DOCSLIB.ORG

Geografias Da Comunicação: Espaço De Observação De Mídias E De

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Geografias Da Comunicação: Espaço De Observação De Mídias E De 3 Geografias da Comunicação: espaço de observação de mídia e de culturas Organização Sonia Virgínia Moreira Coleção GPs da INTERCOM Direção de Osvando J. de Morais Vol. 1 – Comunicação e Esporte: Reflexões – Anderson Gurgel, Ary José Rocco Jr., José Carlos Marques e Márcio de Oliveira Guerra, orgs. (2012) Vol. 2 – Políticas de Comunicação e Sociedade – Valério Cruz Brittos e Ruy Sardinha Lopes, orgs. (2012) Vol. 3 – Geografias da comunicação: espaço de observação de mídia e de culturas – Sonia Virgínia Moreira, org. (2012) DIRETORIA GERAL DA INTERCOM 2011 – 2014 Presidente - Antonio Carlos Hohlfeldt Vice-Presidente - Marialva Carlos Barbosa Diretor Editorial - Osvando J. de Morais Diretor Financeiro - Fernando Ferreira de Almeida Diretor Administrativo - José Carlos Marques Diretora de Relações Internacionais -Sonia Virginia Moreira Diretora Cultural - Rosa Maria Cardoso Dalla Costa Diretora de Documentação - Nélia Rodrigues Del Bianco Diretor de Projetos - Adolpho Carlos Françoso Queiroz Diretora Científica - Raquel Paiva de Araújo Soares Secretaria Maria do Carmo Silva Barbosa Genio Nascimento Mariana Beltramini Jovina Fonseca Direção Editorial: Osvando J. de Morais (UNISO) Presidência: Muniz Sodré ( UFRJ) Conselho Editorial - Intercom Alex Primo (UFRGS) Marcio Guerra (UFJF) Alexandre Barbalho (UFCE) Margarida M. Krohling Kunsch (USP) Ana Sílvia Davi Lopes Médola (UNESP) Maria Teresa Quiroz (Universidade de Christa Berger (UNISINOS) Lima/Felafacs) Cicília M. Krohling Peruzzo (UMESP) Marialva Barbosa (UFF) Erick Felinto (UERJ) Mohammed Elhajii (UFRJ) Etienne Samain (UNICAMP) Muniz Sodré (UFRJ) Giovandro Ferreira (UFBA) Nélia R. Del Bianco (UnB) José Manuel Rebelo (ISCTE, Portugal) Norval Baitelo (PUC-SP) Jeronimo C. S. Braga (PUC-RS) Olgária Chain Féres Matos (UNIFESP) José Marques de Melo (UMESP) Osvando J. de Morais (UNISO) Juremir Machado da Silva (PUCRS) Paulo B. C. Schettino (UNISO) Luciano Arcella (Universidade Pedro Russi Duarte (UnB) d’Aquila, Itália) Sandra Reimão (USP) Luiz C. Martino (UnB) Sérgio Augusto Soares Mattos (UFRB) Geografias da Comunicação: espaço de observação de mídia e de culturas Organização Sonia Virgínia Moreira São Paulo Intercom 2012 Coleção GPs – Grupos de Pesquisa da INTERCOM, vl. 3 Geografias da Comunicação: espaço de observação de mídia e de culturas Copyright © 2012 dos autores dos textos, cedidos para esta edição à Sociedade Brasileira de Estudos Interdisciplinares da Comunicação – INTERCOM. Direção Editorial Osvando J. de Morais Edição Sonia Virgínia Moreira Projeto Gráfico e Diagramação Rafael Bezerra Capa Rodolfo Conceição e Rafael Bezerra Revisão Geral Sonia Virgínia Moreira e Graça Louzada Ficha Catalográfica G345 Geografias da comunicação : espaço de observação de mídia e de culturas / Organização, Sonia Virgínia Moreira. – São Paulo : INTERCOM, 2012. 1 recurso online (242 p.) – (Coleção Grupos de Pesquisa / Sociedade Brasileira de Estudos Interdisciplinares da Comunicação ; v. 3) Reprodução eletrônica. Modo de acesso: http://www.intercom.org.br/e-book/colecao-gps-3.pdf ISBN 978-85-8208-006-1 1. Comunicação – Pesquisa – Livros eletrônicos. 2. Geografia humana – Livros eletrônicos. I. Moreira, Sonia Virgínia. II. Sociedade Brasileira de Estudos Interdisciplinares da Comunicação. III. Série. CDU 007:911.3(0.034.1) Todos os direitos desta edição reservados à: Sociedade Brasileira de Estudos Interdisciplinares da Comunicação – INTERCOM Rua Joaquim Antunes, 705 – Pinheiros CEP: 05415 - 012 - São Paulo - SP - Brasil - Tel: (11) 2574 - 8477 / 3596 - 4747 / 3384 - 0303 / 3596 - 9494 http://www.intercom.org.br – E-mail: [email protected] Sumário PREFÁCIO .......................................................................................................................... 