Diálogo musical

Abstract

Music research in Brazil has multiplied over the past 20 to 30 years at a remarkable rate compared to previous decades. Undergraduate and postgraduate courses that house the study of music have also grown. Most of this research is done in the field of postgraduate studies, whether in music or the arts, but still in letters, linguistics, history, sociology, philosophy, education, teaching, psychology, anthropology, geography, communication, and even science. not infrequently in programs or with interdisciplinary objectives. This comprehensiveness occurred through a change of scientific paradigm that, especially in the case of the Humanities, has become increasingly ontological, thus propelling a hermeneutic view that relates multiple knowledge and methodologies. Thus, the studies also began to promote dialogue between areas, subareas, lines of research, which previously had some difficulty, more or less, in relating. Even the research narratives undergo change. Conference concerts are becoming more and more common in scientific events, as experience reports or the epistolary narrative, which goes back to a recovery from the dialectical process of past manuals, began to occupy qualified scholarly publications just to be a few examples. . This volume brings together some of the most explored themes in these two decades of the 21st century. The field of music education, for example, has now developed the subject of cognition with great interest, and there are already graduate programs with specific lines for it. Thus, the subjects of musical perception went from mere room strategy, to a deeper discussion about fundamentals, criteria and an approach where psychology, sociology, anthropology and, of course, musicology are increasingly present. Three of the contributions to this book refer to the issue of perception and the teaching of leaked songs in the idea of ​​language as a language, thus a social construction, a process that cannot be seen as mere repetition of procedures. This allows us to understand part of this work as systematic musicology, as it reorganizes knowledge in favor of understanding music as science. Musicology, by the way, has spread to many new strands, or currents, also adopting peculiar points of view. Historical musicology itself has renewed itself with new objects and agents of discussion. Interest in Portuguese-Brazilian studies has gained wide attention since it seemed clear that for at least three centuries Brazil and Portugal were united in the same political-administrative unit, sharing different cultural aspects. In this case, both the studies of music - which is called classical - as well as those devoted to what is conventionally called popular, have also interested researchers breaking with boundaries that are no longer explained. Be it the attention of a Portuguese author for a key whose copyist activity disseminated the work of many other authors, such as João Cordeiro da Silva, regarding the case investigation on the origin of a specific lundu, such as Marruá's, or indeed Monroy, who are involved in this attempt to better explain what the Luso-Brazilian musical context was, especially in the eighteenth and nineteenth centuries, where much remains to be transcribed, edited, analyzed and publicized its legacy Such studies place musicology in convergence with cultural history, promoting even broader interdisciplinarity. The studies of Musical Iconography go in this direction. Their association with Painting, Sculpture and the Graphic Arts, as well as referring to other artistic expressions, need the same framework as the Humanities to gain the ballast that allows them a better and deeper understanding. It is an investigation that associates the ideological construction of nationalism through the publication of sheet music in Brazil between the 19th and 20th centuries, or the representation of popular musical practices such as Oscar Pereira da Silva or Carybé, regarding the more international dimension of the subjects. with the significant presence of Brazilian researchers in classical antiquity or in the cinema. This vast list of subjects that are very punctuated here by way of example, still marks a decade of institutionalization of the RIdIM (Repertoire Internationale d'Iconographie Musicale) in Brazil. This important organization, established internationally a few decades ago, is responsible for the initiatives that today bring together works of great associative power of knowledge. What brings it all together is a sample of how musical issues spread in scientific studies, here biased by researchers whose field of expertise is not necessarily music - and there are, of course - but the Visual Arts, Architecture, Archeology, History, Sociology, Letters and Education. What matters is that everyone somehow needs music in their studies or has it for the interpretation of the world. The contributions also sought to demonstrate the great geographical scope of the researchers, including works from Portugal and all parts of Brazil, from Amazonas, but also Goiás, Bahia, São Paulo, Minas Gerais, Paraná, since these scholars are also linked some of the largest Brazilian public higher education institutions, where more than 90% of the research done in the country falls. Without the public university and its constitutional guarantee of autonomy, it would not have been possible for seemingly useless subjects to receive the attention of highly qualified professionals in their fields. Not even qualifications and professionals would ever find themselves in a scenario of lack of diversity. Without such conditions even democracy and human beings would suffer, prevented from exercising their plurality and their hope of emancipation, especially intellectual