FCSH: CESEM - Artigos em revista internacional com arbitragem científica
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- Uma história por trás do discursoPublication . Wady, Juliana; Centro de Estudos de Sociologia e Estética Musical (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; Centro de Estudos de Sociologia e Estética Musical (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; Pereira, Ana Isabel; Maria Rodrigues, Paulo; Rodrigues, Paulo Jorge Ferreira; Broock, Angelita; Centro de Estudos de Sociologia e Estética Musical (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 de Sociologia e Estética Musical (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 de Sociologia e Estética Musical (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 de Sociologia e Estética Musical (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 de Sociologia e Estética Musical (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.
- Le myth de CallasPublication . Cachopo, João Pedro; Centro de Estudos de Sociologia e Estética Musical (CESEM - NOVA FCSH)In the Callas myth, the relationship between art and life is inescapable. Scholars have often sought to approach her personal journey and artist career “objectively” – that is, striving to disentangle Callas from the myths that surround her. This article focuses on three such scholars: American critic John Ardoin, French biographer René de Ceccatty and Italian musicologist Marco Beghelli. While their contributions are undeniably valuable, my goal is to highlight a common tendency in their work: an implicit association between Callas’s artistic excellence and her personal tragedy, which ultimately forms the core of the Callas myth. Marco Beghelli’s case is particularly revealing. After recognizing Callas’s role in reviving bel canto, expanding the conception of vocality beyond lyrical singing and setting new standards for operatic interpretation, Beghelli emphasises that her “genius” lies in her ability to erase herself as a subject, putting herself at the service of the “objectification of the score”. This praise for the self-effacement of the artist reinforces a sacrificial narrative surrounding Callas’s exceptionalism – one that is echoed by her epithet, “la divina”. This perspective is problematic because it perpetuates the idea that Callas’s greatness as an artist was inseparable from her tragic fate as a woman, as though her extraordinary artistic achievements were only made possible by her personal sacrifices, mirroring the fates of the heroines she portrayed on stage. Although escaping mythologisation altogether may be a futile endeavour, it is crucial to recognise that myth operates in various ways. The emphasis on Callas’s exceptionalism – the constant assertion that she was the greatest among the great – risks perpetuating the most troubling aspects of her adoration. As a counterpoint, I examine her portrayal in the 2023 exhibition Diva at the Victoria and Albert Museum in London. Without attempting to demythologise Callas, the exhibition effectively challenged the rhetoric of exceptionalism. Callas was granted a central role, bridging high art and pop culture, but she was placed
- Psychometric Properties of the Mindfulness in Teaching Scale in a Sample of Portuguese TeachersPublication . Barata-Gonçalves, Miguel; Pires, Luis; Carona, Carlos; Damas, Carlos A. M. de C. e; Coimbra, Daniela; Lima, Margarida Pedroso de; Frank, Jennifer L.; Oliveira, Albertina L.; Centro de Estudos de Sociologia e Estética Musical (CESEM - NOVA FCSH); Springer VerlagObjectives: In recent years, there has been an increasing interest in scientific research examining the impact of mindfulness on teacher well-being and its implications for education. Thus, it is vital to have psychometrically robust measures suitable for educational settings. The current study aimed to validate a Portuguese version of the Mindfulness in Teaching Scale (MTS-PT). Method: The MTS-PT was administered to a sample of teachers (n = 863), along with self-report measures and indicators of teacher well-being: job satisfaction, positive and negative affect, loneliness and positive solitude, self-compassion, and dispositional mindfulness. We examined the MTS-PT factorial validity, the reliability of its facets, convergent and divergent validity, factorial invariance, and assessed mean differences of its scores across teachers’ sociodemographic characteristics. Results: Confirmatory Factor Analysis supported the original 2-related-factor structure of the MTS distinguishing Teacher Intrapersonal Mindfulness and Teacher Interpersonal Mindfulness. This model was invariant across sex, teaching years and educational levels taught by the participating teachers. Inferential tests revealed that more experienced teachers reported higher levels of intrapersonal mindfulness while elementary school teachers reported higher levels of interpersonal mindfulness. Reliability values were adequate to good in both dimensions. The MTS-PT subscales correlated positively with teacher well-being indicators, and inversely with negative affect and loneliness. Conclusions: Overall, findings support the psychometric adequacy of the MTS-PT, suggesting that it is a reliable and valid self-report measure of teachers’ mindfulness. This instrument can bring relevant insights about teachers’ mindfulness facets and provide useful indications for the development and assessment of mindfulness-based interventions for teachers.
- Arte Barroco Luso-brasileñaPublication . Rocha, Luzia Aurora; Centro de Estudos de Sociologia e Estética Musical (CESEM - NOVA FCSH); Universidad Complutense de MadridEste artículo es una contribución inédita que analiza la relación entre la arquitectura barroca y la música, con especial énfasis en la capital portuguesa, Lisboa, y otras ciudades importantes del país (Coímbra, Guimarães y Torres Vedras). Además del estudio portugués, también se aplicarán fuentes iconográficas relacionadas con este tema en Bahía, Brasil, estableciendo así puentes entre los dos continentes. El artículo explora dos perspectivas dentro del tema de los espacios arquitectónicos y la música: a) la representación de espacios físicos reales, desde el Barroco hasta la actualidad; y b) la reproducción de imágenes europeas y/o la fantasía de los artistas aplicada a la arquitectura barroca, en la que la música también juega un papel predominante.