ESML - Escola Superior de Música de Lisboa
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- O bacharelato em formação musical – Escola Superior de Música de LisboaPublication . Pinheiro, JoãoAo começar esta intervenção gostaria de agradecer à Direcção da APEM e à comissão organizadora deste seminário o convite que me foi feito enquanto responsável e coordenador do Bacharelato em Formação Musical da Escola Superior de Música de Lisboa a fim de vir aqui apresentar esta nova formação profissional de professores de Formação Musical, em funcionamento há já dois anos. Este convite confirma o lugar de destaque que este curso está já a ter no meio musical português, sendo o primeiro curso superior de formação de professores para o ensino específico da Música nas escolas vocacionais. Começarei por fazer uma breve análise do que, para mim, são os verdadeiros objectivos da Formação Musical e os seus conteúdos, fazendo seguidamente a descrição dos meios que pusemos ao dispor dos nossos alunos do curso de Formação Musical, apresentando a sua estrutura e organização assim como os seus conteúdos e suas orientações pedagógicas.
- Exploring polyphony in spatial patterns in acousmatic musicPublication . Reis, JaimeThe multiplicity of musical practices in Western art music that arose from the technological developments involving the use of electricity applied to music were particularly expressive after the Second World War. Their associated terminologies are varied: musique concrete, Elektronische Musik, acousmatique, cin´ema pour l’oreille, sonic art, among others. For the purpose of this text, their differences will not be tackled, but some of their underlying common characteristics, particularly the use of spatial concepts in acousmatic listening will be discussed. The decision to focus on acousmatic music concepts derives from the fact that most of the mentioned literature and musical concepts are grounded in musical traditions where space is a key element to understand this practice. The focus on many of Annette Vande Gorne’s conceptualizations is not merely for the allusion to her work in the present volume, but rather for her centrality to and legacy within literature and music creation in the acousmatic music world. This text is organized as follows: A theoretical short introduction to the use of space as a parameter in acousmatic music and some of the main perceptive features involved in such practice, followed by a brief description of acousmatic music techniques, such as those presented by Annette Vande Gorne, and their relations to gestures. The final section describes how I have been able in my own music compositions to enhance spatial polyphony through various techniques.
- From art to the sustainability of coasts and seasPublication . Matias, Ana; Carrasco, A. Rita; Pinto, Bruno; Reis, JaimeSustainability is a universal goal by which human development balances social, economic, and environmental dimensions, applicable to both terrestrial and marine environments. Several authors argue that arts are valuable tools to frame and engage with current environmental issues related to sustainability, including pollution, climate change, and biodiversity loss. In this work, we ask - what is the role of art in the sustainability of coasts and seas? To address this question, we conducted a systematic literature review about how artistic practices contribute to sustainability in coastal and marine environments. We searched the two most important scientific databases of articles (Scopus and Web of Science) and retrieved 1352 articles. Several screening tasks were made to narrow the articles to 79 studies that address our research question. For each article, we identified and categorised the art form, target audience, geographical location, expected impact, and method to measure the impact. We found a variety of artworks from the four art categories (Literary, Media, Performing, and Visual) around the world, but more frequently in the US, UK, and Australia. In this review, we deal largely with the use of art in local issues, rather than at a global scale. Visual Art is the most frequent art category (~40%), comprising painting, carving, photography, comics, and architecture, amongst others. Nevertheless, there are mentions of 26 artworks from Performing Arts, 22 from Media Arts, and 16 from Literary Arts. We found that different artists address or are inspired by the same sustainability related theme, for example, the ocean’s vulnerability is portrayed in a poem and in a theatre play. Only 19 articles measured the impact of artistic activities on their audience. Engagement is a highlighted pursued impact (~40%); however, other authors also intend to promote marine conservation and restoration, management, education, and activism. Art contributions to sustainability are recurrently made through raising awareness, learning, and promoting engagement and enjoyment of artistic project participants. With this systematic review, we set the current state of knowledge on an emerging topic and argue that further research and new strategies of impact measurement are needed togain a deeper understanding of the role of art on coastal/marine sustainability.
- Imersões electroacústicasPublication . Reis, Jaime; Vieira, Mariana; Domingues, Marta1. Frame (2020) [ca. 8’] - Mariana Vieira; 2. Yliathim (2003) [ca. 7’] - Marta Domingues; 3. Fluxus, Pas Trop Haut Dans Le Ciel (2017) [ca. 10’] - Jaime Reis Frame A peça Frame trata-se da parte electrónica e vídeo de [re]Frame. Pode ser apresentada independentemente. Yliathim (in its original Arabic hilyah) can be translated by condition, form, matter or the shape of a body. Fluxus, Pas Trop Haut Dans Le Ciel This piece belongs to the cycle Fluxus, whose pieces are inspired by elements of physics and in which musical elements related to physical phenomena on fluid mechanics are developed.
