Tempo最新文献

{"title":"Augusto dos Anjos: o poeta--patrimônio da Atenas Mineira","authors":"Leonardo Gonçalves Ferreira, Letícia Julião","doi":"10.1590/tem-1980-542x2023v290304","DOIUrl":"https://doi.org/10.1590/tem-1980-542x2023v290304","url":null,"abstract":"Resumo: O artigo analisa o processo de apropriação simbólica de Augusto dos Anjos pela cidade de Leopoldina (MG), onde passou seus últimos cinco meses de vida. Durante os mais de cem anos desde sua morte, uma série de ações tem reiterado o reconhecimento do poeta como patrimônio municipal. Busca-se compreender tal fenômeno a partir da trajetória de Augusto dos Anjos, do seu nascimento, no Engenho Pau-d’Arco, na Paraíba, em 1884, à sua morte, em Leopoldina, em 1914 e do lugar ocupado pela cidade no cenário sociocultural, político e econômico mineiro, entre o final do século XIX e meados do século XX, e que conferiu ao município o epíteto de Atenas Mineira. A pesquisa se valeu de fontes bibliográficas e documentais, o que permitiu compreender os principais marcos da imortalização do poeta empreendidos em Leopoldina, e as ações que buscaram estabelecer uma memória vinculante entre o ele e a cidade.","PeriodicalId":22355,"journal":{"name":"Tempo","volume":"59 5","pages":""},"PeriodicalIF":0.7,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138993851","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Para “livrar-se solto do crime”: as cartas de seguro na América portuguesa (meados do século XVIII a inícios do XIX)","authors":"Andréa Slemian","doi":"10.1590/tem-1980-542x2023v290307","DOIUrl":"https://doi.org/10.1590/tem-1980-542x2023v290307","url":null,"abstract":"Resumo: O tema do artigo são as cartas de seguros, provisões concedidas em nome do rei para que uma ou mais pessoas pudessem se livrar da prisão antes da decisão final acerca do crime supostamente cometido. Tomamos aqui o conjunto daquelas concedidas pelo Tribunal da Relação do Rio de Janeiro entre os anos de 1753 e 1808, em número de 1.603 provisões. Primeiramente, apresentamos como as cartas de seguro eram concebidas a partir da doutrina jurídica e, em seguida, como tramitavam pelo Tribunal da Relação. Nossa hipótese é que elas eram muito difundidas na cultura jurídica da época, também por vários setores sociais, bem como que estavam muitas vezes associadas a formas mais expeditas de resolução de litígios; o que nos permite questionar um certo silenciamento sobre a história das mesmas no Brasil.","PeriodicalId":22355,"journal":{"name":"Tempo","volume":"311 1","pages":""},"PeriodicalIF":0.7,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139021957","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Violence and criminality: two modalities found in the context of the Colombian armed conflict","authors":"Yennesit Palacios Valencia, Ignacio García Marín","doi":"10.1590/tem-1980-542x2023v290311","DOIUrl":"https://doi.org/10.1590/tem-1980-542x2023v290311","url":null,"abstract":"Abstract: Colombia is among the countries with the highest levels of violence and crime in the world, despite the peace agreements between the State and different armed groups, including the FARC. This is partly due to the fact that the Colombian case is complex and multifaceted because of the variety of participants in the armed conflict context and due to the mutation of new actors, under the modality of organized crime. Based on the above, the objective is to study the Colombian reality, contextually and diachronically, from theoretical and epistemological elements to demonstrate how violence and criminality factors intersect in the context of the armed conflict. The study concludes, among other findings, that in Colombia the ambiguity and the multiplicity of terms used to name the emerging criminal groups presents a legal problem because of their hybrid composition and regarding their treatment within or outside of the armed conflict.","PeriodicalId":22355,"journal":{"name":"Tempo","volume":"280 ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139021253","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"MaerzMusik 2023, Berlin, Germany, 17–26 March.","authors":"Thierry Tidrow","doi":"10.1017/S0040298223000542","DOIUrl":"https://doi.org/10.1017/S0040298223000542","url":null,"abstract":"","PeriodicalId":22355,"journal":{"name":"Tempo","volume":"77 1","pages":"116 - 117"},"PeriodicalIF":0.7,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43372531","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Matthias Kranebitter","authors":"A. Martínez","doi":"10.1017/S0040298223000517","DOIUrl":"https://doi.org/10.1017/S0040298223000517","url":null,"abstract":"not produced) through the recording method: a single Zoom microphone