10 research outputs found
The patterns of the past and future agenda in international branding : a literature review
No full textPurpose: The purpose of this study is to, first, analyze the past years of research on international branding and, second, building on an early literature review, to analyze patterns in the field and suggest future research.Design/methodology/approach: The analyzed papers were compiled using the Web of Science and Scopus databases. The author searched papers published between 2007 and 2023 that used terms related to international branding in their title, abstract and keywords.Findings: This paper structures and identifies key institutions, papers, regions and authors in the field. It provides an overview of the past years of research in the area. The study identifies important gaps in the literature and suggests further research dealing with, for example, the B2B sector and emerging markets.Originality/value: Despite the increase in international branding studies, few literature reviews have been published since 2007. This review fills this research gap. It identifies future research areas dealing with branding in the B2B sector, branding in emerging markets, branding process and implementation studies using longitudinal methods and more practical research. © 2024, Manoella Antonieta Ramos.</p
Adesão ao tratamento antirretroviral em gestantes com HIV : uma revisão integrativa
No full textAs taxas de não adesão ao tratamento antirretroviral em gestantes no Brasil e no mundo são preocupantes, visto que a adesão adequada ao tratamento é uma das estratégias para evitar a transmissão vertical do HIV. Foi realizada uma revisão integrativa da literatura para analisar a adesão à terapia antirretroviral entre gestantes infectadas pelo HIV no Brasil e no mundo, bem como verificar os principais métodos utilizados nos estudos. Foi realizada busca de artigos realizada nas bases de dados, no mês de setembro de 2021, sem restrição de idioma. Após a análise dos critérios de inclusão e exclusão, foram extraídos os seguintes dados de cada estudo: título, autor e origem do estudo, ano, objetivo, amostra, delineamento, método para aferir a adesão à terapia antirretroviral e a taxa de adesão relatada no artigo. Foram incluídos 11 artigos para compor esta revisão integrativa. Os estudos diferenciaram quanto ao método utilizado para aferir a adesão e a taxa reportada de não adesão ao tratamento antirretroviral, sendo que houve variação entre 5,0% e 48,3%. Estas taxas variaram principalmente pelos métodos utilizados para aferir a adesão ao tratamento, pelo ponto de corte para considerar o paciente aderente e pelo delineamento do estudo.The rates of non-adherence to antiretroviral treatment in pregnant women in Brazil and worldwide are worrisome, since adequate adherence to treatment is one of the strategies to prevent vertical transmission of HIV. An integrative literature review was carried out to analyze adherence to antiretroviral therapy among HIV-infected pregnant women in Brazil and worldwide, as well as to verify the main methods used in the studies. The search for articles was carried out in the databases, in September 2021, without language restriction. After analyzing the inclusion and exclusion criteria, the following data were extracted from each study: title, author and origin of the study, year, objective, sample, design, method for measuring adherence to antiretroviral therapy and adherence rate reported in the article . 11 articles were included to compose this integrative review. The studies differed in terms of the method used to measure adherence and the reported rate of non-adherence to antiretroviral treatment, with a variation between 5.0% and 48.3%. These rates varied mainly due to the methods used to assess adherence to treatment, the cut-off point to consider the compliant patient, and the study design
Bio-mapping of microbial indicators in a beef processing facility
No full textThis study aimed to conduct a bio-mapping of microbial indicators in samples taken at different sampling points and carcass location areas as microbial scanning for the beef processing facility. Quantified indicators were Aerobic Bacteria Count (AC), Enterobacteriaceae (EB), and Escherichia coli (EC). Samples were collected using swabs on a 100 cm2 area at four different sampling points throughout the beef fabrication line and at three different locations on the carcass. The sampling points included in the study were pre-evisceration, post-evisceration, cold carcass, and trim. Moreover, the carcass locations sampled on the first three mentioned sampling points were foreshank, brisket, and inside round. Enumeration of indicators was performed using the TEMPO® system. Statistical differences between sampling points (P < 0.01) followed an overall trend with higher values at post-evisceration and decreased counts at the pre-evisceration and cold carcass sampling points. Statistical differences between locations on the carcass were obtained only on the AC counts at post-evisceration, inside round samples were lower than brisket and foreshank. Trim counts were higher than the cold carcass sampling point. SCP charts showed the patterns of counts along weeks were peaks above the UCL meant abnormalities and need focus to reduce and keep them in control. In general, obtained counts were low, hence changes found along sampling points and carcass locations represent the natural variability that could happen in the daily processing.Embargo status: Restricted until 06/2024. To request the author grant access, click on the PDF link
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The patterns of the past and suggestions for a future agenda in international branding
No full textPurpose: The purpose of this research is, first, to analyze the past years of research on international branding and, second, building on an early literature review, to analyze patterns in the field and suggest future research. Design: The analyzed articles were compiled using the ISI Web of Science and Scopus databases. The author searched articles published between 2007 and 2020 that used terms related to international branding in their title, abstract, and keywords.Findings: This article helps academics interested in international branding in that it structures and identifies key institutions, articles, regions, and authors in the field. First, it provides an overview of the past 13 years of research in the area and suggests research gaps that need further investigation. Second, this article provides a quick reference for researchers and managers who want to become familiar with current international branding literature. Third, this research shows that the international branding area, though growing, still needs to become more pertinent to practitioners in the area.Originality: Despite the increase in international branding studies, few literature reviews have been published since 2007. This review fills this research gap.</p
A escrita de si no pacto epistolar: percurso pelas cartas de Clarice Lispector
No full textEste trabalho discute o pacto epistolar e a presença da escrita de si nas cartas pessoais da escritora Clarice Lispector, compiladas nos livros Cartas perto do coração (2001), Correspondências (2002) e Minhas queridas (2007). O objetivo geral do trabalho é compreender e investigar os modos de subjetivação que essa narrativa é capaz de produzir. Parte-se de uma revisão bibliográfica do gênero da escrita epistolar, que discute sua apresentação formal, apresentando as características deste tipo de comunicação. Propõe-se também um percurso teórico pelo conceito de escrita de si, sua relação com a produção de subjetividade e transformações ao longo dos séculos, a partir das ideias de Michel Foucault (1992), Ângela Gomes (2004) e Elizabeth Duque-Estrada (2009). Essa perspectiva teórica orienta a análise narrativa do corpus constituído por 21 cartas escritas pela autora. Conclui-se que a subjetividade de Clarice se modula conforme o interlocutor a quem se expõe através de sua escrita. Ao percorrermos os traços de escrita de si presente nessas cartas, não encontramos um sujeito completo, mas sim uma subjetividade sempre em devir.This work discusses the epistolary pact and the presence of self writing in the personal letters of the writer Clarice Lispector, compiled in the books Cartas perto do coração (2001), Correspondências (2002) and Minhas queridas (2007). The overall objective of this work is to understand and investigate the different ways of subjectivity that this narrative is able to produce. The research begins with a review of literature on the genre of epistolary writ ing, which discusses its formal presentation and introduces the characteristics of this type of communication. It is also proposed a theoretical path at the concept of self writing, its relation to the production of subjectivity and the transformations over the centuries, from Michel Foucault's (1992), Ângela Gomes' (2004) and Elizabeth Duque-Estrada's (2009) ideas. This theoretical perspective guides the narrative analysis of the corpus, which consists on 21 letters written by the author. It is concluded that Clarice's subjectivity is modulated according to the interlocutor to whom she exposes herself through her writing. By analyzing the traces of the self writing present in such letters, we can't find a complete subject, but yet a subjectivity always in becoming
Penedo de Cinema Circuit: 2017 edition key visual identity construction (Activity report)
No full textThe Penedo de Cinema Circuit is the biggest audiovisual event in Alagoas, and it was born from the union of a contemporary university exhibition event with the rescue of a historic event. In this work, the history and application of the visual identity of the 2017 edition of the Circuit is recorded, created to give greater connection between the public and the city and the event itself. For this, the following were carried out: literature review, internet research on the themes and symbologies of the brands, interviews with those responsible for communication activities, visits to external communication networks of the studied event, in addition to information from the author himself, who was part of the team event communication during the period analyzed. As a result, a memory of the 2017 visual identity of the Penedo de Cinema Circuit was created.O Circuito Penedo de Cinema é o maior evento do audiovisual alagoano, e nasceu da união de um evento contemporâneo de mostra universitária com o resgate de um evento histórico. Neste trabalho, fica registrado o histórico e aplicação da identidade visual da edição de 2017 do Circuito, criada para dar maior conexão do público com a cidade e com o evento em si. Para isto, foram realizadas: revisão de literatura, pesquisas na internet sobre as temáticas e simbologias das marcas, entrevistas com os responsáveis pelas atividades comunicacionais, visitas às redes de comunicação externas do evento estudado, além de informações do próprio autor, que integrou a equipe de comunicação do evento durante o período analisado. Como resultado, foi elaborada uma memória da identidade visual de 2017 do Circuito Penedo de Cinema
Contribuições da Estratégia Mãe-Bebê São-Borjense para a qualificação da rede de atenção à saúde materno-infantil
No full textMalgarin C, Malgarin M, Naujorks AA, Sousa FGM, Hämel K, Backes DS. Contribuições da Estratégia Mãe-Bebê São-Borjense para a qualificação da rede de atenção à saúde materno-infantil. Revista de Enfermagem da UFSM. 2020;10(e94):1-19
Clonal chromosomal mosaicism and loss of chromosome Y in men are risk factors for SARS-CoV-2 vulnerability in the elderly
No full text* SCOURGE Cohort Group
Javier Abellan15,16; René Acosta-Isaac17; Jose María Aguado18,19,20,21; Carlos Aguilar22; Sergio
Aguilera-Albesa23,24; Abdolah Ahmadi Sabbagh25; Jorge Alba26; Sergiu Albu27,28,29; Karla A.M.
