II NEMI Meeting

The periodical press as a source in Musicology

16 - 18th MAY, 2019 | Lisbon

Abstract Book

Organized by
Núcleo de Estudos em Música na Imprensa (NEMI) CESEM
 II Jornadas NEMI
A imprensa periódica como fonte para a Musicologia

II NEMI Meeting
The periodical press as a source in Musicology

16-17-18 Maio 2019

FCSH NOVA, Lisboa

Organização:
Núcleo de Estudos em Música na Imprensa
CESEM / NOVA FCSH

Comissão organizadora:
Isabel Pina (CESEM / NOVA FCSH)
Mariana Calado (CESEM / NOVA FCSH)

Comissão Científica:
Elena Alessandri (Hochschule Luzern)
Luísa Cymbron (CESEM / NOVA FCSH)
Manuel Pedro Ferreira (CESEM / NOVA FCSH)
Mário Vieira de Carvalho (CESEM / NOVA FCSH)
Paula Gomes Ribeiro (CESEM / NOVA FCSH)
Paulo Ferreira de Castro (CESEM / NOVA FCSH)

Equipa de Gestão de Ciência do CESEM:

Cristiana Vicente
Vera Cordeniz

Equipa de apoio:
Ângela Baltazar
Bárbara Carvalho
Filipa Cruz
Joana Freitas
João Pedro Costa

Organização concerto:
MPMP - Movimento Patrimonial pela Música Portuguesa

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As Jornadas NEMI são um encontro organizado pelo Núcleo de Estudos em Música
na Imprensa (NEMI – CESEM), que tem por objectivo reunir trabalhos de investigação
que usam a imprensa periódica como fonte principal para o estudo da música. A
primeira edição teve lugar em Março de 2017 e procedeu a uma breve revisão do
estado da arte quanto aos estudos sobre música na imprensa periódica em Portugal.
Contou com a participação dos membros do Núcleo e recebeu, como conferencista
convidada, a Doutora Elena Alessandri (Hochschule Luzern), que proferiu uma
palestra com o título An empirical perspective on music criticism e dirigiu um
seminário dedicado a métodos de análise de crítica musical.
Para as II Jornadas NEMI, abrimos a chamada de trabalhos a todos os interessados,
o que resultou na recepção de uma grande diversidade de propostas em torno do
tema central da conferência: a imprensa periódica como fonte para a Musicologia. Ao
longo dos três dias da conferência será possível participar na reflexão e debate em
torno de assuntos como: formas de recepção de compositores, obras musicais e
intérpretes; o crítico de música e características da escrita de crítica musical;
imprensa periódica e ideologia; crítica musical em plataformas digitais; a imprensa
periódica e a actividade teatral; circulação de discursos sobre música em fonte
hemerográficas; e a criação de opinião e o estabelecimento de cânones musicais. O
programa conta ainda com a presença da Prof.ª Doutora Katharine Ellis (University of
Cambridge), que apresentará uma palestra com o título Music criticism beyond the
Capital City: Smaller Ponds, Bigger Fish. Os participantes são também convidados a
assistir ao concerto comentado por Philippe Marques (piano) e Tomás Costa (violino),
organizado pelo MPMP – Movimento Patrimonial pela Música Portuguesa. No concerto
serão interpretadas peças de vários compositores, entre eles, Luís de Freitas Branco
(1890-1955) e Ruy Coelho (1889-1986), que também se destacaram como críticos
musicais e animadores de intensas contendas na imprensa periódica.

The “II NEMI Meeting” is a conference organized by Núcleo de Estudos em Música na

Imprensa (NEMI - CESEM) that aims to gather research works that use the periodical
press as the main source for the study of music. The first edition took place in March
2017 and aimed to make a brief review of the state of the art regarding studies on
music in the periodical press in Portugal. We invited Dr. Elena Alessandri (Hochschule
Luzern), who gave a lecture under the title An empirical perspective on music
criticism, and directed a seminar dedicated to methods of analysis of music criticism.
For the “II NEMI Meeting”, we opened the call for papers, which resulted in the
reception of a great diversity of proposals around the central theme of the conference:
the periodical press as a source in Musicology. Throughout the three days of the
conference it will be possible to participate in the reflection and debate around a

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diversity of subjects, such as: the reception of composers, musical works and
musicians; the music critic and characteristics of the writing process of music criticism;
periodical press and ideology; music criticism on digital platforms; the periodical press
and theatrical activity; the circulation of music discourses in hemerographic sources;
and the creation of opinion and the establishment of musical canons, amongst others.
Prof. Katharine Ellis (University of Cambridge) will present a lecture entitled Music
criticism beyond the Capital City: Smaller Ponds, Bigger Fish. Participants are also
invited to attend the commented concert by Philippe Marques (piano) and Tomás
Costa (violin), organized by MPMP – Movimento Patrimonial pela Música Portuguesa.
In the concert, pieces by several composers will be interpreted, amongst them Luis
de Freitas Branco (1890-1955) and Ruy Coelho (1889-1986), who also stood out as
music critics and animators of intense disputes in the Portuguese periodical press of
their time.

Isabel Pina
Mariana Calado

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Programa | Program

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 16 DE MAIO | 16TH MAY
9h - Registo | Registration

9h45 - Abertura | Opening (Sala Multisusos 3)

10h-10h30 - Coffee break

10h30-12h30 – 1ª sessão / 1st session
Sala Multiusos 3 Sala 0.07
Painel 1 / Panel 1: Music and the French- Crítica musical em plataformas digitais / Music
Speaking Press 1 criticism on digital platforms
Moderadora / chair: Isabel Pina
Stefano Alba, Hubert Bolduc-Cloutier: Retracing
the transition to sound film in the French musical Paula Gomes Ribeiro: Da remediação dos
press: the special issue «Le Film sonore» of La géneros discursivos sobre música na era da
Revue musicale internet

Eugénie Tessier, Christopher Moore: Le café-
concert en disparition: Nostalgie et
représentation des chanteuses populaires dans
les écrits de Gustave Fréjaville au début des
années 1930
Alessandro Garino: US Jazz Musical Press in the
Early 1960s: Down Beat magazine and the New
Thing
Héloïse Rouleau: Post-Press Speech Analysis:
Digital Prints of Quebec’s Rap Scene
Marília Moledo: «The club can’t even Handel me
right now» - recepção e (re)interpretação de
memes musicais na plataforma Imgur
Marcelo Franca: «My metal is better than yours»:
o elitismo como crítica musical no circuito online
do heavy metal contemporâneo
André Malhado: «Cyberpunk Music Dossier»:
uma reflexão sobre a crítica musical na página
de internet Neon Dystopia

12h30-14h – Almoço / Lunch

14h-15h30 – 2ª sessão / 2nd session
Sala Multiusos 3 Sala 0.07

Papel e processo de escrita do crítico I / The Modernismos na imprensa periódica dos

role and the writing process of the critic I
Moderador / chair: Karsten Mackensen
Tobias Hermans: On the pragmatic force of
periodical literature: Richard Wagner’s Parisian
music criticism and the tuning of the reader.
Christopher Moore: The «Flâneur-Critic» and
French Popular Song during the Interwar Period
séculos XIX e XX / Modernisms in the 19th and
20th centuries periodical press
Moderador / chair: Paulo Ferreira de Castro
Kristen Strandberg: Musical Machines:
Foreignness and the Mechanical Style in 19th-
century French Criticism
Leonora Saavedra: Foxtrot or Mexican Canción?
The debate over modernity and identity in 1920s
Mexico

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 Isabel Pina: A simple «judgment about a musical
piece», or reading the critic himself: music
criticism as a mirror of who writes it
Daniel Moro Vallina: «Un camino de vuelta a
normas de validez universal». La recepción del
serialismo en Madrid a través de la crítica
musical

15h30-16h – Coffee break

16h-17h30 – 3ª sessão / 3rd session
Sala Multiusos 3 Sala 0.07

Recepção de compositores I / The reception of Imprensa periódica e ideologia /

composers I Periodical press and ideology
Moderador / Chair: Manuel Pedro Ferreira Moderador / chair: Manuel Deniz Silva

Jamie Blake: Transnationalism in Print: Russian
Music and Musicians in Musical America, 1917-
1939
Patrícia Lopes: A presença de José Mário
Branco na imprensa periódica nacional entre
1970 e 1974
Riccardo La Spina: Bel Raggio Lusinghier –
Gaging Rossini’s Impact on Spanish Society in
Press Reflections on Modern Italian Opera (1817-
33)
Rui Magno Pinto: A «tremenda» «missão» de
transmitir o «espírito da civilização» no dealbar
da década de 1870: a (re)emergência da crítica
pela pena de Joaquim de Vasconcelos
Alberto Caparrós: Letters without paper: the
musical press in Spain during early Francoism
(videoconference)
Luís Miguel Santos: A música sinfónica e o
campo da crítica musical em Lisboa nos anos da
Primeira República

18h30 – Concerto / Concert: “Polémica 1911”

Auditório 2 (Torre B)
Ensemble mpmp: Tomás Costa (violino) e Philippe Marques (piano)

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 17 DE MAIO | 17TH MAY
10h00-11h30 – 4ª sessão / 4th session
Sala multiusos 3 Sala 0.07

Imprensa e criação de opinião / The press and the Estudo da crítica e estratégias de análise /
opinion making The study of criticism and analysis strategies
Moderador / chair: Christopher Moore Moderadora / chair: Mariana Calado

Theresa Henkel: Beethoven: «a hero with a sword Belén Vargas: Música y prensa en España en
and without armour» - Carl Banck as music critic for el siglo XIX: Tipología de fuentes y
the Dresdner Journal 1848-1889 aproximación metodológica

Alícia Pajón Fernández: Journalistic discourse and

the creation of a consensus Paulo Ferreira de Castro: Music criticism as
an object of study: some points of reference
Karsten Mackensen: The press as an agent of the in the Portuguese context
formation and change of cultural pattern

11h30-12h00 – Coffee break

12h00-13h00 – 5ª sessão / 5th session
Sala multiusos 3 Sala 0.07

Papel e processo de escrita do crítico II / Discussão e estabelecimento de cânones

The role and the writing process of the critic II
Moderador / chair: Paulo Ferreira de Castro
Rodrigo Teodoro de Paula: É de causar hecatombes
auditivas: jazz, bossa nova e «outros sons» na
crítica musical de Ezequiel Neves (1964-1965)
Magdalena Nowicka-Ciecierska: A mirror of music
life – Andrzej Chłopecki’s feuilletons about
contemporary music in Polish newspaper Gazeta
Wyborcza (2001–2011)
musicais / Discussion and establishment of
musical canons
Moderador / chair: David Cranmer
Maria José Artiaga: A participação da mulher
nos assuntos musicais da imprensa periódica
Juri Giannini: Ideologies of Music Criticism: A
Concert Programme on Tour

13h00-15h00 – Almoço / Lunch

15h00-17h00 - 6ª sessão / 6th session
Sala multiusos 3 Sala 0.07

Recepção de obras vocais / The reception of vocal Recepção de compositores II / The

works reception of composers II
Moderador / chair: Filipe Gaspar Moderador / chair: Belén Vargas

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 Stephen Armstrong: The Diva Queen of England: David Brodbeck: Korngold Father and Son in
Rossini’s Elisabetta, regina d’Inghilterra and the Vienna’s Pre-War Public Eye
London Press (videoconference)

David Cranmer: The reception of Bizet’s Carmen in
Lisbon 1885-1915
Mariana Calado: The reception of Bach’s St. Matthew
Passion in Portugal (1931): context and content of
the music criticism
Ana Martinez: Luigi Boccherini in XX century
Spanish and Italian newspapers and journals
Robert Ferrer: Leoš Janáček en la prensa
musical española

Matteo Paoletti: Mascagni’s media strategy: the case

of Isabeau (videoconference)

17h00-17h30 - Coffee break

Sala Multiusos 3
17h30-19h00 - Keynote lecture
Katharine Ellis:
Music Criticism beyond the Capital City: Smaller Ponds, Bigger Fish

20h – Jantar da conferência / Conference dinner

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 18 DE MAIO / 18TH MAY
9h30-11h30 - 7ª sessão / 7th session
Sala multiusos 2 Sala multiusos 3

Imprensa, iconografia e actividade teatral / Viagens e circulação de discursos /

Press, iconography and theatrical activity Voyages and circulation of discourse
Moderadora / chair: Luísa Cymbron Moderador / chair: Cristina Fernandes

José Ignacio Suaréz García: Imagen gráfica
y musicología: el motivo iconográfico del
«Lohengrin» wagneriano como fuente para
el estudio de la sociedad española de
cambio de siglo (1892-1908).
María del Carmen Lorenzo: La prensa
compostelana de finales del s. XIX y
principios del XX como fuente para el
conocimiento de la vida escénica en
Santiago de Compostela
João Pedro Costa: Das atuações por
«curiosos» aos profissionais: a afluência de
espectadores no Teatro Garcia de Resende
Benjamin Knysak: Westwards Moves the
History of Art? On Foreign Perceptions of
Musical Life in the Musical Press
Inês Thomas de Almeida: A música
portuguesa nas publicações periódicas
berlinenses entre 1780 e 1800: uma visão
geral
Virginia Whealton: Parisian Musicians as
French Romantic voyageurs: Récits de
voyage in Nineteenth-Century Periodicals
Amanda Black: Festivals and Ferias:
Investigating Contemporary Musical Press
in the «Best City in the World»

11h30-12h – Coffee break

12h-13h - 8ª sessão / 8th session

Sala multiusos 2 Sala multiusos 3

Recepção de intérpretes / The reception of Crítica musical, rádio e imagem / Music

musicians criticism, radio and image
Moderadora / chair: Maria José Artiaga Moderador / chair: Manuel Deniz Silva

Marcos Santos: A imprensa como veículo de
conhecimento do papel de tenor na estreia
de Lucia di Lammermoor em Itália e em
Portugal.
Alejandro Reyes-Lucero: Uma história
construída sobre referências na imprensa,
Francesco Finocchiaro: «Im Spiegel der
Kritik»: The film-music debate on
Reichsfilmblatt from 1924 to 1930
João Pinto: Vedetas Precisam-se (1961): a
imprensa periódica enquanto geradora de
fluxos musicais

