DOCSLIB.ORG

UNIVERSITY of CALIFORNIA Los Angeles Sounding Ceará: Music and the Environment in Northeastern Brazil a Dissertation Submitted

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
UNIVERSITY of CALIFORNIA Los Angeles Sounding Ceará: Music and the Environment in Northeastern Brazil a Dissertation Submitted UNIVERSITY OF CALIFORNIA Los Angeles Sounding Ceará: Music and the Environment in Northeastern Brazil A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Michael Benjamin Silvers 2012 © Copyright by Michael Benjamin Silvers 2012 ABSTRACT OF THE DISSERTATION Sounding Ceará: Music and the Environment in Northeastern Brazil by Michael Benjamin Silvers Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2012 Professor Anthony Seeger, Chair This dissertation is an acoustic ethnography of the state of Ceará in Northeastern Brazil, with a focus on drought and the natural environment; drought is of particular symbolic and material importance to people in Ceará. One of the central narratives of life in Ceará involves migration and return. Here, I consider the discursive construction of Ceará as a natural, rural and traditional place through processes of migration and through a recording industry that saw migrants as both consumers and icons for a changing urban and national character. However, my emphasis is on the question of return. I investigate how urbanized and nationalized constructions of Ceará—often imagined as exclusively rural and unremittingly drought-ridden—impact ii contemporary Ceará and its musical culture. How are sounds, musics, practices, natures, geographies, and individuals shaped by mediated representations and caricatures of those very sounds, practices, geographies and identities? Drawing from acoustic ecology (Schafer 1994), acoustemology (Feld 1996), ecomusicology (e.g., Rehding 2002; Allen 2011), and discussions of musical sustainability (Titon 2009; Turino 2009), as well as from literature on rurality, capitalism, and nostalgia (e.g., Williams 1973; Stewart 1988; Dent 2009), I discuss traditional and hegemonic knowledge in urbanized rural and ruralized urban musical and agricultural practices, including the baião and forró music of Luiz Gonzaga; I interpret soundscapes in Fortaleza, the state capital, and Orós, a small city in the interior, to discuss the political and economic control of acoustic space, especially as it relates to musician Raimundo Fagner in Orós and electronic forró in Fortaleza; I analyze two contemporary musical projects—an opera and a rock band—that posit distinct relationships between Ceará's nature and literary, historical, social, and musical worlds; and I investigate movements for cultural preservation as they address the sustainability of both nature and culture. I conclude that nostalgic representations of the sertão demonstrate the complexity and malleability of contemporary northeastern music and culture, that environmental sounds and music in Ceará are heard in ways that have been maintained through oral tradition and mediated through audio recording, and that Ceará's soundscapes are constructed through community actions and legislation, by music industries, and through conflicting subjectivities. I also suggest that discourses of musical sustainability can be complexified by the example of forró, which was originally commercial popular music but has since become traditional music. iii The dissertation of Michael Benjamin Silvers is approved. Steven Loza Mitchell Morris Timothy D. Taylor Anthony Seeger, Committee Chair University of California, Los Angeles 2012 iv Whence comes the baião? It comes from beneath the clay of the earth . Whence comes hope, the sustenance that spreads the green from your eyes across the plantation? Oh, it comes from beneath the clay of the earth. -Gilberto Gil, “De Onde Vem o Baião” v TABLE OF CONTENTS Table of Figures viii Acknowledgements ix Vita xii 1 INTRODUCTION: THEORIZING NATURE, NOSTALGIA, AND FORRÓ IN CEARÁ 1 Scholarly Literature and Theoretical Perspectives