden emergence into the public eye in 1910. I focus on
three key moments - February, when word of the boy’s prowess was first
reported in the newspapers of Budapest and Vienna; October, following the
première of Erich’s ballet Der Schneemann at the Vienna Court Opera; and
December, following the première of his Piano Trio, op. 1, in a private concert
that drew an overflow audience made up of the city’s «rich and famous», all
eager to hear the music of this «new Mozart» in person. Critics were divided
on both the ballet and the trio. Most telling, as I argue, is the negative
reception, driven, in the mainstream press, by animus toward Julius Korngold;
in the margins, by racialist antisemitism.
28
David Cranmer (CESEM/ NOVA FCSH)
29
Francesco Finnocchiaro (University of Vienna)
«Im Spiegel der Kritik»: The film-music debate on Reichsfilmblatt from 1924
to 1930: Throughout the 1920s, German-language film journalism addressed
fundamental questions about the encounter between music and cinema.
Prominent composers, musicologists, and film theorists contributed to this
broad discussion on the proper role and design of silent film music,
encompassing a wide range of arguments and perspectives. To a large extent,
this debate took place in cinematic trade journals (such as Der Kinematograph,
Film-Kurier, Reichsfilmblatt) as well as musicological journals (e.g. Musikblätter
des Anbruch, Melos, Der Auftakt).
The paper will outline the development of the film-music debate on the film
journal Reichsfilmblatt from 1924 to 1930, with a particular focus on the
dialectical interplay between theoretical-aesthetical concerns and
compositional issues.
Starting from the mid-1920s, Reichsfilmblatt encouraged composers and
music directors to contribute their opinions concerning the art of film-music
composition at large, ranging from compilation guides to accompaniment
practices, and from illustrative techniques to dramaturgic strategies. Particular
attention to compositional issues is evident from the presence of regular
columns by music critics. Film-music theoreticians like Hans Erdmann or
Ludwig Brav reached well beyond the horizon of a film-music criticism, even
theorizing new compositional approaches to film composition.
Thanks to the contributions of film-music specialists, such as Giuseppe Becce,
Paul Dessau, Friedrich Holländer, etc., Reichsfilmblatt also dealt with a large
number of questions related to the execution of musical accompaniments. The
techniques of conducting film music were outlined; the basic configuration of
a salon orchestra and the peculiarities of certain instruments were critically
evaluated. The uncertain status of salon-orchestra conductors was debated
and compared with the art-music sphere.
From 1927, Reichsfilmblatt finally confronted the question of the
mechanization of music performance: a large number of articles discussed the
revolution provoked by the discovery of recorded sound on both theoretical
and practical levels.
30
Project Film Music as a Problem in German Print Journalism (1907–1930) at
the University of Vienna’s Department of Musicology.
31
nomeadamente sobre o salão literário da sefardita portuguesa Henriette Herz
Benveniste de Lemos em Berlim no fim do século XVIII, nos Cadernos de
Estudos Sefarditas da Faculdade de Letras da Universidade de Lisboa, e sobre
o relato da viajante alemã Esther Bernard a Portugal em 1801, na Revista
Portuguesa de Musicologia.
32
periodical press and music criticism. Isabel finished her masters in Musicology
– Historical Musicology in 2016 with the dissertation «Neoclassicism,
nationalism and latinism in Luís de Freitas Branco, between the decades of
1910 and 1930». In CESEM (Centre for the Study of the Sociology and
Aesthetics of Music), Isabel Pina is a member of the Critical Theory and
Communication Group, and a collaborator of SociMus (Advanced Studies in
the Sociology of Music). She is also one of the founders and coordinators of
NEMI (Research Group of Music in the Press).
33
Biografia / biography: Jamie Blake is a PhD Candidate at the University of
North Carolina at Chapel Hill. Her dissertation interrogates Russian musical
networks in America after 1917, examining human migration as well as the
circulation of musical objects and shifting negotiations of power, influence,
and authority. She is currently a Harold J. Glass USAF Graduate Fellow and has
been the recipient of the Carol and Edward Smithwick Summer Research
Fellowship, the James W. Pruett Summer Research Fellowship, and a Foreign
Language Area Studies Fellowship.
