Structuring processes through the listening of electroacustic music

Orientadores: Denise Hortencia Lopes Garcia, Rodolfo CaesarDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de ArtesResumo: Este trabalho nasceu com o intuito de coletar ferramentas que permitissem descrever experiências relativas à escuta de música eletroacústica, esta considerada segundo a perspectiva da música concreta como colocada em 1948 por Pierre Schaeffer. Assim, o trabalho se constitui em um percurso crítico através de uma leitura particular do Traité des objets musicaux (Schaeffer, 1966) e de outros escritos de dois de seus discípulos, a saber, de Denis Smalley e de Michel Chion. A questão principal que atravessa esse percurso discute a existência de um sistema referencial para a descrição e a análise de experiências de escuta musicaisAbstract: This work was born out of the need for tools for the description of listening experiences of electroacoustic music, this genre considered from the perspective of musique concrète as elaborated by Pierre Schaeffer in 1948. For this purpose, this research comprises a critical reading of the Traité des objets musicaux (Schaeffer, 1966) and of other more recent works by his followers Denis Smalley and Michel Chion. The very problem which I engage discusses the existence of a referential system as a means for describing and analysing listening experiencesMestradoMestre em Músic

‘We want Artists to be Fully and Fairly Paid for their Work’: Discourses on Fairness in the Neoliberal European Copyright Reform

Elaborating on the President of the European Commission Jean-Claude Juncker’s agenda, EC Vice-President and Commissioner for the Digital Single Market Andrus Ansip wrote on his blog on 18th November 2015, “we want artists to be fully and fairly paid for their work”—the phrase that serves as the title to this article and that has reappeared in different guises throughout the process of EU copyright reform. By examining a case study on the Fair Internet for Performers Campaign—a campaign advanced in the context of the ongoing European copyright reform—I shed light on the powerful discourses on fairness that have dominated and shaped the reform process. Using discourse analysis, I found the concept of fairness to be mostly dependent on the stakeholders’ relative bargaining power and framed by hegemonic neo-liberal thought. Drawing on interviews, fieldwork, media, and the documentation produced by the European Union’s government throughout the process, the case study also illustrates the contested nature of copyright reform today

PROCESSOS DE ESTRUTURAÇÃO COMO FERRAMENTA PARA A ANÁLISE DE MÚSICA ELETROACÚSTICA

Este trabalho nasceu com o intuito de coletar ferramentas para a análise de música eletroacústica, considerada segundo a perspectiva da música concreta desse imaginário musical, o artigo discute o uso dos processos de estruturação como ferramenta analítica.Palavras-chave: música eletroacústica, análise, processos de estruturação

La circularidad en aura, La ópera de Mario Lavista

This article deals with the imagery associated to the creation of Aura, the first opera of the Mexican composer Mario Lavista. In that context, the paper comprises some important moments in the composer’s artistic career, a discussion about the plot and the corresponding musical analysis. The circularity, a recurrent trait in the composer’s work, encourages the conclusive hypothesis.Trátase a través de este artículo de entender el imaginario asociado a la creación de Aura, la primera ópera del compositor mexicano Mario Lavista. Dentro de ese marco, el texto recorre algunos momentos culminantes de la carrera artística del compositor, discute el relato homónimo que da pie al libreto y explica el análisis musical correspondiente. La circularidad, una continua recurrencia en la obra del compositor propicia el planteamiento concluyente

Recording classical music : LSO live and the transforming record industry

My doctoral research explores the values of classical music through its recording practices. I define recording practices broadly, including-but not limiting them to- engineers' recording techniques, current marketing strategies and the management of rights. The recent transformations of the record industry, with the shift from physical discs to digital downloads, the reduction in production and distribution costs, and the subsequent change in consumption patterns and accompanying legislation, provide an exceptionally rich arena for this discussion. The ongoing success of the London Symphony Orchestra's young label, LSO Live, is a case in point as it highlights the many features that intervene in music-making and reception, shaping the practices and perception of music in unpredictable ways. Based on fieldwork with the LSO, I trace the spaces where the values of classical music are negotiated on a daily basis. The time is the 2007/2008 season, when the orchestra, conducted by Valery Gergiev, performed and recorded all Mahler symphonies. The creation of LSO Live is explored through observation of and interviews with members of staff, musicians and recordists, who explained their experiences of setting up the label and its impact on their respective professional practices. The accounts bring into the picture their idea of classical music with considerations ranging from performance and listening practices, recording technologies, marketing strategies and current developments in copyright law. Further, I join debates on the artwork concept reflecting upon its role in mediating, sanctioning and perpetuating the values of classical music in its recorded form. Finally, I address musicology's traditional conceptualisation of music and, in particular, its slow engagement with the record industry's developments affecting the production of classical music. In so doing, I discuss the potential of this type of trans-disciplinary study to impact on the reconfiguration of the broader field of music studies and the record industry more widely.EThOS - Electronic Theses Online ServiceGBUnited Kingdo

La circularidad en aura, La ópera de Mario Lavista

This article deals with the imagery associated to the creation of Aura, the first opera of the Mexican composer Mario Lavista. In that context, the paper comprises some important moments in the composer’s artistic career, a discussion about the plot and the corresponding musical analysis. The circularity, a recurrent trait in the composer’s work, encourages the conclusive hypothesis.Trátase a través de este artículo de entender el imaginario asociado a la creación de Aura, la primera ópera del compositor mexicano Mario Lavista. Dentro de ese marco, el texto recorre algunos momentos culminantes de la carrera artística del compositor, discute el relato homónimo que da pie al libreto y explica el análisis musical correspondiente. La circularidad, una continua recurrencia en la obra del compositor propicia el planteamiento concluyente

La circularidad en aura, la ópera de Mario Lavista

This article deals with the imagery associated to the creation of Aura, the first opera of the Mexican composer Mario Lavista. In that context, the paper comprises some important moments in the composer’s artistic career, a discussion about the plot and the corresponding musical analysis. The circularity, a recurrent trait in the composer’s work, encourages the conclusive hypothesisTrátase a través de este artículo de entender el imaginario asociado a la creación de Aura, la primera ópera del compositor mexicano Mario Lavista. Dentro de ese marco, el texto recorre algunos momentos culminantes de la carrera artística del compositor, discute el relato homónimo que da pie al libreto y explica el análisis musical correspondiente. La circularidad, una continua recurrencia en la obra del compositor propicia el planteamiento concluyente

Lifespan Initiative for the Research and Data Archive Repository

Turning the Lifespan Collection (LC) into a digitally searchable and accessible collection for secondary analysis is a project that has long been overdue. The LC can be seen as the last and arguably the most ambitious initiative that arose from a longer tradition of using life history approaches and socio-historical contexts to understand psychosocial risks for psychiatric disorder in the community. It includes an intergenerational sample of almost 600 family members selected through members living in North London in the 1990s, who gave their life stories from childhood to the present day in audio-taped interviews. In addition to the specific research interests of the original projects, the collection now represents a highly interdisciplinary resource, with potential for use across the humanities and the social and health sciences