7 José Marques de Melo APRESENTAÇÃO Por que Geografias, no plural, para a Comunicação? .............................................................9 Sonia Virgínia Moreira APORTES ESTRANGEIROS: GEOGRAFIA CULTURAL, ECONÔMICA E DE MÍDIA Global, Hybrid or Multiple? Cultural Identities in the Age of Satellite TV and the Internet ......21 Joseph D. Straubhaar Reconsidering Culture, Counterculture, and Nation through a Tropicália Lens ....................51 John R. Baldwin Gestão e estratégias no mercado dos media em Portugal....................................................69 Paulo Faustino PERCURSOS BRASILEIROS: TEORIA, TERRITÓRIO, MÍDIA E REGIÃO Geografia das Comunicações: aportes brasileiros ao pensamento crítico ............................87 José Marques de Melo Análise da produção intelectual do Dr. Milton Santos e sua relação com a Comunicação ..107 Paulo Celso da Silva Estudo de condições para reconhecimento automático de entidades geográficas em textos jornalísticos da língua portuguesa ..................................................117 Margarethe Born Steinberger Noticiário internacional: um mapa de contradições e influências ideológicas e econômicas ......129 Maria José Baldessar O RJTV e a (re)urbanização do Rio: uma cartografia da violência no discurso telejornalístico de pacificação ........................................................................143 Kleber Mendonça Por um Telejornalismo Georregional ..................................................................................159 Rodrigo Gabrioti de LIMA Da Convivência à Convergência das Mídias: as Representações do Mundo na BBC Brasil 170 Jamile Dalpiaz Diversidade cultural e apropriação de bens simbólicos na fronteira Brasil-Argentina ........187 Roberta Brandalise Mapeamento da mídia fronteiriça em Mato Grosso do Sul .................................................203 Daniela Cristiane Ota As agências transnacionais de notícias e os círculos descendentes de informações no território brasileiro no período da globalização ..................................................................214 André PASTI Cartografia 2.0: Pensando o Mapeamento Participativo na Internet ..................................228 Paulo Victor Barbosa de Sousa Prefácio Geografia e Comunicação são disciplinas dotadas de semelhanças, mas que trilham caminhos distanciados. Por isso mesmo, estiveram se- paradas durante tanto tempo. O que as aproxima? Fundamentalmente o olhar cognitivo. Enquanto a Geografia capta sinais produzidos pela natureza (rios, caminhos, relevos), a Comunicação processa símbolos gerados pela socie- dade (vozes, palavras, imagens). Uma parece estática ou cíclica, a outra se mostra dinâmica, veloz. Mas são interdependentes. A Geografia precisa da Comunicação para se fazer conhecer, difundir, atualizar; a Comuni- cação não pode funcionar sem o suporte da Geografia para distribuir conteúdos, provocar sensações, emocionar, surpreender. Durante muitos anos, os estudos geográficos e as pesquisas comu- nicacionais estiveram de costas, uns para os outros. Mas hoje não podem mais ignorar-se. A Comunicação encurtou o mundo, reduzindo o espaço. A Geografia acelerou o homem, escasseando o tempo. É temerário, senão impossível, uma disciplina trabalhar sem mútua colaboração com a parceira. Sem diálogo, metálica, arrogante. Esta é a importante lição que nos transmite Sonia Virgínia Moreira ao organizar e publicar esta coletânea. Evidencia notável maturidade acadêmica. Ela reuniu um conjunto heterogêneo, mas rico e instigante, de ensaios escritos por pensadores da Comunicação. Mesclou nativos e forâneos. E ousou demonstrar que seus colegas e discípulos procuram discernir na Geografia elementos confiáveis