34
Universidade Nova de Lisboa e membro do Núcleo de Estudos em Música na
Imprensa (NEMI), núcleo este pertencente ao Grupo Teoria Crítica e
Comunicação (GTCC) do Centro de Estudos de Sociologia e Estética Musical
(CESEM). Em 2017 concluiu a licenciatura em Musicologia pela Universidade
de Évora e foi bolseiro de investigação. As suas áreas de interesse centram-se
nos gostos musicais e nas redes de sociabilidade entre os finais do século XIX
e as primeiras décadas do seguinte, tanto em Portugal como no Brasil e com
especial foco no jornalismo musical.
35
Biografia / biography: Doutorando em Ciências Musicais (variante de
Etnomusicologia) pela Faculdade de Ciências Sociais e Humanas (Universidade
Nova de Lisboa), instituição na qual obteve o grau de mestre na mesma área
científica, em 2004. Após investigação sobre culturas urbanas, nomeadamente
sobre as Marchas Populares de Lisboa (tema da tese de mestrado), desenvolve
atualmente investigação no âmbito dos media studies, com enfoque nos
primórdios da televisão em Portugal (1956-1964). Desenvolve a sua atividade
profissional como assistente convidado na Escola Superior de Educação de
Lisboa, e como professor de guitarra clássica no curso extracurricular na
Fundação Salesianos. No que se refere à investigação é, desde 2004,
investigador colaborador no Instituto de Etnomusicologia – Centro de Estudos
em Música e Dança (INET-MD), apresentando com regularidade parte do seu
trabalho em congressos nacionais e internacionais.
36
Recerca Musicològica, Quadrivium and Journal of Music Criticism, among
others. Other research lines are related to the musical analysis and Leonese
musical themes (Spain), in writings that have been published, in addition to
those already mentioned, in other journals such as Dedica: Revista de
educação e humanidades. On the other hand, he has carried out around ten
stays in research centres, among which we highlight the «Hochschule Bremen-
University of Applied Sciences», «Richard Wagner Museum mit National
Archive» of Bayreuth, and Johannes Gutenberg Univesität Mainz (Germany).
37
colaborado con diversas revistas científicas. Ha participado en congresos
nacionales e internacionales, centrando su investigación en torno a las bandas
de música y la música procesional andaluza. Asimismo, en 2018 ha realizado
una estancia de investigación en el Centro de Estudios de Sociología y Estética
Musical (CESEM) de la Universidad Nova de Lisboa. En la actualidad, forma
parte del Grupo de Investigación Patrimonio Musical de Andalucía (HUM 263)
y es Contratado Predoctoral (FPU) en el Departamento de Historia y Ciencias
de la Música de la Universidad de Granada, realizando su tesis doctoral bajo la
dirección del Dr. Antonio Martín Moreno y la Dra. Isabel María Ayala Herrera.
38
Performing Arts Vienna (mdw) for which his dissertation was on Hans
Swarowsky and his translations of opera libretti. Since 2010 he has been a
research fellow and lecturer in music history at the mdw. Previously he
participated in various research projects at the universities of Pavia and Vienna
on historical notation, cultural transfer in the eighteenth century, and the
history of Vienna’s music university during National Socialism. Additionally, he
writes as free-lance music journalist on several themes including musical
theatre, music of the twentieth and twenty-first centuries, jazz, and Eastern
European popular music. His research interests are ideology and
historiography, relations between musicology and translation studies,
pedagogy of music history in pluricultural settings, and cultural history of
music. (https://www.mdw.ac.at/imi/juri_giannini)
39
Biografia / biography: Karsten Mackensen is currently Apl. Professor for
musicology at University of Giessen (Germany). He received his Dr. phil. from
Humboldt University at Berlin (Germany) in 1999 with a thesis on eighteenth
century music aesthetics from a sociological perspective. His Habilitation
(Giessen University, 2013) deals with orders of musical knowledge, focussing
methodologically on the concept of a historical anthropology. Core areas of his
research are music sociology, music aesthetics and the relationship of music
and philosophy. He has published extensively in the field of music journalism,
with a certain emphasis on German language publications of the
Enlightenment period. Other publications broach the issues of music concepts
in the 19th and early 20th centuries. Most recent publications include «Musik
und die Ordnung der Dinge im ausgehenden Mittelalter und in der Frühen
Neuzeit». Frankfurt am Main: Lang 2017, and «Inventores und exempla:
Präfigurationen eines Begriffs von Musik als geschichtlicher Kategorie im
enzyklopädischen Kontext des 16. Jahrhunderts», in Musiktheorie 31 (2017),
p. 227–241.
40
specific connotations for audiences in early- to mid-nineteenth century France
which reflect and perpetuate broader cultural trends.
