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- The Senses of MusicPublication . Nogueira, Cristiane; Rodrigues, Helena; Pereira, Ana Isabel Lemos do Carmo; Centro de Estudos em Música (CESEM - NOVA FCSH); Departamento de Ciências Musicais (DCM); MDPI - Multidisciplinary Digital Publishing InstituteA growing number of studies have highlighted the various sensory interactions involved in the musical experience, as relationships between music and dimensions of taste, olfaction, sound, and visual qualities, such as associations between pitch and the size of images or objects, spatial location and frequency, and instrumental timbres and visual shapes. These studies share the premise that the way we relate to the musical phenomenon, whether in the processes of production, perception, or understanding, emerges from an integrated and intrinsically multisensory perceptual event. Nevertheless, because music is present daily in everyday life and because this experience is inherently subjective, such interactions tend to occur so naturally and seem so obvious that they have been relegated to common sense. On the other hand, evidence indicates that sensory interactions constitute a fundamental ancestral mechanism for cognitive and neuronal development governed by non-arbitrary tendencies, multiple variables, and patterns of predictability. The novel contribution of this review is to advance a dynamic theoretical model of multisensory musical experience that takes crossmodal correspondences as its central organising axis, articulated through three structuring principles (universality, congruence effect, hierarchical tendency) and their interaction with musical organisation, cognitive structure, and the sensory systems mobilised by music. A future research agenda is also proposed to broaden and deepen investigations in the field of music psychology and human development.
- Salzinnes and Digital ToolsPublication . Bain, Jennifer; Gates-Panneton, Geneviève; Hillerbrand, Dylan; De Luca, Elsa; Centro de Estudos em Música (CESEM - NOVA FCSH); BrepolsThis paper discusses the digital resources that have emerged from work with the Salzinnes antiphoner and incorporates several different perspectives. Jennifer Bain provides a history of the collaboration with Ichiro Fujinaga’s Distributed Digital Music Archives and Libraries (DDMAL) Lab and how the Salzinnes Antiphonal became so integral for research there. Elsa De Luca, who has been a key member in the development of the neume module for the Music Encoding Initiative (MEI), addresses challenges associated with adapting the MEI principles to earlier, complex chant notations. Geneviève Gates-Panneton and Dylan Hillerbrand discuss how the Salzinnes Antiphonal was used as a base manuscript for tools recently developed at the McGill DDMAL Lab for Optical Music Recognition of chant manuscripts and for the facilitation of the process of editing computer-generated data. These musicologist-friendly tools are designed for the online correction and emendation of computer-generated data created automatically from digital scans of manuscripts.
- Visual or Symbolic?Publication . Behrendt, Inga; Fujinaga, Ichiro; Helsen, Kate; Morent, Stefan; De Luca, Elsa; Centro de Estudos em Música (CESEM - NOVA FCSH)The roots of Western musical notation can be traced back to neumatic scripts, found in manuscripts containing plainchant traditions dating from the ninth century onwards. Neumatic scripts are the precursor to modern musical notation, but they differ in their intensity of focus on the textual content—and therefore the semantic meaning—of the chants themselves. Every graphic mark, every part of each neume, is made in service of a nuanced and highly regulated way of declaiming each syllable, but unlike modern musical notation, the symbols do not always correspond to something inherently musical outside the given chant, such as an absolute pitch or an overarching metric or rhythmically repetitive structures. Here, we look into the encoding challenges presented by these early neumes and explore best practices for effectively representing them in MEI schemas, considering both their graphical and symbolic dimensions. We will examine two case-studies in particular: the oriscus and the quilisma, to show how these neume forms relate to each other in term of appearance and performance. The third case-study, the curved and straight tilts, gives us an opportunity to discuss the graphical sophistication of early neumatic scripts.
