[ANPPOM-Lista] Número especial sobre Music and Shape - Empirical Musicology Review

[Martha Ulhôa]

Prezados, é bem capaz que o Palombini já avisou sobre esta publicação, mas
ao procurar saber quem está na editoria do Empirical Musicology Review me
dei conta de que o volume de 2013 foi dedicado a um projeto o qual
acompanhei em parte (apesar de não entender ainda--vou ler os artigos, quem
sabe agora entendo). Gostei mais ainda do EMR ao ficar sabendo que o
periódico aderiu ao sistema de arquivos abertos! Nada mais frustante que
escrever um artigo para um periódico, receber um único exemplar e saber que
há que se esperar 3 anos para poder disponibiliza-lo online...
Lá vai:

*Empirical Musicology Review* (*EMR*) aims to provide an international
forum promoting the understanding of music in all of its facets.


Special Issue on Music and Shape

Editors: DANIEL LEECH-WILKINSON and MATS B. KÜSSNER,

King’s College London



http://libeas01.it.ohio-state.edu/ojs/index.php/EMR/issue/view/109/showToc

http://libeas01.it.ohio-state.edu/ojs/index.php/EMR/issue/view/110/showToc

http://libeas01.it.ohio-state.edu/ojs/index.php/EMR/issue/view/111/showToc



‘Shaping Music in Performance’ grew out of the observation that performers
habitually use the concept of shape when talking about the process of
generating expressive performances. One of the project’s early studies, by
Helen Prior, showed that 90% of participants (231 musicians at various
levels of expertise from 31 countries) used the concept of shape when
thinking about how to perform music and 80% when talking to others about
how to perform. A majority used shape in relation to notes, rhythms,
melodic lines and patterns, harmonic patterns, loudness, tempo, phrases,
movements and whole pieces, bodily gestures in relation to performance,
expressivity, meaning, narrative, tension, mood, feeling and emotion, and
images conjured up by music. Clearly a word that fulfilled so many roles
for musicians, despite being drawn from a different domain than sound, had
something to teach us about musical response. The fact that on the face of
it sound and shape, in everyday life, appear to be unrelated only made it
more intriguing.

The nine target articles are grouped – rather loosely – into three broader
themes. In Pedagogy and Performance the reader is invited to explore the
relationship between the shape of gestures and sonic events in vocal
lessons of South Indian Karnatak music; the use of musical shaping gestures
in rehearsal talk by performers with different levels of hearing
impairment; and what it means for professional DJs to shape a set on their
turntables.

In Motion Shapes the reader is invited to discover how motiongrams can be
used to sonify the shape of human body motion; how pianists’ shapes of
motion patterns embody musical structure; and how mathematical techniques
can be used to quantify shapes of real-time visualizations of sound and
music.

In Perception and Theory the reader is invited to learn about
cross-cultural representations of musical shapes from the UK, Japan and
Papua New Guinea; the evolutionary origins of tonality as a system for the
dynamic shaping of affect; and how shaping and coshaping of ‘forms of
vitality’ in music gives rise to aesthetic experience.
-- 
Martha Tupinambá de Ulhôa
Instituto Villa-Lobos - UNIRIO
+55 21 2287-3775 / cel: +55 21 99993-3775

http://lattes.cnpq.br/5378800627543781
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