41
Director. Her research interests include Mexican music of the 20th century;
nationalism, exoticism and cosmopolitism; the musical relations between
Mexico and the United States, and historical materialism as applied to music.
Recent publications include «Carlos Chavez’s Polysemic Style, Constructing the
National, Seeking the Cosmopolitan» (Journal of the American Musicological
Society, 2015), which obtained the American Musicological Society’s Robert
Stevenson Award in 2017, and Carlos Chávez and his World (ed., Princeton
University Press, 2015), forthcoming as Carlos Chávez y su mundo (Mexico City,
El Colegio Nacional, 2018).
42
Compostela (1864-2016) y El sonido de la beneficencia emitido por las clases
de música del Colegio de Sordomudos y de Ciegos de Santiago de Compostela
(1868-1957). Es ganadora de la V edición del Premio Domingo Fontán de la
Real Sociedad Económica de Amigos del País de Santiago de Compostela. Es
miembro del Grupo Organistrum (GI-2025) de la Universidad de Santiago de
Compostela, y actualmente realizada su residencia posdoctoral en la
Universidad Nacional de Tres de Febrero/Argentina.
43
Ferreira de Castro, debruça-se sobre a música sinfónica em Lisboa no período
1910-1933. Realizou o Curso de Piano no Conservatório Nacional (2006), e na
FCSH/NOVA obteve a Licenciatura (2007) e o Mestrado (2010) em Ciências
Musicais. É investigador do CESEM desde 2007, onde foi Bolseiro de
Investigação, integrando actualmente o Grupo de Investigação em Teoria
Crítica e Comunicação. Foi distinguido com o Prémio Joaquim de Vasconcelos
2016 pela SPIM. Colabora ainda regularmente na redacção de textos
musicológicos com a Casa da Música, o Teatro Nacional de S. Carlos e a
Fundação Calouste Gulbenkian. (lms@fcsh.unl.pt)
44
criticism, linguistic ways in describing music and contemporary musical culture.
She has published articles in such journals as Res Facta Nova, Interdisciplinary
Studies in Musicology, Ruch Muzyczny, Glissando, Muzyka w Mieście and
MEAKULTURA. She has presented papers at international conferences in
Poland, Lithuania and Spain. She has also worked as a specialist in the
Promotion and Education Department of PWM Edition — The Polish Music
Publishing House. Her PhD thesis is primarily focused on the works of Andrzej
Chłopecki writings and his impact on Polish musical culture.
«My metal is better than yours»: o elitismo como crítica musical no circuito
online do heavy metal contemporâneo: O circuito actual de heavy metal
contempla uma miríade de subgéneros musicais, cada um destes com as suas
características individuais em termos composicionais, performativos e sociais,
constituindo, assim, nichos dentro do panorama físico e digital. Estes grupos
originam comunidades fluidas e em constante transformação, e que se
dinamizam em diversos espaços online, como fóruns e redes sociais (Facebook,
Youtube e Reddit, por exemplo), nos quais discutem e partilham desde
produtos musicais às próprias bandas. A consequente produção, circulação e
renegociação de conteúdos que tomam diversas formas (críticas, publicações,
textos, vídeos, listas de reprodução, memes, sátiras, etc.) contribuem para
uma segmentação entre os vários subgéneros, nos quais se assiste a uma
aproximação de um essencialismo que procura determinar a forma mais
“pura” de apreciação e consumo de heavy metal.
Neste trabalho, pretendo examinar os discursos e conteúdos produzidos pelos
membros destas comunidades a nível online, circunscrevendo-me ao conceito
do elitismo musical aplicado ao circuito do metal contemporâneo, bem como
a tópicos que são perpetuados frequentemente neste panorama musical,
todavia não exclusivos do mesmo, como a misoginia e o sexismo. A
segmentação entre os fãs e respectivos subgéneros nos quais se identificam
tornam visíveis as diversas perspectivas sociopolíticas associadas e que,
consequentemente, as bandas procuram utilizar como ferramenta de
produção lírica e potencial técnica de marketing e circulação comercial.
45
melodic hardcore Dharma e bolseiro de iniciação científica no CESEM
(FCSH/CESEM/UID/EAT/00693/2013. As suas áreas de interesse centram-se no
estudo do heavy metal contemporâneo, estudos de género e música, e música
em videojogos.