para ampliar horizontes in- terpretativos. Metaforicamente, significa prato cheio. Fumegante, colori- do, apetitoso. Suscita a gulodice dos comensais, pois fazia falta ao nosso banquete bibliográfico. Deixa o gosto de quero mais... São Paulo, 1º de agosto de 2012. José Marques de Melo Professor Emérito da Universidade de São Paulo e Diretor da Cátedra UNESCO/UMESP de Comunicação 7 Por que Geografias, no plural, para a Comunicação?1 Sonia Virgínia Moreira2 Universidade do Estado do Rio de Janeiro [email protected] Por que Geografias? Porque a realidade é multifacetada, online, sem fronteiras e intercultural – plural. Porque o acesso permanente ao canal aberto da Internet flui paralelo ao cotidiano da vida de um número crescente de pessoas. Essas pessoas se movimentam em territórios di- versos e, junto com elas, a mídia portátil está em todos os lugares constituindo e intermedian- do fluxos: de informação, de conhecimento, de intercâmbios. Com a aceleração do tempo, o espaço deixou de ser uma variável dependente e se transformou em fator determinante (Innis, 2008). A política, a economia, a sociologia, a antropologia e a história são disciplinas-âncora dos estudos que se reúnem sob o guarda-chuva das geografias da comunicação – assim, no plural, como manifestação precisa das suas múltiplas implicações. Palavras-chaves: espaço; tempo; geografias; comunicação Contextos Na última sexta-feira de julho de 2012 um grupo de estudantes, artistas e sindicalistas mexicanos ocupou por 24 horas o entorno da sede da Televisa, no bairro de Chapultepec, na Cidade do México. O cerco hu- mano às instalações da emissora foi convocado pelo coletivo #YoSoy1323 para mostrar o repúdio dos manifestantes, que consideraram tendenciosa a cobertura dispensada pela empresa, favorável ao candidato do Partido Revolucionário Institucional (PRI), Enrique Peña Nieto, vencedor das eleições presidenciais. As 24 horas de ocupação, suas manifestações e ativi- dades culturais, puderam ser acompanhadas ao vivo via Livestream, site por meio do qual qualquer pessoa transmite imagens e áudio em tempo real.4
Load more

Recommended publications
  • International Council for Traditional Music
    PROMOTION. INTERNATIONAL COUNCIL FOR TRADITIONAL MUSIC Escola de Muska " SPONSORSHIP CAP ES 36,hWORLD·CONFERENCE, RIO DE JANEIRO, BRAZIL, JULY 4-11 2001 The International Council for Traditional Music is a Non-Governmental Organization (NGO) in Formal Consultative Relations with UNESCO Fundacao Universitaria 1r Jose Bonifacio IDATErrIME IJuly 4 July 5 July II ROOM Salao 16:00 - 8:00 9:0010:30 Dourado PM Opening Welcome Ceremony Reception 11:00 - 12:30 Plenary Session: Samba Salao 2:30 - 4:00 9:0010:30 2:30- 6:00 ,yO 9:00-10:30 9:00-10:30 Pedro Panel: The Panel: Confronting the Open Meeting 'hey Have a Word for Music in New Contexts Panel-The Caiman politics of Past, Shaping the to ".txu What is "Music'? 11:00 - 12:30 Relationships between Experience Future.. Discuss Forms 12:30 Panel: The Censorship of Music: Researchers and the and ]]:00 - 12:30 of oClHuenting Garifuna Forms and Effects Communities They Study Interpretation.. Plenary Session Organization : Collaborative Efforts 2:30 - 4:00 Panel 11:00-12:30 2:30 - 4:00 and n ~esearchers and the Recent Ethno musicological Research in Music of the 4:30- 6:00 Panel: Interchange niry Research in Indigerious Societies Middle East and Beyond Panel: Shifting Ethnomusicologists among :OO!'9neJ from South American Lowlands­ 12:30 - 1:00 Contexts, and Independent Brazilians P(}p~Iaf Mu.sic in Indonesia.. _ part I Closing Session Changing Record Production in Studying 4:3Q26:OO fanel 4:30 - 6:00 Panel Roles: The Brazil and Beyond Traditional [email protected] ta the Source: Hispanic Recent Ethno musicological Relationships 4:30- 6:00 Music Mu~CfrGrn tbe Americas in the Research in Indigenous ..
