Samba Between 1910 and 1940: Transformation Or Emergence? a Reevaluation of the Bantu Contribution in the Form of Timelines As a Rhythm Concept
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It Happened in Montevideo a Look at a Hoard of Rolls from Uruguay
30 It Happened in Montevideo A look at a hoard of rolls from Uruguay As all collectors know, from time to time something crops up that is quite unexpected and different from anything you’ve seen before. This is certainly the case with a collection of rolls recently imported into the UK from Montevideo in Uruguay, a saga that took a good three years. Earlier articles looking at South America have shown it was a market where pretty well anything was imported, so the majority of rolls are from familiar American, British and German companies. Most are 88-note but with plenty of Artrio-Angelus reproducing rolls, as well as Recordo and QRS Automatic expression rolls – the latter offering more basic expression than reproducing pianos, a type of instrument rarely seen in the UK. The mixture of music, and the condition of the rolls, suggests that the collection is based around the remaining stock from a closed shop. Maybe this was the importer, and piano dealership, Vittone Hnos (Brothers) whose name appears on some box-top labels. So, what was unexpected? It was the final block of rolls made locally in Montevideo. They are on two different labels, the majority on Victor and a few on GH, the initials of their maker, Gioscia Hnos. Autumn 2010 31 Now, anybody with the slightest interest in old records or gramophones will immediately be asking whether this Victor is the famous gramophone maker, or if the name is just a coincidence. The seller actually referred to them as “RCA Victor”, which seemed so far-fetched that it was dismissed (RCA came into the frame very late in the roll-making era). -
Types of Dance Styles
Types of Dance Styles International Standard Ballroom Dances Ballroom Dance: Ballroom dancing is one of the most entertaining and elite styles of dancing. In the earlier days, ballroom dancewas only for the privileged class of people, the socialites if you must. This style of dancing with a partner, originated in Germany, but is now a popular act followed in varied dance styles. Today, the popularity of ballroom dance is evident, given the innumerable shows and competitions worldwide that revere dance, in all its form. This dance includes many other styles sub-categorized under this. There are many dance techniques that have been developed especially in America. The International Standard recognizes around 10 styles that belong to the category of ballroom dancing, whereas the American style has few forms that are different from those included under the International Standard. Tango: It definitely does take two to tango and this dance also belongs to the American Style category. Like all ballroom dancers, the male has to lead the female partner. The choreography of this dance is what sets it apart from other styles, varying between the International Standard, and that which is American. Waltz: The waltz is danced to melodic, slow music and is an equally beautiful dance form. The waltz is a graceful form of dance, that requires fluidity and delicate movement. When danced by the International Standard norms, this dance is performed more closely towards each other as compared to the American Style. Foxtrot: Foxtrot, as a dance style, gives a dancer flexibility to combine slow and fast dance steps together. -
The Dance Series from Ortofon Is Now Complete – MC Tango Joins MC Samba & MC Salsa for Almost Sixty Years, Ortofon Has
March, 2007 The dance series from Ortofon is now complete – MC Tango joins MC Samba & MC Salsa For almost sixty years, Ortofon has been at the forefront of music reproduction from analogue records. Throughout the years Ortofon have developed many new and creative designs for the enjoyment of music lovers and audio enthusiasts all over the world. WHY AN ORTOFON MOVING COIL CARTIDGE? Many have asked the question: Why is the sound of a moving coil cartridge so superior to that of a traditional magnetic: The answer in one word is linearity. The patented Ortofon low-impedance, low-output design is inherently linear over the entire audible range. This coupled with unequalled tracking ability and unique diamond profiles combines to deliver a