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 revistas e jornais: a recepção de Wanda
Landowska em Lisboa e no Porto

13h – 14h30 – Almoço / Lunch

14h30-16h – 9ª sessão / 9th session

Sala multiusos 2 Sala multiusos 3

Painel 2 / Panel 2: Music and the French-
Speaking Press 2
Federico Lazzaro, Michel Duchesneau:
Musicographic incompetence: historical
discourse analysis and post-truth
Entre bandas filarmónicas e tunas
/Between brass bands and tunas
Moderador / chair: A designar / To be
announced
Leslie Freitas: De Galicia a Portugal: la
história de la Tuna Compostelana de 1888
narrada por el periódico Gaceta de
Galicia (videoconference)

Marie-Pier Leduc: The discourse on music in

Bruno Madureira: Potencialidades dos
the political press: Methodological
periódicos musicais para o estudo das
considerations based on the case of the
bandas de música: o caso da Arte
French critic Émile Vuillermoz
Musical: órgão defensor dos músicos
portugueses
Margaux Sladden, Kevin Tougas: L’impact
de la philosophie bergsonienne dans la
Juan Carlos Galiano: Los inicios de la
presse musicale entre 1910 et 1940:
edición musical para banda en España: la
Assimilation, adaptations, déformations
revista El Eco de Marte (1856-1913)

Sessão de encerramento / Closing session (Sala multiusos 3)

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Oradora principal / Keynote speaker

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Katharine Ellis (University of Cambridge)

Music Criticism beyond the Capital City: Smaller Ponds, Bigger Fish:
Through the lens of France, this paper focuses as much on the press
itself as on its criticism and its critics, and asks what characterises a
local, or regional, musical press in contradistinction to that of the
capital. What, if any, were the models for the large number of French
regional journals specialising in music between c.1850 and c. 1950,
and amid what patterns of continuity and change did music critics
such as Étienne Destranges (Nantes), Léon Vallas (Lyon) or Jean
Nattiez (Amiens) write in the specialist or general press or their
respective towns? Finally, what do papers from provincial France tell
us about regional power-bases, readerships and relationships not only
with Paris but with other Francophone centres, notably Brussels?
In this paper I argue that when working on the music criticism of a
centralised country such as France it is of prime importance to analyse
provincial documents from a comparative perspective involving at
least four points of view: local relationships, dialogue with Paris,
independence from Paris, and dialogue with neighbouring and/or
international centres. Where the French capital offered innumerable
professional openings and a Babel of conflicting opinions expressed in
the papers, in smaller urban centres with a handful of outlets for
music criticism, ‘linchpin’ critics or journals were clearly evident, with
all the responsibility that entailed for musical education and advocacy.
Education and advocacy for whom, though, and to what end? The
decentralist and regionalist characteristics of provincial France are
interwoven here with music-critical histories from urban centres of
radically different sizes and shapes.

Biografia / biography: Katharine Ellis is 1684 Professor of Music at

the University of Cambridge, and a cultural historian of music in the
(very) long nineteenth century in France. She has held previous chairs
at the federal University of London (School of Advanced Study), at
Royal Holloway, and at Bristol. Her research straddles musicology,
history and French studies, and covers musical repertoires ranging
from medieval plainchant to 20th-century modernism. She has
written widely on music criticism, the history of music and education,
women’s musical careers, opera and its institutions, and musical
fiction. Two co-edited collections present new research on Berlioz and

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on music/text relations. Her monographs explore the historical press
(Music Criticism in Nineteenth-Century France, 1995), the French early
music revival (Interpreting the Musical Past, 2005), and the tangled
web of Benedictine musical politics and Church/State relations c.1900
(The Politics of Plainchant in fin-de-siècle France, 2013). She is
currently finishing a book on French regional music in century to
Vichy.
A former editor of Music & Letters and the Journal of the Royal Musical
Association, from 2006 to 2009 she was inaugural director of the
Institute of Musical Research, University of London. She was elected
to the Academia Europaea in 2010, to the British Academy in 2013
and to the American Philosophical Society in 2017, and currently
serves on the Board of Directors of the American Musicological
Society.

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Comunicações / Papers

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Alberto Caparrós (Universidad Complutense de Madrid)

Letters without paper: the musical press in Spain during early Francoism: The
aim of this communication is to study the impact of the Spanish social, political
and economic situation on musical press in the middle of the 20th Century
(1945-1956).
After the Civil War (1936-1939) Spain was in a ruinous economic condition: the
Potsdam Condemnation to Franco’s regimen and its consequent diplomatic
ostracism, the lack of materials, infrastructures, the scarcity of electrical
current, etc. The ministerial change of 1951 was an attempt to improve the
situation which was the beginning of an ideological liberalization.
These circumstances affected both the discipline of musicology as such and
the musicological hemerography. After the War, a great portion of the Spanish
intellectuals were living in the exile: critics and reviews became the
representation of the only opinion that was allowed and the voice of the
battle’s winners that did not permit any disagreement. On the other hand, the
shortage of basic resources came with a pressing paper scarcity that also
affected those publications, whose spaces were usually reserved for well-
established writers.
This communication starts with a brief contextualization of the Spanish
situation. Secondly, the situation of journals and reviews will be shown through
examples, analyzing the contents of the articles and the reviews themselves in
relation with the dominant power, what will allow us to reach some
conclusions.

Biografia / biography: Alberto Caparrós Álvarez is a PhD candidate at the

Complutense University (Spain) where he studies «The Spanish music between
1945-1956: from autarchy to liberalization» patronaged by the Spanish
government through the National Scholarship for Doctoral Studies.
After studying violin and philosophy he started his degree of Musicology at the
Complutense University (Spain), where he also finished his master’s studies
supported by the Complutense Academic Excellence Scholarship. He has also
been granted scholarships to study in different countries such as Switzerland,
Germany and England.
He has presented the results of his research in many international forums. In
2018, he has been awarded the price Manuel de Falla for musicological
research at the University of Granada (Spain) as well as the second price in the
contests «PhD in 3 minutes» and «PhDay», both at the Complutense University
(Spain).

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Alejandro Reyes Lucero (CESEM / NOVA FCSH)

Uma história construída sobre referências na imprensa, revistas e jornais: a

recepção de Wanda Landowska em Lisboa e no Porto: A imprensa tem sido,
desde o seu nascimento, um elemento fundamental para o registo e
espalhamento de informação e conhecimento em geral. A nível musicológico
tornou-se uma das fontes mais importantes para a reconstituição de situações
e realidades que, de outra forma, não teriam sido possíveis registar. Este
trabalho tem como objetivo sublinhar e expor a importância de estes médios
de difusão para um entendimento da realidade social e cultural musical
portuguesa de inícios do século XX focalizando-se na visita de uma personagem
de importante valor no domínio da música antiga e do revivalismo musical nos
primórdios do século: Wanda Landowska. O interesse pela música antiga em
Portugal na primeira década do 1900 teve entre as suas primeiras influências
a série de concertos organizados por esta pianista e cravista. Os documentos
críticos e de recepção presentes na revista Arte Musical e nos diários da época,
antes e após as suas récitas, permite ver e perceber dois factos importantes: o
valor da artista no contexto musical europeu e a importância das fontes
impressas como ferramentas para a divulgação e posterior construção de uma
história.

Biografia / biography: Alejandro Reyes Lucero, natural de Venezuela,

começou os seus estudos musicológicos na Universidad Central de Venezuela
(UCV). Actualmente está a realizar a Licenciatura em Ciências Musicais na
NOVA-FCSH, membro do grupo Caravelas e colaborador no CESEM. Tem 10
anos de experiência pianística e realizou um diplomado em direção orquestral
na UCV.

Alicia Pajón Fernández (Universidad de Oviedo)

Journalistic discourse and the creation of a consensus: In 1910, Max Weber

pointed out the importance of researching the power relationships created by
the press’s tendency to make only certain topics public. The press, by
highlighting specific themes and ignoring others, uses information as strategic
material in order to exercise control over public opinion. In this work about
musical journalism, we will explore two complementary concepts. The first, is
the concept of «manufacturing consent», proposed by Walter Lippmann
(1922) and later used by Noam Chomsky and Edward S. Herman (1988)
referring to propaganda. The second idea takes a semiotic approach, which,
according to Nélida Sosa (2000), shows us the news as a semiotic artefact that
symbolically represents what really happened. If we apply both concepts to
information about music, we can appreciate how a newspaper’s editorial line

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offers us a certain discursive information that models the sounding image and
the audience. Taking into account that the facts themselves do not constitute
meanings but it is the media who determines the importance of them, it is
important to study how discourse generates realities and establishes
hegemonic relationships.
In this presentation, we will observe through different journalistic genres how
it is possible to create a discourse about music that begins to seek the
consensus of the audience. For this purpose, we will analyze the newspapers
ABC and El País, in the context of the Spanish «Transición». With the idea of
the news as an object that generates a specific discourse, we will observe how
both newspapers attempt to unify public opinion about the popular music of
the time.

Biografia / biography: Alicia Pajón Fernández has completed her Musicology

degree at the University of Oviedo, Spain and her Inter-university master’s
degree in Musical Heritage from the universities of Oviedo, Granada and
Internacional de Andalucía. She is currently researching her PhD under the
direction of Professor Julio Ogas, focused on the critic and musical information
in the national newspapers between 1976 and 1996. She has completed a
study stage in the University of Helsinki where she had the opportunity of
working with professors such as Eero Tarasti or Erkki Pekkilä. She has
participated as a speaker in different conferences, such as the IX and X
Jornadas de Jóvenes Musicólogos, organized by Joven Asociación de
Musicología (JAM) in Granada (2016) and Barcelona (2017), the VI Congreso
Internacional sobre Prensa y Música «Muspres» in Cuenca (2018) organized by
the Sociedad Española de Musicología (SEdEM) and the XV Congreso de la
Sociedad de Etnomusicología (SIBE) in Oviedo (2018).

Amanda Black (University of North Carolina at Chapel Hill)

Festivals and Ferias: Investigating Contemporary Musical Press in the «Best

City in the World»
San Miguel de Allende, Mexico, is a city of 172,000, renowned in English-
language press for its culturally cosmopolitan ambience, upscale culinary
offerings, opportunities for comfortable retirement, and small-town Mexican
charm. Musically, the most advertised event contributing to its cosmopolitan
flair is the San Miguel International Music Festival, the events of which are
covered in the city’s only weekly print periodical, Atención San Miguel, serving
the large English-speaking US American immigrant community, who also
organizes and attends the events. More popular in the wider Mexican
community, and trading in significantly less cultural capital, San Miguel holds a
municipal fair for two and a half weeks from late September to early October.

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The most up-to-date announcements about the musical offerings for the fair,
usually Mexican regional music, are published on crowd-sourced Facebook
news pages «San Miguel Sin Censura» and «San Miguel Noticias Con Valor»,
with over 100,000 followers. These sites also serve as the main Spanish-
language news outlets for the area. For musical coverage, the periodical press,
Atención San Miguel, is heavily weighted towards the uncritical celebration of
the chamber music festival, while the online press, known in their shortened
versions as «Sin Censura» and «Noticias Con Valor», act as open forums for
complaints, jokes, and even warnings of violence in the municipal fair. In this
paper, I discuss strategies for and reflect on the difficulties of navigating limited
channels for information–especially as diametrically opposed as these sources
seem to be–as a music researcher. By considering both periodical and online
press sources, a more complete view of musical scene emerges, in real time
and with a multiplicity of voices, underlining the challenges of analyzing
musical press in the idiosyncratic and highly divided San Miguel cultural
sphere.

Biografia / biography: Amanda Black is a fifth-year Ph.D. candidate at the

University of North Carolina at Chapel Hill. She holds a Bachelor of Arts in
Studio Art and Spanish from UNC-Greensboro, and a Master of Arts in
Translation Theory from the Universidad de Málaga (2011). After completing
one year of the Bachelor of Music in Flute Performance, Amanda’s studies
broadened to include Latin American cultural studies and in-depth Spanish
language study. She completed her final year of painting study at the
Universidad de Guanajuato, in Guanajuato, Mexico, where she continued to
play and teach flute and engage in new musical experiences. Translating and
editing within a circle of scholars working towards decolonization, Amanda
developed a strong interest in the intersection of music, immigration, the
control of sonic space, and place.

Ana Martinez (Universidad CES Don Bosco)

Luigi Boccherini in XX century Spanish and Italian newspapers and journals:

The life of Luigi Boccherini has undertaken thorough research in the last 15
years. However, before these recent advances, the trustworthy information
regarding the composer was scarce. In 1905, the 100th birthday of the
composer’s death, the Italian newspapers and journals published many
memorials and articles on his life and works. Some years later, in 1927, the
Italian government moved the remains of Luigi Boccherini from Madrid to Italy,
which resulted in more articles and supplements on the matter. The sources
in which these articles were based, were full of myths, errors and inaccuracies,
passing from biographer to biographer.

20
The analysis of content of the articles on the life Luigi Boccherini, with their
errors and myths, will be the object of this conference.

Biografia / biography: Doctora en Musicología por la Universidad Alfonso X el

Sabio, Máster en Interpretación Musical e Investigación Performativa en la
Universidad Alfonso X el Sabio, especialidad de Violonchelo. Licenciatura en
Historia y Ciencias de la Música por la Universidad de la Rioja. Licenciatura en
Grado Superior de Música en la especialidad de Violonchelo por el
Conservatorio Superior de Castellón «Salvador Seguí». Diplomatura en
Magisterio de Inglés por el Centro Universitario La Salle.
Profesora del departamento de música en la universidad CES Don Bosco.
Imparte las asignaturas troncales y obligatorias de música en los grados de
Infantil y Primaria. Maestra de inglés en el Colegio Los Sauces de La Moraleja.
Maestra de música en inglés en el Colegio Logos. Más de diez años dando
clases particulares o en academias tanto de música (Violonchelo, piano, solfeo,
armonía) como de inglés a alumnos de todas las edades. Examinadora para el
Associated Board of the Royal Schools of Music en España. Ha realizado
conciertos por toda España con diversas agrupaciones musicales y orquestas.
Ha participado en multiples cursos de perfeccionamiento instrumental y ha
vivido en Toronto, Utah e Irlanda.
Actualmente sigue su trayectoria instrumental en varias agrupaciones de
música clásica y folk. Ha realizado estancias de investigación en Bolivia y Utah
(EEUU) y conferencias y ponencias en España, Italia y Estados Unidos. Sus
líneas de investigación actuales son: La musicalidad en los estudiantes
universitarios; Las danzas y su función pedagógica en el aula; Las orquestas
juveniles en Bolivia; Las biografías de Luigi Boccherini.