Alcalá-Gallardo30; Julia Alcoba-Florez31; Sergio Alcolea Batres32; Holmes Rafael AlgarinLara33,34; Virginia Almadana35; Kelliane A. Medeiros36,37; Julia Almeida38,39; Berta Almoguera40,3;
María R. Alonso41; Nuria Alvarez41; Rodolfo Alvarez-Sala Walther32; Yady Álvarez-Benítez33,34;
Felipe Álvarez-Navia42,43; Katiusse A. dos Santos44; Álvaro Andreu-Bernabeu45,20; Maria Rosa
Antonijoan46; Eleno Martínez-Aquino47; Eunate Arana-Arri48,49; Carlos Aranda50,51; Celso
Arango45,52,20; Carolina Araque53,54; Nathalia K. Araujo55; Ana C. Arcanjo56,57,58; Ana Arnaiz59,60;
Francisco Arnalich Fernández61; María J. Arranz62; José Ramon Arribas Lopez61; Maria-Jesus
Artiga63; Yubelly Avello-Malaver64; Carmen Ayuso40,3; Belén Ballina Martín25; Raúl C. BaptistaRosas65,66,67; Ana María Baldion64; Andrea Barranco-Díaz34; María Barreda- Sánchez68,69;
Viviana Barrera-Penagos64; Moncef Belhassen-Garcia70,43; David Bernal-Bello71; Enrique
Bernal68; Joao F. Bezerra72; Marcos A.C. Bezerra73; Natalia Blanca-López74; Rafael Blancas75;
Lucía Boix-Palop76; Alberto Borobia77; Elsa Bravo78; María Brion79,80; Óscar Brochado-Kith81;
Ramón Brugada82,83,80,84; Matilde Bustos85; Alfonso Cabello86; Alejandro Cáceres4,5; Juan J.
Caceres-Agra87; Esther Calbo76; Enrique J. Calderón88,6,89; Shirley Camacho90; Francisco C.
Ceballos81; Yolanda Cañadas51; Cristina Carbonell42,43; Servando Cardona-Huerta91; Maria
Sanchez Carpintero50,51; Carlos Carpio Segura32; José Antonio Carrillo-Avila92; Marcela C.
Campos56; Carlos Casasnovas93,94,3; Luis Castano48,95,3,96,97; Carlos F. Castaño50,51; Jose E.
Castelao98; Aranzazu Castellano Candalija99; María A. Castillo90; Walter G. ChavesSantiago100,54; Sylena Chiquillo-Gómez33,34; Marco A. Cid-Lopez30; Oscar CienfuegosJimenez91; Rosa Conde-Vicente101; Gabriela C.R. Cunha102; M. Lourdes Cordero-Lorenzana103;
Dolores Corella104,105; Almudena Corrales106,107; Jose L. Cortes-Sanchez91,108; Marta Corton40,3;
Karla S.C. Souza109; Fabiola T.C. Silva56; Raquel Cruz8,3,9,10; Luisa Cuesta110; Nathali A.C.
Tavares111; Maria C.C. Carvalho112; David Dalmau62,76; Raquel C.S. Dantas-Komatsu113; M.
Teresa Darnaude114; Raimundo de Andrés115; Carmen de Juan116; Juan De la Cruz
Troca117,118,6; Carmen de la Horra89; Ana B. de la Hoz48; Alba De Martino-Rodríguez119,120;
Marina S. Cruz121; Julianna Lys de Sousa Alves Neri122; Victor del Campo-Pérez123; Juan
Delgado-Cuesta124; Aranzazu Diaz de Bustamante114; Anderson Díaz-Pérez34; Beatriz Dietl76;
Silvia Diz-de Almeida3,10; Manoella do Monte Alves125,126; Elena Domínguez-Garrido127; Lidia S.
Rosa128; Andre D. Luchessi129; Jose Echave-Sustaeta130; Rocío Eiros131; César O. EncisoOlivera53,54; Gabriela Escudero132; Pedro Pablo España133; Gladys Mercedes Estigarribia
Sanabria134; María Carmen Fariñas59,60,135; Ramón Fernández59,136; Lidia FernandezCaballero40,3; Ana Fernández-Cruz137; Silvia Fernández Ferrero25; Yolanda Fernández
Martínez25; María J. Fernandez-Nestosa138; Uxía Fernández-Robelo139; Amanda FernándezRodríguez81; Marta Fernández-Sampedro59,135,60; Ruth Fernández40,3; Tania Fernández-Villa140;
Carmen Fernéndez Capitán99; Antonio Augusto F. Carioca141; Patricia Flores-Pérez142; Lácides
Fuenmayor-Hernández34; Marta Fuertes Núñez25; Victoria Fumadó143; Ignacio Gadea144; Lidia
Gagliardi50,51; Manuela Gago-Domínguez13,9; Natalia Gallego11; Cristina Galoppo145; Ana
García-Soidán146; Carlos Garcia Cerrada15,16; Aitor García-de-Vicuña48,95; Josefina GarciaGarcía68; Irene García-García77; Carmen García-Ibarbia59,135,60; Andrés C. García-Montero147;
Leticia García50,51; Mercedes García50,51; María Carmen García Torrejón148,16; Inés García40,3;
Elisa García-Vázquez68; Emiliano Garza-Frias91; Angela Gentile145; Belén Gil-Fournier149;
Jéssica N.G. de Araújo150; Mario Gómez-Duque100,54; Javier Gómez-Arrue119,120; Luis Gómez
Carrera32; María Gómez García151; Ángela Gómez Sacristán152; Juan R. González4,5,6,14; Anna
González-Neira41; Beatriz González Álvarez119,120; Fernan Gonzalez Bernaldo de Quirós153;
Rafaela González-Montelongo154; Javier González-Peñas45,20,52; Manuel Gonzalez-Sagrado101;
Hugo Gonzalo Benito155; Oscar Gorgojo-Galindo156; Miguel Górgolas86; Florencia Guaragna145;
Jessica G. Chaux54; Encarna Guillen-Navarro68,157,158,159; Beatriz Guillen-Guio106; Pablo
Guisado-Vasco130; Luz D. Gutierrez-Castañeda160,54; Juan F. Gutiérrez-Bautista161; Sara HeiliFrades162; Rafael H. Jacomo163; Estefania Hernandez164; Cristina Hernández Moro25; Luis D.
