http://hdl.handle.net/10174/14318 2026-04-26T07:08:51Z 2026-04-26T07:08:51Z Misina, Guilherme Lopes, Eduardo Froleyks, Stephan http://hdl.handle.net/10174/41872 2026-04-20T15:49:51Z 2026-03-31T23:00:00Z

Title: A Survey of Comments Regarding Movement and Posture as Found in Selected Methods for Marimba Commonly Used in Brazil Authors: Misina, Guilherme; Lopes, Eduardo; Froleyks, Stephan Editors: Mattingly, Rick Abstract: This article is an excerpt of an ongoing PhD project that deals with movements and posture related to marimba performance. It describes current methods as well as the possible development of exercises and methods related to these topics for both practice and performance. Though movement and posture are generally less discussed than other technical and musical aspects of marimba performance, the methods examined in this study, all written by highly skilled and respected musicians, each contain significant information on the topic and should serve as a basis of study for all students. Hopefully, the completed study will deliver comprehensive, complete, and coherent materials that will assist students of all levels in their approaches to the practice and performance of the marimba.

2026-03-31T23:00:00Z Marques, Mario http://hdl.handle.net/10174/41775 2026-04-09T15:16:24Z 2025-01-01T00:00:00Z

Title: Cross Media Arts: Creative Assemblages for Social Impact — The Case of Five Centuries, Fifty Years: An Evocation of the University of Évora Authors: Marques, Mario Abstract: This paper analyses Five Centuries, Fifty Years: An Evocation of the University of Evora (2024) as a case study in Cross Media Arts, highlighting how interdisciplinary artistic assemblages foster educational, cultural, and social impact. Combining video mapping, music, theatre, architecture, and digital design, the project transformed the Main Cloister of the Colegio do Espírito Santo into an immersive environment celebrating heritage and collaboration. Grounded in theories of media convergence, relational aesthetics, and participatory art, it examines implications for creative education and sustainable practice, showing how experiential learning and environmentally responsible strategies position universities as hubs for innovation and social engagement.

2025-01-01T00:00:00Z Hoccheim, Polyane Schneider Telles, Ana Guarnieri, Mozart Camargo http://hdl.handle.net/10174/40002 2025-12-19T00:26:14Z 2025-01-01T00:00:00Z

Title: Mozart Camargo Guarnieri. Canções para Canto e Piano: Uma edição crítica Authors: Hoccheim, Polyane Schneider; Telles, Ana; Guarnieri, Mozart Camargo Editors: Lourenço, Sofia; Monteiro, Francisco; Martingo, Ângelo Abstract: This edition comprises a musical transcription of fourteen songs for voice and piano by Mozart Camargo Guarnieri (1907-1993), composed between 1950 and 1964, which, until the present date, exist only in manuscript form and have not been published. In addition to the faithful transcription of the manuscripts, this work presents a brief historical contextualization of each song, including considerations about premieres, main performers, existing recordings, as well as a brief musical analysis, phonetic transcription, and translation into English. The phonetic transcription is elaborated according to the International Phonetic Association (IPA) and the norms of Brazilian Portuguese sung (Kayama et al, 2007). This critical edition is the result of the doctoral thesis entitled "The Contrapuntal Texture in the Songs for Voice and Piano by Camargo Guarnieri"; in fact, as we investigated Guarnieri's production in this genre, we found that a significant portion of the respective scores had not been edited. The manuscripts used for this edition belong to the composer's collection, housed in the Institute of Brazilian Studies at the University of São Paulo. While transcribing the musical manuscripts, we identified occasional errors in musical notation, such as ligatures, pauses, among others, which we have addressed in this edition as corrections based on the composer's own writing standard, as the clarity in most of the manuscripts facilitated these observations. The methodological conception of this critical edition ismbased on James Grier, especially when he asserts that critical interpretation and editing are inseparable, defining a critical edition as "the transmission of a text that best represents the historical evidence of the sources" (Grier, 1996, p. 156). Therefore, although this work reproduces the musical text present in the manuscripts as faithfully as possible, we consider it pertinent to correct any potential errors in notation, thus providing both the general public and the academic community with this musical text in an accessible and legible format, accompanied by the aforementioned historical contextualization and musical analysis of the works. Thus, considering that, according to Grier, the critical edition should expose all the necessary content for the performer, researcher, or interested party to make their interpretative and investigative decisions from a complete and readable document, we understand that phonetic transcription and translation from Portuguese to English are tools that assist in research, dissemination, and interpretation of the songs. We believe that this edition will contribute to the rescue of a repertoire that until now was inaccessible to the general public, and which we consider exemplary for the genre of chamber song, both for its elaborate, unpredictable, and independent rhythmic and melodic content in both the vocal line and piano part, resulting in a balanced and original dialogue.

2025-01-01T00:00:00Z Marchese, Taíssa Telles, Ana http://hdl.handle.net/10174/40001 2025-12-23T16:37:54Z 2025-01-01T00:00:00Z

Title: Orthodox Elements in “Prayer” by Maka Virsaladze: A Topical Analysis and Interpretation Authors: Marchese, Taíssa; Telles, Ana Editors: Mellas, Andrew; Lingas, Alexander Abstract: This article proposes the analysis of the representation of two elements of Orthodox Christianity which are referenced in the piece Prayer (for solo piano) by Maka Virsaladze, with the intention of assisting in the preparation of this work for performance. The methodology chosen for this analysis stems from topic theory (based on the concept of “topics”, introduced by Leonard Ratner in 1980) which has been used to recognise and examine external references (poetic, musical, literary, etc.) in a musical work. This article intends to contribute to this field by proposing a topical analysis of this particular piece, which has not been previously studied academically

2025-01-01T00:00:00Z