André Malhado (CESEM / NOVA FCSH)

«Cyberpunk Music Dossier»: uma reflexão sobre a crítica musical na página

de internet Neon Dystopia: Neon Dystopia é uma página de internet criada
em Novembro de 2014, com o objectivo de reunir conhecimento sobre várias
manifestações artísticas do ciberpunk – literatura, cinema, séries de
televisão/internet, videojogos e música –, por considerarem necessária uma
abordagem que contemple vários formatos. Fornecem bases de dados sobre
o que é considerado ciberpunk, análises críticas a audiovisuais, textos de
opinião ou produções de fandom, conteúdos que são apresentados e
discutidos por editores e utilizadores.
A rubrica «Cyberpunk Music Dossier» do escritor Bill Ryker, um membro da
equipa que não se apresenta como tendo qualquer tipo de formação no
domínio da música, tem vindo a ser publicada desde Setembro de 2016,
contando já com 15 entradas. Estes documentos servem de fonte musicológica
pois evidenciam um discurso crítico, e um juízo de valor, elaborado de forma

21
participativa pelo autor e os utilizadores que os comentam, revelando assim a
forma como este grupo socialmente interpreta e reconhece uma música
ciberpunk.
Esta comunicação propõe-se a observar este formato de crítica musical curta,
e a forma como os utilizadores comentam cada artigo, muitas vezes
acrescentando informação ou procurando corrigir o seu conteúdo, de modo a
compreender como a música ciberpunk é categorizada, em regime
participativo, nesta comunidade digital. Para isso, procura-se responder às
seguintes questões: que critérios determinam o que pode ser apresentado na
rubrica, e como isso revela um conjunto de convenções da música ciberpunk,
como instrumentação, títulos ou letras das músicas, géneros ou estilos
musicais? Os artistas ou bandas mencionados assumem-se como sendo
ciberpunk, ou esta associação faz parte apenas do discurso desta comunidade?
A crítica musical pode, neste contexto, ser entendida como uma convergência
entre o que o autor escreve no corpo do texto, e a secção dos comentários?

Biografia / biography: André Malhado é produtor musical, compositor e

licenciado em Ciências Musicais pela Faculdade de Ciências Sociais e Humanas
de Lisboa. Encontra-se a realizar uma dissertação sobre a categorização
ciberpunk na música para audiovisuais entre 1982 e 2017, no contexto do
Mestrado de Ciências Musicais, especialização em Musicologia História.
Membro do SociMus e Cysmus, do CESEM, tem incidido a sua investigação nos
domínios da sociologia da música, música nos audiovisuais, ludomusicologia,
estudos de cibercultura, comunicação e media.

Belén Vargas (Universidad de Granada)

Música y prensa en España en el siglo XIX: Tipología de fuentes y

aproximación metodológica: Esta comunicación tiene como objetivo principal
demostrar la validez de la prensa española del siglo XIX como fuente primaria
de investigación musicológica, reflexionando sobre sus ventajas e
inconvenientes. Teniendo en cuenta el contexto histórico, cultural y musical
de la centuria, así como la evolución de la prensa coetánea, se establece una
clasificación y descripción de los tipos de publicaciones periódicas desde el
punto de vista musical (diarios de información general, revistas culturales,
prensa femenina y publicaciones especializadas en música).
Seguidamente, se propone una metodología de estudio de las fuentes
hemerográficas siguiendo una serie de fases. La primera fase corresponde a la
localización y descripción de las fuentes, utilizando un modelo de ficha
hemerográfica. En la segunda fase de la investigación se realiza el vaciado,
análisis y catalogación de la información musical. Este registro se plasma en un
segundo modelo de ficha, que incluye diversos campos de datos relativos a la

22
publicación periódica donde aparece, la temática musical y el género
periodístico del contenido catalogado.
A continuación, se mostrarán ejemplos de estudios musicológicos basados
íntegra o principalmente en la prensa decimonónica, centrados en distintos
puntos de vista, como la crítica musical, la publicidad de productos musicales,
los suplementos de partituras distribuidos por revistas, las imágenes
contenidas en la prensa ilustrada, los ensayos y artículos de opinión en torno
a las constantes musicales del momento, o las noticias y crónicas sobre la vida
musical de determinados centros urbanos.
Finalmente, se reflexionará sobre la necesidad de establecer una metodología
común para abordar el estudio de la prensa desde el punto de vista musical, e
incidir en la importancia del trabajo en equipo y el uso de las nuevas
tecnologías para realizar de forma sistemática registros de la información
musical obtenida en las fuentes hemerográficas.

Biografia / biography: Belén Vargas es profesora ayudante doctora en el

Departamento de Historia y Ciencias de la Música de la Universidad de
Granada desde 2018. Entre 2000 y 2018 ha sido docente en el Departamento
de Educación de la Universidad de Almería.
Es doctora en Musicología por la Universidad de Granada (2012, premio
extraordinario), con la tesis titulada La música en la prensa española (1833-
1874): Fuentes y metodología. Estudio a través de las publicaciones periódicas
de Granada.
Sus investigaciones se centran en la música en la prensa española e
iberoamericana del siglo XIX. Ha publicado artículos y capítulos dedicados a
crítica musical, publicidad y comercio musical (1, 2), suplementos de partituras
editados en revistas, prensa cultural (3) y femenina (4, 5), y un estudio de
enfoque metodológico sobre la investigación musical en la prensa (6). Ha
colaborado con RIPM en el estudio y catalogación de la revista madrileña La
Iberia Musical (7).

Benjamin Knysak (Répertoire International de la Presse Musicale – RIPM)

Westwards Moves the History of Art? On Foreign Perceptions of Musical

Life in the Musical Press: In 1859, Richard Pohl (1826-1896), the devoted
Wagnerite and musical polemicist living in Weimar, contributed an article to
the Neue Zeitschrift für Musik on Pohl’s perception of music in the developing
United States. Pohl based his work largely on the writings of Theodore Hagen
(1823-1871), a recent German immigrant, political radical, and editor of the
New York Musical Review and Gazette and the Deutsche Musik-Zeitung für die
Vereinigten Staaten, a music journal for the German immigrant community.
Pohl described a country where the music of Liszt, Wagner and Berlioz received

23
critical acclaim and popular adulation, leading Pohl to proclaim «Westwards
moves the history of art!» However, the well-known Boston critic John Sullivan
Dwight (1813-1893), editor of Dwight’s Journal of Music and a critic of
Zukunftsmusik, disagreed, claimed these works to be mere novelties, distained
by critics and audiences alike. This resulted in a fascinating tripartite, trans-
Atlantic dispute illuminating issues of musical progressivism, polemical
projection, and political and musical nativism.
In the nineteenth and early twentieth centuries, the musical press functioned
as the prime medium for the dissemination of information about music on an
international scale. Within weeks, topics ranging from the premiere of a new
work, construction of a new theater, or publication of a polemical article could
be known from New York to Moscow and from Berlin to Brazil. In fact, the
speed of transmitting ideas was such that the distance between continents did
not prevent ongoing debate. As such, the inclusion of foreign news in a music
journal could serve as a catalyst for debates over developing national musical
identities. Only now, as the nineteenth-century international musical press
becomes increasingly accessible, can we begin to identify and discuss such
important topics.

Biografia / biography: Benjamin Knysak is the Managing Associate Director of

the Répertoire International de la Presse Musicale (RIPM), the international
project charged with digitizing, indexing, and providing access to the
eighteenth, nineteenth and twentieth-century musical press. He pursued
studies at the Peabody Conservatory, Johns Hopkins University, and the
University of Illinois. Previously, he taught in the Musicology Department of
Northwestern University in Evanston, Illinois. Since joining RIPM in 2004, he
has worked on the creation of RIPM's various digital and full text projects,
including the RIPM Index with Full Text, the Preservation Series, and the
forthcoming RIPM Jazz Periodicals. He has given papers and presentations at
congresses of the International Musicological Society (IMS), American
Musicological Society (AMS), and International Association of Music Libraries,
Archives, and Documentation Centres (IAML) and in many other musicological
and librarianship venues. His research interests focus on the historic musical
press, music bibliography, information technology, music in immigrant
communities in the United States and musical historiography.

24
Bruno Madureira (FLUC e IHC / NOVA FCSH)

Potencialidades dos periódicos musicais para o estudo das bandas de

música: o caso da Arte Musical: órgão defensor dos músicos portugueses: A
partir do século XIX a actividade das bandas de música, militares e civis, tornou-
se uma das principais práticas musicais em Portugal. Desde então inúmeros
periódicos musicais surgiram e, em alguns, a actividade bandística foi
especialmente tida em conta mediante notícias, publicidade ou artigos de
opinião. Paralelamente aos Philarmonico Portuguez, Semanario Philarmonico,
Ecco Musical ou Amphion, a Arte Musical: órgão defensor dos músicos
portugueses é uma ferramenta preciosa para o estudo e conhecimento
daquela prática musical, nomeadamente, nas primeiras décadas do Estado
Novo.
O objectivo deste estudo consiste em compreender a actividade das bandas
de música naquela época, em particular a tipologia de reportório interpretado
em concerto, o impacto social da sua actividade, aspectos relacionados com a
recepção e a interpretação musical, os espaços de performance, a tipologia do
ensino musical praticado, a dimensão do negócio das casas de comércio
musical destinado a instrumentos de sopro, a acção deste periódico como
meio de promoção da actividade bandística e o papel da crítica musical no
âmbito da análise de questões interpretativas daqueles agrupamentos.
Esta investigação é sustentada na pesquisa de fontes hemerográficas,
mediante o levantamento, análise e interpretação da informação relativa a
bandas de música publicada na revista Arte Musical entre 1930 e 1948, um
período cujo director foi Luís de Freitas Branco.
Da análise dos dados recolhidos corroboro um claro empenho, por parte dos
editores, na publicação de material relativo a bandas de música, que é
revelador do interesse do leitor por aqueles agrupamentos musicais. Assinalo
em particular o papel deste periódico na promoção e difusão de actividades,
bandas e intérpretes, bem como a informação que fornece quanto aos
principais géneros de reportório interpretado – marchas, peças de carácter
dançante e transcrições de obras orquestrais – ou à amplitude do mercado de
comércio musical ligado aos instrumentos de sopro.

Biografia / biography: Licenciado em Ciências Musicais e Mestre em Ensino

de Educação Musical no Ensino Básico pela FCSH – UNL. Doutorando em
Estudos Artísticos, especialidade de Estudos Musicais, na FLUC, sob a
orientação dos professores doutores Paulo Estudante e Maria Fernanda Rollo.
Investigador no Instituto de História Contemporânea (FCSH – UNL), membro
da Banda da Força Aérea e professor de História da Cultura e das Artes no
Conservatório d´Artes de Loures. Integra o projecto de investigação “A Nossa
Música, o Nosso Mundo: Associações Musicais, bandas filarmónicas e
comunidades locais (1880-2018)” (PTDC/CDC-MMU/5720/2014), financiado
pela FCT.

25
Christopher Moore (University of Ottawa / OICRM)

The “Flâneur-Critic” and French Popular Song during the Interwar Period: In
The Painter of Modern Life (1863), Charles Baudelaire famously described the
flâneur as «the painter of the passing moment and all of the suggestions of
eternity that it contains». The flâneur is a «passionate spectator», a man of the
crowds who finds aesthetic meaning in the apparent ephemera of the present,
and while doing so relishes his own anonymity and social solitude. The flâneur’s
focus on contemporary reality, a characteristic theorized by a variety of
twentieth-century writers including Walter Benjamin and Michel Foucault,
informed the development of critical discourses around popular forms of
entertainment in interwar France, such as the circus, café-concert, and the
music-hall. Less bound by the critical traditions of high-art critique, the
«flâneur-critic» was drawn to the ostensibly fleeting worlds of popular song
and entertainment and found in these socially and aesthetically
heterogeneous worlds a poetic wellspring through which «modernity» could
be discursively constructed.
In this presentation I will focus on popular music criticism in France during the
interwar period by engaging with texts drawn from the press that reflect the
aesthetic motivations and social situation of the flâneur. I will concentrate on
authors (including Louis Léon-Martin and Michel Georges-Michel) who self-
consciously assume the stance of the flâneur, and by doing so construct a
distinctive poetics of popular music. Freed of expectations of «expertise» or
«objectivity» that informed the milieu of high-art criticism, their approach was
fundamentally poetic, a category of «music criticism» that has only rarely been
theorized by musicologists. This presentation will supply an overview of some
of the primary techniques and strategies of the flâneur-critic while focussing
especially on their discursive representations of the body and the voice in
French popular song.

Biografia / biography: Christopher Moore is Associate Professor of Musicology

at the School of Music at the University of Ottawa. His research focuses
primarily on French music of the twentieth century which he examines in
relationship to questions of criticism, style, gender, and politics. He is the co-
editor (with Philip Purvis) of Music & Camp; Camp (Wesleyan University Press,
2018), and (with Barbara Kelly) of Authority, Advocacy, Legacy: Music Criticism
in France 1918-1939 (The Bowdell Press, 2018). In 2012 he was the recipient
of the American Musicological Society’s Philip Brett Award for an article on
Francis Poulenc which appeared in The Musical Quarterly. He is currently
preparing a monograph about music and crisis in France in the 1930s.