in one of central London’s churches; as a result, there is an immediacy to this track. The distance between listener and players – something not convincingly replicable through DAWs – places one in St Giles’ Cripplegate, and one has the sense of what it might be like to hear Lonsdale’s music live in a fitting acoustic. The natural reverb captured through this single microphone does well to organically blend the timbres, particularly when the piece waxes at 9’30”. However, the trade-off for this method of ‘haze production’ is a loss of the detail that feels important to the ambiguities Lonsdale is working with and which Apartment House and recording engineer Simon Reynell captured so beautifully. That said, this commitment to uncertainty, even within the title track of an album, is commendable. The recording style leads me to imagine how Clear and Hazy Moons might be extremely effective as a spatialised, performed installation (indeed, this might be said for any of the pieces on the album), capitalising on the possible ethers created by Lonsdale’s music, made particularly apparent here by the slow fade-out, which allows the ensemble to artfully sink into the ambience of the recording space. The disc closes with the fullest and longest piece on the album, Anatomy of Joy. At first glance, this musical stature and seemingly uplifting title might seem assertive, but there is a loss of Lonsdale’s compositional voice. The feeling of ‘joy’ being alluded to here detracts from the nuance and novelty of expression in the previous three pieces. The loosely would-be-poignant atmosphere feels empty, like it might accompany a generic montage sequence in a romantic drama. Where Lonsdale excels in the previous pieces is in writing music that balances doing something alongside composing stasis through repetition. Anatomy of Joy only does the latter, which, make no mistake, is both graceful and pleasant, particularly in his use of the double bass low pizzicato at 19’00”. But having heard what the composer can do elsewhere – that is, write really rather stunning music – I can’t help but feel a little let down: musical moons irregularly wax and wane, but not in a way that beguiles me. When using this sort of sound palette and these structures, as is not uncommon for emerging composers, it is very easy to write nice music, but considerably harder to write distinctive music. Long, slow and fragile sounds can conceal questions of craft because, well, they sound nice. However, what Lonsdale does over the course of Clear and Hazy Moons is arrange this idiom in a way that is continuously compelling and his own: there is nuance to each of the four eclipsing realms, which is deftly paced to encompass and cradle listeners. Certainly, then, Lonsdale is a composer to watch.","PeriodicalId":22355,"journal":{"name":"Tempo","volume":"77 1","pages":"125 - 127"},"PeriodicalIF":0.7,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43530721","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Alex Paxton","authors":"Alex Huddleston","doi":"10.1017/S0040298223000499","DOIUrl":"https://doi.org/10.1017/S0040298223000499","url":null,"abstract":"and Deforce’s increasingly agitated playing captures, with genuinely affective power, the passivity of interstellar space and the collapse of fundamental particles. In the final section, ‘Return to Earth in Holography’, warped electronic reverberations serve as the holographic projections referred to above, a reality somehow more real than the cello physically in front of us. Ultimately, while speculative astrophysics is Parra’s chosen terrain, his subject is humanity – both its limits and its possibilities. In Hypermusic Prologue this took the form of a love story across different dimensions of the universe; in Caressant l’Horizon it was the heroic encounter with the unimaginable forces of the event horizon. In . . . limite les rêves au-delà, however, the story is extended into a kind of transcendence, a state of cosmological enlightenment. If you can find a way not to dwell too much on the details or specifics of that journey, you will find much to appreciate here.","PeriodicalId":22355,"journal":{"name":"Tempo","volume":"77 1","pages":"129 - 130"},"PeriodicalIF":0.7,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46268488","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Evan Johnson","authors":"R. Heaton","doi":"10.1017/S0040298223000475","DOIUrl":"https://doi.org/10.1017/S0040298223000475","url":null,"abstract":"even when nominally they have a high number. Notes are elaborations of a bespoke tuning system for the melody in question. Notes are entities already embedded within a motivic and therefore rhythmic