[Clifford Korman]

MÚSICA POPULAR EM REVISTA/POPULAR MUSIC IN REVIEW
CALL FOR SUBMISSIONS 2020. For the year 2020, Música Popular em Revista/Popular Music in Review invites researchers to submit articles, reviews, interviews or translations which treat two general themes: Instrumental Music, coordinated by guest editors Maria Beatriz Cyrino Moreira (UNILA) e Thaís Lima Nicodemo (UNICAMP), and Musical Improvisation, coordinated by guest editors Cliff Korman (UNIRIO) e Fabiano Araújo Costa (UFES). To ensure publication in 2020, submissions must be received on or before 15 September 2020.
Guidelines specific to each theme follow below:
Instrumental Music
Guest editors: Maria Beatriz Cyrino Moreira (UNILA) and Thaís Lima Nicodemo (UNICAMP) The term “instrumental music” acquires specific contours and definitions when considered from the point of view of popular expressions. Its multiplicity of manifestations in distinct geographic and social territories promotes intercultural exchange, stimulating processes of musical production which propose and prioritize the role of the musician-instrumentalist as an agent of esthetic transformation, and which in turn renders untenable the distinction between composer and interpreter.
Recent Brazilian musicological study and research which considers the universe of instrumental music tends to gravitate around specific identifiable themes. Amongst them we highlight work related to the genre choro, which include considerations of its emergence in the late 19th century and its subsequent evolution and development until the present day; history and performance practice of individuals and groups active in the genre samba-jazz in the period post-bossa nova; and work created in the decades post-1970s, when the category “Brazilian Instrumental Music” is definitively recognized by the academic community. The artists Egberto Gismonti e Hermeto Paschoal are consolidated as representatives of new and modernizing perspectives, in which the notions of national, international and regional acquire new significances. In this process, technological developments in recording and reproduction techniques in diverse dimensions and their impact on the esthetic developments of the genre beyond its international repercussions should be considered.
In consideration of this panorama, this call seeks reflections on the esthetic peculiarities of popular instrumental music, encouraging analyses which consider the composers, arrangers and performers, theoretical aspects, technical and expressive attributes which are presented by or demanded by its participants, the forms in which knowledge and performance practices are communicated and exchanged, and the relationships between its production, circulation, consumption and reception. Accordingly, we hope for submissions which contemplate themes including:
Instrumental music: history, production, and language
Composition and arranging in instrumental music
Problematizing written, oral and audiotactile (recorded) modes in instrumental music
Technical and stylistic aspects in the performance of instrumental music
The impact of the recording industry and/or digital means of manufacturing and circulation on the production of instrumental music
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Musical Improvisation
Guest editors: Cliff Korman (UNIRIO), Fabiano Araújo Costa (UFES) In order to continue the broad debate raised at the Symposium on Musical Improvisation held at the XXIX ANPPOM Congress, in Pelotas (2019), we invite authors to submit works for the present issue of Música Popular em Revista that address musical improvisation from the perspective of several prisms and disciplines, among them: performance, composition, spontaneity, culture, individuality, community, communication, tradition, transgression, language and idiom, circulation networks and global transmission of practices and concepts, freedom, game-playing, ethics and philosophy.
To provide context, we consider intellectual and artistic trends of the mid 1980s, when improvisation and its multiple aspects in cultures, arts and human practices in general began to emerge as a privileged object of investigation and study in several academic areas including performance, musicology, theater, psychology, philosophy, aesthetics, sociology, anthropology, robotics and neurosciences. The 1980s and 1990s were in turn decisive for problematizing the theme, benefiting from the contributions of Jeff Pressing in the field of cognitive sciences (PRESSING 1984, 1988), and works organized in the field of ethnomusicology (LORTAT-JACOB 1987 and NETTL 1998) which provided theoretical bases of reference. After the turn of the century, these activities intensified even further, reaching the point at which the theme could be considered as a consolidated field of study in itself.
The relevance of this theme, previously the object of joint interest of the main international musicology associations at the Conference which in November 2012 brought together the American Musicological Society – AMS, the Society for Ethnomusicology – SEM and the Society for Music Theory – SMT, is clearly demonstrated in this second decade of the 21st Century, especially when it concerns the perception of the problem from the perspective of musicology produced in Brazil.
Evidence of this is made clear by a review of the extensive literature produced by international and Brazilian university institutes and departments, which has increasingly included inter- and trans-disciplinary approaches to the elaboration and problematization of topics related to improvisation.
Specific examples are the International Institute for Critical Studies in Improvisation and the Improvisation, Community, and Social Practice project, based at the University of Guelph (Canada); the Rhythm Changes project in Europe, and in Brazil, the publications of Rogerio Costa (ECAUSP) and Manuel Falleiros (UNICAMP), and the various and diverse research groups registered with CNPq whose main focus is improvisation. We also note the studies on aspects of improvisation in an anthropological, media-logical and cognitive key, stimulated by Vincenzo Caporaletti\’s audiotactile paradigm implemented in Italy (Conservatoire of Rome; Universidad di Macerata), France (Université Toulouse Jean-Jaurès; Sorbonne Université), and in Brazil (eMMa / UFES – Nucleus of Studies in Music and Audiotactile Musicology), in addition to the creation of CRIJMA – Center de Recherche International sur le Jazz et les Musiques Audiotactiles/International Center for Research on Jazz and Audiotactile Music (IReMus/CNRS/Sorbonne), involving researchers from these three countries.We seek submissions that contemplate themes including:
– Improvisation, community and society
– Free improvisation
– Improvisation and audiotactile music
– The global circulation of improvised music practices
– Stylistic aspects of improvisation in popular music
– Pedagogy and learning of improvisation in jazz and popular music
– The impact of the phonographic industry and/or digital means of production and circulation on musical improvisation practices
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Reminder: Popular Music in Review receives submissions on a rolling basis on a wide variety of themes related to popular music, in Portuguese, Spanish, and English.  We reiterate our invitation to authors with works focused on popular music to submit their productions to our journal. LINK HERE FOR SITE
https://econtents.bc.unicamp.br/inpec/index.php/muspop/issue/view/647

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