sound previously deemed unattainable. The MC Tango, MC Samba and MC Salsa is a direct result of our endeavours. MC Tango has an elliptical diamond which is cut and polished to Ortofon’s standards, and the output is 0.5 mV. The MC Tango is our MC entry level cartridge with a very high cost/performance ratio. MC Samba and MC Salsa have a tiny, nude Elliptical or Fine Line diamond, mounted on a very light and rigid cantilever. This results in low equivalent stylus tip mass and cantilever compliance on 14 and 15 µm/mN, which means that MC Samba and MC Salsa will give excellent results with virtually any tone arm. The armature has been designed as a tiny lightweight cross, and the coils are mounted at exactly 90 degree to each other (just like the walls of the record groove), which is improving the channel separation. -
Africans: the HISTORY of a CONTINENT, Second Edition
P1: RNK 0521864381pre CUNY780B-African 978 0 521 68297 8 May 15, 2007 19:34 This page intentionally left blank ii P1: RNK 0521864381pre CUNY780B-African 978 0 521 68297 8 May 15, 2007 19:34 africans, second edition Inavast and all-embracing study of Africa, from the origins of mankind to the AIDS epidemic, John Iliffe refocuses its history on the peopling of an environmentally hostilecontinent.Africanshavebeenpioneersstrugglingagainstdiseaseandnature, and their social, economic, and political institutions have been designed to ensure their survival. In the context of medical progress and other twentieth-century innovations, however, the same institutions have bred the most rapid population growth the world has ever seen. The history of the continent is thus a single story binding living Africans to their earliest human ancestors. John Iliffe was Professor of African History at the University of Cambridge and is a Fellow of St. John’s College. He is the author of several books on Africa, including Amodern history of Tanganyika and The African poor: A history,which was awarded the Herskovits Prize of the African Studies Association of the United States. Both books were published by Cambridge University Press. i P1: RNK 0521864381pre CUNY780B-African 978 0 521 68297 8 May 15, 2007 19:34 ii P1: RNK 0521864381pre CUNY780B-African 978 0 521 68297 8 May 15, 2007 19:34 african studies The African Studies Series,founded in 1968 in collaboration with the African Studies Centre of the University of Cambridge, is a prestigious series of monographs and general studies on Africa covering history, anthropology, economics, sociology, and political science. -
TRACEPLAY-PRESS-KIT-2017.Pdf
EDITOR “Our audience and urban creators were looking for a single platform that offers the best urban music and entertainment on all connected devices, all over the world. TracePlay is our answer to this request”. OLIVIER LAOUCHEZ CHAIRMAN, CEO AND CO-FOUNDER OF TRACE GROUP SUMMARY 1/ THE APP 03 TRACE PRESENTS TRACEPLAY 04 AN OFFER THAT FULLY INCLUDES URBAN MUSIC 2/ THE EXPERIENCE 05 LIVE TV: 9 TRACE MUSIC TV CHANNELS + 1 TV CHANNEL DEDICATED TO SPORT CELEBRITIES 06 LIVE RADIOS : 31 THEMATIC TRACE RADIOS 07 SVOD & ORIGINALS : OVER 2000 URBAN ASSETS 3/ THE OFFER 08 PRICES 09 DEVICES 10 GEOGRAPHICAL DISTRIBUTION APPENDIX: TRACEPLAY PROGRAM CATALOGUE 2017 WWW.TRACEPLAY.TV 1/ THE APP 1.1 TRACE PRESENTS TRACEPLAY TracePlay is the first subscription-based service entirely dedicated to urban and afro-urban music and entertainment. The App is available worldwide on most THE BEST RADIOS connected devices and offers an instant Afro-urban series, movies, documentaries 30 radio channels covering the various urban and unlimited access to 10 live TV chan- and concerts. and afro-urban genres. nels, 30 live radios and more than 2000 on demand programs. LIVE TV EXPLORE Watch the 9 best urban and afro-urban music channels Browse by region, topic, genre or mood and the #1 sport celebrities channel to make your choice. ON DEMAND Instant access to more than 2000 selected programs including originals. TV | RADIO | DIGITAL | EVENTS | STUDIOS | MOBILE | MAGAZINE TRACEPLAY | PRESS KIT 2017 03 1/ THE APP 1.2 AN OFFER THAT FULLY INCLUDES URBAN MUSIC TracePlay leverages Trace’s 14 years expertise in music scheduling to offer a unique music experience: all Urban, African, Latin, Tropical and Gospel music genres are available and curated on a single App for the youth who is 100% connected. -