- Uma história por trás do discursoPublication . Wady, Juliana; Centro de Estudos em Música (CESEM - NOVA FCSH); University of California PressAs reflexões sobre música do polímata Mário de Andrade, alinhadas a ideais modernistas de “brasilidade”, revelam uma tensão entre o desejo de se afastar da matriz portuguesa e o reconhecimento de sua importância na formação da identidade musical brasileira. Contudo, embora o escritor tenha defendido certa “indiferença” em relação a Portugal, seu acervo evidencia um interesse consistente pela música portuguesa. Com o intuito de examinar esta aparente incoerência, este estudo analisa mais de 300 documentos do espólio de Andrade no Instituto de Estudos Brasileiros (IEB-USP) – incluindo fichas de leitura, correspondência, partituras, discos, recortes e livros – os quais evidenciam o contato do musicólogo com importantes intelectuais portugueses e suas obras. Esta pesquisa adota duas perspectivas: a primeira examina como a música portuguesa (folclórica, urbana e erudita) integra sistematicamente o trabalho musicológico de Andrade; a segunda demonstra como o tema favoreceu vínculos com intelectuais e músicos portugueses a partir da sua correspondência. Desta forma, revelamos uma “história por trás do seu discurso”, procurando não apenas compreender a relação de Andrade com Portugal a partir da esfera musical, mas também as redes de sociabilidade luso-brasileiras no início do século XX.
- Editing Purcell’s keyboard musicPublication . Smith, David J.; Woolley, Andrew Lawrence; Centro de Estudos em Música (CESEM - NOVA FCSH); Taylor & Francis (Routledge): SSH Titles / Taylor & Francis (Routledge)The authors examine the challenges of editing Purcell’s keyboard music in the context of their completion of a printed volume for the Purcell Society begun by Christopher Hogwood, and their involvement in ‘Digital Directions for Collected Editions’, which investigated critical editing of music in the digital domain. Hogwood advocated an inclusive approach that included independent arrangements by various scribes of the same material. The printed volume will arrange items by key; a digital edition would allow flexibility to order pieces in other ways. As recent research shows, variance between sources often reflects aspects of performance practice that can be applied more broadly to keyboard music of the period, as well as revision by the composer; this has implications for how variance should be treated in critical editions. The authors consider the challenges of presentation within the confines of a printed volume and suggest the potential of digital editions for addressing them, arguing for use of ossias in the former and flexibility of presentation in the latter. A digital edition allows a multidimensional approach where primary sources can serve as a base text corrected by reference to other versions that can be displayed to give the user a sense of other possibilities. In terms of any future digital edition of Purcell’s keyboard music, questions surrounding financial sustainability, data preservation and software maintenance will rely on the development of user communities: user interfaces will need to meet the needs of a young pianist as well as those of a specialist in early music.
- Music and Arts in Early Childhood EducationPublication . Rodrigues, Helena; Maria Rodrigues, Paulo; Rodrigues, Paulo Jorge Ferreira; Broock, Angelita; Pereira, Ana Isabel Lemos do Carmo; Centro de Estudos em Música (CESEM - NOVA FCSH); Departamento de Ciências Musicais (DCM); MDPI - Multidisciplinary Digital Publishing InstituteThis article examines training itineraries for early childhood education professionals in Portugal, focusing on promoting social and human development through music and the arts for infants. The training models discussed are categorized as short-term and long-term, encompassing both theory and practice through a transdisciplinary approach. Based on initiatives promoted by the Companhia de Música Teatral (CMT) and the Education and Human Development Group of the Centre for the Study of Sociology and Musical Aesthetics (CESEM) at NOVA University Lisbon, the article highlights projects such as: (i) Opus Tutti and GermInArte, developed between 2011 and 2018; (ii) the Postgraduate Course Music in Childhood: Intervention and Research, offered at the University since 2020/21, which integrates art, health, and education, promoting collaborative work between professionals; and (iii) Mil Pássaros (Thousand Birds), developed since 2020, which exemplifies the integration of environmental education and artistic practices. The theoretical basis of these training programs combines neuroscientific and educational evidence, emphasizing the importance of the first years of life for integral development. Studies, such as those by Heckman, reinforce the impact of early investment in children’s development. Edwin Gordon’s Music Learning Theory and Malloch and Trevarthen’s concept of ‘communicative musicality’ structure the design of these courses, recognizing music as a catalyst for cognitive, emotional, and social skills. The transformative role of music and the arts in educational and social contexts is emphasized, in line with the Sustainable Development Goals of the 2030 Agenda, by proposing approaches that articulate creation, intervention, and research to promote human development from childhood onwards.