About Sound, Music and Drought 5 Theorizing Forró 19 Organization 23 Justifying Ceará as the Location of Research 24 The Significance of Drought in Ceará 26 2 FROM NATURAL TO MEDIATED SOUNDSCAPES: BIRDSONG AND A SONG ABOUT A BIRD 38 Birdsong and Rain Prophecy 42 The Meeting of the Rain Prophets 44 Luiz Gonzaga's Mediated Sertão 51 Asa Branca: The Anthem of the Northeast 64 3 ACOUSTEMOLOGY: LISTENING TO RESERVOIRS, ROOFTOPS, AND RADIOS IN ORÓS 72 Landscapes and Soundscapes of Orós 76 Dantas: The Voice of Liberty 80 vi Raimundo Fagner and the Mediation of Orós 84 Fagner's Social Responsibility to Orós and the Sertão 89 The Reception of Fagner in Orós 92 Orós FM: The Sound of the Waters 96 Transnational Mediated Soundscapes Heard Locally 100 4 MODEL SOUNDSCAPES: MOACIR OF THE SEVEN DEATHS AND ELETROCACTUS 104 Moacir of the Seven Deaths 108 Eletrocactus 126 5 ACOUSTIC DESIGN: FORTALEZA'S TWO FORRÓS AND THE SUSTAINABILITY OF SOUND 144 Electronic Forró 147 Contesting Electronic Forró 156 Quieting Electronic Forró 170 6 CONCLUSION 176 Music and the Environment 176 Musical Sustainability 184 Glossary 189 Bibliography 192 vii TABLE OF FIGURES Figure 1. Map of Ceará and the Northeast in the context of Brazil and South America 4 Figure 2. Map of cities relevant to this dissertation 5 Figure 3. The semi-arid region of Ceará 29 Figure 4. Home with satellite dish in Orós 77 Figure 5. Orós reservoir and spillway 78 Figure 6. Radiadora in Orós 81 Figure 7. Radiadora in Orós (close) 81 Figure 8. Road map of Orós, indicating Dantas and Fagner 98 Figure 9. Dantas broadcasting to Fagner, side illustration 99 Figure 10. Forró bad, metal good t-shirt 158 Figure 11. 2nd Tomara Que Chova billboard, Quixadá 163 Figure 12. Sound system complaint hotline, Facebook post 173 viii ACKNOWLEDGEMENTS First and foremost, I am deeply grateful for the financial support without which this dissertation would have been impossible, including a Fulbright-mtvU grant from the U.S. Department of State and mtvU, and grants from the UCLA International Institute, the Herb Alpert School of Music Student Opportunity Fund, the UCLA Graduate Division, and the UCLA Department of Ethnomusicology. Tony Seeger is a tireless advisor, an inimitable scholar, and a role model, and his patience, guidance, encouragement, and insistence on depth and rigor have been immeasurable. Thank you, Tony, for your kindness and your insight. Thanks also to my committee: Mitchell Morris, Timothy Taylor, and Steven Loza, all of whom generously offered their time to discuss my ideas as I developed this research, and whose suggested readings guided my approach. I owe a special thanks to Danielle Maia Cruz, who co-authored an article with me in 2011, “Maracatunaíma: Musical Semiotics, The Northeastern Imaginary and the Sound of Fortaleza.” Vibrant (8)1: 228-259 (http://www.vibrant.org.br/downloads/v8n1_cruz_silvers.pdf). In the second half of chapter five of this dissertation, I include modified portions of our article, and Danielle deserves sole responsibility for the discussion of Ceará's Government of Changes and of maracatu cearense. Furthermore, the two of us generated many of the ideas in the latter portion of that chapter concerning ethnicity, the Semana de Arte Moderna, and the regional rock band Eletrocactus over cups of cafezinho and Skype conversations as we collaborated on the article. Anthropologist Lea Rodrigues served as my research advisor in Fortaleza while I was on ix my Fulbright-mtvU grant, and I am indebted to her for her tutelage, and, in particular, for her suggestion that I attend the Meeting of the Rain Prophets in Quixadá. She also helped me organize my sometimes-erratic thoughts and position Cearense music in the local social context. Ricardo Bezerra was my host father when I studied abroad in Fortaleza as an undergraduate student, and he has since become a close friend. He provided me with my initial access to the local music scene; our conversations about local culture, music, and tradition gave rise to many of the