Hernandez-Ortega165,166; Guillermo Hernández-Pérez42; Rebeca Hernández-Vaquero167; Belen
Herraez41; M. Teresa Herranz68; María Herrera50,51; María José Herrero168,169; Antonio HerreroGonzalez170; Juan P. Horcajada171,172,28,173; Natale Imaz-Ayo48; Maider IntxaustiUrrutibeaskoa174; Antonio Íñigo-Campos154; María Íñiguez175; Rubén Jara68; Ángel Jiménez50,51;
Ignacio Jiménez-Alfaro176; Pilar Jiménez161; María A. Jimenez-Sousa81; Iolanda Jordan177,178,6;
Rocío Laguna-Goya179,180; Daniel Laorden32; María Lasa-Lazaro179,180; María Claudia Lattig90,181;
Ailen Lauriente145; Anabel Liger Borja182; Lucía Llanos183; Amparo López-Bernús42,43; Miguel
It is made available under a CC-BY-NC-ND 4.0 International license .
(which was not certified by peer review) is the author/funder, who has granted medRxiv a license to display the preprint in perpetuity.
medRxiv preprint doi: https://doi.org/10.1101/2020.04.19.20071357; this version posted February 18, 2022. The copyright holder for this preprint
López de Heredia3
; Esther Lopez-Garcia117,118,6,184; Eduardo López Granados185,186,3; Rosario
Lopez-Rodriguez40,3; Miguel A. López-Ruz187,188,189; Leonardo Lorente190; José M. LorenzoSalazar154; José E. Lozano191; María Lozano-Espinosa182; Ignacio Mahillo192,193,107; Esther
Mancebo179,180; Carmen Mar133; Cristina Marcelo Calvo99; Alba Marcos-Delgado194; Miguel
Marcos42,43; Alicia Marín Candon77; Pablo Mariscal Aguilar32; Laura Martin-Pedraza74; Marta
Martin-Fernandez195; Caridad Martín-López182; José-Ángel Martín-Oterino42,43; María Dolores
Martín196; Vicente Martín194,6; María M. Martín197; María Martín-Vicente81; Amalia Martinez198;
Óscar Martínez-González75; Ricardo Martínez164; Pedro Martinez-Paz155; Covadonga M. DiazCaneja45,52,20; Oscar Martinez-Nieto64,181; Iciar Martinez-Lopez199,200; Michel F. MartinezResendez91; Silvia Martínez59,135; Juan José Martinez94,3; Angel Martinez-Perez201; Andrea
Martínez-Ramas40,3; Violeta Martínez Robles25; Laura Marzal40,3; Juliana F. Mazzeu202,203,204;
Francisco J. Medrano88,6,89; Xose M. Meijome205,206; Natalia Mejuto-Montero207; Ingrid Mendes3
;
Alice L. Duarte109; Ana Méndez-Echevarria208; Humberto Mendoza Charris78,34; Eleuterio
Merayo Macías209; Fátima Mercadillo210; Arieh R. Mercado-Sesma165,166; Pablo Minguez40,3;
Elena Molina-Roldán211; Antonio J J. Molina194; Juan José Montoya164; Susana M.T.
Pinho36,212,213; Patricia Moreira-Escriche116; Xenia Morelos-Arnedo78,34; Rocío Moreno3
; Victor
Moreno Cuerda15,16; Antonio Moreno-Docón68; Junior Moreno-Escalante34; Alberto Moreno
Fernández99; Patricia Muñoz García214,107,20; Pablo Neira145; Julian Nevado3,11,12; Israel NietoGañán146; Vivian N. Silbiger129; Rocio Nuñez- Torres41; Antònia Obrador-Hevia215,216; J. Gonzalo
Ocejo-Vinyals59,135; Virginia Olivar145; Silviene F. Oliveira56,217,204,218; Lorena Ondo40,3; Alberto
Orfao38,39; Eva Ortega-Paino63; Luis Ortega219; Rocio Ortiz-Lopez91; Fernando Ortiz-Flores59,135;
José A. Oteo26,175; Manuel Pacheco164; Fredy Javier Pacheco-Miranda34; Irene Padilla Conejo25;
Sonia Panadero-Fajardo92; Mara Parellada45,52,20; Roberto Pariente-Rodríguez146; Vicente
Friaza6,89; Estela Paz-Artal179,180,220; Germán Peces-Barba221,107; Miguel S. Pedromingo Kus222;
Celia Perales144; Ney P.C. Santos223; Genilson P. Guegel224; Perez Maria Jazmin145; Alexandra
Perez82,80; Patricia Pérez-Matute175; César Pérez225; Gustavo Perez-de-Nanclares48,95; Felipe
Pérez-García226,227; Patricia Perez228; Luis A. Pérez-Jurado1,2,3; M. Elena Pérez-Tomás68;
Teresa Perucho229; Lisbeth A. Pichardo25; Adriana P. Ribeiro36,37,213; Mel·lina Pinsach-Abuin82,80;
Luz Adriana Pinzón100,54; Jeane F.P. Medeiros230; Guillermo Pita41; Francesc Pla-Junca231,3;
Laura Planas-Serra94,3; Ericka N. Pompa-Mera232; Gloria L. Porras-Hurtado164; Aurora
Pujol94,3,233; María Eugenia Quevedo Chávez33,34; Maria Angeles Quijada46,234; Inés Quintela8
;
Soraya Ramiro León149; Pedro Rascado Sedes235; Joana F.R. Nunes56; Delia Recalde119,120;
Emma Recio-Fernández175; Salvador Resino81; Renata R. Sousa213,236; Carlos S. RivadeneiraChamorro54; Diana Roa-Agudelo64; Montserrat Robelo Pardo235; Marianne R. Fernandes223,237;
María A. Rodriguez-Hernandez85; Agustí Rodriguez-Palmero238,94; Emilio Rodríguez-Ruiz235,9;
Marilyn Johanna Rodriguez54; Fernando Rodriguez-Artalejo117,118,6,184; Marena RodríguezFerrer34; Carlos Rodriguez-Gallego239,240; José A. Rodriguez-Garcia25; Belén Rodríguez Maya15;
Antonio Rodriguez-Nicolas161; German Ezequiel Rodriguez Novoa145; Paula A. RodriguezUrrego64; Federico Rojo241,242; Andrea Romero-Coronado34; Rubén Morilla89,243; Filomeno
Rondón García25; Antonio Rosales-Castillo244; Cladelis Rubio245; María Rubio Olivera50,51;
Francisco Ruiz-Cabello161,188,246; Eva Ruiz-Casares229; Juan J. Ruiz-Cubillan59,135; Javier RuizHornillos247,51,248; Montserrat Ruiz94,3; Pablo Ryan249,250,251; Hector D. Salamanca53,54; Lorena
Salazar-García90; Giorgina Gabriela Salgueiro Origlia 99; Anna Sangil76; Olga SánchezPernaute252; Pedro-Luis Sánchez131,43; Antonio J. Sánchez López253; Clara Sánchez-Pablo131;
María Concepción Sánchez Prados32; Javier Sánchez Real25; Jorge Sánchez Redondo15,254;
Cristina Sancho- Sainz174; Esther Sande255; Arnoldo Santos225; Agatha Schlüter94,3; Sonia
Segovia231,256,257; Alex Serra-Llovich62; Fernando Sevil Puras22; Marta Sevilla Porras3,11; Miguel
A. Sicolo258,259; Cristina Silván Fuentes3
; Vitor M.S. Moraes260; Vanessa S. Souza102; Jordi SoléViolán261,107; José Manuel Soria201; Jose V. Sorlí104,105; Nayara S. Silva262; Juan Carlos Souto17;
John J. Sprockel100,54; José Javier Suárez-Rama8
; David A. Suarez-Zamora64; Xiana TaboadaFraga207; Eduardo Tamayo263,156; Alvaro Tamayo-Velasco264; Juan Carlos TaracidoFernandez170; Romero H.T. Vasconcelos111; Carlos Tellería119,120; Thássia M.T. Carratto260; Jair
Antonio Tenorio Castaño3,11,12; Alejandro Teper145; Izabel M.T. Araujo109; Juan Torres-Macho265;
Lilian Torres-Tobar266; Ronald P. Torres Gutiérrez222; Jesús Troya249; Miguel Urioste210; Juan
Valencia-Ramos267; Agustín Valido35,268; Juan Pablo Vargas Gallo269,270; Belén Varón271; Tomas
Vega272; Santiago Velasco-Quirce273; Valentina Vélez-Santamaría93,94; Virginia Víctor50,51; Julia
Vidán Estévez25; Gabriela V. Silva109; Miriam Vieitez-Santiago59,135; Carlos Vilches274; Lavinia
Villalobos25; Felipe Villar221; Judit Villar-Garcia275,276,277; Cristina Villaverde3,40; Pablo VillosladaBlanco175; Ana Virseda-Berdices81; Tatiana X. Costa278; Zuleima Yáñez34; Antonio Zapatero Gaviria279; Ruth Zarate280; Sandra Zazo241; Carlos Flores106,107,154; José A. Riancho59,60,135;
Augusto Rojas-Martinez281; Pablo Lapunzina3,11,12; Ángel Carracedo3,8,9,10,13The ongoing pandemic caused by severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2, COVID-19) has an estimated overall case fatality ratio of 1.38% (pre-vaccination), being 53% higher in males and increasing exponentially with age. Among 9578 individuals diagnosed with COVID-19 in the SCOURGE study, we found 133 cases (1.42%) with detectable clonal mosaicism for chromosome events (CME) and 226 males (5.08%) with acquired loss of chromosome Y (LOY). Individuals with clonal mosaic events (CME and/or LOY) showed a 54% increase in the risk of COVID-19 lethality. LOY is associated with transcriptomic biomarkers of immune dysfunction, pro-coagulation activity and cardiovascular risk. Interferon-induced genes involved in the initial immune response to SARS-CoV-2 are also down-regulated in LOY. Thus, CME and LOY underlie at least part of the sex-biased severity and mortality of COVID-19 in aging patients. Given its potential therapeutic and prognostic relevance, evaluation of clonal mosaicism should be implemented as biomarker of COVID-19 severity in elderly people.The authors acknowledge support from the Catalan Department of Economy and Knowledge (SGR2017/1974, SGR2017/801) and the Spanish Ministry of Science “Programa de Excelencia María de Maeztu” (MDM-2014-0370) and “Centro de Excelencia Severo Ochoa” (CEX2018-000806-S), the Fondo Europeo de Desarrollo Regional, UE (RTI2018-100789-B-I00) and the Estonian Research Council (PUT1660). Authors also receive support from the Generalitat de Catalunya through the CERCA Program.N
