Essay IX para trompete de Christopher Bochmann: a obra e a interpretação

RESUMO: Esta dissertação ocupa-se do percurso e da obra do compositor Christopher Bochmann, particularmente duma das obras de sua autoria, Essay IX para trompete solo. Esta pertence a um conjunto de dezasseis peças para instrumentos solo intituladas Essays, visando cada uma as características técnicas do instrumento a que se destina e obedecendo a uma série de sons, que assim contribui para definir a identidade de cada peça. Diretor de orquestra, pedagogo e compositor, Christopher Bochmann estudou em Inglaterra até aos dezasseis anos, alternando a sua vida como estudante entre Paris e Inglaterra durante dois anos. Em 1978, fixou-se no Brasil, onde lecionou as disciplinas de Harmonia, Contraponto e Análise Musical, tendo ali permanecido durante alguns anos até vir para Portugal. Aqui, lecionou na Escola Superior de Música de Lisboa, integrando actualmente o corpo docente do Departamento de Música da Universidade de Évora. Composto em 1993, Essay IX não foi escrito para nenhum trompetista em particular. Destinada à trompete solo, estrutura-se a partir da série de Fibonacci, que neste caso seria mais adequadamente chamada sequência de Fibonacci, visto que o Essay IX se organiza efetivamente segundo uma sequência, ou série de sons, e não segundo os princípios do serialismo atonal; ABSRACT: This dissertation refers to the path and work of composer Christopher Bochmann, especially focusing on his Essay IX for solo trumpet. This piece is part of a set of sixteen instrumental works named Essays, in which each of the respective instrument's characteristics is approached, as well as obeying a tonal series, thus contributing to define the identity of each of the pieces. A conductor, pedagogue and composer, Christopher Bochmann studied in England until he reached sixteen years of age. He continued to study in Paris, where he stayed for two years, and completing his studies with Richard Roney Bennet. In 1978, Bochmann moved to Brazil, where he taught courses on Harmony, Counterpoint and Musical Analysis, before coming to Portugal a few years after. In Portugal he taught at Escola Superior de Música e Educação de Lisboa and now integrates the teaching staff of the Universidade de Évora music department. Composed in 1993, Essay IX was not written for any trumpet player in particular. This work, conceived for solo trumpet, is structured according to the Fibonacci series, which in this case would be more adequately referred to as the Fibonacci sequence, since Essay IX is actually set up according to a sequence, or tonal course, and not according to the principles of atonal serialism

Photography-based taxonomy is inadequate, unnecessary, and potentially harmful for biological sciences

The question whether taxonomic descriptions naming new animal species without type specimen(s) deposited in collections should be accepted for publication by scientific journals and allowed by the Code has already been discussed in Zootaxa (Dubois & Nemésio 2007; Donegan 2008, 2009; Nemésio 2009a–b; Dubois 2009; Gentile & Snell 2009; Minelli 2009; Cianferoni & Bartolozzi 2016; Amorim et al. 2016). This question was again raised in a letter supported by 35 signatories published in the journal Nature (Pape et al. 2016) on 15 September 2016. On 25 September 2016, the following rebuttal (strictly limited to 300 words as per the editorial rules of Nature) was submitted to Nature, which on 18 October 2016 refused to publish it. As we think this problem is a very important one for zoological taxonomy, this text is published here exactly as submitted to Nature, followed by the list of the 493 taxonomists and collection-based researchers who signed it in the short time span from 20 September to 6 October 2016