ideas I discuss in this dissertation. Also, thanks to Bete, Eugenia, and Dilma. Sâmia Maluf let me stay in her home, invited me to present my research, and challenged me with stimulating conversations about Brazilian academia. Toinha Santos looked after me and provided me with a crucial perspective. Chico Freitas's talent and creativity opened my eyes and his outsize generosity facilitated my research in Cariri. Simone Castro introduced me to several northeastern traditions, asked important questions about popular music, and invited me to be her dance partner in a quadrille performance that I will never forget. Márcio Mattos has graciously dialogued with me about forró and my research since 2007. Others in Ceará who showed me hospitality and helped guide my ideas include Izaíra Silvino, Emy Maia, Oswald Barroso, Tarcísio Lima, Adelson Vianna, the members of the Associação Cearense do Forró, the members of Eletrocactus, Elvis Matos, Nirez, Aluísio Lima, and Patrícia and João Soares. I am also grateful for the intelligence, talent, and friendship of Tarcísio Bezerra Martins Filho, Nathália Cardoso, Uirá dos Reis, Priscila Lima, Cátia Riehl, and Lorena Nunes. Catherine Appert, Kariann Goldschmitt, and Lisa Knisely read many drafts of chapters of this dissertation and related proposals, and their critiques and encouragement have been essential. Liz Macy proofread my bibliography. Thanks to other colleagues who have helped me with my intellectual development in ways that contributed to this project including Ron Conner, x Jennie Gubner, Michael Iyanaga, Andy Pettit, Rebecca Dirksen, Kate Wiens, Katie Stuffelbeam, Shannon McCabe, Jessie Vallejo, Ross Van Horn, Kavin Paulraj, Lindsay Aylesworth, and Colin Ogilvie. I also want to thank Janet Sturman and Gina Fatone for their continued support and guidance. A number of scholars have taken their time to read chapters of this work and/or offer insightful commentary and conversation related to my research while in the writing stage, including Karen Pennesi, Eve Buckley, Renzo Taddei, Jeffrey Hoelle, Julius Carlson, and Dan Sharp. I owe a debt of gratitude to my Cearense family, who helped make Ceará feel like home, and contributed to this project in countless ways: Janett, my brother Gabe, baby Caleb, and Janett's entire family: Seu Platão, Neto, Mirtes, Galega, Lino, Dêdê, Marô, Nice, Josa, Mayara, João Marcelo, Amanda, Artur, João Levi, and Ana Julia.
Load more

Recommended publications
  • Black Boi, Boss Bitch
    Black Boi, Boss Bitch Lauryn Hill 18 Jan 1995 - 26 Sep 1998 BLACK QUEER LOOKS Y todo comenzo bailando.... 27 Oct 1998 “Y todo comenzo bailando”...The earliest memories I can recall of my existence are festive. 20 Pound Pots of pernil & pigfeet. Pasteles, Gandulez, Guinea, Pollo Guisado. Habichuelas. 5 different types of beans & 5 different dishes on one plate. Even if only 4 niggas pulled up to the crib, abuela was always cooking for 40. The image of her red lipstick stain on hefty glasses of Budweiser that once contained Goya olives is forever etched in my mind. This was that poor boricua family that stored rice & beans in “I Can’t Believe it’s Not Butter” containers.The kind of family that blasted Jerry Rivera’s & Frankie Ruiz voices over dollar-store speakers. The kind that prized Marc Anthony, Hector LaVoe, El Gran Combo, La India, Tito Rojas. Victor Manuelle. Salsa Legends that put abuela's feet to work. My cousin Nina & her wife Iris who sparked their Ls in the bathroom, waving around floor length box braids, and bomb ass butch-queen aesthetics. “Pero nino, you hoppin on the cyph?. Uncle Negro or “Black”as we called him for his rich dark-skin, stay trying to wife my mom’s friends. 7:11 pm. 7 pounds 8 oz. October 27th. Maybe it was the lucky 7. Maybe it was fated for them to welcome another, intensely-loving Scorpio into their home. Or maybe it was just another blissful evening in the barrio. Where Bottles of Henny would be popped, and cousins & aunts & uncles you didn’t even know you had would reappear.