Sonatas setecentistas portuguesas para violino: III Sonatas a dois violinos e baixo, de Avondano, e XIII Sonatas a violino e baixo, de Nogueira
No full textThe construction of existence: (re) knowing the history that makes sense In 15 years of activities, the Laboratory of Musicology and Cultural History of the State University of Amazonas developed several projects with sponsor support several. The lines of action sought to promote the meeting of historical musicology, with interpretative practices, approaches analytical and historical-cultural views of the representations of music. In the last decade, work on sources Luso-Brazilian women of the Old Regime, or relative to them. There was then the transcription of material from many authors and collections, immediate results to performance in concerts and scenic montages and master's dissertations. In the case of musical performance, the program Opera in Colonial Brazil, with arias extracted from several works in circulation through the Portuguese-speaking space of the 18th and 19th centuries, a proposal that, sponsored by the Petrobrás Cultural Program, reached between 2013 and 2016 dozens of cities in Brazil and Portugal. It is also mentionable the repertoire developed for presentation under the auspices of SESC, in its Amazônia das Artes program, which dates back to 2010. Together several presentations that took place in Manaus, interspersed with 5 international tours that covered Portugal, Spain, France and Italy, the entire repertoire in question was defended by the Orchestra Amazon Baroque and its most chamber formation, Amazonas Baroque Ensemble, which also includes 5 CDs. But not only: in the case the musical restoration of Wars of the Rosemary and Mangerona (1737), Antonio José da Silva (1705-39) and Antonio Teixeira (1707-74), the score resulting from the musicological work was used so much for the 2010 montage by OBA and cast of soloists during the Festival Amazonas de Ópera - then the contemporary debut in Brazil of this work - as it was, after being edited by Universidade Nova de Lisbon, made available for the shows made by the group Portuguese The Musicians of the Tagus, in 2019. In the list of master's defenses that used these materials there are some that operated on the feasibility of the presentations, because they looked at the issues of reconstruction, and there are those who provided, and still provide, theoretical input for all practical activities, it being remarkable that all these now Masters, some already Doctors, were on stage to complete the experience in this universe that they helped to unravel. Noteworthy are the works on Vanessa Monteiro, who offered a critical and annotated version of the Rules of accompanying, for harpsichord or organ (1758), by Alberto José Gomes da Silva, and, in this same sense, Gabriela's contribution Dácio referring to the Method or explanation for learning to dance the contradictions (1761), by Julio Severin Pantezze, to which is added very recently Gustavo Medina's work on the voluminous pedagogical work by Pedro Lopes Nogueira (1686-d.1770), entitled Lisões variety (c.1720-40). Dedicated to transcription, restoration and criticism of musical works are: the work of Gabriel de Sousa Lima on Antonio Teixeira's remaining arias, in a manuscript of late 18th century containing music for Precipices of Phaeton (1738); the study with complete transcription of the opera Varieties of Proteu (1737) by the same Teixeira, directed by Tiago Soares; the transcript that Fábio Melo made the opera Demetrio (1765-6), by David Perez, in a version bilingual, drawing on the collation of manuscripts in Italian and Portuguese, that rest in the Help Library and the Library respectively the Paço Ducal of Vila Viçosa, in Portugal; transcription and critical study made by Silvia Lima of the serenade Gli Eroi Spartani (1788), from Antonio Leal Moreira (1758-1819), based on versions in Italian and Portuguese, included in the aforementioned collections of Ajuda and Vila Viçosa; The organization and transcription of Belizário (1777-78?), of multiple authorship in the process of counterfeiting and pastiche, on which Benjamin stopped About; finally, the work of Huan Miranda that discusses a reconstruction of missing parts for a cello concert of Pedro Antonio Avondano (1714-1782). With regard to studies of musical interpretation through interdisciplinary approaches exist: Manoella Costa's works on the Avondano trios, in Dresden; the works of Fabiano Cardoso and Flávia Procópio, who concentrated on the vocal repertoire of modinhas, between the centuries XVIII and XIX; Silvanei Correia's work on the double bass of five ropes used in the late 18th century; and the work of Luciana Pereira, about Waldemar Henrique's songs. The analysis texts also not been forgotten, with Guilherme Aleixo's contribution being the most important, when performing topic-schematic analysis of the 6 Responsories Funerals (1831-2) by João de Deus do Castro Lobo (1794-1832). a an even greater number of transcripts and studies were carried out scientific initiation and undergraduate monograph. They should also be mentioned in general terms that, both mentioned above, as the permanent members of this laboratory, namely the organizers of this collection, also produced books, chapters and articles in indexed and qualified journals, in addition to contributing entries for dictionaries and advising and would appear to scientific vehicles and events of national merit and international level, evidencing the recognition for the work that has being developed in this research unit. The Clinâmen series. The atomist doctrine of Democritus and Epicurus conceptualized the determinism of the movement of atoms. The different forms, arrangements and positions of atoms, understood here according to the theory philosophical, like the infinite variety of minimal materials, would give substance to everything you see. Lucretius as a follower of epicureanism believed that the doctrine found the key to understanding the all universal and with that happiness is achieved. Democritus defended that atoms fell into the void, always in parallel direction. The idea of emptiness facilitated the movement of the atom. The different weight of the atoms would make the shocks happen at different speeds and moments, generating the worlds. The critic of Aristotle, that there was no emptiness, because if he had would not show resistance to the movement and weight of the atoms causing a simultaneous fall and shock, made Epicurus would argue for a lateral deviation in the movement of the particles. That movement without cause is already the notion of Clinâmen. But Lucrecio understood this deviation as intentional because so, even in the face of inexplicable quiddam, which was explained it was the free will of all living things and therefore emphasized the stamp humanistic of his doctrine of election. In much more recent times, several theorists and scholars have used the concept of Clinâmen, like Jacques Lacan, Jacques Derrida, Gilles Deleuze and Harold Bloom, however showing differences between their understandings, but always in a divergent condition. In a sense closer to Lucretius, the idea that is adopted here it is inspired by Boaventura Sousa Santos. The Portuguese sociologist notes that, in view of the canonical power that provokes an action routine, conformist, repetitive and reproductive, by reducing realism for what exists only in the face of the recognition of such power, an action-with-clinamen is used. The Clinâmen then assumed itself as in Lucretius, as the power of inclination, of spontaneous movement, of the will to deflect. It means that it is not necessary to deny the past, refusing it. Rather, it is important to recognize the connection, to assume it, to build a particular narrative that allows for redemption. Its about operate on the boundary between the past that existed and the one that did not