46
Maria José Artiaga (CESEM / NOVA FCSH)
The reception of Bach’s St. Matthew Passion in Portugal (1931): context and
content of the music criticism: June 15, 1931, J. S. Bach’s oratorio St. Matthew
Passion is performed by the first time in Portugal. The concert was organized
by Ivo Cruz and the group Renascimento Musical and it was part of a series of
concerts devoted to the discovery of works of the History of Music, such as
Monteverdi’s Orfeo (first performed in Lisbon in 1932), Mozart’s Requiem (in
1933), Berlioz’s Requiem (1936), and Haydn’s The Seasons (1942), among
others. In the days following the presentation of the oratorio, several
47
newspapers and magazines published reviews about the concert – about the
music that had been heard and the musicians that performed it, and about the
arrangements made to the work. In this paper I will compare some of those
reviews and analyze their discourses, according to the types of analysis of
music criticism proposed by Guertin (2013) and Alessandri (2015).
The first half of the twentieth century was an intense period for the music
criticism in Portugal. Somehow, it was potentiated by the transformations of
the musical life in the country and the development of the press industry.
Many newspapers received the collaboration of one or more authors that
wrote regularly about music and the concerts they attended to. In general,
these authors were active members of the musical life, they were composers
or music professors. Some others exercised different activities, were writers or
journalists, for instance, and had a lower musical knowledge. Taking the
reception of St. Mathew Passion as an example, I also intend to observe and
describe some of the characteristics of the contexts and the discourses of the
music criticism practiced in Portugal in the 1930’s.
48
contenían información de representaciones en Madrid, textos que reflejaban
el éxito que tuvieron en otras ciudades las compañías que iban a pasar o ya
habían pasado por Santiago, publicidad de tiendas de música, anuncios de las
funciones que tendrían lugar, la llegada de novedades a la ciudad como el
fonógrafo, efemérides y biografías de compositores o temas relacionados con
los gustos musicales de la época.
Muchas de estas noticias no llegan a ser propiamente críticas musicales sino,
más bien, son meras descripciones de lo sucedido en las que se narran las
reacciones del público, el resumen del libreto o las incidencias durante las
funciones; es decir, no existe una crítica especializada. Aunque las críticas en
la mayor parte de las ocasiones aparecían sin firma, se concluye que algunos
medios tenían una persona fija que se dedicaba a las tareas musicales y en la
mayoría de las ocasiones los comentaristas no poseían una formación musical
con lo que sus comentarios se ceñían a hacerse eco de los comentarios del
público o a loar al compositor. Analizaremos los diferentes estilos de los
comentarios en los periódicos compostelanos más importantes como El Eco de
Santiago y la Gaceta de Galicia donde encontramos firmas de los principales
críticos entre los que se encontraban Rosa Quem o Augusto Milón a la par que
seudónimos tan originales como Stacatto o Corchea.
49
plataforma de partilha de imagens Imgur, analisando de que modo se
constroem as interpretações dos memes em questão no contexto desta
comunidade internauta. Esta reflexão partirá de uma amostra obtida através
de uma pesquisa no Imgur com as palavras-chave musical memes, na qual
tanto as imagens em questão como os comentários foram recolhidos.
Na plataforma Imgur, os utilizadores têm uma multiplicidade de papéis, sendo
os criadores e críticos do seu conteúdo e contribuindo, através de um sistema
de upvotes e downvotes para catapultar um meme para um estatuto viral ou
para o condenar ao esquecimento. A literacia audio-visual é particularmente
importante neste contexto, dizendo respeito a um conjunto de referências
cinematográficas e musicais particularmente valorizadas na comunidade em
questão. Os memes têm, então, um carácter eminentemente intertextual.
Pretende-se, a partir da amostra supramencionada e da sua análise, fazer uma
reflexão sobre a música e a esfera pública através da literacia audio-visual da
comunidade do Imgur, sobretudo através da recepção e (re)interpretação das
imagens partilhadas.
50
magazines in Europe and South America, as well as excerpts of handwritten
music, exclusive interviews, exclusive press releases. To enforce the creation
of the «event», a special press preview of Isabeau is set in Genova just before
the company had been boarding for the world première in Buenos Aires.
The media experience of Isabeau has not been studied yet, although it allows
us to study the evolution of press communication as a strategy to face the crisis
of the opera in the early 1900s, carried out by some of the leading publisher,
composer and artist of the era. My paper studies this experience by using
unpublished archive sources conserved in Genoa, Rome and Milan.