    [Show full text]
  • PORT 365 Course Syllabus
    University of Washington Department of Spanish and Portuguese Studies Portuguese 365/ JSIS A 365 From Samba to Funk: A Portray of Brazilian Society through Music (Mapping Luso-Brazilian Cultures) Areas of Knowledge: Individual and Societies, Diversity, Visual Literary and Performing Arts Winter 2020 Instructors: Eduardo Viana da Silva [email protected] Class meets on T/Th – 1:30-3:20 pm Phone number: (206) 543-794 Denny Hall, room 259 Office: Padelford, room C-222 Office hours: Tue (3:30-4:30) Th (11:30-12:30) JSIS A 365/ PORT 365 - Catalogue Description Explores cultures of Brazil, Portuguese-speaking Africa, Asia, and Europe within the framework of cultural studies theory. Follows an interdisciplinary approach, drawing from readings, audio files (radio), films and documentaries in history, literature, arts and performances, anthropology, among others. Focuses on selected cultural aspects and countries. Taught in English. Course Description for Winter 2020 This course will look at several cultural representations of Brazil and other Portuguese-speaking countries through music, including genres as samba, choro, tropicália, maracatu, and funk, among others. Most of the course work will focus on Brazilian society and history through music. We will also study some of the musical genres from Portugal, Angola, Cape Verde, and Mozambique and its historical and cultural aspects as well. By the end of this course students will be able to: • Evaluate aspects of culture formation through several music genres in Brazil, Mozambique, Angola, Cape Verde, and Portugal; • Cultivate a critical appreciation and understanding of music genres and artists from the Luso-Brazilian world; • Develop an understanding of pertinent culture differences and global citizenship; • Consider the lasting ideas and values of similarities and differences between the self and the other, in light of each culture; • Learn to read and interpret critically; • Evaluate ideas from multiple perspectives.
    [Show full text]
  • Domination and Resistance in Afro-Brazilian Music
    Domination and Resistance In Afro-Brazilian Music Honors Thesis—2002-2003 Independent Major Oberlin College written by Paul A. Swanson advisor: Dr. Roderic Knight ii Table of Contents Abstract Introduction 1 Chapter 1 – Cultural Collisions Between the Old and New World 9 Mutual Influences 9 Portuguese Independence, Exploration, and Conquest 11 Portuguese in Brazil 16 Enslavement: Amerindians and Africans 20 Chapter 2 – Domination: The Impact of Enslavement 25 Chapter 3 – The ‘Arts of Resistance’ 30 Chapter 4 – Afro-Brazilian Resistance During Slavery 35 The Trickster: Anansi, Exú, malandro, and malandra 37 African and Afro-Brazilian Religion and Resistance 41 Attacks on Candomblé 43 Candomblé as Resistance 45 Afro-Brazilian Musical Spaces: the Batuque 47 Batuque Under Attack 50 Batuque as a Place of Resistance 53 Samba de Roda 55 Congadas: Reimagining Power Structures 56 Chapter 5 – Black and White in Brazil? 62 Carnival 63 Partner-dances 68 Chapter 6 – 1808-1917: Empire, Abolition and Republic 74 1808-1889: Kings in Brazil 74 1889-1917: A New Republic 76 Birth of the Morros 78 Chapter 7 – Samba 80 Oppression and Resistance of the Early Sambistas 85 Chapter 8 – the Appropriation and Nationalization of Samba 89 Where to find this national identity? 91 Circumventing the Censors 95 Contested Terrain 99 Chapter 9 – Appropriation, Authenticity, and Creativity 101 Bossa Nova: A New Sound (1958-1962) 104 Leftist Nationalism: the Oppression of Authenticity (1960-1968) 107 Coup of 1964 110 Protest Songs 112 Tropicália: the Destruction of Authenticity (1964-1968) 115 Chapter 10 – Transitions: the Birth of Black-Consciousness 126 Black Soul 129 Chapter 11 – Back to Bahia: the Rise of the Blocos Afro 132 Conclusions 140 Map 1: early Portugal 144 Map 2: the Portuguese Seaborne Empire 145 iii Map 3: Brazil 146 Map 4: Portuguese colonies in Africa 147 Appendix A: Song texts 148 Bibliography 155 End Notes 161 iv Abstract Domination and resistance form a dialectic relationship that is essential to understanding Afro-Brazilian music.