have recognition, license or authorization to exist. Anyway means give voice to other epistemologies, which have gone hand in hand with established itself as a canon, but it was not unique. These experiences are precisely the ones that give us meaning, because without them we are speechless and will continue to build non-existence. This indolence of reason is not answered with the act revolutionary break. It also does not favor us, because we continue to live in the world as it is. But we can and we must recover our ways of being and doing, this time imposing a dialogue to the canon that is uncomfortable to him. The canon is only interested in what it justifies or strengthens you. The parallel voices, the deviation of their purposes, the appropriations that are made of it, or those that we revert from it, the different forms of knowledge, reason, production, communication, of conception, and of Art, disturb his speech, which one day becomes he wanted unitary, globalizing and not heterotopic. Rather, the unifying context must be more universal than global, more plural than unitary, less immediate so that the present includes the past in our lives as well as to start to live already the future that is desires for the act of building it. The various experiences that affect us are that make us what we are, and that is how our Art manifests. It was in this spirit that we decided on the choices that fill the 4 volumes that start this series. Since it also had been the research guideline of the last 15 years, nothing more just than give them continuity, publishing and exposing effectively, because digital and free, on the stage of cultural events to anyone who wants of that if you use it.These 4 volumes include sources for the understanding of traditions that unite part of the Mediterranean world and will meet in Portugal in the 18th century, consequently affecting Brazil, because after all this is part of that in the period in question. They are works made for a context that does not concern Europe belonging to the Cultural North. At most they integrate the culture of the semi-periphery where silences rest, but with much to say. This is because even authors that may have arisen and related to the canon, were diverted to other trajectories and built other epistemologies. Of these volumes, 3 were dedicated exclusively to music instrumental. First, because the idea is not exclusive to thought Anglo-Franco-Saxon. Second because in this way that are raised here this music obeys another tradition of representation and interpretation. Volume 1 brings together the work of two musicians who have deprived of mutual friendship and admiration in their lives. Both met far from the homeland, to become artists, whose work and scope only one starts to have a notion. Pedro Lopes Nogueira (1686-d.1770) came from Tavira to Lisbon, becoming a shoemaker and violinist, to register what can be considered the musical corpus for pedagogical purposes most important of the entire eighteenth century. Fruit of his practice in Lisbon and Coimbra, the Casta de Lições, from which we extracted the 13 sonatas that here they are edited for the first time, it is composed of diversified material for technical and expressive teaching that must refer to a tradition previous. The answer may lie in the relevant biographical survey Pietro Giorgio Avondano (1692-1750 / 52) who was best known like Pedro Jorge Avondano. Coming from Novi [Ligure] to Lisbon, in amidst a migratory wave of several families from that city, a exponent in his music profession with enormous prestige that he achieved their offspring and family members. The testimony of a respectable source like Nicolau Mongiardino, a long-time neighbor of Avondano, attributes the degree of excellence of this to his teacher of name Geminiani. The presence of a musician from Corelli's circle in Lisbon would also explain the high degree, not only of Avondano, but of Nogueira, dealing with the instrument and the musical material itself. To join Nogueira's 13 sonatas, they were selected the three trios that bear the name of Avondano, that are part of the estate of the Dresden Public Library. Accustomed to copying music chamber and orchestral, especially for strings, in large quantities and select quality, the copyists of the local official orchestral group that had one of the highlights under Augusto, the Fort, gathered works of different origins. Avondano's sonatas deposited there did not specify the first name, but the date of the copy allows to affirm if dealing with Pedro Jorge. Like Nogueira's, made for violin and bass, the three Avondano sonatas, for two violins and bass, demonstrate the hand skills of creative interpreters, both in handling the technique, as in the elaboration of semantic aspects, involving themes, tops and styles with a lot of ownership, combining them in order to offer singular aspects. The second volume opens a sequence for concerts for soloist and orchestra. Like the works in volume 1, they may have destined to moments of sociability in court spaces, religious or bourgeois. David Perez's flute concert (1711- 1778) seems to have been written around the years when he moved to Portugal, where there would certainly be no shortage of interpreters. This concert it is probably a second attempt by the author to approach writing of the soloist flute, compared to another example attributed to him and today he is in Brussels. Violinist, harpsichordist and singer, Perez can only have been interested in writing for flute in the presence of interpreters who demanded it. Although no name in particular it seems to have crossed its path during the Italian stage of his career, he must have found in Portugal the members Rodil, Plá and Heredia families, who had skilled flutists. Next to the Perez concert is a violin concert, made decades later by José Palomino (1753-1810). Born in Spain and very early immigrated to Portugal where he developed almost his entire career as an instrumentalist and composer, Palomino combines great technical precision, with melodic refinement, rhythmic vigor and effective orchestration, for strings without guitar and two horns. Better than many of the most notable contemporary violin concerts, this it may have been one among other possible concerts he wrote for the instrument, since the copy that we use here goes dated 1804 and there is news of his concerts in 1778 and on dates nearby though you don't need to. The volume concludes with a rare Iberian concert for cello. The manuscript bears the name of Antonio Policarppi, who is completely unknown who he was, unless talking about the owner of the parts and that there was some confusion with the name; the tenor Policarpo José Antonio da Silva (1745-1803), who joined the services of the Portuguese Court, served as a composer and key instrumentalist, but still managing groups for religious activities or at the service of nobles and bourgeois in their homes, which surely involved hiring musicians and collect repertoire for such purposes. The concert in question can be from the work of any of the virtues of the Royal Chamber Orchestra and its more cameristic texture would adapt well to different spaces that these professionals went through. The third volume of the series brings the complete work to the João Cordeiro da Silva (c.1735-1808) and a significant part of the work instrumental by José Palomino. The major work is the concert or quintet for harpsichord or pianoforte, two violins, viola and bass. More mature than the previous violin concert, the work works well with the harpsichord or the piano, with basso reinforcement or having solo cello, proving that Palomino was in fact an expert of the trade. The quality of writing shows a composer far ahead of the rest of craft within a radius of many kilometers of it and, if placed alongside the quintets produced in the same year 1785, which went out of Portugal, it projects itself at the high level of the best that has been done end of the 18th century and not only in the Iberian panorama. In this