Sigismund Neukomm In Brazil

On the "Rio Don-Giovanni-Day", 20 September 2021, a concert is dedicated to the works of Sigismund Neukomm composed in and for Brazil. The programme also includes a composition by the Brazilian composer José Maurício Nunes Garcia (Rio 1767–1858), highly esteemed by Neukomm and occasionally described as "the Brazilian Mozart". He conducted the first performance of Mozart's Requiem with Neukomm's "Libera me" in the Igreja Nossa Senhora do Parto on 19 December 1819. The concert is a cooperation of Don Juan Archiv Wien with partners in Austria, Portugal, and Brazil: the Mozarteum University Salzburg, Divino Sospiro – Centro de Estudos Musicais Setecentistas de Portugal, and Musica Brasilis. Accordingly, the music will be performed in four locations: Vienna, Salzburg, Queluz/Lisbon, and Rio de Janeiro. While the partnering institutions' concerts with commentaries are recorded especially for this occasion, the performances in Vienna will be broadcast live.

Here is the most comprehensive history of Brazilian music available in English. Concise yet remarkably detailed, it provides professional musicologists and music lovers alike with a clear outline of the major trends, important composers, and currents of thought that have shaped the folk, popular, and art music that are an important part of Brazil's unique cultural heritage. The Music of Brazil contains over seventy musical examples representing musical idiom and form throughout recent history. A useful glossary introduces the reader to the key terms of Brazilian music, from agogô—a percussion instrument composed of two bells—to xocalho—a wooden or metal rattler.

Access audio files at: https://soundcloud.com/singing_in_brazilian_portuguese_recorded_examples_marcia_porter While popular forms of Brazilian music include bossa nova and samba, Brazil also has a rich classical music tradition dating back to the 1500s that exhibits a unique and diverse amalgamation of many styles and influences including African, Italian, French, and indigenous. Singing in Brazilian Portuguese: A Guide to Lyric Diction and Vocal Repertoire makes Brazilian modinhas and canções accessible to singers through an overview of the history of the language and music, brief biographies of major composers, and a sampling of selected texts transliterated into the International Phonetic Alphabet (IPA). Part I introduces the alphabet and pronunciation of sounds through IPA and is enhanced by online audio recordings of native Brazilian classical singers. Marcía D. Porter covers such topics as oral and nasal vowels, diagraphs, onset and final consonants, word stress, and syllabification. It also includes an overview of the newly implemented Acordo Ortográfico. Part II provides IPA transliterations and both word-for-word and poetic translations of representative songs, including Villa-Lobos’s Bachianas brasileiras, no. 5. The book also offers a brief overview of the history of Brazilian vocal music and biographical sketches of select major composers from various periods. Singing in Brazilian Portuguese is the first resource of its kind geared toward singers, voice teachers, vocal coaches, collaborative pianists, and others who are interested in exploring, teaching, and performing this beautiful and exciting repertoire.

In 1997, twenty-five years after its first publication, Thematic Catalogues in Music-An Annotated Bibliography (Pendragon Press, 1972) appeared in a completely revised and expanded Second Edition. It contains almost twice as many entries as its predecessor; virtually every one of the original entries has been updated; and the following noteworthy features have been added.1. A second introductory essay detailing trends and innovations in thematic cataloguing brought about by the revolution in technology of the past twenty years. 2. Appendices listing thematic catalogues in series; both by national organizations and publishers; a detailed up-to-date, country-by-country report of activities worldwide; a listing of major computerized databanks. 3. New double-column format. 4. Numerous illustrations and reproductions of pages from thematic catalogues of historical significance. The second edition continues the policy of listing all known thematic catalogues and indexes, including those in doctoral dissertations, masters essays, and computer databanks, as well as in-progress and unpublished works, plus reviews, and literature about thematic cataloguing. The original numbering of the 1972 entries has been retained, with new items appearing in proper alphabetical/chronological sequence but with the addition of decimal numbers and/or letters (363.1 or 960a). Lastly, the original historical introduction and special appendices of the first edition have been retained with emendations where needed.

Presenting a fresh interpretation of Mozart's Requiem, Simon P. Keefe redresses a longstanding scholarly imbalance whereby narrow consideration of the text of this famously incomplete work has taken precedence over consideration of context in the widest sense. Keefe details the reception of the Requiem legend in general writings, fiction, theatre and film, as well as discussing criticism, scholarship and performance. Evaluation of Mozart's work on the Requiem turns attention to the autograph score, the document in which myths and musical realities collide. Franz Xaver Süssmayr's completion (1791–2) is also re-appraised and the ideological underpinnings of modern completions assessed. Overall, the book affirms that Mozart's Requiem, fascinating for interacting musical, biographical, circumstantial and psychological reasons, cannot be fully appreciated by studying only Mozart's activities. Broad-ranging hermeneutic approaches to the work, moreover, supersede traditionally limited discursive confines.

With entries on topics ranging from non-Western instruments to distinctive rhythms of music from various countries, this one-stop resource on global music also promotes appreciation of other countries and cultural groups. A perfect resource for students and music enthusiasts alike, this expansive three-volume set provides readers with multidisciplinary perspectives on the music of countries and ethnic groups from around the globe. Students will find Music around the World: A Global Encyclopedia accessible and useful in their research, not only for music history and music appreciation classes but also for geography, social studies, language studies, and anthropology. Additionally, general readers will find the books appealing and an invaluable general reference on world music. The volumes cover all world regions, including the Americas, Europe, Africa and the Middle East, and Asia and the Pacific, promoting a geographic understanding and appreciation of global music. Entries are arranged alphabetically. A preface explains the scope of the set as well as how to use the encyclopedia, followed by a brief history of traditional music and important current influences of music in each particular world region.

Portugal and Brazil in Transition was first published in 1968. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions. Through a series of essays on various aspects of Portuguese and Brazilian culture, this book presents an enlightening picture of contemporary civilization in the two countries and a forecast of what the next twenty years or so may bring. The authors discuss subjects in such basic fields as literature, linguistics, history, the social sciences, geography, the fine arts, music, and natural science. Taken as a whole, the contents demonstrate the logic of organizing a volume not around a geographical concept but, rather, around a historical concept, in this case "the world the Portuguese created," as Gilberto Freyre described it. The essays are based on papers that were given at the Sixth International Colloquium of Luso-Brazilian Studies, held in the United States in 1966. In addition to the essays, the book contains the text of comments and discussion about the papers. There are twenty-seven major essays by as many contributors and comments by a number of discussants.