    [Show full text]
  • Liste Représentative Du Patrimoine Culturel Immatériel De L'humanité
    Liste représentative du patrimoine culturel immatériel de l’humanité Date de Date récente proclamation Intitulé officiel Pays d’inscriptio Référence ou première n inscription Al-Ayyala, un art traditionnel du Oman - Émirats spectacle dans le Sultanat d’Oman et 2014 2014 01012 arabes unis aux Émirats arabes unis Al-Zajal, poésie déclamée ou chantée Liban 2014 2014 01000 L’art et le symbolisme traditionnels du kelaghayi, fabrication et port de foulards Azerbaïdjan 2014 2014 00669 en soie pour les femmes L’art traditionnel kazakh du dombra kuï Kazakhstan 2014 2014 00011 L’askiya, l’art de la plaisanterie Ouzbékistan 2014 2014 00011 Le baile chino Chili 2014 2014 00988 Bosnie- La broderie de Zmijanje 2014 2014 00990 Herzégovine Le cante alentejano, chant polyphonique Portugal 2014 2014 01007 de l’Alentejo (sud du Portugal) Le cercle de capoeira Brésil 2014 2014 00892 Le chant traditionnel Arirang dans la République 2014 2014 00914 République populaire démocratique de populaire Date de Date récente proclamation Intitulé officiel Pays d’inscriptio Référence ou première n inscription Corée démocratique de Corée Les chants populaires ví et giặm de Viet Nam 2014 2014 01008 Nghệ Tĩnh Connaissances et savoir-faire traditionnels liés à la fabrication des Kazakhstan - 2014 2014 00998 yourtes kirghizes et kazakhes (habitat Kirghizistan nomade des peuples turciques) La danse rituelle au tambour royal Burundi 2014 2014 00989 Ebru, l’art turc du papier marbré Turquie 2014 2014 00644 La fabrication artisanale traditionnelle d’ustensiles en laiton et en
    [Show full text]
  • Verifying Modeling and Audiovisual Stimuli As Strategies for Mastering Guedes Peixoto's Maracatú
    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School July 2019 Verifying Modeling and Audiovisual Stimuli as Strategies for Mastering Guedes Peixoto's Maracatú Rodrigo Clementino Diniz Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Ethnomusicology Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Clementino Diniz, Rodrigo, "Verifying Modeling and Audiovisual Stimuli as Strategies for Mastering Guedes Peixoto's Maracatú" (2019). LSU Master's Theses. 4977. https://digitalcommons.lsu.edu/gradschool_theses/4977 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. VERIFYING MODELING AND AUDIOVISUAL STIMULI AS STRATEGIES FOR MASTERING GUEDES PEIXOTO´S MARACATÚ A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Music in The School of Music by Rodrigo Clementino Diniz B.M., Universidade Federal de Pernambuco, 2003 August 2019 ACKNOWLEDGMENTS First, my gratitude to Olorum and Orunmila, who endowed me with intelligence, health, tenacity and musical talent, characteristics without which I possibly would not have been able to launch myself on this incredible journey. To my guardian angel, Oyá, who vibrates magnetically in me, for always being by my side, guarding me. Endless thanks to my beloved mother, Francisca Clementino, a warrior woman who gave up so much of her life to raise me by herself.
    [Show full text]
  • Baianasystem Press Info 2018
    BaianaSystem is one of the major urban music groups produced in Bahia (BRA). Influenced by Jamaican sound systems, the group not only amplifies sound but also the essence of local traditions. A system that manifests itself on stage or on the streets spreading out Brazilian music without borders. The sound produces a constant dialogue between the Bahian guitar and the singing, led by bass lines which complement its frequency spectrum. On top of that, there is great percussive base force (electronic or organic) as well as Afro-Latin rhythms such as Frevo, Samba-Reggae, Pagode, Groove Arrastado, Ijexá, Kuduro and Reggae. The group lineup is Roberto Barreto on Bahian Guitar, Russo Passapusso on vocals and SekoBass on bass additionally supported by several musicians, producers and artists. Currently, those who participate most frequently in this sound are as follows; DJs and producers João Meirelles and Mahal Pitta; percussionist JapaSystem and guitarist Junix. Over and above music there is the visual conception – an inseparable strength in BaianaSystem’s communication and upbringing. From that background the mask leaps out – a symbolic element – as an icon turning into the embodiment of a “being”, a bond with the audience making everybody feel as a vital part of this system. This work is directed by the designer Filipe Cartaxo in workstream with Maquina de Louco, coordinated by artist Filipe Bezerra who plays a part as the creative core of BaianaSystem’s project planning and production. Since its first studio album release – BaianaSystem (2010) along with the EP Pirata (2013) which delivers the hit “Terapia”, BaianaSystem has already performed worldwide at the New Orleans Jazz Festival; at the Global Fest in NY; at Fujirock (Japan), as well as gigs in Russia, China and France.