sense, the volume also brings the surprising duo of pianoforte and violin, worthy of the repertoire of the best sonatas of the time. The fourth volume of the inaugural stage of the series is the only one dedicated to vocal music. This is the first edition of the opera Ezio, by Niccolo Jommelli (1714-1774), one of his most important works. This was the fourth time that the Neapolitan wrote music for the same libretto by Pietro Metastasio (1698-1782). He did not do so willingly, having even complained about having to do it, but he did it because it was D.'s choice José, who kept it under contract and wanted the work to be to an important date like the queen's birthday. Jommelli, already victim of a stroke, was delayed in elaboration and the debut of the opera was for the anniversary of the discovery of Brazil, having subsequent reruns. The composer repeated some arias of versions precedents, but inserted new text and music, of which stand out the counterpoint treatment richer than in ordinary works of time and complex ensemble scenes. At that same time the Metastasio's libretto received a new Portuguese translation, intended for according to the lusophone audiences, with graceful characters inserted. Such version seems to have traveled Brazil from North to South at that end 18th century, without knowing if it had Jommelli's music, it is only presumed that it served the pastiche model and counterfactual that characterized the lyrical spectacles of the time in most popular context. All volumes have critical, historical and analytical about the works in question and with biographical approaches to build a context that allows understanding of artistic creation. The organizers would like to thank indistinctly to all archives and libraries that guard the originals of these works, in many cases for making the material available free of charge in digital platforms or in other cases for being able to meet the requests copy in a timely manner. The Historical Archive of the Brotherhood Santa Cecília and Montepio Philharmonic for availability consultation and transfer of images, as well as to the scientific researcher Dr. Ana Paula Tudela, for the information and diligences that you kindly provided in relation to the contents of that collection and connections made possible with other funds. Thanks are extensive to all students, colleagues and external collaborators who the Laboratory of Musicology and Cultural History, as well as the Barroca do Amazonas Orchestra, participated in the experience of restoration of this musical material. Thanks in particular here those who worked on the transcription with the organizers, as is the case of André Ferreira da Silva, Francisco Jayme Cordeiro da Costa, Guilherme Aleixo da Silva Monteiro, Maira Dessana Ferreira da Silva, and Mario André Vlaxio Lopes. The work is dedicated to those who, like us, feel that their history is not irrelevant and is just as important as any other to be told. This is the story of many, regardless of their origin, here they came together to give meaning to a culture.A construção da existência: (re)conhecendo a história que nos
dá sentido
Em 15 anos de atividades, o Laboratório de Musicologia e
História Cultural da Universidade do Estado do Amazonas
desenvolveu vários projetos com apoios de patrocinadores
diversos. As linhas de atuação buscaram promover o encontro da
musicologia histórica, com as práticas interpretativas, abordagens
analíticas e uma visão histórico-cultural das representações da música.
Na última década se intensificaram os trabalhos sobre fontes
luso-brasileiras do Antigo Regime, ou a elas relativa. Houve então
a transcrição de material de muitos autores e acervos, tendo por
resultados imediatos a performance em concertos e montagens cênicas
e dissertações de mestrado.
No caso da performance musical destacou-se o programa
Ópera no Brasil Colonial, com árias extraídas de diversas obras em
circulação pelo espaço lusófono dos séculos XVIII e XIX, proposta que,
patrocinada pelo Programa Petrobrás Cultural, atingiu entre 2013 e
2016 dezenas de cidades de Brasil e Portugal. Também é mencionável
o repertório desenvolvido para apresentação sob os auspícios do SESC,
em seu programa Amazônia das Artes, que remonta a 2010. Somado
a diversas apresentações acontecidas em Manaus, intercaladas com
5 turnês internacionais que percorreram Portugal, Espanha, França
e Itália, todo o repertório em causa foi defendido pela Orquestra
Barroca do Amazonas e sua formação mais camerística, Amazonas
Baroque Ensemble, o que inclui também 5 CDs. Mas não só: no caso
da restauração musical de Guerras do Alecrim e Mangerona (1737),
de Antonio José da Silva (1705-39) e Antonio Teixeira (1707-74), a
partitura decorrente do trabalho musicológico foi tanto usada para a
montagem de 2010 pela OBA e elenco de solistas durante o Festival
Amazonas de Ópera – então a estreia contemporânea no Brasil desta
obra – como foi, depois de editada pela Universidade Nova de
Lisboa, disponibilizada para os espetáculos feitos pelo agrupamento
português Os Músicos do Tejo, em 2019.
No rol das defesas de mestrado que se valeram destes materiais
contam-se algumas que operaram a viabilidade das apresentações,
porque se debruçaram nas questões de reconstrução, e há aquelas
que forneceram, e ainda fornecem, subsídios teóricos para todas as
atividades práticas, sendo notável que todos estes agora Mestres, alguns
já Doutores, estiveram nos palcos para completar a experiência neste
universo que ajudaram a desvendar. São destacáveis os trabalhos sobre
tratadística de Vanessa Monteiro, que ofereceu versão crítica e anotada
das Regras de acompanhar, para cravo ou órgão (1758), de Alberto José
Gomes da Silva, e, neste mesmo sentido, a contribuição de Gabriela
Dácio referente ao Método ou explicação para aprender a dançar as
contradanças (1761), de Julio Severin Pantezze, aos quais se soma de
modo recentíssimo o trabalho de Gustav
Concertos setecentistas em Portugal: obras de David Perez, José Palomino e Antonio Policarppi
No full textThe construction of existence: (re) knowing the history that
makes sense
In 15 years of activities, the Laboratory of Musicology and
Cultural History of the State University of Amazonas
developed several projects with sponsor support
several. The lines of action sought to promote the meeting of
historical musicology, with interpretative practices, approaches
analytical and historical-cultural views of the representations of music.
In the last decade, work on sources
Luso-Brazilian women of the Old Regime, or relative to them. There was then
the transcription of material from many authors and collections,
immediate results to performance in concerts and scenic montages
and master's dissertations.
In the case of musical performance, the program
Opera in Colonial Brazil, with arias extracted from several works in
circulation through the Portuguese-speaking space of the 18th and 19th centuries, a proposal that,
sponsored by the Petrobrás Cultural Program, reached between 2013 and
2016 dozens of cities in Brazil and Portugal. It is also mentionable
the repertoire developed for presentation under the auspices of SESC,
in its Amazônia das Artes program, which dates back to 2010. Together
several presentations that took place in Manaus, interspersed with
5 international tours that covered Portugal, Spain, France
and Italy, the entire repertoire in question was defended by the Orchestra
Amazon Baroque and its most chamber formation, Amazonas
Baroque Ensemble, which also includes 5 CDs. But not only: in the case
the musical restoration of Wars of the Rosemary and Mangerona (1737),
Antonio José da Silva (1705-39) and Antonio Teixeira (1707-74), the
score resulting from the musicological work was used so much for the
2010 montage by OBA and cast of soloists during the Festival
Amazonas de Ópera - then the contemporary debut in Brazil of this
work - as it was, after being edited by Universidade Nova de
Lisbon, made available for the shows made by the group
Portuguese The Musicians of the Tagus, in 2019.
