Pub Date : 2023-12-01DOI: 10.1590/tem-1980-542x2023v290304
Leonardo Gonçalves Ferreira, Letícia Julião
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.
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Pub Date : 2023-12-01DOI: 10.1590/tem-1980-542x2023v290307
Andréa Slemian
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.
{"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":null,"pages":null},"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}
Pub Date : 2023-12-01DOI: 10.1590/tem-1980-542x2023v290311
Yennesit Palacios Valencia, Ignacio García Marín
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.
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Pub Date : 2023-09-01DOI: 10.1017/S0040298223000499
Alex Huddleston
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.
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Pub Date : 2023-09-01DOI: 10.1017/S0040298223000517
A. Martínez
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.
(未制作)通过录音方法:在伦敦市中心的一个教堂里使用一个Zoom麦克风;因此，这条轨道有一种即时性。听众和演奏者之间的距离——这是DAWs无法令人信服地复制的——让人置身于圣吉尔斯的“跛子门”，让人感受到在合适的原声环境中听到朗斯代尔的音乐是什么感觉。通过这个单麦克风捕获的自然混响很好地有机地混合了音色，特别是当作品在9 ' 30“打蜡时。然而，这种“雾霾生产”方法的代价是失去了细节，这对Lonsdale正在处理的模糊性很重要，而Apartment House和录音工程师Simon Reynell捕捉得非常漂亮。也就是说，这种对不确定性的承诺，即使是在专辑的主打歌中，也是值得称赞的。录音风格让我想象《Clear and Hazy Moons》作为一种空间化的表演装置是多么有效(事实上，这可能适用于专辑中的任何一件作品)，利用Lonsdale的音乐创造的可能的氛围，通过缓慢的淡出在这里特别明显，这使得合奏巧妙地融入了录音空间的氛围中。这张唱片以专辑中最完整、最长的作品《解剖学的快乐》结束。乍一看，这个音乐地位和看似振奋人心的标题似乎很自信，但朗斯代尔的作曲声音却不见了。这里提到的“快乐”的感觉削弱了前三件作品的细微差别和新颖的表达。这种松散的、本该令人心酸的气氛感觉很空虚，就像爱情剧中的蒙太奇镜头一样。朗斯代尔在之前的作品中表现出色的地方在于，他在创作音乐的同时，通过重复来平衡创作的停滞。《欢乐的解剖》只做了后者，毫无疑问，这是既优雅又令人愉快的，特别是在他使用的低音提琴低拨奏中。但是，当我听说了这位作曲家在其他地方所能做的事情——也就是说，写出真正令人惊叹的音乐——我不禁感到有点失望:音乐的月亮不规则地盈亏，但不会以一种欺骗我的方式。当使用这种声音调色板和这些结构时，这对新兴作曲家来说并不罕见，写出优美的音乐很容易，但要写出独特的音乐却相当困难。长，慢和脆弱的声音可以隐藏工艺问题，因为，嗯，他们听起来很好。然而，朗斯代尔在《明月朦胧》的过程中所做的是用一种不断引人注目的方式来安排这个成语，这是他自己的风格:四个月食领域的每一个都有细微差别，这是巧妙的节奏，以包围和摇篮听众。当然，朗斯代尔是一位值得关注的作曲家。
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Pub Date : 2023-09-01DOI: 10.1017/S0040298223000475
R. Heaton
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.
{"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":null,"pages":null},"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}
Pub Date : 2023-09-01DOI: 10.1017/S004029822300030X
Carles Vicent Pascual, J. Besada
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.
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Pub Date : 2023-09-01DOI: 10.1017/S0040298223000487
Alex Huddleston
tones fall out one by one like loose teeth’, as Brodsky brilliantly puts it). Mac̆elaru and the WDR Sinfonieorchester handle this balance well, presenting every gesture sincerely while allowing each the possibility of collapse, eruption or transformation, never letting them lapse into irony. And still, despite an abundance of ‘moments’ (like those chords, like the solos for horn or piano, like the pulsing wooden percussion, like the Copland-esque trumpets of the third movement), Lim’s music remains fundamentally concerned with lines. The only difference with an orchestra is that they are more thickly drawn and are stretched over greater distances. Again, Mac̆elaru and his orchestra excel at maintaining the necessary momentum through a rapidly shape-shifting terrain. When, in the final movement, Emily Hindrichs’ soprano arrives (one can’t help but think of Beethoven) she feels like a sublime but utterly natural addition, blooming, almost imperceptibly at first, out of those trumpet calls. She sings words by Etel Adnan, from ‘The Spring Flowers Own’, the image of a loved one moving ‘like a bunch of flowers’, a ‘light-wave’, ‘the beginning of the day’. Driven by desire, the line keeps moving.
{"title":"Frank Denyer","authors":"Alex Huddleston","doi":"10.1017/S0040298223000487","DOIUrl":"https://doi.org/10.1017/S0040298223000487","url":null,"abstract":"tones fall out one by one like loose teeth’, as Brodsky brilliantly puts it). Mac̆elaru and the WDR Sinfonieorchester handle this balance well, presenting every gesture sincerely while allowing each the possibility of collapse, eruption or transformation, never letting them lapse into irony. And still, despite an abundance of ‘moments’ (like those chords, like the solos for horn or piano, like the pulsing wooden percussion, like the Copland-esque trumpets of the third movement), Lim’s music remains fundamentally concerned with lines. The only difference with an orchestra is that they are more thickly drawn and are stretched over greater distances. Again, Mac̆elaru and his orchestra excel at maintaining the necessary momentum through a rapidly shape-shifting terrain. When, in the final movement, Emily Hindrichs’ soprano arrives (one can’t help but think of Beethoven) she feels like a sublime but utterly natural addition, blooming, almost imperceptibly at first, out of those trumpet calls. She sings words by Etel Adnan, from ‘The Spring Flowers Own’, the image of a loved one moving ‘like a bunch of flowers’, a ‘light-wave’, ‘the beginning of the day’. Driven by desire, the line keeps moving.","PeriodicalId":22355,"journal":{"name":"Tempo","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47393411","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}
Pub Date : 2023-09-01DOI: 10.1017/S0040298223000591
Ellen Fallowfield
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