    [Show full text]
  • Teacher's Notes
    Teacher's Notes SCHOOLS’ PACK – BRAZIL 2009 The Planning Sheet can be used as an outline of the topic for the period of the work. It is set out under ten themes: Introduction: FACT SHEETS 1. Brazil: the Land Fact sheet 1 Fact sheet 1a 2. Brazil: the Environment Fact sheet 2 Fact sheet 2a 3. Brazil: the Country and its People Fact sheet 3 Fact sheet 3a Fact sheet 3b – Isolated Amazon Tribes Fact sheet 3c - Isolated indigenous peoples in Brazil 4. Brazil: living and working in Brazil Fact sheet 4 5. Maria and Carlos Fact sheet 5 – meet Maria and Carlos Fact sheet 5a – At Home in Rio with Maria Fact sheet 5b – Living in Manaus with Carlos 6. Schools in Brazil Fact sheet 6 - Schools in Brazil 7. Living in Brasília Fact sheet 7 Fact sheet 7a 8. Brazil: Carnival Fact sheet 8 9. Brazil: its Sports Fact sheet 9 10. Brazil: Tourism Fact sheet 10 – ‘Brazil for Kids’ http://www.brazil.org.uk/school/brazilforkids.html 1 Schools’ Pack – Brazil 2009 Text in bold italics in the teachers’ notes indicates an extension activity Fact Sheets can be used as a source of information for teachers and pupils Fact Sheets 1a, 2a, 3a, 4a and 7a include differentiated information on these themes. Activity Sheets 1 - 16 can be printed for use in class. They relate to the relevant Fact Sheet in the Teachers’ Notes. Activities 17 – 26 can be introduced whenever wanted. They are not related to any specific Fact Sheet. ACTIVITY SHEETS 1. Where is Brazil 2.
    [Show full text]
  • Contemporary Carioca: Technologies of Mixing in A
    Con tempo C o n t e m p o r a r y raryC a r i o c a Cari oca ontemporary CCarioca Technologies of Mixing in a Brazilian Music Scene Frederick Moehn Duke University Press Durham anD LonDon 2012 © 2012 Duke University Press All rights reserved. Printed in the United States of America on acid-free paper ♾ Designed by Kristina Kachele Typeset in Quadraat and Ostrich Sans by Tseng Information Systems, Inc. Library of Congress Cataloging- in- Publication Data appear on the last printed page of this book. Duke University Press gratefully acknowledges the support of Stony Brook University, which provided funds toward the publication of this book. For Brazil’s musical alchemists ontents Illustrations ix C Preface xi Acknowledgments xxiii Introduction 1 1 Marcos Suzano: A Carioca Blade Runner 25 2 Lenine: Pernambuco Speaking to the World 55 3 Pedro Luís and The Wall: Tupy Astronauts 92 4 Fernanda Abreu: Garota Carioca 130 5 Paulinho Moska: Difference and Repetition 167 6 On Cannibals and Chameleons 204 Appendix 1: About the Interviews, with a List of Interviews Cited 211 Appendix 2: Introductory Aspects of Marcos Suzano’s Pandeiro Method 215 Notes 219 References 245 Discography 267 Index 269 llustrations Map of Rio de Janeiro with inset of the South Zone 6 1 “mpb: Engajamento ou alienação?” debate invitation xii 2 Marcos Suzano’s favorite pandeiro (underside) 29 I 3 Marcos Suzano demonstrating his pandeiro and electronic foot pedal effects setup 34 4 A common basic samba pattern on pandeiro 48 5 One of Marcos Suzano’s pandeiro patterns 49 6 Marcos
    [Show full text]
  • Brazilian Piano Through the Ages
    James Madison University JMU Scholarly Commons Senior Honors Projects, 2010-current Honors College Spring 2012 Brazilian piano through the ages: A look at the development in style through the context of social issues and historical influences Rebecca Lin Chen James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/honors201019 Recommended Citation Chen, Rebecca Lin, "Brazilian piano through the ages: A look at the development in style through the context of social issues and historical influences" (2012). Senior Honors Projects, 2010-current. 400. https://commons.lib.jmu.edu/honors201019/400 This Thesis is brought to you for free and open access by the Honors College at JMU Scholarly Commons. It has been accepted for inclusion in Senior Honors Projects, 2010-current by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. Brazilian Piano Through The Ages: A Look at the Development in Style Through the Context of Social Issues and Historical Influences _______________________ A Project Presented to the Faculty of the Undergraduate College of Visual and Performing Arts James Madison University _______________________ in Partial Fulfillment of the Requirements for the Degree of Bachelor of Music _______________________ by Rebecca Lin Chen May 2012 Accepted by the faculty of the Department of Music, James Madison University, in partial fulfillment of the requirements for the Degree of Bachelor of Music. FACULTY COMMITTEE: HONORS PROGRAM APPROVAL: Project Advisor: Paulo Steinberg, D.M.A. Barry Falk, Ph.D., Assistant Professor, Music Director, Honors Program Reader: Andrew Connell, Ph. D., Associate Professor, Music Reader: Bob Hallahan, B.M.