In the list of master's defenses that used these materials
there are some that operated on the feasibility of the presentations,
because they looked at the issues of reconstruction, and there are those
who provided, and still provide, theoretical input for all
practical activities, it being remarkable that all these now Masters, some
already Doctors, were on stage to complete the experience in this
universe that they helped to unravel. Noteworthy are the works on
Vanessa Monteiro, who offered a critical and annotated version
of the Rules of accompanying, for harpsichord or organ (1758), by Alberto José
Gomes da Silva, and, in this same sense, Gabriela's contribution
Dácio referring to the Method or explanation for learning to dance the
contradictions (1761), by Julio Severin Pantezze, to which is added
very recently Gustavo Medina's work on the voluminous
pedagogical work by Pedro Lopes Nogueira (1686-d.1770), entitled
Lisões variety (c.1720-40). Dedicated to transcription, restoration and
criticism of musical works are: the work of Gabriel de Sousa Lima
on Antonio Teixeira's remaining arias, in a manuscript of
late 18th century containing music for Precipices of Phaeton (1738);
the study with complete transcription of the opera Varieties of Proteu
(1737) by the same Teixeira, directed by Tiago Soares; the transcript that
Fábio Melo made the opera Demetrio (1765-6), by David Perez, in a version
bilingual, drawing on the collation of manuscripts in Italian and Portuguese,
that rest in the Help Library and the Library respectively
the Paço Ducal of Vila Viçosa, in Portugal; transcription and critical study
made by Silvia Lima of the serenade Gli Eroi Spartani (1788), from
Antonio Leal Moreira (1758-1819), based on versions in Italian and
Portuguese, included in the aforementioned collections of Ajuda and Vila Viçosa; The
organization and transcription of Belizário (1777-78?), of multiple authorship
in the process of counterfeiting and pastiche, on which Benjamin stopped
About; finally, the work of Huan Miranda that discusses a
reconstruction of missing parts for a cello concert of
Pedro Antonio Avondano (1714-1782). With regard to studies
of musical interpretation through interdisciplinary approaches
exist: Manoella Costa's works on the Avondano trios,
in Dresden; the works of Fabiano Cardoso and Flávia Procópio, who
concentrated on the vocal repertoire of modinhas, between the centuries
XVIII and XIX; Silvanei Correia's work on the double bass of five
ropes used in the late 18th century; and the work of Luciana Pereira,
about Waldemar Henrique's songs. The analysis texts also
not been forgotten, with Guilherme Aleixo's contribution being the most
important, when performing topic-schematic analysis of the 6 Responsories
Funerals (1831-2) by João de Deus do Castro Lobo (1794-1832). a
an even greater number of transcripts and studies were carried out
scientific initiation and undergraduate monograph.
They should also be mentioned in general terms that, both
mentioned above, as the permanent members of this laboratory,
namely the organizers of this collection, also produced
books, chapters and articles in indexed and qualified journals,
in addition to contributing entries for dictionaries and advising
and would appear to scientific vehicles and events of national merit and
international level, evidencing the recognition for the work that has
being developed in this research unit.
The Clinâmen series. The atomist doctrine of Democritus and Epicurus conceptualized the
determinism of the movement of atoms. The different forms,
arrangements and positions of atoms, understood here according to the theory
philosophical, like the infinite variety of minimal materials, would give
substance to everything you see. Lucretius as a follower of epicureanism
believed that the doctrine found the key to understanding the
all universal and with that happiness is achieved.
Democritus defended that atoms fell into the void, always in
parallel direction. The idea of emptiness facilitated the movement of the atom.
The different weight of the atoms would make the shocks happen
at different speeds and moments, generating the worlds. The critic
of Aristotle, that there was no emptiness, because if he had
would not show resistance to the movement and weight of the atoms
causing a simultaneous fall and shock, made Epicurus
would argue for a lateral deviation in the movement of the particles. That
movement without cause is already the notion of Clinâmen.
But Lucrecio understood this deviation as intentional because
so, even in the face of inexplicable quiddam, which was explained
it was the free will of all living things and therefore emphasized the stamp
humanistic of his doctrine of election. In much more recent times,
several theorists and scholars have used the concept of Clinâmen,
like Jacques Lacan, Jacques Derrida, Gilles Deleuze and Harold Bloom,
however showing differences between their understandings, but
always in a divergent condition.
In a sense closer to Lucretius, the idea that is adopted
here it is inspired by Boaventura Sousa Santos. The Portuguese sociologist
notes that, in view of the canonical power that provokes an action
routine, conformist, repetitive and reproductive, by reducing realism
for what exists only in the face of the recognition of such power,
an action-with-clinamen is used. The Clinâmen then assumed itself as in Lucretius, as the power of inclination, of spontaneous movement, of the will to deflect. It means that it is not necessary to deny the past, refusing it.
Rather, it is important to recognize the connection, to assume it, to build
a particular narrative that allows for redemption. Its about
operate on the boundary between the past that existed and the one that did not have
recognition, license or authorization to exist. Anyway means
give voice to other epistemologies, which have gone hand in hand with
established itself as a canon, but it was not unique.
These experiences are precisely the ones that give us meaning,
because without them we are speechless and will continue to build
non-existence. This indolence of reason is not answered with the act
revolutionary break. It also does not favor us, because
we continue to live in the world as it is. But we can and we must
recover our ways of being and doing, this time imposing a dialogue
to the canon that is uncomfortable to him. The canon is only interested in what it
justifies or strengthens you. The parallel voices, the deviation of their
purposes, the appropriations that are made of it, or those that we revert from it,
the different forms of knowledge, reason, production, communication,
of conception, and of Art, disturb his speech, which one day becomes
he wanted unitary, globalizing and not heterotopic.
Rather, the unifying context must be more universal than global,
more plural than unitary, less immediate so that the present includes the
past in our lives as well as to start to live already the future that is
desires for the act of building it. The various experiences that affect us are
that make us what we are, and that is how our Art manifests.
It was in this spirit that we decided on the choices that fill
the 4 volumes that start this series. Since it also had
been the research guideline of the last 15 years, nothing more just than
give them continuity, publishing and exposing effectively, because
digital and free, on the stage of cultural events to anyone who wants
of that if you use it.These 4 volumes include sources for the understanding of
traditions that unite part of the Mediterranean world and will meet
in Portugal in the 18th century, consequently affecting Brazil,
because after all this is part of that in the period in question. They are works
made for a context that does not concern Europe belonging to the
Cultural North. At most they integrate the culture of the semi-periphery
where silences rest, but with much to say. This is because even
authors that may have arisen and related to the canon, were
diverted to other trajectories and built other epistemologies.
Of these volumes, 3 were dedicated exclusively to music
instrumental. First, because the idea is not exclusive to thought
Anglo-Franco-Saxon. Second because in this way that are raised here
this music obeys another tradition of representation and interpretation.
Volume 1 brings together the work of two musicians who have deprived of mutual
friendship and admiration in their lives. Both met far from the
homeland, to become artists, whose work and scope only
one starts to have a notion. Pedro Lopes Nogueira (1686-d.1770) came from
Tavira to Lisbon, becoming a shoemaker and violinist, to register
what can be considered the musical corpus for pedagogical purposes
most important of the entire eighteenth century. Fruit of his practice in Lisbon
and Coimbra, the Casta de Lições, from which we extracted the 13 sonatas that
here they are edited for the first time, it is composed of diversified material
for technical and expressive teaching that must refer to a tradition
previous. The answer may lie in the relevant biographical survey
Pietro Giorgio Avondano (1692-1750 / 52) who was best known
like Pedro Jorge Avondano. Coming from Novi [Ligure] to Lisbon, in
amidst a migratory wave of several families from that city, a
exponent in his music profession with enormous prestige that he achieved
their offspring and family members. The testimony of a
respectable source like Nicolau Mongiardino, a long-time neighbor
of Avondano, attributes the degree of excellence of this to his teacher of
name Geminiani. The presence of a musician from Corelli's circle in
Lisbon would also explain the high degree, not only of Avondano, but of
Nogueira, dealing with the instrument and the musical material itself.
To join Nogueira's 13 sonatas, they were selected
the three trios that bear the name of Avondano, that are part of the estate
of the Dresden Public Library. Accustomed to copying music
chamber and orchestral, especially for strings, in large quantities
and select quality, the copyists of the local official orchestral group
that had one of the highlights under Augusto, the Fort, gathered works of
different origins. Avondano's sonatas deposited there did not
specify the first name, but the date of the copy allows to affirm if
dealing with Pedro Jorge.
Like Nogueira's, made for violin and bass, the three
Avondano sonatas, for two violins and bass, demonstrate the hand
skills of creative interpreters, both in handling the technique,
as in the elaboration of semantic aspects, involving themes, tops
and styles with a lot of ownership, combining them in order to offer
singular aspects.