- Raíz do som 1Publication . Reis, JaimeDentro do complexo ecossistema da criação musical erudita contemporânea, procurámos contribuir para a experiência profissional e o fomento do percurso artístico de 10 jovens artistas recém licenciados por duas importantes instituições do ensino superior de música em Portugal - a Escola Superior de Música de Lisboa (ESML) e a Escola Superior de Artes Aplicadas (ESART - Castelo Branco). Esta edição é centrada nas obras dos compositores formados na ESML: Francisco Rosa, Hugo Xavier Almeida, Marta Domingues e Ricardo Almeida, interpretadas pelos músicos formados na ESART: Ana Filipa Peixoto, Beatriz Costa, David Seixas, Diogo Martins, Francisco Martins e Sara Martins. As peças foram gravadas na Fábrica da Criatividade (Castelo Branco) e no espaço Lisboa Incomum, com a participação dos convidados Gonçalo Pescada (acordeão) e Tiago Oliveira (maestro), que contribuíram com a sua vasta experiência artística em colaboração próxima com os compositores e intérpretes das peças de música de câmara. Fruto de um trabalho dedicado da aluna de Design da ESART e colaboradora do DCLab - Daniela Seatra - a reificação desta Raíz do Som foi materializada na concepção de uma embalagem artesanal, sustentável e única em cada uma das suas cópias. A ideia de sustentabilidade é ampliada pela presença de sementes dentro da embalagem do CD, disponibilizadas pela empresa Sementes Vivas, com sede em Idanha-a-Nova, que generosamente as cedeu, proporcionando uma dimensão concreta à nossa ideia original.
- The role of art in coastal and marine sustainabilityPublication . Matias, Ana; Carrasco, A. Rita; Pinto, Bruno; Reis, JaimeSustainability is a universal goal that requires balancing social, economic and environmental dimensions, and that applies to both terrestrial and marine environments. Several authors argue that arts are valuable tools to frame and engage with current environmental issues related to sustainability, including pollution, climate change and biodiversity loss. Accordingly, our research question is: What is the role of art in the sustainability of coasts and seas? We searched our research question on the two most important scientific databases of articles (Scopus and Web of Science) and retrieved 1,352 articles. We narrowed the articles to 79 studies that actually address our question through screening. The dataset describes a variety of artworks from the four art categories (literary, media, performing and visual) around the world, although the more frequent countries are the US, the UK and Australia. We found that visual arts are more common (~40%), and engagement is a highlighted pursued impact (~40%) by these artistic practices. Other authors also intend to promote marine conservation and restoration, management, education and activism. Only 19 articles of the dataset measured the impact of artistic activities on their audience. This subset shows evidence of art contributions to sustainability mainly through raising awareness, learning, and promoting engagement and enjoyment of project participants. Through this work, we set the current state of knowledge on this emerging topic, and argue that further research and new strategies of impact measurement are needed to thoroughly understand the effect of art on coastal/marine sustainability.
- Vozes acusmáticasPublication . Reis, Jaime; Vieira, Mariana1. Instantes (2022) [ca. 12’] - Marta Domingues; 2. Phonopolis (2003) [ca. 7’] - Jaime Reis; 3. O Encontro Inesperado do Diverso (2021) [ca. 8’] - Mariana Vieira; 4. Estudo Acusmático (2023) [ca. 7’] - Cristóvão Almeida. Instantes procura ser um leque de momentos de introspecção. Percepção do corpo, do mundo, do tempo. “Ouve-me com o teu corpo inteiro.”, pede a Clarice.(…). ; Phonopolis (2003-04) surgiu da necessidade pessoal de tentar explorar fenómenos fonéticos específicos. Assumindo a poesia sonora enquanto uma entidade abstracta, passível de ser composta sob uma estrutura simples e essencialmente formada por aquilo que designo de "complementaridades fonéticas", desenvolvi várias possibilidades para isolar e perceber as implicações de aspectos específicos das suas características naturais e sócio-culturais.(…).; O Encontro Inesperado do Diverso Peça livremente inspirada nos escritos de Maria Gabriela Llansol, onde convergem personagens de diferentes épocas e realidades. (…); Estudo Acusmático “Tinha que existir uma pintura totalmente livre da dependência da figura — o objecto — que, como a música, não ilustra coisa alguma, não conta uma história e não lança um mito.(…).