51
Paula Gomes Ribeiro (CESEM / NOVA FCSH)
52
researcher cannot dispense with an assessment of textual (that is, intertextual)
typologies in his or her approach to what is generally understood as music
criticism; moreover, he or she cannot afford to ignore the entire ecology of
critical practice, involving not only the informative dimension in its more trivial
hermeneutical sense, but above all the complexity (and sometimes the
opacity) of the relationship between criticism, its object, its purpose, its
medium, its reader, and insofar as it is possible to reconstruct it, its effect. Just
as the «objectivity» of any historical account is necessarily conditioned by the
pragmatic status of its author (and of its reader), no study of music criticism
can be oblivious to the chimeras of the «impartiality» of discourse and the
potential transparency of its content. It could even be argued that impartiality
and transparency in general depend on tacitly shared and therefore more or
less invisible prejudices, which call for a genuine questioning of the ‘unsaid’ of
critical discourse.
In this sense, the present paper offers a discussion of several topics related to
musicological work concerning the history of critical thinking: the emergence
of the topic in the context of musical studies, the definition of its object of
study, the conceptual and epistemological problems raised by research, the
methodologies used and the concrete difficulties to be overcome, taking as a
practical application a preliminary mapping of the history of music criticism in
Portugal carried out within the scope of an international publication.
53
Riccardo La Spina (Independent, Oakland (California, USA); Universidad de
La Rioja)
54
the honor of joining the Universidad de La Rioja doctoral program, and 2017,
conference invitations (MECRI, Madrid; MUSAM, Baeza, Spain; Batumi,
Georgia).
55
Rodrigo Teodoro de Paula (CESEM - Pólo da Universidade de Évora)
56
Rui Magno Pinto (CESEM / NOVA FCSH)
57
Stephen Armstrong (Eastman School of Music)
The Diva Queen of England: Rossini’s Elisabetta, regina d’ Inghiltera and the
London Press: Italian operas had a thriving presence on the London stage, and
these productions caused lively conversations throughout the newspapers and
music journals of Great Britain. Audiences loved Italian operas for their sonic
pleasures, visual spectacles, and exotic otherness, yet opera remained
controversial: the sweet sounds and foreign performers - particularly castrato
singers - were seen as a threat to British morals and national identity. This dual
fascination and unease with Italian culture had been cultivated by a generation
of literary travelers, who had created a kind of imaginary Italy as a backdrop
for travel writing and fiction. But what happened when this creative license
was reversed - when British audiences were confronted by Italian portrayals of
their own national icons?
In this paper, I examine the troubled British reception of Gioachino Rossini’s
Elisabetta, regina d’Inghilterra (1815). Of Rossini’s northern operas from 1815-
1819, Elisabetta had the most pronounced disparity between its British and
Italian reputations; the relative failure of Elisabetta on the London stage
reveals the strikingly complex attitudes of the British toward Italian operas,
especially those that appropriated their own national mythmaking. Elisabetta
was highly subversive to British identity because of its unflattering portrait of
Elisabeth I. In her transformation to operatic diva, «Good Queen Bess» rants
and rages. She toys with the Earl of Leicester, offering to take him as her
consort and then consigning him to the dungeons as a traitor. British critics
were shocked to see their own history performed in the King’s Theatre, created
not in some imaginary Italy of British fantasy, but set to music and performed
by all-too-real musicians from the south. This cultural conflict reveals much
about how early periodicals acted as a stage for the struggle to articulate
nationalist and aesthetic values.
58
Theresa Henkel (Universität Regensburg, Bavaria, Germany)
Beethoven: «a hero with a sword and without armour» - Carl Banck as music
critic for the Dresdener Journal 1848-1889: As Robert Schumann’s colleague,
the composer and critic Carl Banck provided a few articles about opera and
vocal music for the Neue Zeitschrift für Musik in Leipzig from 1834 to 1836. Ten
years later he became the main feuilletonist for music in Dresden, where he
then commented and criticised the city’s musical life for over 40 years. In this
period the Dresdner Journal, which was the first and only daily press in the
Saxonian capital after the revolutions of 1848-49 to provide a profound
feuilleton including daily music criticism, printed more than 2000 articles by
Banck.
With this paper I intend to show that Banck – who is nowadays virtually
unknown – played an important role in the education of musical amateurs in
Dresden as well as in the development of taste of composers and performers
alike. On that account, the daily press is an important source, as it provides
countless insights into music and its critical reception. By analysing the main
critics regarding Beethoven and his last symphonies, I shall demonstrate that
we can gain new perspectives on writing about the contemporary reception of
music by equally taking the feuilleton and daily press as well as specialized
press into account instead of focusing on the latter. Moreover, this approach
offers us a versatile picture of the Saxonian capital and its musical life in the
second half of the nineteenth century.