26
Daniel Moro Vallina (Universidad de Oviedo / Universidad Internacional
de La Rioja)

«Un camino de vuelta a normas de validez universal». La recepción del

serialismo en Madrid a través de la crítica musical: Uno de los críticos
madrileños más comprometidos con la música de vanguardia, Enrique Franco,
se refería en 1957 a la desorientación estética que vivían los jóvenes
compositores respecto a las tendencias europeas como una «angustiosa
incógnita» (Arriba, 31-12-1957). Poco tiempo después, el también crítico y
director del Aula de Música del Ateneo Fernando Ruiz Coca señalaba la
adscripción general de la música española a la técnica serial: un medio que,
iniciado por Schoenberg, representaba «un camino de vuelta a normas de
validez universal» (La Estafeta Literaria, 15-1-1960). En este sentido, el cambio
consistió en pasar de considerar el dodecafonismo bajo el punto de vista de su
contenido estético a racionalizar el serialismo como una técnica adaptable a
cada lenguaje particular. Esta opinión fue compartida por la mayoría de
compositores vinculados a la vanguardia, y promocionados en Madrid por
organismos oficiales como el Aula de Música del Ateneo y el Servicio Nacional
de Educación y Cultura. ¿Qué intereses tenían las instituciones de esta etapa
del franquismo en la legitimación de la vanguardia? ¿Qué retórica se empleó
para promocionar la nueva música? ¿En qué medida el discurso de la crítica
oficial influyó en la estética adoptada por compositores conocidos como
Cristóbal Halffter, Luis de Pablo, Ramón Barce o Miguel Ángel Coria? En esta
comunicación abordamos un periodo concreto de la historia de la música
española para analizar el papel de las instituciones y la crítica como agentes
mediadores en la difusión del serialismo. Continuando algunos estudios de
recepción sobre esta etapa (Ángel Medina, Germán Gan, Igor Contreras
Zubillaga), nuestra propuesta trata de profundizar en los argumentos que se
reflejaron en la prensa escrita de finales de 1950 e inicios de 1960, y su
conexión con el interés estratégico de presentar la música realizada en España
bajo una nueva imagen de modernidad.

Biografia / biography: Doctor en musicología por la Universidad de Oviedo y

titulado en Piano por el Conservatorio Superior de Música del Principado de
Asturias. Beneficiario de una ayuda FPU del Ministerio de Educación (2010-
2014), su tesis doctoral sobre el compositor Carmelo Bernaola – en proceso de
publicación – fue galardonada con el Premio de Investigación Musical Orfeón
Donostiarra-UPV y el Premio Extraordinario de Doctorado de la Universidad de
Oviedo. Actualmente es profesor asociado de la Universidad Internacional de
La Rioja y del Departamento de Hª del Arte y Musicología de la Universidad de
Oviedo. Ha publicado artículos en revistas como Musiker, Cuadernos de Música
Iberoamericana, Il Saggiatore Musicale, Revista de Musicología y Perspectives
of New Music, además de colaborar en diccionarios como el MGG online.
Participa como conferenciante y escritor en los programas de la Orquesta
Sinfónica del Principado de Asturias. Es miembro del consejo asesor de la
revista internacional Música oral del Sur (ISSN 1138-8579).

27
David Brodbeck (University of California, Irvine)

Korngold Father and Son in Vienna’s Pre-War Public Eye: Erich Wolfgang
Korngold (1897–1957) remains best known as one of the most influential
composers in the Hollywood film industry during the 1930s and 40s. Yet his
fame dates back to 1910, when, as a thirteen-year-old boy, he appeared before
the public as both an accomplished pianist and a composer of preternaturally
mature, astonishingly modern-sounding music. Young Erich experienced not
only the blessing but also the curse of being the son of Julius Korngold, Eduard
Hanslick’s successor as music critic of Vienna’s Neue Freie Presse. A man of
strong and often acerbic opinions, Julius Korngold was both a powerful and
polarizing figure in the city’s musical scene. He thus had good reason to worry
about how his many adversaries there would respond to the presentation in
Vienna of his son’s music. Would the boy, because of the father’s position, be
thought to be the beneficiary of undeserved favored treatment? Would the
spite opponents felt toward the father be taken out unfairly on the son?
This paper considers such questions in a close examination of the press
coverage of Erich’s sudden emergence into the public eye in 1910. I focus on
three key moments - February, when word of the boy’s prowess was first
reported in the newspapers of Budapest and Vienna; October, following the
première of Erich’s ballet Der Schneemann at the Vienna Court Opera; and
December, following the première of his Piano Trio, op. 1, in a private concert
that drew an overflow audience made up of the city’s «rich and famous», all
eager to hear the music of this «new Mozart» in person. Critics were divided
on both the ballet and the trio. Most telling, as I argue, is the negative
reception, driven, in the mainstream press, by animus toward Julius Korngold;
in the margins, by racialist antisemitism.

Biografia / biography: David Brodbeck is Professor of Music at the University

of California, Irvine. His research has been focused on Central European
musical culture in the long nineteenth century. Among his recent publications
are «Heimat is Where the Heart It; or, How Hungarian was Goldmark?»
(Austrian History Yearbook, 2017); Brahms: Sinfonia N. 1, trans. Alberto Cunha
(São Paulo: Editora da Universidade de São Paolo, 2017); «Music and the
Marketplace: On the Backstory of Carlos Chávez’s Violin Concerto» (Carlos
Chávez and His World, Princeton University Press, 2015); and Defining
Deutschtum: Political Ideology, German Identity, and Music-Critical Discourse
in Liberal Vienna (Oxford University Press, 2014), which won both the Award
for Excellence from the Study Group for Jewish Studies and Music, American
Musicological Society (2016), and the Virgil Thomson Award, ASCAP
Foundation, for the Outstanding Book in the Field of Music Criticism (2015).

28
David Cranmer (CESEM/ NOVA FCSH)

The reception of Bizet’s Carmen in Lisbon 1885-1915: Probably the most

popular of all operas today, it is difficult to imagine how it must have been to
hear and see Carmen in Lisbon when it was still unfamiliar; and once it had
become established, its very familiarity made the Lisbon public particularly
demanding.
This paper seeks to raise and respond to a series of issues relating to
productions during the thirty years from its first, in 1885. Among these are: the
language of performance (Italian, French or Portuguese); the reception by
different publics, according to the venue (Teatro de São Carlos, Coliseu dos
Recreios, Teatro da Trindade); the perceived «Iberianness» of the opera,
bearing in mind that Seville, where the story takes place is closer to Lisbon than
to any other European capital; what the demands of the Lisbon public
therefore became.
The principal source of information is the wide range of periodicals of the time,
both general (O occidente, Diario Illustrado, etc.) and specialised (Amphion, A
Arte musical). Other sources are also used, particularly in relation to
iconography.

Biografia / biography: Radicado em Portugal desde 1981, o musicólogo e

organista britânico, David Cranmer, é doutorado da Universidade de Londres
(1997). Coordenador do grupo de investigação «Música no Período Moderno»
do CESEM, é igualmente investigador responsável pelo projeto Marcos
Portugal, assim como pelo Caravelas – Núcleo de Estudos da História da Música
Luso-Brasileira. Nos últimos anos tem-se dedicado sobretudo a investigações
sobre aspetos da ópera e música teatral nos séculos XVIII e XIX, em Portugal e
no Brasil. Integra uma equipa internacional que estuda a receção da Carmen,
de Bizet, por todo o mundo, na qual se especializa nas questões relacionadas
com estes dois países.
Entre as suas muitas publicações, é autor de Laudate Domino: introdução à
música sacra (Lisboa: Paulus, 2009), de Música no D. Maria II: catálogo da
coleção de partituras (Lisboa: Teatro Nacional D. Maria II/Bicho-do-Mato,
2015) e de Peças de um mosaico: temas da história da música referentes a
Portugal e ao Brasil (Lisboa: Edições Colibri/CESEM, 2017); e editor de Marcos
Portugal: uma reavaliação (Lisboa: Edições Colibri/CESEM, 2012).

29
Francesco Finnocchiaro (University of Vienna)

«Im Spiegel der Kritik»: The film-music debate on Reichsfilmblatt from 1924
to 1930: Throughout the 1920s, German-language film journalism addressed
fundamental questions about the encounter between music and cinema.
Prominent composers, musicologists, and film theorists contributed to this
broad discussion on the proper role and design of silent film music,
encompassing a wide range of arguments and perspectives. To a large extent,
this debate took place in cinematic trade journals (such as Der Kinematograph,
Film-Kurier, Reichsfilmblatt) as well as musicological journals (e.g. Musikblätter
des Anbruch, Melos, Der Auftakt).
The paper will outline the development of the film-music debate on the film
journal Reichsfilmblatt from 1924 to 1930, with a particular focus on the
dialectical interplay between theoretical-aesthetical concerns and
compositional issues.
Starting from the mid-1920s, Reichsfilmblatt encouraged composers and
music directors to contribute their opinions concerning the art of film-music
composition at large, ranging from compilation guides to accompaniment
practices, and from illustrative techniques to dramaturgic strategies. Particular
attention to compositional issues is evident from the presence of regular
columns by music critics. Film-music theoreticians like Hans Erdmann or
Ludwig Brav reached well beyond the horizon of a film-music criticism, even
theorizing new compositional approaches to film composition.
Thanks to the contributions of film-music specialists, such as Giuseppe Becce,
Paul Dessau, Friedrich Holländer, etc., Reichsfilmblatt also dealt with a large
number of questions related to the execution of musical accompaniments. The
techniques of conducting film music were outlined; the basic configuration of
a salon orchestra and the peculiarities of certain instruments were critically
evaluated. The uncertain status of salon-orchestra conductors was debated
and compared with the art-music sphere.
From 1927, Reichsfilmblatt finally confronted the question of the
mechanization of music performance: a large number of articles discussed the
revolution provoked by the discovery of recorded sound on both theoretical
and practical levels.

Biografia / biography: Francesco Finocchiaro studied Oboe at Catania

Conservatory and Musicology (Ph.D.) at the University of Bologna. His research
interests focus on the points of connection between composition, theory, and
aesthetics in twentieth-century music. He has dedicated his studies to the
Second Viennese School and has released the Italian edition of Arnold
Schönberg’s theoretical work The Musical Idea (Rome: Astrolabio-Ubaldini,
2011). He has also published extensively on film music, with a special focus on
the relationship between musical Modernism and German cinema (Lucca: LIM,
2017, and Basingstoke: Palgrave Macmillan, 2017). He has taught at the
Universities of Bologna, Milan, Florence, at Ferrara and Rovigo Conservatories,
as well as at the University of Vienna. Currently he is leading the FWF Research

30
Project Film Music as a Problem in German Print Journalism (1907–1930) at
the University of Vienna’s Department of Musicology.

Inês Thomas Almeida (INET-MD / NOVA FCSH)

A música portuguesa nas publicações periódicas berlinenses entre 1780 e

1800: uma visão geral: Na segunda metade do século XVIII, encontramos
várias notícias alusivas à música e aos músicos portugueses em publicações
periódicas berlinenses. Estas notícias atingiam um vasto número de leitores e
tinham um grau de circulação que importa salientar. Na Alemanha, a ascensão
da classe média na segunda metade do século traduziu-se de forma muito
clara na edição e circulação de livros, jornais e revistas, que gozavam de uma
enorme popularidade entre a classe média e a aristocracia e se tornaram
veículos imprescindíveis para o debate de ideias. Editores como Breitkopf,
Campe e Nicolai foram responsáveis por inúmeras publicações que
contribuíram para a afirmação cada vez maior da opinião pública. Estima-se
que, no fim do século XVIII, houvesse entre 200 e 250 revistas e jornais na
Alemanha, perfazendo um total de 300 mil exemplares por semana, que por
sua vez chegariam a cerca de um milhão de leitores. Neste cenário, a análise
das notícias sobre Portugal fornece pistas valiosas para compreender a forma
como a prática musical portuguesa era apreendida. Como eram vistos os
músicos portugueses? De que maneira eram contadas as notícias e relatos,
dados por visitantes ou por correspondentes locais, sobre a prática musical
que se fazia em Portugal? Qual o tom dominante nessas recensões? Que tipo
de notícia era o mais recorrente? Encontramos discrepâncias grosseiras entre
a forma como uma mesma ocorrência musical é relatada num jornal berlinense
ou num jornal português? Nesta comunicação, partindo especificamente de
publicações periódicas berlinenses entre 1780 e 1803, serão apresentadas e
contextualizadas diferentes notícias relacionadas com a prática musical
portuguesa, quer se trate de considerações gerais, quer se trate de relatos de
concertos e récitas realizados em Portugal ou da presença de músicos
portugueses na Alemanha, procurando assim retratar de que forma se
posicionava neste meio a imagem de Portugal.

Biografia / biography: Natural da República Dominicana, é bolseira da FCT e

doutoranda em Ciências Musicais Históricas da FCSH-UNL onde escreve, sob a
orientação do Prof. Rui Vieira Nery, uma tese sobre o Olhar Alemão no Antigo
Regime. Viveu na Alemanha entre 2003 e 2016, onde criou a ONG "Berlinda"
para a comunidade portuguesa em Berlim. Neste âmbito, foi responsável por
inúmeras iniciativas de cariz cultural, social e humanitário e recebeu vários
prémios e distinções pelos bons serviços prestados à comunidade. A nível
académico, tem artigos publicados em revistas da especialidade,

31
nomeadamente sobre o salão literário da sefardita portuguesa Henriette Herz
Benveniste de Lemos em Berlim no fim do século XVIII, nos Cadernos de
Estudos Sefarditas da Faculdade de Letras da Universidade de Lisboa, e sobre
o relato da viajante alemã Esther Bernard a Portugal em 1801, na Revista
Portuguesa de Musicologia.

Isabel Pina (CESEM / NOVA FCSH)

A simple “judgment about a musical piece”, or reading the critic himself:

music criticism as a mirror of who writes it: The Portuguese periodical press
of the 20th century was profoundly linked to the composer-critic figure,
perhaps more than in other geographies. Between those figures, some became
relevant in both activities – creative and journalistic (together with other
activities which they carried out through decades, such as choral and
orchestral direction, music teaching, radio programs, amongst others,
although the historiography always mentions them as mainly composers).
These are the cases of Luís de Freitas Branco (1890-1955), Fernando Lopes-
Graça (1906-1994) and Joly Braga Santos (1924-1988), three names that
emerged and persisted on the pages of the national (in some occasions,
international) periodical press, signing articles concerning music in its various
formats and genres – art and popular music; professional and amateur music;
live and recorded music; operatic, chamber or symphonic music – and all kinds
of matters related to music, such as pedagogy and criticism, and even ballet,
theatre and cinema.
More than providing factual information about performed, recorded or edited
music and about theatres and their publics, the writing of these three
characters can take us to a greater understanding about themselves, analyzing
the ways some specific events are discussed. Therefore, since in the articles,
written by these three critics, strong, personal and idiosyncratic points of view
are evident, aesthetical, philosophical, ideological and political problems stand
out in Luís de Freitas Branco’s articles, such as in the criticism published by his
pupils Fernando Lopes-Graça and Joly Braga Santos. Thus, the discourse
analysis of these documents can lead us to fundamental conclusions, possibly
still unexplored, about three of the most mentioned and studied figures of the
Portuguese musical 20th century, and the ways they dialogued with their
surrounding realities.