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 .. -
Cavaquinho Português Em Performance Solo Rodrigues Bastos
Universidade de Aveiro Departamento de Comunicação e Arte 2018 Paulo Jorge Cavaquinho Português em Performance Solo Rodrigues Bastos Universidade de Aveiro Departamento de Comunicação e Arte 2018 Paulo Jorge Cavaquinho Português em Performance Solo Rodrigues Bastos Dissertação apresentada à Universidade de Aveiro para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Música, realizada sob a orientação científica do Doutor Paulo Maria Ferreira Rodrigues da Silva, Professor Auxiliar do Departamento de Comunicação e Arte da Universidade de Aveiro Dedico este trabalho a todas as pessoas sonhadoras que lutam por concretizar os seus mais arrojados sonhos, a todos os que acreditam no impossível e na “magia”, a todos o que apreciam e se fascinam pelas possibilidades infinitas da criação artística o júri presidente Prof. Doutor Jorge Castro Ribeiro Professor auxiliar da Universidade de Aveiro Prof. Doutor Paulo Maria Ferreira Rodrigues da Silva Professor auxiliar da Universidade de Aveiro (Orientador) Prof. Doutor Filipe Lopes Professor adjunto do Instituto Politécnico do Porto agradecimentos Agradeço à Ludmila Queirós, Bernardo e Duarte Bastos pela honra que é partilhar a vida com eles, pela alegria, inspiração constante ao longo da vida, incondicional e incansável apoio, que assim, me inspiraram e possibilitaram que este mestrado acontecesse. Agradeço ainda e particularmente à Ludmila Queirós pela ajuda em trabalhos diversos de imagem, para este projeto, por ser uma das artistas que mais admiro e que mais me inspira e abre horizontes. Aos meus pais António e Dulce Bastos por todo o apoio incondicional e dedicação das suas vidas a mim, e por me terem facultando uma educação artística. -
1 -A Análise Sociológica De Letras De Música
UNIVERSIDADE DE BRASÍLIA INSTITUTO DE CIÊNCIAS SOCIAIS PROGRAMA DE PÓS-GRADUAÇÃO EM SOCIOLOGIA A Análise Social nas Letras das Canções de Lupicínio Rodrigues Daniel de Almeida Pinto Kirjner Professora Doutora Maria Angélica Brasil Gonçalves Madeira Orientadora Banca: Prof. Doutor Marcelo Carvalho Rosa (UnB) Banca:Maria Therezinha Ferraz Negrão de Mello (UnB) Brasília Março de 2011 1 UNIVERSIDADE DE BRASÍLIA INSTITUTO DE CIÊNCIAS SOCIAIS PROGRAMA DE PÓS-GRADUAÇÃO EM SOCIOLOGIA A Análise Social nas Letras das Canções de Lupicínio Rodrigues Daniel de Almeida Pinto Kirjner Dissertação apresentada ao Departamento de Sociologia da Universidade de Brasília/UnB como parte dos requisitos para a obtenção do título de mestre. Brasília Março de 2011 2 Sumário I – Agradecimentos...............................................................................................................................4 II - Introdução ......................................................................................................................................5 1 - A Análise Sociológica de Letras de Música....................................................................................8 1.1 - Samba-canção: Fratura e Paixão.........................................................................................9 1.2 – Lupicínio Rodrigues: o Feminino, o Masculino e Suas Relações. .................................15 1.3 – Contribuições de Teorias da Ação...................................................................................30 1.3.1 – A Agência -
Brazilian Choro
The Brazilian by Tadeu Coelho and Julie Koidin Choro: Historical Perspectives and Performance Practices alanço is to choro as swing is to jazz—in both, mandatory elements to proper performance Band enjoyment of the music. Immersion in the sound of choro is imperative to playing it well. Knowledge of its origins and history is also helpful. Introduction the melody through spirited improvisations, sometimes David Willoughby, editor of the College Music Society quoting other melodies, from popular to classical styles. Newsletter, posed these questions: Should it not be a con- Although easier to decipher these performance intricacies stantly sought after goal for musicians trained in narrow via recordings, it still remains difficult—although not specialties to work together towards broader musical impossible—to catch the “twinkle” in the performer’s eye. understandings and towards the creation of a more Choro’s limited dissemination is furthered