    [Show full text]
  • Afro-Brazilian Songs and Rhythms for General Music K-8
    Dr. Christopher H. Fashun Assistant Professor of Music, Hope College ([email protected]) Afro-Brazilian Songs and Rhythms for General Music K-8 Candomblé: The Afro-Brazilian Religion of Bahia Candomblé is the Afro-Brazilian religion of Brazil that originated in the state of Bahia in northeast Brazil. It is part of the religion and culture of the Africa diaspora, which include the religions of Cuban Santeria and Vodun of Haiti. Although the spellings and pronunciations of the deities (called orixás in Candomblé) are different between the countries due to syncretism and miscegenation, they have a shared tradition of rituals, songs, rhythms, mythology, worship, and social and cultural context. Of the approximate 10 million Africans that were enslaved and brought to the Americas, 4 million of those landed in Brazil. During the years of the Trans-Atlantic slave trade (1500-1850), Africans were taken from 3 different regions. Candomblé originated in the state of Bahia and its capital city of Salvador as a result of the concentration of enslaved Africans. The religious traditions of the enslaved Africans were founded on practices from Central and West Africa, who believed in a single god that was accompanied by a pantheon of deities called Orixás. Due to the mixing of the different tribal and cultural groups, the slaves were allowed to form irmandades, which were social organizations of Catholic lay brotherhoods that allowed the slaves to gather together from their points of origin in Africa. As a result of oppression, the enslaved Africans disguised their worship by syncretizing the orixás and religious rituals with the saints of Catholicism.
    [Show full text]
  • African Influence in Brazilian Music: Samba Welson Tremura
    African Influence in Brazilian Music: Samba Welson Tremura Introduction Although we are strongly influenced by Afro-Brazilian heritage, we know very little about their extensive contribution to Brazilian culture. Without question, samba is the most popular musical style and genre ever produced for carnaval in Brazil. The word samba is derived from the Bantu word semba, or belly button. In Africa, entire villages gathered in circles to sing and dance with the opportunity to show their abilities and knowledge of their musical and dance heritage. After each participant completed his or her turn, another member of the group was invited with the dance pattern semba or “belly button touch,” to take his or her place. Like the word batuque (drumming), samba was first associated with any type of popular celebration1. There are those who feel that the lundu, a dance of African origin in Brazil since the shipment of slaves from Angola, is the true musical parent of the samba2. Others theorize that slaves and ex-slaves brought an early form of samba to Rio from Bahia in the nineteenth century “because of the decline in the fortunes of tobacco and cocoa plantations in Bahia state, and because of two important new laws: the Law of the Free Womb in 1871 (which declared all children born to slaves as free), and Brazil’s abolition of slavery in 1888”3. Thus, internal migration took place and the Afro-Brazilian population had the opportunity to move south with their musical traditions. Drumming (1835), by Johann Moritz Rugendas. 1 Enciclopédia da Música Brasileira: Erudita, Folclórica e Popular 1977: 684 2 McGowan & Pessanha 1991: 28 3 Ibid 1 Another theory of the roots of samba is also associated with the ranchos, which is the Portuguese word to describe a group of people.