Biografia / biography: Isabel Pina is a PhD student in Historical

Musicology with a doctoral fellowship in the Faculty of Social Sciences and
Humanities, Nova University of Lisbon, mainly interest in the study of
Portuguese history of music of the 19th and 20th centuries, music and
ideology, nationalism and neoclassicism, analysis and semiotics of music, and

32
periodical press and music criticism. Isabel finished her masters in Musicology
– Historical Musicology in 2016 with the dissertation «Neoclassicism,
nationalism and latinism in Luís de Freitas Branco, between the decades of
1910 and 1930». In CESEM (Centre for the Study of the Sociology and
Aesthetics of Music), Isabel Pina is a member of the Critical Theory and
Communication Group, and a collaborator of SociMus (Advanced Studies in
the Sociology of Music). She is also one of the founders and coordinators of
NEMI (Research Group of Music in the Press).  

Jamie Blake (University of North Carolina at Chapel Hill)

Transnationalism in Print: Russian Music and Musicians in Musical America,

1917-1939: The specialized musical press has long held a prominent role in the
discursive process of disseminating and interpreting music. In particular,
Musical America has acted as beneficiary, contributor, and shareholder in the
perception and reception of music in the United States. A popular magazine
from the late nineteenth through the mid-twentieth centuries, Musical
America featured artist profiles, reviews, promotional advertisements and
discussion pieces on composers and works, especially new music and up-and-
coming personalities. These texts and images provide insight into the ways in
which music and musicians were promoted to and received by an interested
general public. Moreover, the journal served as a critical pivot for the American
reception of music and musicians from abroad.
This paper examines Musical America as a critical contact zone in the formative
years between 1917 and the Second World War, and puts Russian musicians,
including visitors, permanent émigrés, and second-generation Russian-
Americans, into dialogue with contemporaneous musical happenings. As a
result, multidimensional transnational networks emerge mediated and
recontextualized by the physicality of the press, allowing a reconstruction of a
richer and more nuanced network than is typically represented by major
canonic figures. This paper, for example, places into dialogue the parallel
careers of impresario Sol Hurok, ballerina Anna Pavlova, violinist Efrem
Zimbalist, and radio mogul David Sarnoff.
Bringing Musical America into conversation with other reception documents
reveals the multidimensional vectors of social and professional networks, the
complex discursive levels of public engagement, and the various constructions
of transnational artistic identities in both the specialized and general presses.
Furthermore, this paper expands the reach of music criticism by juxtaposing
leading historical musical figures with contemporaries who may not have been
as influential as individuals, but who, taken as a group, are critical to
understanding the geography and politics of reception in the United States.

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Biografia / biography: Jamie Blake is a PhD Candidate at the University of
North Carolina at Chapel Hill. Her dissertation interrogates Russian musical
networks in America after 1917, examining human migration as well as the
circulation of musical objects and shifting negotiations of power, influence,
and authority. She is currently a Harold J. Glass USAF Graduate Fellow and has
been the recipient of the Carol and Edward Smithwick Summer Research
Fellowship, the James W. Pruett Summer Research Fellowship, and a Foreign
Language Area Studies Fellowship.

João Pedro Costa (CESEM / NOVA FCSH)

Das atuações por “curiosos” aos profissionais: a afluência de espectadores

no Teatro Garcia de Resende: Em 1881 foi fundada a Companhia Eborense
Fundadora do Teatro Garcia de Resende (Manoel 1942, 21-22), por elementos
da classe dominante (Justino 2001, 14), com o objetivo de angariar o capital
económico necessário para edificar um teatro “absolutamente digno da cidade
e das suas tradições” (Manoel 1942, 21). Não obstante da iniciativa ter sido
privada, em 1890 o edifício foi entregue à Câmara Municipal tornando-se,
assim público (Diario do Alemtejo 1890, 17 de agosto, 1-2). Já sobre a tutela da
Câmara, foi inaugurado dois anos depois. Até 1910 – âmbito cronológico da
investigação –, para além das companhias nacionais ou internacionais, este foi
palco para atuações de grupos amadores locais, sendo as récitas ocorridas
principalmente nos dias 1.º de dezembro – celebração da restauração da
independência portuguesa –, 8 de dezembro – feriado – e período
carnavalesco. De entre os grupos amadores locais, destacou-se, pelo período
de atividade, o Grupo de Amadores Dramáticos da Sociedade Harmonia
Eborense – associação frequentada pela “fina flor da classe média” (O
Manuelinho d’Evora 1894, 15 fevereiro, 3) –, que em 1897 fundiu-se com o de
Amadores Dramáticos Eborenses (A Academia 1897, 21 janeiro, 2). Estes
espetáculos eram tão apreciados que logo no final de 1897 é lamentado “que
o theatro se enchesse com a exhibição feita por curiosos, […] ao passo que
permanece […] ás moscas, quando ahi vem exhibir seus inquestionáveis
merecimentos artísticos, companhias theatraes de 1.ª ordem.” (Diario do
Alemtejo 1897, 15 de dezembro, 1). Assim, a presente comunicação tem como
objetivo discutir as possíveis razões da discrepância entre representações de
profissionais às de amadores locais. A investigação, que se insere na
dissertação de mestrado intitulada Gostos musicais, espaços e redes de
sociabilidade - Évora na transição entre os séculos XIX e XX, é apoiada na
consulta dos periódicos locais publicados entre 1887 e 1910.

Biografia / biography: É mestrando em Ciências Musicais – vertente

Musicologia Histórica – na Faculdade de Ciências Sociais e Humanas da

34
Universidade Nova de Lisboa e membro do Núcleo de Estudos em Música na
Imprensa (NEMI), núcleo este pertencente ao Grupo Teoria Crítica e
Comunicação (GTCC) do Centro de Estudos de Sociologia e Estética Musical
(CESEM). Em 2017 concluiu a licenciatura em Musicologia pela Universidade
de Évora e foi bolseiro de investigação. As suas áreas de interesse centram-se
nos gostos musicais e nas redes de sociabilidade entre os finais do século XIX
e as primeiras décadas do seguinte, tanto em Portugal como no Brasil e com
especial foco no jornalismo musical.

João Pinto (INET-MD / NOVA FCSH)

Vedetas Precisam-se (1961): a imprensa periódica enquanto geradora de

fluxos musicais: A imprensa periódica tem-se caracterizado em grande
medida, desde os seus primórdios, pela publicação de conteúdos que são hoje
uma base importante de conhecimento seja de determinadas épocas, seja de
determinados acontecimentos. No que diz respeito ao meio artístico as
notícias, entrevistas, críticas, publicidade, ou outro tipo de conteúdos, são hoje
documentos essenciais para conhecer compositores, músicos, produtores,
categorias musicais, reportórios, entre outros aspetos associados à música. A
existência destes documentos permite-nos, hoje, cruzar informação da
imprensa periódica com dados recolhidos através da análise de outras fontes,
como exemplo programas oficiais, entrevistas ou outras.
Contudo, em determinados momentos a imprensa periódica procurou ter um
papel que foi para além de dar a conhecer eventos artísticos, tenham estes já
tido lugar ou fossem acontecer num futuro próximo, como é exemplo o
concurso Vedetas Precisam-se, organizado pela revista Rádio e Televisão no
início da década de 1960.
Embora este não seja o primeiro concurso organizado pela imprensa periódica
– basta recordar a organização por parte da revista Flama das Rainhas da Rádio
e da Televisão ao longo da década de 1950 – este foi o primeiro em que uma
revista, dedicada ao meio artístico, procurou criar novos artistas.
A organização de um momento competitivo que procurou criar fluxos musicais
parece ter redefinido o papel da imprensa periódica no meio mediático. Tal
facto poderá dever-se à cada vez menor importância do Centro de Preparação
de Artistas da Emissora Nacional na criação de vedetas.
Para além de pretender revelar o papel da imprensa periódica na criação de
fluxos musicais, procuro mostrar o lugar que esta passou a assumir no meio
mediático, bem como o papel que os outros meios de comunicação tiveram ao
dar continuidade a uma iniciativa da responsabilidade de uma revista,
nomeadamente a televisão e a indústria associada ao disco.

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Biografia / biography: Doutorando em Ciências Musicais (variante de
Etnomusicologia) pela Faculdade de Ciências Sociais e Humanas (Universidade
Nova de Lisboa), instituição na qual obteve o grau de mestre na mesma área
científica, em 2004. Após investigação sobre culturas urbanas, nomeadamente
sobre as Marchas Populares de Lisboa (tema da tese de mestrado), desenvolve
atualmente investigação no âmbito dos media studies, com enfoque nos
primórdios da televisão em Portugal (1956-1964). Desenvolve a sua atividade
profissional como assistente convidado na Escola Superior de Educação de
Lisboa, e como professor de guitarra clássica no curso extracurricular na
Fundação Salesianos. No que se refere à investigação é, desde 2004,
investigador colaborador no Instituto de Etnomusicologia – Centro de Estudos
em Música e Dança (INET-MD), apresentando com regularidade parte do seu
trabalho em congressos nacionais e internacionais.

José Ignacio Suaréz García (Universidad de Oviedo)

Imagen gráfica y musicología: el motivo iconográfico del «Lohengrin»

wagneriano como fuente para el estudio de la sociedad española de cambio
de siglo (1892- 1908): Lohengrin fue uno de los temas de Wagner más
conocidos desde que se iniciara la recepción de la obra del compositor alemán
en España a mediados del siglo XIX. Su gran popularidad, en el cambio del siglo
XIX al XX, propició que los periódicos españoles publicaran imágenes sobre el
«caballero del cisne» que aportan una importante información para
comprender el verdadero alcance sociológico del fenómeno wagneriano. En
este sentido, nos encontramos en las revistas españolas fotografías y grabados
que recogen reproducciones de objetos artísticos, así como otras
manifestaciones que están relacionadas con la crítica musical, el carnaval y la
sátira política (realizada a través del humor gráfico), expresiones todas ellas
que contribuyen a un mejor conocimiento de la sociedad española en sus
aspectos musical, lúdico, político y cultural. En nuestra comunicación
pretendemos hacer una lectura hermenéutica de una selección de imágenes
basadas en el personaje de Wagner, con el propósito de poner de relieve cómo
la imagen es fuente inagotable para la reconstrucción de la opinión pública, las
mentalidades y los comportamientos.

Biografia / biography: Graduate of the University of Oviedo, from where he

also awarded a doctorate in Musicology, Dr. Suárez currently teaches in its
Department of Art History and Musicology. He has focused his research work
on Wagner’s reception in Spain, being author of more than thirty works
published as chapters in books of prestigious publishers (Brepols, Winter,
ICCMU, CSIC, SEdeM, etc.) and as articles in journals such as Cuadernos de
Música Iberoamericana, Revista de Musicología, Nassarre, Anuario Musical,

36
Recerca Musicològica, Quadrivium and Journal of Music Criticism, among
others. Other research lines are related to the musical analysis and Leonese
musical themes (Spain), in writings that have been published, in addition to
those already mentioned, in other journals such as Dedica: Revista de
educação e humanidades. On the other hand, he has carried out around ten
stays in research centres, among which we highlight the «Hochschule Bremen-
University of Applied Sciences», «Richard Wagner Museum mit National
Archive» of Bayreuth, and Johannes Gutenberg Univesität Mainz (Germany).

Juan Carlos Galiano (Universidad de Granada)

Los inicios de la edición musical para banda en España: la revista El Eco de

Marte (1856-1914): A lo largo del siglo XIX la música para banda en España
experimentó una gran expansión debida, entre otros factores, a la
multiplicación de las bandas militares (Oriola Velló, 2014), el surgimiento de
las primeras bandas municipales (Ayala Herrera, 2013; Capdepón Verdú, 2011)
y la labor de educar a la clase obrera trasladando la enseñanza musical de la
Iglesia al ámbito laico (Rodríguez Suso, 2006). Por ello, a partir de la segunda
mitad del mencionado siglo se impulsó en España la composición, edición y
circulación de música para este tipo de agrupaciones (Gosálvez Lara, 1995).
En este sentido, una de las revistas pioneras en la edición de música para banda
en España fue El Eco de Marte, aparecida en Madrid en 1856, año en el que
José Gabaldá y Bel (1818-1870), Músico Mayor del Ejército, compró a Mariano
Rodríguez Rubio (1797-1856) la revista Música Militar. El objetivo de esta
revista era dotar de repertorio a las bandas militares no solo de España, sino
también de Portugal, habida cuenta de la existencia de una posibilidad de
suscripción a la misma para las bandas lusas. En sus más de cincuenta años de
historia y bajo la dirección en diferentes etapas de personalidades como el
propio José Gabaldá, Antonio Romero y Andía o las casas editoriales Dotesio y
Unión Musical Española, estamos ante una revista musical que publicó más de
2000 obras para banda, tanto originales como transcripciones sinfónicas y
operísticas.
Dado lo expuesto, los objetivos de la presente comunicación son: a) realizar
una aproximación histórica a los distintos periodos de la revista musical El Eco
de Marte; y b) estudiar el repertorio publicado en los números y catálogos de
la revista que se conservan en la Biblioteca Nacional de España.