    [Show full text]
  • Robert GADEN: Slim GAILLARD
    This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Robert GADEN: Robert Gaden -v,ldr; H.O. McFarlane, Karl Emmerling, Karl Nierenz -tp; Eduard Krause, Paul Hartmann -tb; Kurt Arlt, Joe Alex, Wolf Gradies -ts,as,bs; Hans Becker, Alex Beregowsky, Adalbert Luczkowski -v; Horst Kudritzki -p; Harold M. Kirchstein -g; Karl Grassnick -tu,b; Waldi Luczkowski - d; recorded September 1933 in Berlin 65485 ORIENT EXPRESS 2.47 EOD1717-2 Elec EG2859 Robert Gaden und sein Orchester; recorded September 16, 1933 in Berlin 108044 ORIENTEXPRESS 2.45 OD1717-2 --- Robert Gaden mit seinem Orchester; recorded December 1936 in Berlin 105298 MEIN ENTZÜCKENDES FRÄULEIN 2.21 ORA 1653-1 HMV EG3821 Robert Gaden mit seinem Orchester; recorded October 1938 in Berlin 106900 ICH HAB DAS GLÜCK GESEHEN 2.12 ORA3296-2 Elec EG6519 Robert Gaden mit seinem Orchester; recorded November 1938 in Berlin 106902 SIGNORINA 2.40 ORA3571-2 Elec EG6567 106962 SPANISCHER ZIGEUNERTANZ 2.45 ORA 3370-1 --- Robert Gaden mit seinem Orchester; Refraingesang: Rudi Schuricke; recorded September 1939 in Berlin 106907 TAUSEND SCHÖNE MÄRCHEN 2.56 ORA4169-1 Elec EG7098 ------------------------------------------ Slim GAILLARD: "Swing Street" Slim Gaillard -g,vib,vo; Slam Stewart -b; Sam Allen -p; Pompey 'Guts' Dobson -d; recorded February 17, 1938 in New York 9079 FLAT FOOT FLOOGIE 2.51 22318-4 Voc 4021 Some sources say that Lionel Hampton plays vibraphone. 98874 CHINATOWN MY CHINATOWN
    [Show full text]
  • Performance E Cenicidadade Audiovisual Em Ney Matogrosso, Por Meio Do Álbum “Mato Grosso”, De 1982. ROBSON PEREIRA DA SILVA
    Performance e Cenicidadade Audiovisual em Ney Matogrosso, Por Meio do Álbum “Mato Grosso”, de 1982. ROBSON PEREIRA DA SILVA* O presente artigo traz uma reflexão sobre a construção de um fazer artístico ligado a linguagem da performance, por meio da obra ―Mato Grosso‖ – do cantor Ney Matogrosso, no ano de 1982. Essa construção que nos referimos se pauta na expressão de um corpo que interage e busca significar suas propostas artísticas diante de experiências de uma determinada recepção. O contexto o qual a obra aqui em análise se insere é o momento em que o Brasil desenvolve uma suposta tentativa de integrar-se as tendências do mundo globalizado e a massificação das telecomunicações, de modo que se consolida a divulgação da indústria fonográfica. Assim, analisaremos a recepção via imprensa (crítica) com jornais buscados junto ao acervo online do Jornal Folha de S. Paulo, e a Revista Veja, com publicações referentes ao ano de lançamento da obra analisada, que consiste no álbum ―Mato Grosso‖. Com esse material poderemos observar como parte da recepção dialoga com as propostas do artista Ney Matogrosso. Desse modo, esse trabalho se propõe compreender os limites da experiência da performance, dentro do cenário musical do início dos anos de 1980 no Brasil. A performance é a linguagem artística que se dedica a investigar o corpo como reflexão da própria arte que, amplifica o espaço da experiência artística, necessidade posta pelos debates realizados pelas vanguardas artísticas europeias na década de 1960, que exigiam o retorno ao corpo. Contudo, esse espaço da experiência corpórea possibilita ao artista constituir uma representação de si, que, por conseguinte, lhe disponibiliza ―dramatizar‖ sua existência em interação com determinado contexto.