    [Show full text]
  • Brasiliananúmero 8 / Maio De 2001 / R$ 5,00 REVISTA QUADRIMESTRAL DA ACADEMIA BRASILEIR‘ DE MÚSICA
    \ 1516-2-12"," BraSiliananúmero 8 / maio de 2001 / R$ 5,00 REVISTA QUADRIMESTRAL DA ACADEMIA BRASILEIR‘ DE MÚSICA A Edição de 1897 do Requiem de José Maurício Nunes Garcia Nas cordas da viola... a consolidação dos gêneros nacionais A visita de Villa-Lobos a Los Angeles Vasco Mariz: A obra musicológica e historiográfica e suas projeções A Toccata para Piano de Compositores Brasileiros do Século XX (Noel 1Devos e Prêmio }ali. fiçainen tos Át( ADI. XII X 13k xsei.Lait UI 'SI( Taulina d'Ambrosio de ,Monografia de CDs • .4cademia. Brasileira de ,7141isica 'Desde 1945 a serviço da música no Brasil- Diretoria: Ldino KriegeripresidenteL Iuribio Santos (vice-presidente), Vrnani Aguiar (1 " secretario), Roherto Duarte (2" secretario). Jose Neves I" tesoureiro). Nlereedes Reis Pequeno (2 '' tes.aireira) Comissão de Contas: Titulares - Vicent e Sanes, Nlario 'iearelli. Raul do ‘alle Suplentes- NLinuel \ eiga. Jainary dc Cadeira Patrono Fundador Sucessores José dc Anchieta Villa-Lobos Ademar 'Varem - Marlos Nobre 2. Luiz Álvares Pinto Frutuoso Viana Waldemar Henrique - Vicente Saltes 3. Domingos Caldas Barbosa Jayme Ovalle e Radamés Gnattali Bidu Sayão - Cecilia Conde 4. J. J. E. Lobo dc Mesquita Oneyda Alvarenga Ernani Aguiar 5. José Maurício Nunes Carda Fr. Pedro Sinzig Pe. João Batista Lehmann - Cleofe Person de Mattos 6. Sigismund Neukommm Garcia de Miranda Neto Ernst Mahle 7. Francisco Manuel da Silva Martin Braunwieser Mercedes Reis Pequeno 8. Dom Pedro 1 Luis Cosme José Siqueira - Arnaldo Senise 9. Thomáz Cantuária Paulino Chaves Brasílio Itiberê - Osvaldo Lacerda 10. Cândido Ignácio da Silva Octavio Maul Armando Albuquerque - Régis Duprat Domingos R. Mossorunga Savino de Benedictis Mário Ficarelli 12.
    [Show full text]
  • BRAZIL Study 1
    SOUND DIPLOMACY IS THE LEADING GLOBAL MUSIC EXPORT AGENCY Sound Diplomacy is a multi‑lingual export, research and event production consultancy based in CONSULTING London, Barcelona and Berlin. Export Strategizing We draw on over thirty years of Planning & Development creative industries experience Brand Management to deliver event and conference Workshop Coordination coordination, world‑class research, Market Research export strategy and market & Analysis intelligence to both the public and Teaching & Strategic private sector. Consulting We have over 30 clients in 4 continents, including government ministries, music and cultural EVENT export offices, music festivals and SERVICES conferences, universities and more. Conference We work simultaneously in seven Management languages (English, Spanish, Event Production Catalan, German, French, Greek, Coordination Danish). & Logistics SOUND DIPLOMACY ACTIVE EVENTS BRAZIL STUDY 1. INTRODUCTION THIS RESEARCH AIMS TO IDENTIFY HOW THE 1.1. WORLD MUSIC CONCEPT MUSIC BUSINESS AND MARKET WORKS IN BRAZIL, SPECIFICALLY IN THE CASE OF WORLD MUSIC. THIS IS IN ORDER TO UNDERSTAND AND LEARN ABOUT The complexity starts with the very concept of “World THE EXISTENCE OF MUSIC FESTIVALS, VENUES AND Music” (Música do Mundo - in Portuguese). There is no CULTURAL CENTRES THAT MIGHT BE SUITABLE clear definition, even among music professionals, about FOR INTERNATIONAL ARTISTS, AS WELL AS PUBLIC what is actually considered world music in Brazil. For OPENNESS AND INTEREST, AND THE SPACE AND some, it represents everything that is not sung in English, ATTENTION GIVEN BY THE MEDIA TO THESE FORMS OF or which comes from the United States or the UK, or is MUSIC FROM ABROAD. not rock, pop or jazz; but overall, it is felt that the term does not help to understand what kind of music is being talked about, and some find that it can carry even a Programmers, producers, journalists and consultants prejudiced perspective.