Biografia / biography: Graduado Profesional de Música en la especialidad de

trompeta (CPM «Andrés Segovia» de Linares, 2012), Graduado en Historia y
Ciencias de la Música (UGR, 2016), Máster en Patrimonio Musical (UGR, 2017)
y Máster en Formación de Profesorado de Educación Secundaria Obligatoria
(UGR, 2018). Cuenta en su haber com cuatro capítulos de libro publicados y ha

37
colaborado con diversas revistas científicas. Ha participado en congresos
nacionales e internacionales, centrando su investigación en torno a las bandas
de música y la música procesional andaluza. Asimismo, en 2018 ha realizado
una estancia de investigación en el Centro de Estudios de Sociología y Estética
Musical (CESEM) de la Universidad Nova de Lisboa. En la actualidad, forma
parte del Grupo de Investigación Patrimonio Musical de Andalucía (HUM 263)
y es Contratado Predoctoral (FPU) en el Departamento de Historia y Ciencias
de la Música de la Universidad de Granada, realizando su tesis doctoral bajo la
dirección del Dr. Antonio Martín Moreno y la Dra. Isabel María Ayala Herrera.

Juri Giannini (University of Music and Performing Arts, Vienna)

Ideologies of Music Criticism: A Concert Programme on Tour: In 2010,

Venezuelan conductor Gustavo Dudamel and the Vienna Philharmonic
Orchestra performed the same concert programme in three different settings
and cities, namely during the Lucerne Festival; in orchestra’s hometown,
Vienna; and finally, on tour in New York. The peculiarity of the presented
programme, not based on repertoire of the middle-European symphonic music
canon, but introducing orchestral works by Rossini, Bernstein, and Orbón,
among others, led to unexpected and revealing reactions in the reviews
published in the media.
This paper will address these reviews and demonstrate how periodical press
plays an important role not merely as a source for the investigation of the
history of music of the past centuries, but also for a scientific oriented
comprehension of reception discourses and music practices of the present.
The reviews of these concerts of course express various understandings of
music and concert life in disparate cultural traditions (Swiss, Austrian, and
North American), but more interestingly, they reveal how different aesthetic
ideologies in relation to the value of music and the canon exist and persist in
different reception cultures.
Being largely undeclared by journalists and writers in their texts, these hidden
ideologies tend to fill gaps in building narratives of music history and influence
the opinions and expectations of the audiences as well as the choices of the
programmers. This considered, the last part of this paper argues for innovative
and responsible music journalism which openly states its ideological
background as a constitutive part of criticism and presents insights into the
most recent knowledge of musicological research to a wider spectrum of
nonspecialized audiences.

Biografia / biography: Juri Giannini was born in Rome, Italy, in 1974. He

studied musicology and Slavic studies in Cremona (University of Pavia) and
Vienna (Universität Wien), and holds a PhD from the University of Music and

38
Performing Arts Vienna (mdw) for which his dissertation was on Hans
Swarowsky and his translations of opera libretti. Since 2010 he has been a
research fellow and lecturer in music history at the mdw. Previously he
participated in various research projects at the universities of Pavia and Vienna
on historical notation, cultural transfer in the eighteenth century, and the
history of Vienna’s music university during National Socialism. Additionally, he
writes as free-lance music journalist on several themes including musical
theatre, music of the twentieth and twenty-first centuries, jazz, and Eastern
European popular music. His research interests are ideology and
historiography, relations between musicology and translation studies,
pedagogy of music history in pluricultural settings, and cultural history of
music. (https://www.mdw.ac.at/imi/juri_giannini)

Karsten Mackensen (University of Giessen)

The press as an agent of the formation and change of cultural patterns: By

means of a case study from the field of opera critique the paper attempts to
explore the role of the press in the formation and mediation of cultural
patterns. Against the background of the theoretical conception as developed
by Daniel Fulda (ed., «Kulturmuster der Aufklärung», Halle 2010), and
influenced by Clifford Geertz’s concept (‘The Interpretation of Cultures’, New
York 1973), the approach understands cultural patterns as basic means by
which culture operates. They represent, afford and form possibilities of
perception, thinking and acting. Once shaped, to a certain extent normative,
cultural patterns on the other hand have to be flexible and open to variation.
This tension of norm and freedom is constitutive for the modern Western
bourgeois society with its roots in the European enlightenment.
The consumption of highbrow culture and specifically the attendance of opera
performances can be seen as such a cultural pattern. It combines discursive
and practical aspects including the behavior in the theatre or concert hall and
the building of an autonomous aesthetical judgement. Important for the
affirmation of the self-image of a both economically and culturally influential
part of the society, this pattern is an element of a social distinctive habitus.
It is highly probable that in the course of the 20th century characteristics of
this cultural pattern have changed due to the massive political and social shifts
in Western countries in general, and to radical changes in Western art music
in particular. In order to examine the consistency respectively inconsistency of
the supposed pattern, a comparative analysis of reviews from very different
periods is carried out. Objects of the investigation are two important opera
premieres of the 20th century, Paul Hindemith’s «Cardillac» (1926) and
Helmut Lachenmann’s «Das Mädchen mit den Schwefelhölzern» (1997).

39
Biografia / biography: Karsten Mackensen is currently Apl. Professor for
musicology at University of Giessen (Germany). He received his Dr. phil. from
Humboldt University at Berlin (Germany) in 1999 with a thesis on eighteenth
century music aesthetics from a sociological perspective. His Habilitation
(Giessen University, 2013) deals with orders of musical knowledge, focussing
methodologically on the concept of a historical anthropology. Core areas of his
research are music sociology, music aesthetics and the relationship of music
and philosophy. He has published extensively in the field of music journalism,
with a certain emphasis on German language publications of the
Enlightenment period. Other publications broach the issues of music concepts
in the 19th and early 20th centuries. Most recent publications include «Musik
und die Ordnung der Dinge im ausgehenden Mittelalter und in der Frühen
Neuzeit». Frankfurt am Main: Lang 2017, and «Inventores und exempla:
Präfigurationen eines Begriffs von Musik als geschichtlicher Kategorie im
enzyklopädischen Kontext des 16. Jahrhunderts», in Musiktheorie 31 (2017),
p. 227–241.

Kristen Strandberg (University of Evansville, Indiana)

Musical Machines: Foreignness and the Mechanical Style in 19th-century

French Criticism: Nineteenth-century French critics frequently asserted the
superiority of French musicians, often discussing foreign performers in
language that implied their inferiority. One common way to discuss these
foreign performers was to point out a «mechanical» playing style to
demonstrate a performer’s lack of artistry and nuance.
In this paper, I demonstrate the range of cultural meaning behind assertions
of «mechanical» playing in reviews of foreign violinists in mid-nineteenth-
century France. Critical and philosophical writings of the period reveal
anxieties about the increased mechanization of culture following the Industrial
Revolution and the ways those anxieties affected the arts; a mechanical style
often went hand in hand with assertions of imitation and a lack of originality.
Meanwhile, the popularity of automata in stage shows and contemporary
literature demonstrates a new and widespread fascination with technology as
entertainment.
In exploring the cultural assumptions and meanings of mechanized
performance, we see these simultaneous anxieties and fascinations, along with
connections between technology and the supernatural. I also discuss some of
the repertoire that generated assertions of a mechanical style, demonstrating
some of the playing styles and techniques designed to appeal to audiences
with their innovation, while also often receiving negative reception from
critics. While critics used various means to assert Otherness throughout the
nineteenth century, I show that discussions of a mechanical style carried

40
specific connotations for audiences in early- to mid-nineteenth century France
which reflect and perpetuate broader cultural trends.

Biografia / biography: Kristen Strandberg is Assistant Professor of Music

History at the University of Evansville in Indiana, U.S.A. Her research focuses
on the critical reception of violin virtuosity in mid-nineteenth-century Paris,
with recent publications appearing in the Journal of Musicological Research
and the Journal of Music History Pedagogy, as well as edited volumes of the
Music Criticism Network (Lucca) and the National Chopin Institute (Warsaw).
She holds a Bachelor of Music in Cello Performance from the University of
Minnesota and a PhD in Musicology from Indiana University.

Leonora Saavedra (University of California Riverside)

Foxtrot or Mexican Canción? The debate over modernity and identity in

1920s Mexico: The historiography of Mexican music has inscribed the Mexican
Revolution of 1910-1921 as the catalyst for musical nationalism in Mexico, and
the composer Manuel M. Ponce (1883-1948) as its initiator. Indeed, during the
Revolution Ponce began to employ the melodies of the rural genre known as
canción mexicana in art compositions, and to compose his own songs based
on this model. Ponce had many followers, of whom he did not always approve.
Ponce’s writings in the Mexican press were crucial in spreading the idea that
the canción mexicana is emblematic of the Mexican soul. Although the
«canción phenomenon» is well known, little is known about a second idea,
both alternate and complementary, articulated in the press and by the
composers around the foxtrot as being emblematic of Mexican modernity. This
idea was violently rejected by those who considered the foxtrot an instrument
of «Yankee» domination. This paper proposes to consider historical agents
such as journalists and critics, composers and public administrators as
intellectuals, in other words, as specialists in the production of knowledge of
the social identitary through both music and public discourse about music. This
formal knowledge of the Mexican social, based upon intuitive, non-verbal
knowledge, is spread through the press and from the stage, generates
feedback, and gets sedimented, in a steady process that generates the nation.
The press of the time, I suggest, can provide true ethnographies of the
unfolding of this process in the public sphere. This paper will also present the
terms of the heated debate between the supporters of the foxtrot and the
canción, and of the compromises they made.

Biografia / biography: Leonora Saavedra is Associate Professor in Musicology

at the University of California Riverside and at Mexico’s Centro Nacional de
Investigación, Documentación e Información Musical, of which she has been

41
Director. Her research interests include Mexican music of the 20th century;
nationalism, exoticism and cosmopolitism; the musical relations between
Mexico and the United States, and historical materialism as applied to music.
Recent publications include «Carlos Chavez’s Polysemic Style, Constructing the
National, Seeking the Cosmopolitan» (Journal of the American Musicological
Society, 2015), which obtained the American Musicological Society’s Robert
Stevenson Award in 2017, and Carlos Chávez and his World (ed., Princeton
University Press, 2015), forthcoming as Carlos Chávez y su mundo (Mexico City,
El Colegio Nacional, 2018).

Leslie Freitas (Universidad de Santiago de Compostela)

De Galicia a Portugal: La historia de la Tuna Compostelana de 1888 narrada

por el periódico Gaceta de Galicia: Las tunas decimonónicas fueron
agrupaciones de estudiantes que tocaban los instrumentos propios de rondalla
por las calles para divertirse, donde su origen provino de una antigua tradición
que surgió en España, y posteriormente se difundió en diversas partes de
Europa y América Latina. En Galicia, la agrupación más antigua de esta
naturaleza es la Tuna Compostelana de 1876, formada en su mayoría por
estudiantes de la Universidad santiaguesa que salían por las calles amenizando
los carnavales de dicha ciudad, al igual que de las urbes vecinas. Asimismo, la
colectividad de 1888 fue la que más destaque obtuvo durante el siglo XIX,
puesto que fue la primera de Galicia a realizar un viaje a Portugal, visitando
Coimbra, Oporto, Lisboa y Braga durante los carnavales. Según los tunólogos,
este año fue considerado el apogeo de dicha agrupación, por su expresión de
sistematización organizativa y su cuidado extraordinario de la calidad musical
de las obras ejecutadas.
La presente investigación, abordada desde una perspectiva histórica y
descriptiva, se ha fundamentada en fuentes hemerográficas de la época,
sobresaliéndose las informaciones halladas en el periódico Gaceta de Galicia.
Este noticiero decimonónico está disponible actualmente en la biblioteca
virtual Galiciana, proyecto impulsado por la Consellería de Cultura Educación e
Ordenación Universitaria de la Xunta de Galicia, cuya finalidad es lograr la
máxima visibilidad de los recursos digitales integrados en ella además de
preservar y difundir la cultura histórica de la comarca gallega.

Biografia / biography: Doctora en Historia del Arte y Musicología por la

Universidad de Oviedo/España, Maestra en Patrimonio Cultural por la
Universidad de La Coruña/España y en Música Hispana por la Universidad de
Salamanca/España y Licenciada en Música por la Universidade de Brasilia/
Brasil. Ha publicado varios artículos en revistas nacionales e internacionales,
así como los libros El Colegio de Sordomudos y de Ciegos de Santiago de

42
Compostela (1864-2016) y El sonido de la beneficencia emitido por las clases
de música del Colegio de Sordomudos y de Ciegos de Santiago de Compostela
(1868-1957). Es ganadora de la V edición del Premio Domingo Fontán de la
Real Sociedad Económica de Amigos del País de Santiago de Compostela. Es
miembro del Grupo Organistrum (GI-2025) de la Universidad de Santiago de
Compostela, y actualmente realizada su residencia posdoctoral en la
Universidad Nacional de Tres de Febrero/Argentina.

Luís Miguel Santos (CESEM / NOVA FCSH)

A música sinfónica e o campo da crítica musical em Lisboa nos anos da

Primeira República: Nos anos da Primeira República, a imprensa generalista
acompanhou de perto e teve uma participação activa no fenómeno que desde
o dealbar do novo regime se desenrolava em Lisboa: um florescimento sem
precedentes do interesse pelos concertos sinfónicos públicos, patente no
estabelecimento de duas séries regulares paralelas no Teatro da República e
no Teatro Politeama, entre várias outras tentativas efémeras. Estava em causa,
com efeito, a intensificação de um processo de mudança na vida musical, com
raízes no século XIX, no qual o repertório sinfónico gradualmente conquistava
espaço à ópera. Nesse processo de mudança, as instituições e agentes da
crítica musical parecem ter efectivamente desempenhado um papel
fundamental na emergência e afirmação de todo um quadro discursivo que
teria vastas implicações na construção da transcendência do objecto «música
sinfónica». Imperante já nos anos anteriores à Primeira República, esse
discurso manteria a sua preponderância pelo menos durante as décadas de
1910 e 1920, no período em que prosperaram os empreendimentos sinfónicos
referidos, sustentado não só por algumas das figuras que antes haviam lutado
pela sua primazia, mas também, já na viragem para os anos 20, por um novo
grupo de críticos musicais que gradualmente tomou o seu lugar nos principais
órgãos: Luís de Freitas Branco, Rui Coelho, Oliva Guerra, António Joyce,
Eduardo Libório, Francine Benoît e Hermínio do Nascimento, entre vários
outros. Esta comunicação considera o papel desempenhado por um conjunto
alargado de instituições e agentes da crítica musical no referido processo.
Pretende-se identificar os mecanismos sobre os quais assenta a sua prática
discursiva e explorar as suas implicações numa perspectiva diacrónica, sem
esquecer a influência das transformações por que passava o campo da crítica
musical, que não deixou de colher o impacto das importantes lutas políticas
em curso, focando nomeadamente alguns reflexos ao nível da recepção de
compositores e repertórios.