    [Show full text]
  • Universality and Diversity in Human Song Samuel A. Mehr1,2*, Manvir
    This is a provisionally accepted manuscript. The published version will differ from it substantially. Please cite it as: Mehr, S. A., Singh, M., Knox, D., Ketter, D. M., Pickens-Jones, D., Atwood, S., Lucas, C., Egner, A., Jacoby, N., Hopkins, E. J., Howard, R. M., Hartshorne, J. K., Jennings, M. V., Simson, J., Bainbridge, C. M., Pinker, S., O'Donnell, T. J., Krasnow, M. M., & Glowacki, L. (forthcoming). Universality and diversity in human song. Science . Universality and diversity in human song Samuel A. Mehr 1,2*, Manvir Singh 3*, Dean Knox 4, Daniel M. Ketter 6,7, Daniel Pickens-Jones 8, Stephanie Atwood 2, Christopher Lucas 5, Alena Egner 2, Nori Jacoby 10, Erin J. Hopkins 2, Rhea M. Howard 2, Timothy J. O’Donnell 11, Steven Pinker 2, Max M. Krasnow 2, and Luke Glowacki 12* 1 Data Science Initiative, Harvard University 2 Department of Psychology, Harvard University 3 Department of Human Evolutionary Biology, Harvard University 4 Department of Politics, Princeton University 5 Department of Political Science, Washington University in St. Louis 6 Eastman School of Music, University of Rochester 7 Department of Music, Missouri State University 8 Portland, Oregon 9 Department of Psychology, University of California at Los Angeles 10 Max Planck Institute for Empirical Aesthetics 11 Department of Linguistics, McGill University 12 Department of Anthropology, Pennsylvania State University *Correspondence to [email protected] (S.A.M.), [email protected] (M.S.), and [email protected] (L.G.) Abstract What is universal about music across human societies, and what varies? We built a corpus of ethnographic text on musical behavior from a representative sample of the world’s societies and a discography of audio recordings of the music itself.
    [Show full text]
  • Market Access Guide – Brazil 2020 – Table of Contents 01
    Market Access Guide – Brazil 2020 – Table of Contents 01. COUNTRY OVERVIEW ....................................................................................................................................... 3 02. BRAZILIAN RECORDED MUSIC MARKET .................................................................................................... 5 THE MAJORS .......................................................................................................................................................... 1 INTERVIEW WITH PAULO JUNQUEIRO, PRESIDENT, SONY MUSIC BRASIL ................................ 10 THE INDEPENDENTS ........................................................................................................................................ 11 CHART SERVICES ................................................................................................................................................. 1 03. POPULAR BRAZILIAN MUSIC - GENRES ...................................................................................................... 1 GOSPEL .................................................................................................................................................................. 16 FUNK ...................................................................................................................................................................... 20 SERTANEJA ..........................................................................................................................................................
    [Show full text]
  • Drone Music from Wikipedia, the Free Encyclopedia
    Drone music From Wikipedia, the free encyclopedia Drone music Stylistic origins Indian classical music Experimental music[1] Minimalist music[2] 1960s experimental rock[3] Typical instruments Electronic musical instruments,guitars, string instruments, electronic postproduction equipment Mainstream popularity Low, mainly in ambient, metaland electronic music fanbases Fusion genres Drone metal (alias Drone doom) Drone music is a minimalist musical style[2] that emphasizes the use of sustained or repeated sounds, notes, or tone-clusters – called drones. It is typically characterized by lengthy audio programs with relatively slight harmonic variations throughout each piece compared to other musics. La Monte Young, one of its 1960s originators, defined it in 2000 as "the sustained tone branch of minimalism".[4] Drone music[5][6] is also known as drone-based music,[7] drone ambient[8] or ambient drone,[9] dronescape[10] or the modern alias dronology,[11] and often simply as drone. Explorers of drone music since the 1960s have included Theater of Eternal Music (aka The Dream Syndicate: La Monte Young, Marian Zazeela, Tony Conrad, Angus Maclise, John Cale, et al.), Charlemagne Palestine, Eliane Radigue, Philip Glass, Kraftwerk, Klaus Schulze, Tangerine Dream, Sonic Youth,Band of Susans, The Velvet Underground, Robert Fripp & Brian Eno, Steven Wilson, Phill Niblock, Michael Waller, David First, Kyle Bobby Dunn, Robert Rich, Steve Roach, Earth, Rhys Chatham, Coil, If Thousands, John Cage, Labradford, Lawrence Chandler, Stars of the Lid, Lattice,
    [Show full text]
  • Ptou À Sua Pró- Pria Índole, Como Forma De Extravasar Os Seus Mais Ardentes Anseios De Liberdade
    Criação O Nordeste e sua música O COMEÇO DA DÉCADA DE 70, Marcus Pereira e eu decidimos fazer um mapeamento musical do Brasil. A idéia, consumada até 1975 em quatro N coleções discográficas, era documentar as manifestações mais represen- tativas das várias regiões brasileiras. Todo o projeto, com sofisticados recursos técnicos, dava seqüência ao que Mário de Andrade, munido apenas de lápis e papel, iniciara 40 anos antes. Quando já estava gravada a coleção Música Popular do Nordeste pedi a cinco intelectuais da região, atentos observadores da vida comunitária, que es- crevessem a respeito dos principais gêneros documentados. Ariano Suassuana produziu um texto explicativo sobre cantorias de viola e literatura de cordel; Paulo Cavalcanti encarregou-se do frevo; Renato Carneiro Campos discorreu sobre côcos e bandas de pífanos; Euricledes Formiga comentou as emboladas; Jaime Diniz analisou as danças populares, especialmente as cirandas; e Hermilo Borba Filho dissertou, de cátedra, sobre o bumba-meu-boi. Também coube ao Hermilo planejar toda a pesquisa de campo empreen- dida pelo Quinteto Violado. O material escrito continua rigorosamente atual e, em seu conjunto, forma um vigoroso ensaio sobre a cultura popular nordestina – razão que determinou o seu oportuno aproveitamento em ESTUDOS AVANÇADOS. Assim, o que parecia condenado ao degredo nas estantes dos colecionadores vem novamente à luz. Resgata-se do esquecimento uma reflexão que pode suscitar novas pesquisas, sempre necessárias. Instala-se, no meio acadêmico, uma hipótese de trabalho sobre o nosso mais criativo compositor de todos os tempos – o povo brasileiro. (Aluízio Falcão, jornalista, é assessor de imprensa da Pró-Reitoria de Cultura e Extensão da USP).
