Advances in Design, Music and Arts III

Inhaltsverzeichnis

1. Music, Heritage and Culture

   1. Frontmatter

   2. Tradition and Symbolism in Revolutionary Peking Opera (1966–1976)

      Beatriz Silva

      Abstract

      The Chinese Cultural Revolution (1966–1976) saw the rise of the so-called ‘model plays’ (yangbanxi), including five revolutionary Peking operas idealized by Jiang Qing, Mao Zedong’s wife and a cultural authority of the era. These retained traditional elements like gestures and acrobatics while incorporating a Western-style orchestra and simplified character roles to clearly depict heroes and villains. Laden with emotion and thus evoking a deep revolutionary sentiment in the masses, model operas embodied values from various Chinese schools of thought, such as revolutionary interpretations of Confucian family values, self-criticism, and education to perpetuate societal norms. Based on this assumption and analyzing libretti and film versions from the 1970s of the first five model operas, this study demonstrates how these elements helped the masses grasp the advocated ideals and distinguish Good from Evil as defined by the communists. It argues that, despite the authorities’ skepticism toward traditional thought, these elements significantly influenced the creation of the new operas, showcasing their lasting impact.

   3. Rio de Janeiro’s Music Scene in the Musical Iconography of the Portuguese Rafael Bordalo Pinheiro (1875–1877)

      Gilberto Vieira Garcia

      Abstract

      The general aim of this communication is to identify how the musical scene in the capital of Brazil was observed by Rafael Bordalo Pinheiro - who is considered to be the greatest Portuguese caricaturist of the 19th century. The caricatures that will be analysed were produced for the periodical “O Mosquito” during the first years in which he worked in the country, between 1875 and 1877. This paper is part of studies on iconography, with Erwin Panofsky as a general reference and Tilman Seebass as a specific reference, as a study on musical iconography. This paper shows that the musical scene of the city of Rio de Janeiro has a significant presence in the works produced by Bordalo in Brazil, highlighting the importance of European “Great Music” in the Brazilian musical scene of the city of Rio de Janeiro in the 1870s, the development of a Brazilian national “Great Music” and the presence of popular music of black origin in this scene, in the context of the Brazilian Empire.

   4. “Ratinhos”, Musical Iconography and Popular Culture: 19th-Century Faience from the Manuel Cargaleiro Foundation

      Luísa Correia Castilho, Luzia Aurora Rocha

      Abstract

      The words ratinho(s)/ratinha(s) designates the Beirã population (from the northeast Portugal) who moved seasonally to Alentejo (southeast Portugal) to carry out agricultural work. The lack of work opportunities combined with the needs of the poorest social classes from the Beiras region dictated these migratory movements. It was the name ratinhos that would be used to designate the faience made in Coimbra, which would represent these social types. The faience ratinha was characterized by its low cost, durability, and rich and appealing decoration. Such decoration includes the depiction of musicians mainly on plates. It is the aim of this chapter to analyze seven ratinho plates with musicians, from the Manuel Cargaleiro Foundation in Castelo Branco (Portugal). As such, the following research questions were asked: What musical instruments are represented? Who is playing? What is the gender and social classes of the performers? What are the iconographic models of this faience decoration? In this way, this research intends to fill a gap by providing a musicological study in an area that has not been addressed by the scientific community.

   5. Museums, Musical Iconography, and Cultural Intersections: Exploring the Vinyl Record Collection of the Kwok on Collection

      Luzia Aurora Valeiro de Sousa Rocha

      Abstract

      The Chinese Opera Vinyl Records are part of the extensive Kwok On Collection (Museu do Oriente, Portugal), holding significant value for collectors, scholars, and enthusiasts alike. Despite their importance, they have been relatively overlooked until now and have yet to find their rightful place within the Museum’s physical and artistic spaces. Currently housed in the local Documentation Center, these records are not included in the OPAC catalogue. This essay serves as an introductory exploration of the vinyl record collection, focusing on the visual content of the album covers and their significance within musical iconography. It examines these depictions from a perspective rooted in the culture industry, highlighting the captivating allure of front covers as powerful marketing tools, particularly in attracting both Eastern and Western consumers with their vibrant characters, costumes, and repertoire.