framework. A note has gestural modes of being, as well as access and egress. This is music that sounds vaguely familiar, sounds like the field recordings of folk musics far from the influence of the Western music industry. But it is totally unique and beguiling, totally itself. Each of these pieces has a personality, and I found myself imagining that each had a kind of recognisable pen stroke. The album artwork by Hyun Yoon loosely takes on this idea: visual forms are created from repeated physical motions of the pen or brush on paper. Each melody has a compelling motivic signature which emphasises a timbral signature of the instrument(s), the harmonic signature of the intonation regime, and the rhythmic and metric patterning. The vocal writing is especially beautiful. Denyer himself is the vocalist in the fifth and eighth movements, both for solo voice. That there should be so much vocal writing is no surprise given the importance of personhood and personality in this music. Each piece is a highly structured gem, as the composer details at length in the liner notes. Yet a stylistic continuity is impossible to miss; as I listened, I often had to check if a silence was part of the same movement or the boundary between two. If one is to let go of focused listening and allow the mind to wander, one can easily get lost in the labyrinthine structures. For limited spans it is a wonderful experience, but one that needs to come to an end before all 25 pieces have been heard. Returning to the album and starting at various points or shuffling the tracks randomly is an immensely enjoyable experience – like wandering through the streets of an unfamiliar city. The span from the eighth to thirteenth movements is especially enchanting. The performances across the board are entirely convincing as to the intent of the music and the composer. The only issue in an otherwise pristine release are the occasional fade to -inf at edit points. In all likelihood, two different takes were cut together and the best juncture was found. But in such an organic musical situation, this highly artificial artefact is jarring.","PeriodicalId":22355,"journal":{"name":"Tempo","volume":"77 1","pages":"122 - 124"},"PeriodicalIF":0.7,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46033586","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Kyle Motl, Bells Plucked from Air: A Guide to (Mostly) Pizzicato Harmonic Techniques for the Double Bass, Bandcamp, $26.","authors":"Ellen Fallowfield","doi":"10.1017/S0040298223000591","DOIUrl":"https://doi.org/10.1017/S0040298223000591","url":null,"abstract":"","PeriodicalId":22355,"journal":{"name":"Tempo","volume":"77 1","pages":"133 - 134"},"PeriodicalIF":0.7,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44593731","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"PUTTING EGO ASIDE IN NEW OPERA: ON THE CO-CREATIVE DYNAMICS AROUND JE SUIS NARCISSISTE","authors":"Carles Vicent Pascual, J. Besada","doi":"10.1017/S004029822300030X","DOIUrl":"https://doi.org/10.1017/S004029822300030X","url":null,"abstract":"Abstract The world of opera is well known as a professional community in which egos often clash, yet the complexity of the operatic artwork is often heavily dependent on collaborative practice. This article discusses the co-creative dynamics that gave rise to the premiere production of the comic opera Je suis narcissiste, by composer Raquel García-Tomás, librettist Helena Tornero and stage director Marta Pazos. Through a series of interviews with this artistic team, and a scrutiny of the libretto, score and documentary video recording of its premiere, three significant features of this collaboration are flagged, particularly in Act VIII. These are: a quest for balance in the convergence of the disciplines involved; a mitigation of undesired redundancies in the representation of some elements in the action of the opera; a consideration of the capacity of the human and material resources available for the premiere. The article will also discuss how these anticipatory strategies helped to optimise time during rehearsals.","PeriodicalId":22355,"journal":{"name":"Tempo","volume":"77 1","pages":"93 - 103"},"PeriodicalIF":0.7,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48893305","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"TEM volume 77 issue 306 Cover and Front matter","authors":"","doi":"10.1017/s0040298223000426","DOIUrl":"https://doi.org/10.1017/s0040298223000426","url":null,"abstract":"","PeriodicalId":22355,"journal":{"name":"Tempo","volume":" ","pages":"f1 - f4"},"PeriodicalIF":0.7,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45018780","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}