With his constant appreciation of Beethoven’s last works, Banck was able to
form and stabilize the opinion of the Dresdener general public, which was
interested but mostly uneducated concerning musical matters. I will show that
Banck imparted a musical thinking about Beethoven that was strongly
influenced by his readings of Adolph Bernhard Marx. Furthermore, he called
Beethoven the epic poet of the romantic era – Sorely disappointed by his
generation he eventually declared that neither the so-called New German
School nor «Brahms the progressive» could follow in Beethoven’s footsteps.
59
Tobias Hermans (Ghent University; Indiana University)
60
Virginia Whealton (Texas Tech University)
61
62
Painéis / Panels
63
64
Painel 1 / Panel 1
Music and the French-Speaking Press 1
Retracing the transition to sound film in the French musical press: the
special issue «Le Film sonore» of La Revue musicale: Whereas French cinema
theory is rooted in a large variety of periodicals published in the 1920s and 30s,
film musicology tends to neglect this broad field of archival sources in favor of
few oft-cited articles and post-golden age specialized books.
Our current research aims at reconstructing the discourse on film music in
France through interwar periodicals. The plurality of composers, critics, and
technicians involved in the debate evidence the importance of these sources
to retrace both film history and theory from a musicological perspective.
A key moment in the reflections on film music aesthetic and technique is
represented by the special issue of La Revue musicale, “Le Film sonore.”
Published in December 1934 by one of the most influential music journals of
the time, it constitutes an interdisciplinary synthesis of the main issues at the
end of the transition to sound film in France.
Our aim is to investigate the role of this issue in the broader context of film
music reflections. Furthermore, its articles written by notable composers
(Honegger, Koechlin, and Ibert) can represent a fundamental point of
departure in order to consider the influence of the theoretical debate on the
actual compositional practices and vice-versa.
65
during the interwar in France. Hubert Bolduc-Cloutier attended to
international conferences in France, Belgium, the United States, Canada and
Japan.
66
précisément celle de la communauté franco-ontarienne. Ses recherches
multidisciplinaires se concentrent sur les questions d’identités ainsi que sur la
place et le rôle des artistes doublement minorisés (femmes, personnes
racisées ou immigrantes, etc.) dans la construction identitaire émergente de
ces communautés.
(etess084@uottawa.ca)
US Jazz Musical Press in the Early 1960s: Down Beat magazine and the New
Thing: For decades, the history of jazz in the United States has coincided with
its legitimization as an art form, the definition of its aesthetics, the
construction of its historiography and periodization, the forging of its national
and racial identity. The pages of newspapers, specialized magazines and other
printed issues have hosted discussions about all these topics. In fact, the
musical press has constituted the most significant place of debate on jazz
musicians and their ensembles, concerts, recordings and styles. However, till
the emergence of the Civil Rights Movement in the 1950s and the affirmation
of a new generation of black Marxist intellectuals in the 1960s, those who took
part to this debate were mainly white critics. In this paper, I will explore some
of the historical and social issues of the early 1960s through a specific case
study: the release of Abbey Lincoln’s Straight Ahead in 1961 and the discussion
it generated on Down Beat. Indeed, the African-American singer’s album
contributed to the advent of a new generation of avant-garde musicians linked
to the so-called New Thing. During the same years, however, «traditional» jazz
was more and more institutionalized, canonized and even exported by the US
government, while a rising movement of black scholars was forging the
meaning of a US black culture. In this context, the emergence of the New Thing
67
produced different narratives, among which that of white institutionalized
critics who wrote on Down Beat and perpetuated the discourse on the
aesthetic autonomy of jazz. The revolutionary black narrative, instead, using
different media, different language and a contrasting aesthetic filter, described
the New Thing as part of a social discourse of protest. Through the Straight
Ahead controversy, I’ll compare these two opposite narratives and I’ll show
how Down Beat represented the social and cultural complexity of jazz in the
early 1960s.
68
Our research therefore leads us to articulate a systematic method for
referencing the digital activities of major artists from Quebec’s rap community.
Our analysis leads us more broadly to think about perspectives offered by
evidence found on the web in the analysis of contemporary musical
phenomena. How can the digital environment be a developmental factor for a
musical genre? How do tracks left in digital medias inform us about the
evolution of current music such as hip-hop? This presentation thus aims to
study how post-press can teach us about the recent evolution of a musical
environment and to question the epistemological contribution of studying
digital sources.