- From Vox Ferus to Canine PosthumanPublication . Novak, Jelena; Centro de Estudos em Música (CESEM - NOVA FCSH); Università degli Studi di MilanoIn this article I discuss the reworking of demarcation line between human and animal through the vocal sphere referring to a dog as an ‘animal of interest’. Both in contemporary visual art, music and opera I notice number of recent examples where the figure/construct/representation of the dog and dog-human relation served as the central motor of the piece. Thus I focus on representations of humans that ‘go out of themselves’, acquiring animal characteristics. I am especially intrigued of how this ‘going out of human’ reflects on the voice, if there is something that could be called animal/dog voice and what would be its characteristics. In the first section of the text, I briefly discuss the VR opera "Songs for a Passerby" (2023) by director Celine Daemen and writer Olivier Herter, where a digital dog, with its full range of vocal sounds, guides the listening spectator through the piece. I continue to the example of a feral child raised by dogs and delving into artworks such as Paula Rego's dog-women paintings and performance-art pieces by Oleg Kulik, where the artist embodies a dog. Eventually, I arrive at the analysis of the representation of the dog/animal vocal figure in operas by Alexander Raskatov: “A Dog’s Heart” (2008-9) based on Mikhail Bulgakov’s 1925 novel of the same name and “Animal Farm” (2023) based on the George Orvell’s 1945 timeless classic. I am especially interested in the vocal perspective of 'The Posthuman as Becoming-animal' in light of Rosi Braidotti's commentary on it. I also refer to the philosophy of human-animal issues discussed by Oxana Timofeeva. And why dogs? In her book on posthuman, Braidotti reminds us of Deleuze's classification of animals into three groups: those we watch television with, those we eat, and those we are scared of. This ubiquity of dogs in the human world places the figure of the dog in the spotlight, particularly concerning the realm of vocal sphere. Dog figures in above mentioned pieces acquire voices to express their identity and perform it in new relationality with all human and non-human people.
- Music and Affectivity in the Age of Artificial IntelligencePublication . Aguiar, Vinicius de; Centro de Estudos em Música (CESEM - NOVA FCSH); SpringerMusic and affects share a long history. In recent times, 4E cognitive sciences (embodied, embedded, enacted, and extended), situated affectivity, and related ecological theoretical frameworks have been conceptualizing music as a case of a tool for feeling. Drawing on this debate, I propose to further theorize the role of music in situating our affectivity by analyzing how the very affective affordances of music are technologically situated. In other words, I propose to shift the attention from music as a tool for feeling to the tools for feeling music. I argue that the experience of music as a tool for feeling may be altered, enhanced, or lessened depending on the tools for feeling music. I investigate the extent to which AI might be a case of a tool for feeling music and examine the influence it could exert over musical affectivity. I conclude that AI can be considered a tool for feeling music of curatorial type and that the limitations and/or biases of AI as a method risk lessening the power of musical affective affordances.
- Wind Phone, OperomanijaPublication . Novak, Jelena; Centro de Estudos em Música (CESEM - NOVA FCSH); Università degli Studi di MilanoReview of the phone booth opera Things I Didn’t Dare to Say, and It’s Too Late Now. World premiere: 1st December 2023, Lithuanian National Drama Theatre, Vilnius.
- Destinies of ManonPublication . Cachopo, João Pedro; Centro de Estudos em Música (CESEM - NOVA FCSH); University of California PressWritten by Ben Hecht and directed by Jack Conway, Lady of the Tropics (1939) tells the story of Manon DeVargnes (Hedy Lamarr), a young woman of mixed-race who dreams of a life in Paris, and Bill Carey (Robert Taylor), an American bon vivant who falls in love with her. They marry in Saigon in the 1930s, but their return to New York, where Bill resides, is thwarted by Pierre Delaroch (Joseph Schildkraut), an influential local official and businessman who refuses to let her go. The film is loosely based on Antoine François Prévost’s novel Histoire du Chevalier des Grieux et de Manon Lescaut (1731) and features a pivotal scene at the opera, where Manon and Delaroch attend Puccini’s Manon Lescaut. This scene underscores a significant parallel between the cinematic Manon and her operatic counterpart. Examining the film through the lenses of intertextuality, intermediality, gender, race, and stardom, this article argues that the cinematic portrayal of Manon prompts a reinterpretation of her operatic predecessor’s character and destiny, thereby complicating and enriching the debate on the intersection of opera and film. In dialogue with Stanley Cavell, whose claim that cinema inherits opera has greatly influenced this debate, the article positions Lady of the Tropics within a category of films, including Norman Jewison’s Moonstruck (1987) or Istbán Szabó’s Meeting Venus (1991), where a specific opera “enters the substance of a film.” However, unlike Cavell, this article contends that cinema has the potential to dismantle rather than perpetuate the fantasies that connect opera and film via notions of inheritance and destiny. No destiny, I maintain, is preordained—neither Manon’s nor opera’s.