   6. What Unveils Musical Iconography, or the Impact of Western Record Labels in the East

      Luzia Aurora Valeiro de Sousa Rocha, Sofia Beatriz Ferreira da Silva

      Abstract

      Edison's original concept for the phonograph didn't emphasize entertainment. However, in 1896, Edison and Columbia Records collaborated to introduce the first phonograph models specifically aimed at home entertainment. The advent of electrical recordings in the 1920s represented a significant leap forward in recording technology. Market expansion became a central strategy for the phonographic industry, leading to the establishment of local factories in key global markets. Through subsidiary companies and agencies, these firms established a presence in most regions worldwide. The Chinese Opera Vinyl Records form part of the extensive Kwok On Collection at the Museu do Oriente in Portugal, holding significant value for scholars and general public. Taking a Musical Iconography approach to this collection, this article aims to explore vinyl records and the visual identities of record label companies through the lens of the culture industry. It highlights the captivating allure of musical motives, colors and symbols as potent marketing tools, particularly in appealing to both Eastern and Western consumers.

   7. A Study of Five Portuguese Music Groups in Relation to Four Social Characteristics of the 21st Century

      Maria Inês Pires

      Abstract

      The beginning of the 21st century is characterized by rapid technological advances, the promotion of diversity, globalisation and internationalization and the dynamic connections between people from different parts of the world and across different cultures. These characteristics have also influenced the relationships that composers, performers, researchers, artistic institutions and the public establish with the artistic production of the time, including music, and with each other. Based on these premises, this paper aims to answer the question: how does music and its associated activities relate to the characteristics of 21st century? In that way, the study explores the work developed by five music groups active in Portugal at the beginning of the 21st century: Drumming GP, Síntese—GMC, Performa Ensemble, Sond'Ar-te Electric Ensemble and Ensemble DME. From a methodological point of view, this study uses a mixed approach. It uses qualitative data analysis, which includes a literature review and interview analysis using the MAXQDA programme, as well as quantitative data that is analyzed through SPSS software. Thus, this paper delineates the emergence of these ensembles, and shows how the characteristics of society at the beginning of the 21st century relate to the activities the groups developed.

   8. Teatro, Música e Cinema: The Musical Instruments in the Decorative Mural Tapestry in the Hall of the Teatro-Cine Da Covilhã (Portugal)

      Carlos dos Santos-Luiz, Luísa Correia Castilho, Sónia Duarte, Cláudia Sousa

      Abstract

      On May 31, 1954, the Teatro-Cine da Covilhã, nowadays called Teatro Municipal da Covilhã (Portugal), was inaugurated. In the entrance hall, on the wall of the staircase, a tapestry called Teatro, Música e Cinema, by Tapetes de Portalegre Lda., today called Manufatura de Tapeçarias de Portalegre, has been displayed since the opening day. As a large tripartite mural tapestry, the work is a reproduction of a cartoon, a manual technique, which had as its starting point an original by an artist. This is João Tavares (1908–1984), painter, watercolourist, draftsman, and teacher at the Liceu de Portalegre. The tapestry we will study has several musical and dance motives in dialogue with other arts, like the Theatre (with allegorical representations of a stage, a scenario, and male and female figures), Music (musical instruments or a female figure linked to mousiké) and the Cinema (with allegorical representations of a horse or a star with luminous rays or a cinema reel). As for the musical instruments, these appear to have references to elements from Classical Antiquity that extend to other later temporal landmarks. Finally, this chapter aims to disseminate the study of the Teatro, Música e Cinema tapestry in a holistic way. Thus, the tapestry was described and analysed from an iconographic and iconological point of view, addressing João Tavares’ aesthetic choices, as well as the historical and acoustic aspects of the Teatro-Cine da Covilhã.