69
Painel 2 / Panel 2
Music and the French-Speaking Press 2
70
and music criticism. He is the coordinator of the website Presse musicale en
France, 1890-1950 and of the project Esthétique musicale en France, 1900-
1950. His more relevant publications include articles on Monteverdi’s Orfeo in
the 20th century, Carlo Gesualdo, Debussy, Ravel, Jolivet, Rota, and music and
sport. His book Écoles de Paris en musique: Identités, nationalisme,
cosmopolitisme (Paris, Vrin) is in press. He is also preparing two collections
about, respectively, records and radio in French-speaking countries until 1950
(co-edited with Michel Duschesneau, Paris, Vrin) and artistic migration in Paris
during the Third Republic (co-edited with Steven Huebner, New York, Peter
Lang).
(federico.lazzaro@gmail.com)
71
one of these two perspectives would necessarily lead to a deadlock. On the
one hand, he has published in newspapers and magazines with radically
opposed political tendencies (centrist daily newspapers or those linked to the
Parti radical, magazines associated with the briandist left, right or far right
weekly newspapers and even some texts in communist publications), making
the adequacy between his ideas and those of an editorial line impossible. On
the other hand, addressing the political issues of music criticism is crucial since
it is a form of expression in the public space, and more especially in the case
of Vuillermoz who has often made explicit his views on politics in his texts.
In this paper, I will propose a methodological reflection on the analysis of the
discourse on music in the politically oriented press. To do this, I will follow the
various obstacles encountered in studying the corpus of Vuillermoz’s writings.
I will propose an analytical framework that takes into account the nature of the
media, the socio-political context, the critic’s networks, the content of the
texts, and the individual background of each critic.
72
La presse permet en outre de distinguer deux niveaux dans le processus
d’appropriation de la philosophie de Bergson: d’une part, des études
approfondies, basées sur une assimilation rigoureuse du philosophe,
permettent à des auteurs comme Louis Laloy, Charles Koechlin ou Gabriel
Marcel d’appréhender le phénomène musical (et les notions apparentées de
durée, de création, du rapport entre musique et langage verbal) selon un
nouvel éclairage conceptuel. D’autre part, la philosophie de Bergson initie une
lecture nettement plus superficielle : dans des quotidiens comme Comoedia
ou Paris-Midi, mais aussi dans les chroniques de nombreux périodiques,
prolifèrent dès le début des années 1910 des critères d’appréciation
directement inspirés des concepts bergsoniens («élan vital», «durée»,
«continuité» ou «devenir» d’une œuvre reviendront fréquemment sous la
plume des critiques jusqu’à la veille de la seconde guerre mondiale). Ces
mentions se muent rapidement en formules consacrées, voire en injonctions
esthétiques, et la pensée de Bergson, loin d’être mobilisée comme un système
philosophique constitué, semble ici plutôt participer d’une forme de sensibilité
dans l’air du temps. C’est sur ce deuxième niveau d’appropriation, propre à la
presse, que nous aimerions axer notre étude, en nous focalisant plus
particulièrement sur le cas du musicographe Max d’Ollone: quel avantage y a-
t-il à tirer, pour un critique musical, du fait de convoquer une pensée
philosophique «en vogue» ? Et au prix de quels raccourcis, imprécisions, voire
déformations du contenu initial?
73
propose d’éclairer le moment historique décisif que constitue le passage du
siècle des Lumières vers le XIXe siècle dans le domaine de l’esthétique.
(kevin.tougas@umontreal.ca)
74
Concerto / Concert
75
76
Polémica 1911
16 Maio, 19h
Auditório 2, Torre B (NOVA FCSH)
César Franck
Sonata para violino e piano*
Ruy Coelho
Bouquet*
Sonata para piano e violino*
(*excertos / excerpts)
77
O MPMP, Movimento Patrimonial pela Música Portuguesa, é uma plataforma
constituída por centenas de músicos do espaço lusófono e reúne diversos
projectos em prol da divulgação de música de tradição erudita ocidental.