    [Show full text]
  • 265 CONCLUSÃO Até Que Se Empreenda Nova
    265 CONCLUSÃO Até que se empreenda nova pesquisa sobre a permanência no Brasil de artistas- virtuoses, no período cronológico estudado, conclui-se que esta pesquisa tem substância documental e analítica suficientes para se afirmar que Arthur Napoleão teve um grande impacto no desenvolvimento de instituições e de atividades de carácter artístico e pedagógico na cena musical brasileira na segunda metade do século XIX e primeiras décadas do século XX. A atuação de Arthur Napoleão, no Segundo Império e nas décadas iniciais da República brasileira, sobretudo seus inúmeros concertos em diversos locais e clubes, foi fundamental para a propagação do culto ao instrumento e ao seu repertório, numa época em que a ópera imperava no país, como principal gênero de apreço. O pianista-compositor manteve trânsito intenso entre o Brasil e as principais capitais européias, em especial Londres e Paris. Ele dinamizou o mercado editorial brasileiro não só com a performance da música de outros pianistas-compositores, mas também com a edição de obras pianísticas executadas nos principais centros artísticos da Europa. Como pianista, Napoleão seguiu a trajetória de muitos pianistas europeus de sucesso, ou seja, primeiro como menino prodígio, depois como virtuose que se apresentava em diversas cidades e, por último, como proprietário de casa editorial e pianista consagrado, reconhecido pela sociedade à qual freqüentava. Neste sentido, sua trajetória foi muito similar ao pianista-compositor Henri Herz, seu professor em obras de sua própria autoria, em Paris, onde Napoleão realizou no ‘Salão Herz’ o seu debut oficial no exterior. Arthur Napoleão, em suas inúmeras turnês, pôde incorporar culturas diversas, assim formando sua identidade como pianista virtuose e compositor, a qual está refletida em suas obras como as análises demonstraram.
    [Show full text]
  • Frank Martignetti the MUSIC of BRAZIL by Joseph Kiernan Musi
    Thesis Advisor: Frank Martignetti THE MUSIC OF BRAZIL by Joseph Kiernan Music Education Program Submitted in partial fulfillment of the requirements for the degree Master of Science in Elementary Education in the School of Education University of Bridgeport 2015 © 2015 by Joe Kiernan Kiernan 1 Table of Contents Abstract 2 Introduction 2 Essential Questions 4 Student Learning Objectives 4 Assessment Rubric 4 The Roots of Brazilian Music 6 Modern Brazilian Music: A Unique Blend 8 Outline of the Unit 10 Lessons 13 1. AfoXe’ 2. History and culture 3. Folk songs 4. Samba 5. Samba and recorder performance 6. Bossa nova Multimedia Library 30 References 32 Kiernan 2 Abstract: This curriculum project allows students to eXperience and learn about the music of Brazil, as well as Brazilian culture. The five lessons that compromise the unit are designed for students in fifth grade. Through singing Brazilian folk songs and playing traditional rhythms, students will enhance their performance and music reading skills. Through this unit, students will grow their cultural awareness, singing and movement abilities, and ensemble playing skills. Musical materials include folk songs from Northern Brazil, and characteristic rhythms of Southern Brazil, focusing on the Brazilian genres of afoXe’, samba, and bossa nova. Introduction This unit is intended to assist teachers in sharing the music and culture of Brazil with their students. Brazilian music has played a significant role in my own life as a musician, and I wanted to share it with my students. In 2002, I moved to Paraguay, which borders Brazil. There I befriended people from both Latin and South America.
    [Show full text]