Biografia / biography: Luís Miguel Santos é doutorando em Ciências Musicais

Históricas na FCSH/NOVA. A sua dissertação, orientada pelo Prof. Dr. Paulo

43
Ferreira de Castro, debruça-se sobre a música sinfónica em Lisboa no período
1910-1933. Realizou o Curso de Piano no Conservatório Nacional (2006), e na
FCSH/NOVA obteve a Licenciatura (2007) e o Mestrado (2010) em Ciências
Musicais. É investigador do CESEM desde 2007, onde foi Bolseiro de
Investigação, integrando actualmente o Grupo de Investigação em Teoria
Crítica e Comunicação. Foi distinguido com o Prémio Joaquim de Vasconcelos
2016 pela SPIM. Colabora ainda regularmente na redacção de textos
musicológicos com a Casa da Música, o Teatro Nacional de S. Carlos e a
Fundação Calouste Gulbenkian. (lms@fcsh.unl.pt)

Magdalena Nowicka-Ciecierska (Institute of Musicology, Adam

Mickiewicz University, Poznan)

A mirror of music life – Andrzej Chłopecki’s feuilletons about contemporary

music in the Polish newspaper Gazeta Wyborcza (2001–2011): Andrzej
Chłopecki (1950–2012) was a renowned Polish musicologist and a music critic,
an expert in contemporary music and a promoter of Polish music. He was a
master of words, an author of hundreds of texts that were published between
1975 and 2012. In his insightful judgements and original reflections, he showed
an unsurpassed example of courage supported by a thorough knowledge and
ingenious intuition. Chłopecki’s authority to Polish culture was unique that is
interesting from the sociological point of view. His cycle of brilliantly written,
but often controversial feuilletons was phenomenon in the Polish culture.
Since his death, special columns, that were devoted to music in Polish daily
newspapers are no longer in existence – they still carry only, but
announcements or reviews from concerts, lacking serious diagnoses and
reflections about modern music. This project examines Chłopecki’s feuilletons
about contemporary music which were published within ten years (2001–
2011) in the Polish daily newspaper Gazeta Wyborcza in his auctorial column
called «Sharp Listening». This paper also presents the impact of Chłopecki’s
texts on the public sphere considering his most interesting and provocative
texts that have also caused a bitter dispute within the Polish cultural
environment.

Biografia / biography: Magdalena Nowicka-Ciecierska (b. 1991) - musicologist

and Polish philologist, PhD student in Musicology at Adam Mickiewicz
University in Poznan (supervisor: prof. UAM dr hab. Marcin Gmys). She
graduated at the Adam Mickiewicz University in Poznan, Poland where she was
awarded a master degree majoring in journalism in 2015, before starting her
doctoral studies at the institute of musicology in 2016. As a student in
musicology, she spent a semester at the University of Graz in Austria in 2013.
Her research interests are mainly focused on contemporary music, music

44
criticism, linguistic ways in describing music and contemporary musical culture.
She has published articles in such journals as Res Facta Nova, Interdisciplinary
Studies in Musicology, Ruch Muzyczny, Glissando, Muzyka w Mieście and
MEAKULTURA. She has presented papers at international conferences in
Poland, Lithuania and Spain. She has also worked as a specialist in the
Promotion and Education Department of PWM Edition — The Polish Music
Publishing House. Her PhD thesis is primarily focused on the works of Andrzej
Chłopecki writings and his impact on Polish musical culture.

Marcelo Franca (CESEM / NOVA FCSH)

«My metal is better than yours»: o elitismo como crítica musical no circuito
online do heavy metal contemporâneo: O circuito actual de heavy metal
contempla uma miríade de subgéneros musicais, cada um destes com as suas
características individuais em termos composicionais, performativos e sociais,
constituindo, assim, nichos dentro do panorama físico e digital. Estes grupos
originam comunidades fluidas e em constante transformação, e que se
dinamizam em diversos espaços online, como fóruns e redes sociais (Facebook,
Youtube e Reddit, por exemplo), nos quais discutem e partilham desde
produtos musicais às próprias bandas. A consequente produção, circulação e
renegociação de conteúdos que tomam diversas formas (críticas, publicações,
textos, vídeos, listas de reprodução, memes, sátiras, etc.) contribuem para
uma segmentação entre os vários subgéneros, nos quais se assiste a uma
aproximação de um essencialismo que procura determinar a forma mais
“pura” de apreciação e consumo de heavy metal.
Neste trabalho, pretendo examinar os discursos e conteúdos produzidos pelos
membros destas comunidades a nível online, circunscrevendo-me ao conceito
do elitismo musical aplicado ao circuito do metal contemporâneo, bem como
a tópicos que são perpetuados frequentemente neste panorama musical,
todavia não exclusivos do mesmo, como a misoginia e o sexismo. A
segmentação entre os fãs e respectivos subgéneros nos quais se identificam
tornam visíveis as diversas perspectivas sociopolíticas associadas e que,
consequentemente, as bandas procuram utilizar como ferramenta de
produção lírica e potencial técnica de marketing e circulação comercial.

Biografia / biography: Luís Marcelo Bento da Franca frequenta a licenciatura

de Ciências Musicais na Faculdade de Ciências Sociais e Humanas da
Universidade Nova de Lisboa. Frequentou a escola de música ArtMúsica em
Loures, onde aprendeu a tocar guitarra. Actualmente é membro do SociMus
(Grupo de Estudos Avançados em Sociologia da Música) e CysMus (Grupo de
Estudos Avançados em Ciberculturas e Música), integrados no Centro de
Estudos de Sociologia e Estética Musical (CESEM). É guitarrista na banda de

45
melodic hardcore Dharma e bolseiro de iniciação científica no CESEM
(FCSH/CESEM/UID/EAT/00693/2013. As suas áreas de interesse centram-se no
estudo do heavy metal contemporâneo, estudos de género e música, e música
em videojogos.

Marcos Santos (CHAIA / Universidade de Évora)

A imprensa como veículo de conhecimento do papel de tenor na estreia de

Lucia di Lammermoor em Itália e em Portugal: Tomando por base a estreia,
em 1835, da ópera Lucia di Lammermoor de Gaetano Donizetti (1797-1848),
esta investigação centra-se no desempenho interpretativo e técnico do tenor,
papel principal desta ópera. Por forma a conhecer, o mais detalhadamente
possível, as qualidades vocais do tenor Gilbert Duprez, que foi o cantor
principal desta estreia, quer em aspectos relacionados com a interpretação,
fraseado e ornamentos utilizados, quer nos registos vocais e parte teatral, foi
consultada, a par com a bibliografia específica, a colecção de críticas da estreia
desta ópera. Destas críticas, publicadas em vários jornais e revistas italianas da
época, podemos retirar informações bastante relevantes sobre questões
específicas relacionadas com a técnica vocal e o fraseado utilizado. Estas fontes
são de grande importância para entender a recepção da obra e aumentar o
nosso conhecimento vocal e o tipo de interpretação de um dos grandes
tenores da primeira metade do século XIX. Paralelamente, procedeu-se à
comparação desta informação das fontes periódicas com as descrições
existentes no manual de técnica vocal escrito por Gilbert Duprez, um dos
tenores preferidos de Donizetti, que inclui exercícios específicos sobre
fraseado, interpretação e equalização da gama vocal. Por fim, nesta
comunicação faz-se a ponte com a estreia da Lucia di Lammermoor em 1838
no Teatro Nacional de São Carlos, cantada pelo tenor Francesco Regoli, e
compara-se esta interpretação com a de Gilbert Duprez.

Biografia / biography: Marcos Santos nasceu em Setúbal, começou os estudos

de canto e interpretação vocal no Conservatório Nacional de Lisboa e mais
tarde na Mannes College of Music de Nova Iorque. No ano de 2013 estreou-se
no famoso Carnegie Hall de NY no papel principal de Romeo na ópera Romeo
et Juliette, tendo cantado os papéis principais em La Traviata, L´elisir d´amore,
Rigoletto. Estudou canto com Liliana Bizineche, Olga Makarina, Lorraine Nubar
e Dalton Baldwin. É doutorado pela Universidade de Évora com a tese Estudo
e análise técnica e interpretativa do papel de Tenor nas óperas Lucia di
Lammermoor e l´elisir d´amore de Gaetano Donizetti.

46
Maria José Artiaga (CESEM / NOVA FCSH)

A participação da mulher nos assuntos musicais da imprensa periódica: O

eclodir da imprensa em Portugal durante século XIX, que decorreu em
simultâneo com o movimento de emancipação feminina, levou as mulheres a
aperceberem-se do potencial que a divulgação de ideias nos jornais e revistas
potenciava. Não obstante o número de mulheres portuguesas que sabia ler ser
bastante escasso, os periódicos provocariam, nas palavras de José Miguel
Sardica, o debate na população, envolvendo na discussão «o ‘país real’, e não
apenas o ‘país legal’».
Apesar dos estudos sobre a participação das mulheres na imprensa feminina
já terem sido objecto de pesquisa, quer internacionalmente quer, em parte,
em Portugal, quase nada se sabe sobre o seu envolvimento no que à actividade
musical diz respeito. Para que se perceba como se reflectiu a sua participação
a nível dos assuntos musicais nos periódicos portugueses e que formas tomou,
abordaremos o trabalho das que mais se destacaram ao longo do século XIX,
com particular ênfase na figura de Antónia Gertrudes Pusich, enquanto
directora de A Assembleia Literária, crítica musical e compositora.

Biografia / biography: Maria José Artiaga fez a sua licenciatura e mestrado em

Ciências Musicais na Faculdade de Ciências Sociais e Humanas da Universidade
Nova de Lisboa e doutorou-se em Musicologia no Royal Holloway da
Universidade de Londres. É investigadora do CESEM pertencendo à linha de
investigação Música no Período Moderno. Tem colaborado em projectos
financiados pela FCT, tais como: «Teatro para Rir: A comédia musical em
teatros de língua portuguesa (1849-1900)», «A música no meio: o canto em
coro no contexto do orfeonismo (1880-2012)» e «Euterpe revelada: Mulheres
na composição e interpretação musical em Portugal nos séculos XX e XXI». As
suas publicações têm abordado temas da música portuguesa no período do
século XIX, essencialmente sobre o ensino da música, crítica musical, ópera e
opereta.

Mariana Calado (CESEM / NOVA FCSH)

The reception of Bach’s St. Matthew Passion in Portugal (1931): context and
content of the music criticism: June 15, 1931, J. S. Bach’s oratorio St. Matthew
Passion is performed by the first time in Portugal. The concert was organized
by Ivo Cruz and the group Renascimento Musical and it was part of a series of
concerts devoted to the discovery of works of the History of Music, such as
Monteverdi’s Orfeo (first performed in Lisbon in 1932), Mozart’s Requiem (in
1933), Berlioz’s Requiem (1936), and Haydn’s The Seasons (1942), among
others. In the days following the presentation of the oratorio, several

47
newspapers and magazines published reviews about the concert – about the
music that had been heard and the musicians that performed it, and about the
arrangements made to the work. In this paper I will compare some of those
reviews and analyze their discourses, according to the types of analysis of
music criticism proposed by Guertin (2013) and Alessandri (2015).
The first half of the twentieth century was an intense period for the music
criticism in Portugal. Somehow, it was potentiated by the transformations of
the musical life in the country and the development of the press industry.
Many newspapers received the collaboration of one or more authors that
wrote regularly about music and the concerts they attended to. In general,
these authors were active members of the musical life, they were composers
or music professors. Some others exercised different activities, were writers or
journalists, for instance, and had a lower musical knowledge. Taking the
reception of St. Mathew Passion as an example, I also intend to observe and
describe some of the characteristics of the contexts and the discourses of the
music criticism practiced in Portugal in the 1930’s.

Biografia / biography: Mariana Calado is a PhD candidate in Musicology at

Faculdade de Ciências Sociais e Humanas – NOVA University. Her research
focuses on the problematics, discourses and the contact networks of the music
criticism published in Portuguese newspapers and magazines between 1926
and 1945, a period that comprises the end of the I Republic and the
establishment of the dictatorial regime. In 2011 she finished her master thesis
about Francine Benoît’s music criticism and chronicles written between the
1920’s and 1950, at the same university.
Mariana is a member of CESEM (Center for the Study of Sociology and Musical
Aesthetics), where she takes part of the activities of GTCC and NEGEM, and
coordinates NEMI, a research group for the study of music in the press. She
had a PhD studentship from FCT (Science and Technology Foundation), and
currently has a fellowship from CESEM for the study of music reception. She
collaborates with Glosas, a magazine edited by MPMP-Movimento Patrimonial
pela Música Portuguesa.

María del Carmen Lorenzo (Universidad de Santiago de Compostela)

La prensa compostelana de finales del s. XIX y principios del XX como fuente

para el conocimiento de la vida escénica en Santiago de Compostela: La
principal fuente histórica para reconstruir los conciertos que tuvieron lugar en
el Teatro Principal de Santiago de Compostela entre finales del siglo XIX y
principios del XX son los periódicos generalistas debido a que no existían en
esta ciudad revistas dedicadas específicamente a la música. La información
musical en estos diarios se componía de diversos tipos de escritos que

48
contenían información de representaciones en Madrid, textos que reflejaban
el éxito que tuvieron en otras ciudades las compañías que iban a pasar o ya
habían pasado por Santiago, publicidad de tiendas de música, anuncios de las
funciones que tendrían lugar, la llegada de novedades a la ciudad como el
fonógrafo, efemérides y biografías de compositores o temas relacionados con
los gustos musicales de la época.
Muchas de estas noticias no llegan a ser propiamente críticas musicales sino,
más bien, son meras descripciones de lo sucedido en las que se narran las
reacciones del público, el resumen del libreto o las incidencias durante las
funciones; es decir, no existe una crítica especializada. Aunque las críticas en
la mayor parte de las ocasiones aparecían sin firma, se concluye que algunos
medios tenían una persona fija que se dedicaba a las tareas musicales y en la
mayoría de las ocasiones los comentaristas no poseían una formación musical
con lo que sus comentarios se ceñían a hacerse eco de los comentarios del
público o a loar al compositor. Analizaremos los diferentes estilos de los
comentarios en los periódicos compostelanos más importantes como El Eco de
Santiago y la Gaceta de Galicia donde encontramos firmas de los principales
críticos entre los que se encontraban Rosa Quem o Augusto Milón a la par que
seudónimos tan originales como Stacatto o Corchea.