Enquanto plataforma de contacto entre compositores, musicólogos,
instrumentistas e melómanos, tem publicado, desde 2010, a revista Glosas,
bem como inúmeros projectos editoriais (CDs, livros e partituras), e promovido
a realização de espectáculos um pouco por todo o país e pelo estrangeiro
(Brasil, Dinamarca, França e Suécia), divulgando música de compositores de
toda as épocas com a colaboração de alguns dos mais promissores nomes da
nova geração de instrumentistas portugueses. Desde a criação do Ensemble
MPMP, em 2012, tem promovido o diálogo entre a criação contemporânea e
a estreia moderna de repertório esquecido, objectivos com que se apresentou
em inúmeros espectáculos nos festivais Música em São Roque, Dias da Música
e Prémio Jovens Músicos, ou em auditórios como o Teatro Municipal de
Almada e o Teatro Municipal do Porto. Estabelecendo parcerias com algumas
das instituições de maior relevo no panorama cultural português, tais como a
Biblioteca Nacional de Portugal, as universidades de Aveiro e de Évora, o
Museu da Música Portuguesa e o Museu Nacional da Música, o MPMP foi ainda
diversas vezes distinguido em concursos de apoio a projectos culturais de
entidades como a Direcção-geral das Artes, a Fundação GDA ou a Câmara
Municipal do Porto e, em 2018, recebeu o Prémio de Música Sequeira Costa,
promovido pela Fundação Mirpuri.
Biografia / Biography
78
He has collaborated with the Grupo de Música Contemporânea de Lisboa, is a
member of the Ensemble MPMP and has premièred works by various
Portuguese and foreign composers. His most recent projects include recording
the entirety of the piano sonatas by João Domingos Bomtempo, in a total of
four CDs, for the collection melographia portugueza.
He teaches piano at the Escola Profissional Metropolitana.
Born in 1993, Tomás Costa began his violin studies aged 4, at Academia de
Música de Santa Maria da Feira, with Augusto Trindade and later with António
Fernando Silva. Complementarily, he studied with Daniel Rowland (former
concertmaster of Orquestra Gulbenkian and 1st violinist of the Brodsky
Quartet) between 2000 and 2005, and with Aníbal Lima from 2006 to 2014,
entering Academia Nacional Superior de Orquestra’s Bachelor’s Degree in
2011 and concluding it in 2014. He attended the Master’s Degree in Music
Teaching at Escola Superior de Música de Lisboa (ESML) between September
2014 and December 2016, writing a dissertation on the relationship between
the use of accessories on the violin, principles of mobility and violin pedagogy.
Since 2015 he has also been working as Monitor at ESML, serving as teaching
assistant to the school’s four violin professors and their class.
He collaborates with Orquestra Metropolitana de Lisboa, Orquestra de Câmara
Portuguesa, Orquestra Gulbenkian, Orquestra Filarmonia das Beiras, Lisbon
Film Orchestra, Orquestra de Câmara de Cascais e Oeiras and Orquestra
Filarmónica Portuguesa, having also played as soloist with Orquestra de Jovens
de Santa Maria da Feira, Orquestra Filarmonia das Beiras, Orquestra
Académica Metropolitana - as per the INATEL Prize – and Orquestra Sinfónica
da Escola Superior de Música de Lisboa. He’s a laureate of Prémio Jovens
Músico da Antena 2, Concurso Internacional Cidade do Fundão and Concurso
Santa Cecília do Curso de Música Silva Monteiro. He’s a founding member of
Quarteto Olisipo, having participated in the HARMOS Festival, in 2014, and
working in masterclasses and workshops with Susanne van Els, Diemut
Poppen, Xavier Gagnepain and Cibrán Sierra. He participated in individual
masterclasses with Gerardo Ribeiro, Simon Fischer, Evgeny Bushkov, Mariana
Sirbu, Erik Heide and Sergei Kravchenko, and has been coached privately by
violinists Daniel Kurganov and David Lefèvre (concertmaster of Orchestre
Philarmonique de Monte-Carlo).
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CESEM is a research unit devoted to the study of music and its correlation with other arts,
culture and society, incorporating various approaches and making use of the latest
perspectives and methodologies in Social and Human Sciences.
These are the general purposes of CESEM:
Create a suitable environment for teamwork, organized to tackle the identified scientific needs
and priorities;
Support the research interests of its members and their participation in international
professional venues, and the publication of the research results;
Promote new collaborative research projects that deepen the knowledge and dissemination of
Portuguese, Iberian and Latin American themes;
Create new research tools, applications, and databases, allowing the international academic
community to study local repertoires and other little explored objects as well as promoting the
role of Music in contemporary Portuguese life;
Foster a renewed atmosphere of research and debate, bringing its members together in a
dynamic musicological community capable of maintaining excellence in postgraduate studies
in Music.
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