   9. Amália’s Scores—The Musical Documentary Estate of the Amália Rodrigues House Museum

      André Apolinário Correia

      Abstract

      More than 100 years after her birth and nearly a quarter of a century after her physical departure, Amália Rodrigues is still as beloved as she is enigmatic. Her estate contains over 800 scores by different composers, of various nationalities and genders, although she repeatedly stated that she knew nothing about music and only sang because of the voice with which God had blessed her. Her house at 193 Rua de São Bento in Lisbon was well-known for its many musical and social gatherings frequented by some of the leading national and international figures from the world of music, which may be why so many musical scores are to be found at the home of someone who could not read music. The collection of scores is surprising for its diversity. The aim of this study is to present the estate from a musicological perspective. The intention is to analyse the scores according to musical style, to list the signed copies and to examine their relevance. It should also be possible to establish parallels between the scores and the biographical and artistic chronology of the fadista, thereby providing previously unpublished data for the study of Amália Rodrigues.

   10. Performative Challenges of Multimedia Composition for Saxophone: Case Studies in Works by Mark Oliveiro and Ted Moore

       Jorge Sousa, Henrique Portovedo

       Abstract

       Technology is omnipresent, conditioning our daily experiences and inherently interfering in the artistic creation and performances ongoing in the contemporary world. Embracing technology and incorporating it into art lies at the basis of concepts such as the post-digital, which contemplates criticism and attention towards the digital culture that surrounds us, revealing and reflecting on its sociocultural effects. Artistic creation for saxophone, electronics, and visual features represents a reality within the contemporary compositional scenario. As a result of the idiosyncrasies of this compositional aesthetic, performers face particular performative challenges. Aiming to identify the key performative challenges embedded in the performance, we here explore two works for tenor saxophone, electronics and visual features—Black(midi)matter (for tenor saxophone and multimedia) by Mark Oliveiro, and saccades (for tenor saxophone, electronics, tape and video) by Ted Moore. Therefore, the case study methodological approach is applied to each work and spanning the performative experience, a literature review, and contact with the composers. Technical, technological, and aesthetic challenges confront performers, demanding the expansion of their learning into additional areas. This includes specific skills regarding music technology, controlling body movements, physical awareness of the performance space and the developing strategies with the aim of establishing an artistic symbiosis between the technology and the performer through sound and musical expression. Additionally, it is essential that the performers complete solid and specialized training in the instrument, from both an academic and artistic perspective, encompassing a meticulous mastery of extended techniques, enabling an enriched and contextually informed musical performance.

   11. Recasting Works for Saxophone and Live Electronics Based on Performative Decisions: Case Studies in Recasting Sax-Blue, by Jorge Peixinho (1982) and Metaksaks, by Anatol Vieru (1984)

       Philippe Trovão, Henrique Portovedo

       Abstract

       From its outset, mixed music with live electronics poses constraints in terms of its dissemination and preservation. These stem inherently from the low practicality and swift obsoletism of the devices, mainly analogue and digital with tangible interfaces, applied to transform the sound. Much research has focused on this field and with a consensus that recovery through migration to a digital environment represents an effective means of overcoming the disappearance of this repertoire. Having that said, following extensive research on this subject, we highlight the still existing gaps, such as the lack of documentation, the centralization of difficult to access resources and obstacles use for those seeking to interpret pieces in the genre. As performers, our intention is to bring the performative act to the center of the discussion on recovering repertoire featuring live electronics. Through a case study based methodology, we recovered two pieces and furthermore illustrate how the performance decisions molded the creation of new content for electronics. Following this work, we conclude that turning the performer and the performance into guidelines for the reconstruction of the electronic sections enabled us to reconfigure the processes and reach beyond their technicity. Thus far, our research points to a different perspective both on how we may develop these processes and how to produce more accessible and easier to use solutions that expand musical possibilities, thereby opening the path for deeper study and consolidation.

   12. Weaving a Concerto Grosso: From Alfred Schnittke's No.1 to Tom Phillips' Tapestry

       Cláudia Sousa

       Abstract

       From 12 to 14th January of 2001 there was a festival named “Seeking the Soul: The Music of Alfred Schnittke” (Whitehouse, n.d.).

2. Backmatter