    [Show full text]
  • World Scientists' Warning of a Climate Emergency
    Supplemental File S1 for the article “World Scientists’ Warning of a Climate Emergency” published in BioScience by William J. Ripple, Christopher Wolf, Thomas M. Newsome, Phoebe Barnard, and William R. Moomaw. Contents: List of countries with scientist signatories (page 1); List of scientist signatories (pages 1-319). List of 153 countries with scientist signatories: Albania; Algeria; American Samoa; Andorra; Argentina; Australia; Austria; Bahamas (the); Bangladesh; Barbados; Belarus; Belgium; Belize; Benin; Bolivia (Plurinational State of); Botswana; Brazil; Brunei Darussalam; Bulgaria; Burkina Faso; Cambodia; Cameroon; Canada; Cayman Islands (the); Chad; Chile; China; Colombia; Congo (the Democratic Republic of the); Congo (the); Costa Rica; Côte d’Ivoire; Croatia; Cuba; Curaçao; Cyprus; Czech Republic (the); Denmark; Dominican Republic (the); Ecuador; Egypt; El Salvador; Estonia; Ethiopia; Faroe Islands (the); Fiji; Finland; France; French Guiana; French Polynesia; Georgia; Germany; Ghana; Greece; Guam; Guatemala; Guyana; Honduras; Hong Kong; Hungary; Iceland; India; Indonesia; Iran (Islamic Republic of); Iraq; Ireland; Israel; Italy; Jamaica; Japan; Jersey; Kazakhstan; Kenya; Kiribati; Korea (the Republic of); Lao People’s Democratic Republic (the); Latvia; Lebanon; Lesotho; Liberia; Liechtenstein; Lithuania; Luxembourg; Macedonia, Republic of (the former Yugoslavia); Madagascar; Malawi; Malaysia; Mali; Malta; Martinique; Mauritius; Mexico; Micronesia (Federated States of); Moldova (the Republic of); Morocco; Mozambique; Namibia; Nepal;
    [Show full text]
  • Relationship with Percussion Instruments
    Multimedia Figure X. Building a Relationship with Percussion Instruments Bill Matney, Kalani Das, & Michael Marcionetti Materials used with permission by Sarsen Publishing and Kalani Das, 2017 Building a relationship with percussion instruments Going somewhere new can be exciting; it might also be a little intimidating or cause some anxiety. If I go to a party where I don’t know anybody except the person who invited me, how do I get to know anyone else? My host will probably be gracious enough to introduce me to others at the party. I will get to know their name, where they are from, and what they commonly do for work and play. In turn, they will get to know the same about me. We may decide to continue our relationship by learning more about each other and doing things together. As music therapy students, we develop relationships with music instruments. We begin by learning instrument names, and by getting to know a little about the instrument. We continue our relationship by learning technique and by playing music with them! Through our experiences and growth, we will be able to help clients develop their own relationships with instruments and music, and therefore be able to 1 strengthen the therapeutic process. Building a relationship with percussion instruments Recognize the Know what the instrument is Know where the Learn about what the instrument by made out of (materials), and instrument instrument is or was common name. its shape. originated traditionally used for. We begin by learning instrument names, and by getting to know a little about the instrument.
    [Show full text]