Nos manuscritos que pertencem ao fundo musical de São Bento de Cástris, e que estão divididos entre o Arquivo Distrital e a Biblioteca Pública da cidade, estão representadas várias obras do padre Joaquim José da Rocha Espanca.
Nascido em 1839 e morto em 1896, é uma das figuras cimeiras da cultura calipolense, tendo estudado em Évora no Seminári…[Read more]

Abstract: Nas décadas entre a segunda metade do século XVIII e o início do século XIX, vários são os compositores ao serviço da capela da sé de Évora, seja enquanto compositores/músicos residentes seja enquanto compositores estrangeiros mas cuja obra era conhecida e praticada em Évora.
Évora foi palco, tal como o resto do país, de um processo…[Read more]

Comunicação integrante da palestra de abertura das XX Jornadas da Escola de Música de Sé de Évora – 05 de Outubro de 2017.

Esta comunicação pretende apresentar a missa para Santa Cecília do padre Joaquim José da Rocha Espanca, com data de 1869, enquanto exemplo da devoção e vivência espiritual no mosteiro de São Bento de Cástris durante o século XIX.
Apesar do decreto de extinção das ordens religiosas datar de 1834, S. Bento de Cástris só foi extinto em 18 de Abril d…[Read more]

Abstract:

O Compendio Musico de autoria de Manoel de Moraes Pedroso, natural de Miranda, foi impresso na segunda metade do século XVIII no Porto, e tem sido já alvo de alguns estudos dirigidos especificamente a esta obra.
Sendo constituído por quatro capítulos (Tratado de Cantoria, Tratado de Acompanhamento, Tratado do Contraponto e fin…[Read more]

Abstract da comunicação lida no VII Encontro Nacional de Investigação em Música – Braga, Novembro de 2017

During an interview, Andris Nelsons, music director of the Boston Symphony Orchestra, stated unequivocally that sexual harassment was not a problem in the world of classical music because, “If [people] could realize how important [music and art] are…I believe they would become better human beings.” The interview was in response to the recent sprea…[Read more]

Slides accompanying a panel representing the Pittsburgh Bicentennial Frankenstein project to build a digital scholarly variorum edition that updates, bridges, and intersects multiple divergent editions of Frankenstein, including the manuscript notebook drafts of 1816, the 1818, 1823, and 1831 print editions, as well as the handwritten notes in the…[Read more]

Little can be said about music during the last century without encountering the men and women who supported it financially. Pierre Bourdieu’s impression that the services rendered freely for the good of society reinforce a symbolic debt between giver and recipient complicates motivations behind patronage. Indeed, applying Bourdieu’s theory to alt…[Read more]

In a letter dated to 1960, Harry Partch describes living two lives simultaneously—one in modern America and another in ancient Greece. Furthermore, throughout his life, Partch exhibited striking dualities in both his music and personal life. Partch’s affinity for Greek themes and modalities in his music and musical theory is well known, but les…[Read more]

American musical theater occupies a unique space relative to other popular music genres. This is particularly true with regards to the ways aging performers are valued. Whereas aging or aged voices in popular music are often revered as “authentic,” aging musical theater performers face an industry largely uninvested in positive representations of…[Read more]

“To engage with CocoRosie requires absolute suspension of disbe- lief,” writes The Guardian. This has as much to do with their music as their appearance, for sisterly duo CocoRosie have embraced what they call a “posthuman kind of style” rooted in the dissolution of gender. In an effort to imagine a world beyond human constructions of gender,…[Read more]

Introduction to The Late Voice: Time, Age and Experience in Popular Music.

Popular music artists, as performers in the public eye, offer a privileged site for the witnessing and analysis of ageing and its mediation. The Late Voice undertakes such an analysis by considering issues of time, age, memory, innocence and experience in modern popular…[Read more]

This paper examines the aural conceptions of futuristic dystopias in episodes of The Twilight Zone, focusing on one specific episode, season five’s “Number Twelve Looks Just Like You.” I examine how the music director of CBS conceived of the future, aurally representing these episodes as having an affinity with the premise of Brave New World by re…[Read more]

Franz Waxman composed over 150 film scores, the most famous of which is Billy Wilder’s film noir Sunset Boulevard (1950). The film plot bears a striking resemblance to Rod Serling’s teleplay for The Twilight Zone, “The Sixteen-Millimeter Shrine” (1959). Waxman, composer of the film, was approached to compose a score for a television episode…[Read more]

This PowerPoint accompanies Ramala: An American “Indianist” Opera Musicological Lecture Concert (http://dx.doi.org/10.17613/M67K1J).

Ohio State University Opera & Lyric Theatre presents “Ramala”: https://www.youtube.com/watch?v=N6HEzeWw9SI Wednesday, November 1, 2017 – 7:30pm Weigel Auditorium Charles Wakefield Cadman, Francis La Flesche, and Nelle Richmond Eberhart began collaborating on this opera in 1908, at that time titled Daoma (sometimes spelled Da O Ma). In the 1930s,…[Read more]

‘Watch the sense and the sounds will take care of themselves’; so says the Duchess in Alice’s Adventures in Wonderland. But can we be so sure of this? The Duchess, like her creator Lewis Carroll, often seems to put more emphasis on the sound of words than their sense, a technique that can also be detected in other written texts and in works of so…[Read more]

An audio taster of my book The Sound of Nonsense. The taster includes samples of recordings of the work of some of the novelists, poets, musicians and performers who are used as case studies in the book. The taster is designed to both provide an overview of the subject matter of the book and to model one of the types of sonic nonsense discussed in…[Read more]

These are examples to go with http://dx.doi.org/10.17613/M64Z69. The handwritten examples existed only in hardcopy, so rather than simply scanning them, I redid them. Aside from a couple of clearly marked changes, they are the same as the 1981 versions.