Concert recording 2015-04-05

[Track 01]. Corcovado / Antonio Carlos Jobim -- [Track 02]. One note samba / Antonio Carlos Jobim -- [Track 03]. Nuages / Django Reinhardt -- [Track 04]. Bok choy / Felipe Antonio & Baron Lyle -- [Track 05]. Limehouse blues / Philip Braham & Douglas Furber

Princípios da Identidade e da Harmonia Idiomática de António Carlos Jobim

Este artigo tem como objetivo demonstrar que os processos de cifragem utilizados pelo compositor brasileiro Antonio Carlos Jobim (Tom Jobim) estavam muitas vezes ligados à sonoridade almejada por ele e não apenas à facilitação de leitura para os intérpretes, apontando assim questões de uma identidade pessoal artística. Acreditamos que tal abordagem, no que concerne à harmonia, pode contribuir para futuras investigações, bem como para uma melhor compreensão da obra e do processo criativo desse que foi um dos mais importantes compositores de música popular do século XX. Os exemplos foram extraídos das canções Corcovado (Tom Jobim), Por toda a minha vida (Tom Jobim e Vinicius de Moraes), Por causa de você (Tom Jobim e Dolores Duran), Dindi (Tom Jobim e Aloysio de Oliveira), Brigas nunca mais (Tom Jobim e Vinicius de Moraes), Ela é carioca (Tom Jobim e Vinicius de Moraes) e Caminhos cruzados (Tom Jobim e Newton Mendonça), tendo como referência as publicações Songbook Tom Jobim editado por Chediak, e Cancioneiro Jobim, conceibido por Tom e Paulo Jobim, além dos manuscritos e das gravações originais do compositor. No tocante à análise harmónica, os procedimentos e a metodologia têm como referência a cifragem analítica adotada por Guest

Starling studio recital

Joseph Edouard BaratClaude DebussyFrancis PoulencErnesto CavalliniGeorge GershwinBernhard Crusell, arr. Bela KovacsAntonio Carlos Jobim, arr. Thomas Labador

Chris Stover's helical ensemble

Chris StoverAntonio Carlos Jobim & Chico Buarque, arr. Chris Stove

Aspetos da harmonia idiomática de Antonio Carlos Jobim: uma abordagem a partir dos processos de cifragem

Esta tese tem como objetivo evidenciar aspetos relevantes da harmonia idiomática do compositor brasileiro Antonio Carlos Jobim (Tom Jobim), a partir da abordagem de trechos de canções deveras representativas e a ter como referência os processos de cifragem adotados por ele. A abordagem a partir de tais processos se mostrou eficaz durante a investigação, por meio da constatação de que a utilização (e/ou a substituição) de determinadas cifras, por parte de Tom Jobim, ao que tudo indica, tinha como propósito melhor definir a sonoridade almejada por ele e não apenas contribuir para a facilitação de leitura, como costuma ocorrer. Os exemplos musicais foram extraídos das publicações Songbook Tom Jobim (Chediak, 1990) e Cancioneiro Jobim (Jobim, Paulo et al. (Org.), 2000, 2001, 2002, 2007a, 2007b, 2007c), bem como dos manuscritos que constam do portal do Instituto Antonio Carlos Jobim e das gravações originais do compositor e/ou de seus principais intérpretes. No tocante à análise harmónica, os procedimentos e a metodologia adotados têm como referência a cifragem analítica (Chediak, 1986; Guest, 2006; Nettles & Ulanowsky, 1987); ABSTRACT: ASPECTS OF IDIOMATIC HARMONY BY ANTONIO CARLOS JOBIM: An approach from the chord symbols processes This thesis aims to highlight relevant aspects of the idiomatic harmony of the Brazilian composer Antonio Carlos Jobim (Tom Jobim), from the approach of excerpts from truly representative songs and having as a reference the chord symbols adopted by him. The approach based on such processes proved to be effective during the investigation, through the observation that the use (and/or substitution) of certain chord symbols, by Tom Jobim, apparently had the purpose of better defining the sound desired by him and not just contribute to the facilitation of reading, as usually happens. The musical exemples were taken from the publications Songbook Tom Jobim (Chediak, 1990) and Cancioneiro Jobim (Jobim, Paulo et al. (Org.), 2000, 2001, 2002, 2007a, 2007b, 2007c), as well as the manuscripts that appear on the portal from the Instituto Antonio Carlos Jobim and the original recordings of the composer and/or his main performers. Regarding harmonic analysis, the procedures and the methodology are based on Guest (2006), Chediak (1986) and Nettles & Ulanowsky (1987)

Deciphering intra-species bacterial diversity using gyrB amplicon sequencing

Présentation le 4 juillet 2019Deciphering intra-species bacterial diversity using [i]gyrB[/i] amplicon sequencing. JOBIM 2019.

Boston University Jazz Lab Band, May 2, 1989

This is the concert program of the Boston University Jazz Lab Band performance on Tuesday, May 2, 1989 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue. Works performed were Strike Up The Band by George Gershwin, arranged by Sammy Nestico, Wave by Carlos Jobim, arranged by Craig Gilchrist, I Got It Bad and That Ain't Good by Duke Ellington, arranged by Phil Wilson, Smile by Carl Perkinson, arranged by Ben Boone, Cottontail by D. Ellington, arranged by John LaBarbera, Summertime by G. Gershwin, arranged by John Berry, and Basie Straight Ahead by Sammy Nestico. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Tom Roli Big Band, Boston University Jazz Combo and Boston University Jazz Ensemble, April 22, 1991

This is the concert program of Tom Roli Big Band, Boston University Jazz Combo and Boston University Jazz Ensemble performance on Monday, April 22, 1991 at 8:00 p.m., at the Boston University Concert Hall, 855 Commonwealth Avenue, Boston, Massachusetts. Works performed were It's a Minor Observation and Friends Remembered by Tom Roli, Jr., T.O. by Rob McConnell, Valdez in the Country by Donny Hathaway, Girl from Ipanema by A.C. Jobim, Afro Blue by Mongo Santamaria, Dat Dere by Timmons/Taylor, Blue in Hoss Flat arranged by Mark Taylor, A Minor Excursion by David Caffey, and Blues in the Night by H. Arlem arranged by Hooper. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Boston University Brass Ensembles

This is the concert program of the Boston University Brass Ensembles performance on Tuesday, November 12, 1996 at 8:00 p.m., at Marsh Chapel, 725 Commonwealth Avenue. Works performed were Eine kleine Nachtmusik, K. 425 by Wolfgang Amadeus Mozart, Adagio by Samuel Barber, In Mournful Mood by Jean Sibelius, Prelude and Fugue in A minor by Johann Sebastian Bach, Echo Song (arr. Hyde) by Orlando di Lasso, Acheved is the Glorious Work by Franz Joseph Haydn, Christus Factus Est by Anton Bruckner, Quartet by Leslie Bassett, Arioso by Johann Sebastian Bach, The Easy Winners by Scott Joplin, and No More Blues (arr. Scharnberg) by Antonie Carlos Jobim. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund