http://hdl.handle.net/10174/1841 2026-03-26T02:48:35Z 2026-03-26T02:48:35Z Lopes, Eduardo http://hdl.handle.net/10174/9359 2014-01-08T12:31:46Z 2013-04-30T23:00:00Z

Title: A BATERIA: do Jazz para o mundo e para a academia Authors: Lopes, Eduardo Abstract: Este artigo apresenta investigação em curso sobre o aparecimento e desenvolvimento de um dos mais celebrados e aclamados instrumentos musicais do Séc. XX – a Bateria. Desde a sua génese como instrumento de multi-percussão no final do Séc. XIX, a associação da Bateria ao emergente e mediático estilo musical Jazz, imediatamente a posicionaram num trajecto para a notoriedade mundial. No escasso período das primeiras duas décadas do Séc. XX, inovações de ordem tecnológica de algumas das suas partes constituintes, caminhando a par da própria evolução do Jazz, acabaram por moldar o instrumento como hoje o conhecemos. O interesse neste novo instrumento imediatamente transbordou do Jazz para outras estéticas musicais. Para além de compositores de música da tradição europeia começarem a incluir a Bateria (ou um set-up similar) em algumas das suas peças, outros géneros musicais emergentes no Séc. XX - juntamente com estilos folclóricos - adoptaram a Bateria nas suas práticas. A sua crescente popularidade, levou a partir de meados do Séc. XX a que Bateria integrasse programas de estudo em escolas norte-americanas. Umas décadas mais tarde seguiu-se a sua integração em muitas escolas europeias e mais recentemente Portugal. Assim, questões históricas, de composição e género musical, irão ser abordadas nesta palestra de forma a traçar a evolução da Bateria e de algumas das suas práticas de interpretação e metodologias de ensino.

2013-04-30T23:00:00Z Gibson, Benoît http://hdl.handle.net/10174/8831 2013-10-11T10:00:59Z 2012-02-21T00:00:00Z

Title: Bohor (1962) de Iannis Xenakis Authors: Gibson, Benoît Abstract: This presentation is the first draft of an analysis Xenakis' electroacoustic piece Bohor (1962). Relying on music examples, graphic representations and documents found in the Xenakis Archives held at the Bibliothèque nationale de France, it shows how Xenakis conceived and developed the ideas of continuity and spatialization in the piece.

2012-02-21T00:00:00Z Gibson, Benoît http://hdl.handle.net/10174/8830 2013-10-11T09:58:22Z 2011-11-04T00:00:00Z

Title: Eridanos by Iannis Xenakis: An Analytical Approach Authors: Gibson, Benoît Abstract: Eridanos (1972) for orchestra was composed after a period of intense theoretical concerns which culminated in the publication of the first English edition of Formalized Music (1971). If at the beginning of 1970s Xenakis' compositional methods were influenced by his new proposals in microsound structure, in Eridanos, the composer sought new theoretical grounds. From the notes to the score we know that he was inspired by the "construction of organisms in the image of polynucleotide genetic chains." Relying on many music examples, graphic representations of the score and written documents found in the Xenakis Archives held at the Bibliothèque nationale de France, this presentation shows how Xenakis incorporates and treats these ideas in his music. It also demonstrates the particularity of Eridanos in terms of Xenakis's own trajectory.

2011-11-04T00:00:00Z Lopes, Eduardo Muscarella, Susan http://hdl.handle.net/10174/7410 2013-01-17T16:50:56Z 2012-09-30T23:00:00Z

Title: THE PERFORMER INDIVIDUALITY IN THE JAZZ PIANO TRIO: The triangle analogy Authors: Lopes, Eduardo; Muscarella, Susan Abstract: The jazz piano trio, the incomparable music unit comprising piano, bass and drums, made its entrance into the jazz realm shortly before the second half of the twentieth century. An imposing presence well into the twenty-first century, this unique instrumental triumvirate continues to play two pivotal roles: (1) it makes an indelible artistic mark as a stand-alone unit and, (2) serves as the underpinning or ‘the rhythm section’ of the larger jazz ensemble. In this paper we will discuss the paradigm shifts in the twentieth century jazz piano trio through the artistry of Bud Powell, Bill Evans, and Keith Jarrett, illustrating why this unit in particular has emerged to become one of the most stalwart albeit consummate units in the jazz province. Through the historical timeline that these seminal jazz trios generate, we will look into issues of democratization in improvisation. From an analytical point of view, we will assess the weight of each player’s improvisation in the unit, through a conceptual analogy of the jazz piano trio and the simplest but strongest two-dimensional polygon - the triangle. Using the triangle analogy as a theoretical construct, we will be able to analyze each player’s improvisation stamp and its impact on the unit, as well the synergism transfer regarding the improvisation momentum among the members. Also, and at a deeper conceptual level, we will present how the triangle analogy is able to present analytical information regarding improvisation structures (e.g. melody, harmony, rhythm) in the various sub-forms of instrumentation that usually arise within the trio; playing solo and in duo, such as: PB, PD, BD. Using an analytical theoretical construct based on the geometric form of the triangle, we will present analytical data on the democratic condition at work within the trio improvisation sections, as well as how each member organize the solos as the trio comes together to produce the highest possible artistic result.

2012-09-30T23:00:00Z