by its lack of vibrant musical culture? Should such a culture comprise accurate printed music. The vast majority of sheet music only materials imported from Western Europe? Should it publications have accompaniment that is written in a lead not synthesize musical repertories, of various kinds, from sheet format, i.e. chord symbols over melody. Without a all over the world?1 recording, it would be impossible to decipher the rhythms Throughout the world, the tradition of a country studying used in the accompaniment. The numerous errors found in its own cultural practices is not inceptive with its art. Such is the majority of publications, both in the melodic lines and the case of the choro, an indigenous music of Brazil, mostly chord symbols, further infringe on the probability of the instrumental, but at times with lyrics. -
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. -
Aula De Cavaquinho
A sua afinação varia de acordo com a região do mundo onde ele se encontra e o gênero musical a ser executado. No Brasil usamos a mesma afinação que algumas regiões de Portugal e da ilha da Madeira. Aqui como lá o cavaquinho está extremamente ligado a manifestações populares e festas. É um instrumento musical essencial à nossa cultura popular. Aula de Cavaquinho O cavaquinho é um instrumento musical originário de Braga, na região do Minho, no norte de Portugal. Contudo, talvez um instrumento parecido, que lhe deu origem, tenha sido levado até lá por imigrantes do País Basco, na Espanha. Alguns musicólogos supõem que sua origem remota é a Grécia antiga. Trata-se de um instrumento de quatro cordas, no formato de um violão, mas menor, e de som mais agudo que o dele. É tocado de forma “rasgada”, na qual o músico apenas acompanha a melodia, “rasgando” as cordas com o polegar e o indicador da mão direita em posição rígida, ou de forma “ponteada”, em que o músico sola a melodia. Desde o século XVIII o cavaquinho é um instrumento popular em Portugal, onde tem vários apelidos (entre os quais braguinha, braga, machete, machetinho ou ainda cavaco) e é usado em festas e comemorações. Chegando a Lisboa, capital portuguesa, ficou mais sofisticado e começou a acompanhar outros instrumentos, como o bandolim ou a viola, em pequenos conjuntos instrumentais chamados tunas. Na mesma época, por ser prático de transportar devido ao tamanho, o cavaquinho começou a ser divulgado nas ilhas dos Açores e da Madeira e onde Portugal teve colônias, como Cabo Verde, Angola e Moçambique. -
The Traditional Samba School Dance As a Performative Experience
The traditional samba school dance as a performative experience Renata de Sá Gonçalves Universidade Federal Fluminense Rio de Janeiro – RJ – Brasil [email protected] The anthropologist Evans-Pritchard criticizes that in ethnological approaches dance is often viewed as an independent activity and is described without reference to its contextual setting in native life (PRITCHARD, 1928). In his analysis of the Zande beer dance, the author emphasizes that dance always requires a stereotyped form, a prescribed mode of performance, concerted activities, recognized leadership and elaborate organization and regulation. Howard Becker talking about music, literature, theatre, dance and all the possible arts lightened not the artist genius but the collective activities and social conventions that composes an art world and operates a social system (BECKER, 1982). The main objective of this communication is to demonstrate that the Rio samba school carnival, as a collective activity, configures itself as a “popular art world” with specific rules, procedures and evaluation criteria composing his owns aesthetic conventions that are communally made and experienced. In this world, the samba school directory, the school members, the competition jury committee, the critics, the media, the researchers and finally, the audience act together. I will restrict the present analysis to a dance performed by a special couple in the Rio samba school parades - the couple of major-domo or “mestre- sala” 1 and flag-bearer or “porta-bandeira” 2 - as a representative example of an idea of tradition. Who are the couple? The ambiguous character of this couple is defined by its specific dance that is slower than the samba rhythm, by their typical acts, gentle gestures, positions, looks, smiles, improvisation and by their antique customs.