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Scores might or might not
No full textInternational audienceScores might or might not, that is, they might or might not represent or constitute the most important element in the context of musical meaning. We are in the presence a two-page graphic score: a chaos of unfinished and contradictory objects, badly juxtaposed, and devoid of any sort of linearity. The score gives in its normative pressure over the performers’ actions, renounces its status as a “sacred” text, only to become precisely a pre-text, both in the sense of being just an excuse for the music to happen, and in the sense of being a graphical prelude to the text that is going to be continuously written, unwritten and rewritten through performance.Scores might or might not, ou seja, as partituras podem, assim como podem não ser, não representar, não constituir o elemento mais crucial no contexto da significação musical. Trata-se de duas laudas de partitura gráfica: uma bagunça de objetos inacabados, contraditórios, sobrepostos maldosamente e sem algum tipo de linearidade. A partitura abdica da sua pressão normativa sobre as ações dos executores, renuncia ao seu status de texto “sagrado” e torna-se exatamente pré-texto, tanto no sentido de constituir apenas uma desculpa para que a música aconteça, quanto no sentido de representar exatamente um prelúdio gráfico ao texto que vai ser continuamente tecido, desfeito e re-tecido através da performance
"marvellous and surprizing conduct": The "Masque of Devils" and Dramatic Genre in Thomas Shadwell's The Tempest
No full textInternational audienceWhereas most scholarly work on Restoration adaptations of Shakespeare's works has focused on textual changes, on the plays' political contexts, or on their musical settings, this article uses the example of the "Masque of Devils" in the 1674 Enchanted Island to show how Thomas Shadwell and his collaborators hybridized dramatic genre through spectacle. Furthermore, it argues that the integration of semi-operatic spectacle and generic innovation in the "Masque of Devils" was not purely a Restoration invention, but something that Dryden, Davenant, and Shadwell—with their aesthetic nous and political awareness—developed from Shakespeare's original Tempest. Rather than being a Restoration addition to the play, Shadwell's "Masque of Devils"—like Dryden and Davenant's shorter equivalent masque in the 1667 version (published in 1670)—is in fact a subtle iteration of a moment in 3.3 of Shakespeare's play, where Ariel appears as a harpy, accompanied by thunder and lightning. 3.3 marks one of the most generically indeterminate episodes in The Tempest, because even though it belongs to a play that the 1623 folio identifies as a comedy, it relies heavily on devices derived from tragedy. This article sets out to explore how Shadwell and his collaborators used a combination of spectacle and textual as well as musical revision to expand the original play’s tragic-comic dynamics. Uniquely, the article does not just draw on textual analysis, but also considers how genre hybridization manifests itself in performance. To achieve that, it takes into account likely staging conditions in the Restoration playhouses, before drawing on contemporary performance-as-research as a means of deepening our understanding of the generic category of “dramatick opera” and of the Restoration-era processes of revision that culminated in Shadwell’s Enchanted Island. The article’s final section incorporates observations made during a practice-based workshop on Shadwell’s 1674 adaptation of The Tempest that was held on 10–13 July 2017 at the Globe’s Sam Wanamaker Playhouse, an indoor space based on Restoration-era drawings of an unknown playhouse, possibly by John Webb. By examining the connections, rather than the textual differences, between The Tempest and The Enchanted Island, this article also challenges the misperception that the Civil War and the subsequent resumption of theatrical activity marked a somehow radical break with pre-war dramatic activity. Despite the fact that a successful Restoration production of Shakespeare usually entailed substantial rewriting—Shakespeare was viewed as raw material that needed to be refined in terms of both language and dramaturgy—Restoration theatre in many ways marks a continuation of creative developments around spectacle, musicality, and genre that had begun in the Jacobean and Caroline eras
SIMA 2019: Anais do 7º Simpósio Internacional de Música na Amazônia
No full textInternational audienc
Ubiquitous Music, Gelassenheit and the Metaphysics of Presence: Hijacking the Live Score Piece Ntrallazzu 4
No full textInternational audienceOriginally composed by Marcello Messina, Ntrallazzu is a cycle of pieces for live score and electronics built on Max, and involving various instrumental line-ups. In particular, Ntrallazzu 4 was performed by Luzilei Aliel on the pífano and electric guitar in São João del Rei during the VIII UbiMus workshop. Aliel's particular setup also involved a further layer of processing: namely, the usage of Pure Data alongside Ableton Live in order to literally hijack the original piece and open a whole set of unforeseen possibilities that abundantly transcend the original intentions. In this paper, we signify our experience by means of the concept of comprovisation, while we situate Ntrallazzu 4 within the domain of ubiquitous music. Furthermore, we make use of the Heideggerian concept of Gelassenheit and of the Derridean concept of Metaphysics of Presence (as reformulated by Joseph Pugliese) in order to make sense of the piece
Japoński soft power: wykorzystanie kultury w budowaniu pozycji Japonii na arenie międzynarodowej
No full textInternational audienceCelem artykułu jest przedstawienie japońskiego soft power, ze szczególnym uwzględnieniem kultury jako jednego z czynników soft power. Japońska dyplomacja kulturalna wykorzystująca kulturę popularną jest przykładem zręcznie prowadzonej polityki międzynarodowej. Promowanie pozytywnego wizerunku państwa poprzez soft power na arenie międzynarodowej wzmacnia ekonomiczne oraz polityczne znaczenie państwa. Artykuł skupia się na dwóch kwestiach: historii japońskiego soft power oraz jego praktycznemu zastosowaniu. W podsumowaniu sugeruje się, że japoński soft power nie będzie tak znaczący z racji wzrastającego potencjału Chin
Geocorpografias do funk: raça, autodeterminação e olhar masculino em Malandramente
No full textInternational audienceReleased in June, 2016 by Dennis DJ featuring MC Nandinho and MC Nego Bam, the song "Malandramente" triggered a plethora of animated reactions, mainly due to its openly machoist lyrics. In this work, drawing upon these last considerations and other explanations, we seek to complicate the general interpretation of "Malandramente" as a machoist song by investigating the intersections between the gender representations contained in the song and the narratives about class and race that the song promotes and literally embodies as a cultural object.Lançada em junho de 2016 por Dennis DJ com MC Nandinho e MC Nego Bam, a canção "Malandramente" disparou uma série de reações acaloradas, devido principalmente à sua letra abertamente machista. Neste trabalho, a partir destas últimas considerações e de outras observações, pretendemos complicar a interpretação de "Malandramente" como canção machista indagando as interseções entre as representações de gênero propostas na canção e as narrativas sobre classe e raça que a mesma canção promove e literalmente encarna enquanto objeto cultural