The second volume opens a sequence for concerts
for soloist and orchestra. Like the works in volume 1, they may have
destined to moments of sociability in court spaces,
religious or bourgeois. David Perez's flute concert (1711-
1778) seems to have been written around the years when he moved to
Portugal, where there would certainly be no shortage of interpreters. This concert
it is probably a second attempt by the author to approach writing
of the soloist flute, compared to another example attributed to him
and today he is in Brussels. Violinist, harpsichordist and singer, Perez can only
have been interested in writing for flute in the presence of
interpreters who demanded it. Although no name
in particular it seems to have crossed its path during the Italian stage
of his career, he must have found in Portugal the members
Rodil, Plá and Heredia families, who had skilled
flutists. Next to the Perez concert is a violin concert,
made decades later by José Palomino (1753-1810). Born in Spain and very early immigrated to Portugal where he developed almost
his entire career as an instrumentalist and composer, Palomino combines
great technical precision, with melodic refinement, rhythmic vigor and
effective orchestration, for strings without guitar and two horns. Better than
many of the most notable contemporary violin concerts, this
it may have been one among other possible concerts he wrote
for the instrument, since the copy that we use here
goes dated 1804 and there is news of his concerts in 1778 and on dates
nearby though you don't need to. The volume concludes with a rare
Iberian concert for cello. The manuscript bears the name of Antonio
Policarppi, who is completely unknown who he was, unless
talking about the owner of the parts and that there was
some confusion with the name; the tenor Policarpo José Antonio da
Silva (1745-1803), who joined the services of the Portuguese Court, served
as a composer and key instrumentalist, but still managing
groups for religious activities or at the service of nobles and bourgeois
in their homes, which surely involved hiring musicians and
collect repertoire for such purposes. The concert in question can
be from the work of any of the virtues of the Royal Chamber Orchestra and
its more cameristic texture would adapt well to different spaces
that these professionals went through.
The third volume of the series brings the complete work to the
João Cordeiro da Silva (c.1735-1808) and a significant part of the work
instrumental by José Palomino. The major work is the concert or quintet
for harpsichord or pianoforte, two violins, viola and bass. More mature than
the previous violin concert, the work works well with the harpsichord
or the piano, with basso reinforcement or having solo cello, proving
that Palomino was in fact an expert of the trade. The quality of
writing shows a composer far ahead of the rest of
craft within a radius of many kilometers of it and, if placed alongside the
quintets produced in the same year 1785, which went out of
Portugal, it projects itself at the high level of the best that has been done
end of the 18th century and not only in the Iberian panorama. In this sense, the
volume also brings the surprising duo of pianoforte and violin, worthy
of the repertoire of the best sonatas of the time.
The fourth volume of the inaugural stage of the series is the only one dedicated
to vocal music. This is the first edition of the opera Ezio, by Niccolo
Jommelli (1714-1774), one of his most important works. This was
the fourth time that the Neapolitan wrote music for the same libretto
by Pietro Metastasio (1698-1782). He did not do so willingly, having
even complained about having to do it, but he did it because it was D.'s choice
José, who kept it under contract and wanted the work to be
to an important date like the queen's birthday. Jommelli, already
victim of a stroke, was delayed in elaboration and the debut
of the opera was for the anniversary of the discovery of Brazil, having
subsequent reruns. The composer repeated some arias of versions
precedents, but inserted new text and music, of which stand out
the counterpoint treatment richer than in ordinary works
of time and complex ensemble scenes. At that same time the
Metastasio's libretto received a new Portuguese translation, intended for
according to the lusophone audiences, with graceful characters inserted.
Such version seems to have traveled Brazil from North to South at that end
18th century, without knowing if it had Jommelli's music,
it is only presumed that it served the pastiche model
and counterfactual that characterized the lyrical spectacles of the time in
most popular context.
All volumes have critical, historical and
analytical about the works in question and with biographical approaches
to build a context that allows understanding of artistic creation.
The organizers would like to thank indistinctly
to all archives and libraries that guard the originals of these
works, in many cases for making the material available free of charge in
digital platforms or in other cases for being able to meet the requests
copy in a timely manner. The Historical Archive of the
Brotherhood Santa Cecília and Montepio Philharmonic for availability
consultation and transfer of images, as well as to the scientific researcher Dr. Ana Paula Tudela, for the information and diligences that you kindly
provided in relation to the contents of that collection and connections
made possible with other funds. Thanks are extensive
to all students, colleagues and external collaborators who
the Laboratory of Musicology and Cultural History, as well as the
Barroca do Amazonas Orchestra, participated in the experience of
restoration of this musical material. Thanks in particular here
those who worked on the transcription with the organizers, as is
the case of André Ferreira da Silva, Francisco Jayme Cordeiro da Costa,
Guilherme Aleixo da Silva Monteiro, Maira Dessana Ferreira da Silva,
and Mario André Vlaxio Lopes.
The work is dedicated to those who, like us, feel that their history
is not irrelevant and is just as important as any other to be
told. This is the story of many, regardless of their origin,
here they came together to give meaning to a culture.A construção da existência: (re)conhecendo a história que nos
dá sentido
Em 15 anos de atividades, o Laboratório de Musicologia e
História Cultural da Universidade do Estado do Amazonas
desenvolveu vários projetos com apoios de patrocinadores
diversos. As linhas de atuação buscaram promover o encontro da
musicologia histórica, com as práticas interpretativas, abordagens
analíticas e uma visão histórico-cultural das representações da música.
Na última década se intensificaram os trabalhos sobre fontes
luso-brasileiras do Antigo Regime, ou a elas relativa. Houve então
a transcrição de material de muitos autores e acervos, tendo por
resultados imediatos a performance em concertos e montagens cênicas
e dissertações de mestrado.
No caso da performance musical destacou-se o programa
Ópera no Brasil Colonial, com árias extraídas de diversas obras em
circulação pelo espaço lusófono dos séculos XVIII e XIX, proposta que,
patrocinada pelo Programa Petrobrás Cultural, atingiu entre 2013 e
2016 dezenas de cidades de Brasil e Portugal. Também é mencionável
o repertório desenvolvido para apresentação sob os auspícios do SESC,
em seu programa Amazônia das Artes, que remonta a 2010. Somado
a diversas apresentações acontecidas em Manaus, intercaladas com
5 turnês internacionais que percorreram Portugal, Espanha, França
e Itália, todo o repertório em causa foi defendido pela Orquestra
Barroca do Amazonas e sua formação mais camerística, Amazonas
Baroque Ensemble, o que inclui também 5 CDs. Mas não só: no caso
da restauração musical de Guerras do Alecrim e Mangerona (1737),
de Antonio José da Silva (1705-39) e Antonio Teixeira (1707-74), a
partitura decorrente do trabalho musicológico foi tanto usada para a
montagem de 2010 pela OBA e elenco de solistas durante o Festival
Amazonas de Ópera – então a estreia contemporânea no Brasil desta
obra – como foi, depois de editada pela Universidade Nova de
Lisboa, disponibilizada para os espetáculos feitos pelo agrupamento
português Os Músicos do Tejo, em 2019.
No rol das defesas de mestrado que se valeram destes materiais
contam-se algumas que operaram a viabilidade das apresentações,
porque se debruçaram nas questões de reconstrução, e há aquelas
que forneceram, e ainda fornecem, subsídios teóricos para todas as
atividades práticas, sendo notável que todos estes agora Mestres, alguns
já Doutores, estiveram nos palcos para completar a experiência neste
universo que ajudaram a desvendar. São destacáveis os trabalhos sobre
tratadística de Vanessa Monteiro, que ofereceu versão crítica e anotada
das Regras de acompanhar, para cravo ou órgão (1758), de Alberto José
Gomes da Silva, e, neste mesmo sentido, a contribuição de Gabriela
Dácio referente ao Método ou explicação para aprender a dançar as
contradanças (1761), de Julio Severin Pantezze, aos quais se soma de
modo recentíssimo o trabalho de Gustav
