The creative process behind Dialogismos I: theoretical and technical considerations

This paper examines the aesthetic dimension and the technical realization of Dialogismos I, a piece for saxophone alto and electronics by the composer Nuno Peixoto de Pinho. The conceptual basis of the work relies on the notion of ‘intertextuality’ coined by the Bulgarian-French philosopher and literary critic Julia Kristeva, which was somehow transposed to the music domain by J. Peter Burkholder under the concept ‘musical borrowing’. The compositional problems raised by applying an intertextual musical thinking as a key driver of the composition were solved using two different approaches. The first approach was the manual selection of elements from several music works with different granularities to devise the overall structure of the work and to create the saxophone score. The second approach was applied to the realization of the electronic part and relied on concatenative sound synthesis as an algorithmic computer assisted composition method and a real-time synthesis technique.info:eu-repo/semantics/publishedVersio

An economic theory of religious belief

In this paper I consider how individuals allocate their time between church attendance (and other religious activities) and secular leisure activities. Moreover individuals use a cognitive style, which is either intuitive-believing or reflective-analytical. I assume that the full benefit from religious activities is achieved by intuitive believers. The model predicts that, ceteris paribus, wealthier individuals and individuals with higher cognitive ability are more likely to abandon the intuitive-believing cognitive style. They may continue to attend church but do so less frequently than intuitive believers. In general equilibrium, there exists a locally stable steady state where believing and frequent church attendance is widespread across the social strata. A sufficiently large negative shock (e.g. the Enlightenment, repeal of Sunday shopping laws), however, initiates the gradual secularization of society

A PERFORMANCE NARRATIVA DE UMA BLOGUEIRA: "TORNANDO-SE PRETA EM UM SEGUNDO NASCIMENTO"

A web 2.0 propicia aos sujeitos sociais a possibilidade de contar suas histórias assim como de vê-las discutidas em novas formas de interação. Este artigo almeja apresentar os posicionamentos interacionais que constroem a performance narrativa de co-construção de raça de uma mulher negra no blog "Eu, Mulher Preta". O estudo se ampara nos aportes teóricos dos novos letramentos digitais, na concepção de raça proposta pelas Teorias Queer e na teorização de narrativa como performance. Para analisar a narrativa da blogueira como performance, o quadro analítico se ancora no construto de posicionamento interacional e nas pistas que marcam tal posicionamento na encenação da performance. Os resultados indicam que a narradora se posiciona interacionalmente como mulher preta. Identificamos, porém, um posicionamento interacional anterior ao renascimento como negra: o de mulher "branc[a] meio suj[a]". Observamos ainda que tais posicionamentos refletem duas performances discursivas conflitantes, uma que se aproxima e valoriza a negritude e outra que se distancia de sua origem. Esta investigação, baseando-se nas Teorias Queer, possibilita, também, tratar a questão racial como um traço performativo, colocando-a ao lado de gênero e sexualidade

La musique électroacoustique en concert : vieux problèmes, nouvelles solutions

L’apparition des logiciels et matériels MIDI, l’intervention de l’ordinateur et la composition de musiques mixtes créent de nouveaux problèmes quant à la présentation de la musique électroacoustique en concert. L’auteur en propose un historique, puis décrit l’élargissement du rôle de l’interprète auquel on assiste actuellement.The appearance of MIDI software and materials, the intervention of the computer, and the composition of mixed media works create new problems for concert presentations of electroacoustic music. After a brief historical summary, the author describes a feature which is more and more in evidence: the ever-expanding role of the performer

MISAME

Recording of Bruce Pennycook's Speeches for Dr. Frankenstein performed by Laurel Miller. The piece is for soprano and computer-generated tape. it was commissioned through the Canada Council for the Arts by Nera Pilgrim (soprano) and Dexter Morrill of Colgate University. It is a setting of four of the ten stanzas of the poem by Margaret Atwood, Canada's leading female author. This work has recieved numerous performances by Ms. Pilgrim and other in Canada and the U.S. This recording is a live performance of Laural Miller at the 1981 International Computer Music Conference in Denton, Texas