In 1939, 80 years ago, the world has been thrilled by the premiere of two cinematographic works: Gone with the wind and The Wizard of Oz. The memorable films, in addition to the direction of Victor Flemming, share another important participation: that of the composer Max Steiner, either in the writing of the soundtrack or in the arrangement of songs. Both the theme of Tara and Over the Rainbow still remain as classics of the repertoire of contemporary artists, occupying the sound landscape and memorial of generation to generation.
Twenty years later, during the 1st. World War, Darius Milhaud arrives in Rio de Janeiro for a diplomatic mission. In contact with the country, his music incorporates sound and musical landscapes:His works, not only adopt local genres such as tango,
Samba, Maxixe includes excerpts of known pieces, which appear in the form of
quotation, as the result of listening. All sorts of music, in concerts, in the soirées and street music... Saudades do Brasil, a piano suite consisting of twelve pieces is a centenary work and, coincidentally, is strongly
related to the studies of music in its many interfaces: By employing this the compositional technique, Milhaud not only inscribes in his repertoire the
Brazilian musical soundscape in which he lived but also by quoting excerpts
from pre-existing pieces, he transforms into memory "the spirit of those
days”, to stop beyond the very musical aesthetics he developed (the
polytonality), Which wasn’t the composer’s propose, at first, but it was what
has become after all.
Twenty years later, during the 1st. World War, Darius Milhaud arrives in Rio de Janeiro for a diplomatic mission. In contact with the country, his music incorporates sound and musical landscapes:
Much of Milhaud's work is a memory of
music by music. If Over the rainbow
can be heard repeatedly in Judy Garland’s voice, on the most different media
platforms, by the end of the 19th. century there was no other way to
preserve it except for writing (the score). The recording facilities allowed
the creation of collections, holdings, which could be stored and catalogued.
The creation of collections and
documentary sources are the result of personal or institutional initiatives and,
in order to be maintained, public policies are priorities – guaranteeing them
for their preservation and continuity of the classification and archiving work.
In this sense, the informatics came to boost the relevant work developed by
information science through the dissemination of digital platforms. On the
other hand, when taken up by less rigid systems, it results in important
repercussions. Loosing of the classification criterions or the timid presence
of specialists makes Spotify, Deezer and other companies free to offer works in
large quantity online not infrequently organized in an incomplete or
even unreasonable way. And in another sense, the emergence of channels like
Youtube began to allow access to unattainable or unknown materials. At this point, it is worth asking: how can the songs
absorbed by these platforms be recognized or found? Are there interests,
mechanisms and actions to ensure the incorporation of a broad repertoire to the
collections, especially considering the short life of media platforms and
formats of the reproductive devices? No
less disturbing is the relationship that is established between file and
memory: There are works that will never be transferred from one technology to
another, not only due to a marketing decision in order to attend capital
demands, but also cultural ones: Culture is memory which, on its turn, implies
selection. As the theorists of the School of Tartu point out, the dynamics of
memory is processed in the movement of permanence and disposal: the cultures
remember forgetting... But they tend, on the other hand, to generate new texts,
from the processes of resignification of the pre-existing ones.
From another aspect, we can also highlight the subjectivity of musical memory, whether individual or collective: There are
works established as places of memory, marking specific or periodized events,
establishing bonds with facts to collective life or individual. The importance,
the strength of the signs (musicals) of memory can interfere in their duration
of memory places.
Finally, mechanisms of an organic nature
determine the configuration of the memory. Here, the forms of sensitivity vary
by stimuli (or its absence), based on a biological (neuro) system. Here
one cannot fail to emphasize its importance in the configuration of the
composer's memory, which forms part of auditory experiences from childhood, the
memory that the musician develops (interpretative styles, performance models,
etc.), as well as the Memory of listeners which, in turn, is also constituted
by a universe of listening acquired throughout life.
The 15th Meeting intends, thus, to
bring to the discussion the relationships between memory and music. Memory, as
a mechanism of storage and fixation, but also of disposal, resignification and
generation of new texts; Memory as an activity of the organism, which
oscillates and creates semantic processes through various stimuli; Memory as a
form of registration and its specific techniques of conservation. Also, the
role of the policies and institutions that work with the objective of
preserving the musical repertoire of all time is at the centre of the
discussions here proposed.
This year, MusiMid has the
participation of professors-doctors Ana Guiomar Rêgo Souza (UFG), Barbara
Heller (UNIP), Herom Vargas (Methodist), Magda Clímaco (UFG), Márcia Ramos de
Oliveira (UDESC), Mônica Rebecca Ferrari Nunes (ESPM), Priscilla Perazzo (
USCS) as interlocutors, in order to explore the various ways of understanding
the memory in its organic aspect and its reverberations in the forms of
sensibility and aesthetic creation, as well as in the forms of sociability. To
this end, the debates are structured in three thematic axes:
1 Archives, Database, collections:
The selection, organization, and
configuration policies of the databases. The role of social actors:
governmental and non-governmental institutions in safeguarding and preserving.
Discards and dismantling of collections. The role of oblivion and the processes
of resignification.
2 A large universal collection? Remembered and
forgotten.
Not everything is stored as a file,
such as memory. There are choices that determine permanence or forgetfulness,
guiding processes of resignification. Platforms such as Spotify and Deezer do
not imply the transfer of all works. Furthermore, the transfer of Phonographic
Materials have ceased to bring information about the original recording. This
thematic axis intends to discuss these implications
3. Memory and music: processes of memory and forgetfulness understood under
the biological and neurobiological aspects (from cognition to stimuli of
sensory and emotional nature such as traumas, etc.); The cognitive operations
that enter the scene in the fixation of memories: subjectivities; Affectivity
Bond powers; Musical worms; Hallucinations and altered states of consciousness; musician and listener memory and their
configuration forms.
Modalities of participation:
Oral Communications
Poster Sessions
Audiovisual Sessions.
Important Dates
Call for work: April 1st., May 13th
Selection Result: June 5
Submission of full papers: from the 1st to the 12th of
August.
Three categories of
presentations will be accepted: written texts, posters, and audiovisuals (DVD
format). An abstract (200-250 words) must be sent prior to May 13th.
Abstracts must be accompanied by a title, 5-10 references, 3-5 keywords, and a
biographical note (up to 5 lines). Results will be announced until 5th.
June. The authors will be directly notified through Doity platform.
Instructions for submission of full papers:
Written texts:
The full version of the
texts (between 10 and 20 pages) should be delivered on the 1st to the 12th of
August, already in its final version, with the format of editing and text
revision. ALL works submitted within the publication standards and the regulatory the deadline will be published in minutes. It should be Noted that the author is
responsible for reviewing the text and requesting permission to reproduce
images to the copyright holders.
Audiovisual texts: Audiovisual works should
be between three and ten minutes, and should be presented in DVD format. It
will Consist of a thematic session for modalities of this nature. The final
result must contain the entire datasheet.
Registration fee
Additional information
Please contact the email
musimid15@gmail.com or visit the webpage http://www.doity.com.br/15encontromusimid.mus.br/