Biografia / biography: Titulada superior en violín por el Conservatorio Superior

de A Coruña (España). Máster en Gestión Cultural por la Universidad de Alcalá
de Henares y el IPECC (Instituto de Estudios Culturales y de Comunicación).
Actualmente está realizando la tesis doctoral La música en el Teatro Principal
de Santiago de Compostela: 1840-1914 bajo la dirección de Carlos Villanueva
en la Universidad de Santiago de Compostela.
Miembro del equipo de investigación Grupo Organistrum dentro del I+D+I
Fondos documentales de música en los archivos civiles de Galicia (1875-1951):
ciudades del Eje Atlántico (HAR2015-64024-R).
Desde 2006 es archivera de la Real Filharmonía de Galicia en Santiago de
Compostela y actualmente coordinadora de la comisión de archivos de
orquestas de AEDOM (Asociación Española de Documentación Musical).

Marília Moledo (CESEM /NOVA FCSH)

«The club can’t even Handel me right now» – recepção e (re)interpretação

de memes musicais na plataforma Imgur: O conceito de meme no contexto
da internet pode ser difícil de definir, consistindo numa imagem, GIF ou vídeo
que se propaga na rede, frequentemente com conotações humorísticas,
havendo inúmeras plataformas dedicadas quase exclusivamente a este tipo de
conteúdo, como o 4Chan, 9Gag e Imgur, entre outros. A presente comunicação
irá debruçar-se sobre memes com referências musicais presentes na

49
plataforma de partilha de imagens Imgur, analisando de que modo se
constroem as interpretações dos memes em questão no contexto desta
comunidade internauta. Esta reflexão partirá de uma amostra obtida através
de uma pesquisa no Imgur com as palavras-chave musical memes, na qual
tanto as imagens em questão como os comentários foram recolhidos.
Na plataforma Imgur, os utilizadores têm uma multiplicidade de papéis, sendo
os criadores e críticos do seu conteúdo e contribuindo, através de um sistema
de upvotes e downvotes para catapultar um meme para um estatuto viral ou
para o condenar ao esquecimento. A literacia audio-visual é particularmente
importante neste contexto, dizendo respeito a um conjunto de referências
cinematográficas e musicais particularmente valorizadas na comunidade em
questão. Os memes têm, então, um carácter eminentemente intertextual.
Pretende-se, a partir da amostra supramencionada e da sua análise, fazer uma
reflexão sobre a música e a esfera pública através da literacia audio-visual da
comunidade do Imgur, sobretudo através da recepção e (re)interpretação das
imagens partilhadas.

Biografia / biography: Marília Moledo frequentou a Companhia da Música,

em Braga, onde estudou formação musical, coro e piano, tendo ingressado
posteriormente na licenciatura de Música na Universidade do Minho.
Terminou a licenciatura em Ciências Musicais na Faculdade de Ciências Sociais
e Humanas da Universidade Nova de Lisboa, sendo colaboradora no CysMus
(Grupo de Estudos Avançados em Cyberculturas e Música) a partir de 2017 e
do NEGEM (Núcleo de Estudos em Género e Música) desde 2018, ambos
integrados no CESEM (Centro de Estudos de Sociologia e Estética Musical).
Tem interesses diversificados que passam pelo teatro, estudos de género,
musicais, novos média, literatura e cinema, sendo que é presentemente
colaboradora do festival de cinema «Fest - New Directors New Films Festival»,
sediado em Espinho. Frequenta o mestrado de Ciências Musicais, vertente de
Musicologia Histórica, na FCSH, sendo actualmente bolseira de investigação no
CESEM (Centro de Estudos de Sociologia e Estética Musical).

Matteo Paoletti (Università degli Studi di Genova)

Mascagni's media strategy: the case of Isabeau: On June 3, 1911 Mascagni's

new opera Isabeau debuts in Buenos Aires with a huge success, starting its tour
across the world. The result is accurately prepared by a large-scale press work
brought on by Mascagni's publisher Sonzogno and the agent and impresario
Walter Mocchi, a former editor and journalist who is aware of the power of
advertisement, press and propaganda. Mocchi and Sonzogno succeed in
creating huge expectations in the international press about Mascagni's opera:
pictures of the Maestro composing at the piano are delivered on mainstream

50
magazines in Europe and South America, as well as excerpts of handwritten
music, exclusive interviews, exclusive press releases. To enforce the creation
of the «event», a special press preview of Isabeau is set in Genova just before
the company had been boarding for the world première in Buenos Aires.
The media experience of Isabeau has not been studied yet, although it allows
us to study the evolution of press communication as a strategy to face the crisis
of the opera in the early 1900s, carried out by some of the leading publisher,
composer and artist of the era. My paper studies this experience by using
unpublished archive sources conserved in Genoa, Rome and Milan.

Biografia / biography: Matteo Paoletti is Lecturer in Theatre Studies at the

University of Genoa since 2015. He teaches Theatre Anthropology and
Organization and economics in the Arts. In 2018 he obtained the Habilitation
for Associate Professor. He is member of the scientific board of IMLA and RIIA
(«Italo-Ibero-American Relationships»), study group of the International
Musicological Society. In 2012 he was awarded the «Sipario» - Carlo Terron
prize as best theatre critic under 35 in Italy.

Patrícia Lopes (CESEM / NOVA FCSH)

A presença de José Mário Branco na imprensa periódica nacional entre 1970

e 1974: José Mário Branco, artista de renome da música de intervenção
portuguesa do século XX, conta com cinco décadas de actividade musical nas
mais variadas áreas.
Musicalmente activo desde 1969, o artista começou a desenvolver o seu
percurso musical durante o exílio em Paris, para onde fugiu da polícia política
e do serviço militar na guerra colonial. O seu percurso musical foi assim
progredindo sem as imposições à liberdade de expressão de que vários artistas
portugueses eram alvo em Portugal, despertando a atenção de algumas
publicações periódicas nacionais. A sua presença na imprensa periódica
durante os primeiros anos da década de 70 foi assim bastante significativa do
ponto de vista histórico e cultural. Esta comunicação tem como objectivo
avaliar a forma como os jornais e revistas da época abordavam o compositor,
numa época onde a censura política controlava tudo o que era publicado na
imprensa nacional.

Biografia / biography: Patrícia Lopes (n. 1993) é licenciada em Ciências

Musicais pela UNL-FCSH, detendo também uma Pós-Graduação em Produção
Áudio e Vídeo pela mesma faculdade. Desde Setembro de 2017 que é bolseira
do CESEM (Centro de Estudos de Sociologia e Estética Musical), tendo vindo a
exercer as suas funções no âmbito do projeto Arquivo José Mário Branco.

51
Paula Gomes Ribeiro (CESEM / NOVA FCSH)

Da remediação dos géneros discursivos sobre música na era da internet: Esta

exposição consiste numa discussão exploratória sobre a transformação dos
paradigmas discursivos sobre música - designadamente a crítica musical - nas
paisagens media atuais (Appadurai 2004) da internet das coisas, no contexto
da sociedade em rede (Castells). Pretende-se, assim, examinar o processo de
expansão e progressiva estruturação de uma diversidade de géneros digitais
que divulgam conteúdos discursivos sobre música (incidindo sobre álbuns,
concertos e outros eventos e produtos), através de publicações digitais (de
texto, som e audiovisuais), blogs, redes sociais, YouTube, entre outras
plataformas. Argumento que estes formatos remediam (Bolter e Grusin 1999)
modelos relativamente standards de jornalismo musical impresso, e discuto os
modos como o processo ocorre. Os problemas enunciados são tratados no
contexto das transformações de padrões de escuta e de consumo de música,
num quadro de convergência cultural e realizações colaborativas (Jenkins
2006; 2013; Bruns 2018), de dinâmicas DIY, de produsers e comunidades
portáteis (Chayko 2008). Examina-se ainda a relevância do estudo destes
processos para a musicologia atual.

Biografia / biography: Paula Gomes Ribeiro é Professora do Departamento de

Ciências Musicais, investigadora integrada no CESEM - Centro de Estudos de
Sociologia e Estética Musical, onde coordena o GTCC (Grupo de Música, Teoria
Crítica e Comunicação) e o SociMus (Estudos Avançados em Sociologia da
Música), FCSH NOVA. Doutoramento e Mestrado em Musicologia pela
Universidade de Paris VIII, Licenciatura em Ciências Musicais pela NOVA FCSH.
A sua investigação desenvolve-se especialmente nos domínios da sociologia da
música, género, comunicação e media, dramaturgia, encenação e produção de
ópera, multimédia e audiovisuais (séculos XX-XXI).
(pgr@fcsh.unl.pt)

Paulo Ferreira de Castro (CESEM / NOVA FCSH)

Music criticism as an object of study: some points of reference in the

Portuguese context: Music criticism has mostly been used by researchers as a
source of information on historiographic questions of the «factual» type,
especially in the field of studies known as the history of musical reception, itself
an underdeveloped subject in Portuguese-language scholarship. What seems
to be missing in the present state of musicological research is a truly critical
approach to music criticism, in the sense that, like any other literary genre,
criticism obeys its own precepts, presuppositions and constraints, whose
specificity must itself be made the subject of reflection. In other words, the

52
researcher cannot dispense with an assessment of textual (that is, intertextual)
typologies in his or her approach to what is generally understood as music
criticism; moreover, he or she cannot afford to ignore the entire ecology of
critical practice, involving not only the informative dimension in its more trivial
hermeneutical sense, but above all the complexity (and sometimes the
opacity) of the relationship between criticism, its object, its purpose, its
medium, its reader, and insofar as it is possible to reconstruct it, its effect. Just
as the «objectivity» of any historical account is necessarily conditioned by the
pragmatic status of its author (and of its reader), no study of music criticism
can be oblivious to the chimeras of the «impartiality» of discourse and the
potential transparency of its content. It could even be argued that impartiality
and transparency in general depend on tacitly shared and therefore more or
less invisible prejudices, which call for a genuine questioning of the ‘unsaid’ of
critical discourse.
In this sense, the present paper offers a discussion of several topics related to
musicological work concerning the history of critical thinking: the emergence
of the topic in the context of musical studies, the definition of its object of
study, the conceptual and epistemological problems raised by research, the
methodologies used and the concrete difficulties to be overcome, taking as a
practical application a preliminary mapping of the history of music criticism in
Portugal carried out within the scope of an international publication.

Biografia / biography: Paulo Ferreira de Castro studied musicology in

Strasbourg and London, taking a PhD at Royal Holloway College with a thesis
on the musical relevance of Wittgenstein’s philosophy. He has written music
criticism and musicological essays on the history and aesthetics of 19th and
20th-century music in France, Russia and the Iberian Peninsula, and is the co-
author of a book on the history of music in Portugal which has been translated
into English, French and Mandarin. From 1992 to 2000 he was Director of the
Lisbon Opera (Teatro Nacional de S. Carlos). Paulo F. de Castro is currently
Associate Professor and Department Coordinator at Universidade Nova de
Lisboa and a member of the CESEM research centre, with a special interest in
theories of musical signification, intertextuality and the ideologies of
modernism, subjects on which he frequently gives lectures in Europe, North
America and Brazil. He is a former Chairman of the Portuguese Musicological
Association (SPIM).

53
Riccardo La Spina (Independent, Oakland (California, USA); Universidad de
La Rioja)

Bel Raggio Lusinghier – Gaging Rossini’s Impact on Spanish Society in Press

Reflections of Modern Italian Opera (1817-33): At Fernando VII’s 1814
restoration to the throne, Spanish theatrical entertainment constituted a mix
of genres into one spectacle, lyric and dramatic companies sharing bill and
venue. But Spain’s introduction of modern Italian opera heralded a new phase,
eventually forcing theaters into a «balancing act», and Italian companies into
cohabitation with their native counterparts. Despite the ensuing
consequences, the inevitable upsurge in opera’s popularity lead to the
absorption of titles by Rossini and contemporaries from 1815 through the
1820s, engendering critical press entries ranging from pieces by professional
journalists to testimony from the public at-large. Consequentially, some early
commentators detail audience experiences, revealing a key cause for the
public’s enthusiasm approaching fanaticism: an unabashed passion for all
things Rossini. In the new musical paradigm’s wake, these elements, though
not uncommon to opera-loving Europe, reemerged in Spain dubbed the furor
filarmónico, establishing a panorama which when finally analyzed, may reveal
new insights into the ethos behind Society’s Rossini-fascination and the
multifaceted reaction to it. Had Rossini indeed started something which
institutionalized opera’s entrenched detractors – Spanish playwrights-turned-
opera-reviewers (Carnerero, Mesonero, Bretón Lara, et al) – seized upon to
politicize, shaking the status quo, much as other popular genres (i.e. the US’
acculturation of ragtime and rock-and-roll) would later that century into the
next? Drawing on unknown historical and periodical sources within the above-
described context of the first major stages of Spanish Rossini reception
through the mid 1820s, this paper queries the mechanics of the initial
newsprint manifestation of Rossini’s allure, which irrevocably gripped the
theatrical public’s imagination, as harbinger of society’s transition away from
the stigma of Bourbon Spain’s ancien régime.

Biografia / biography: Riccardo researches nineteenth-century opera, vocality

and early recordings. He enjoys membership in international study-groups,
having presented for distinguished societies, including: Società Italiana di
Musicologia; Song, Stage and Screen; Society for Musicology in Ireland;
American Musicological Society; North-American Conference on Nineteenth-
Century Music; Music on Stage; and Biennial International Conference on
Nineteenth-Century Music. Graduating from Université Libre de Bruxelles, La
Spina received several British research awards, visiting scholarships (Mexico,
Spain), and the MAS’ 2014 Hampson Fund Award for Research in Song
(collected vocal works of Antonio Barili). Published contributions include
Grove, RILM, journals (PMM, Nineteenth-Century Musical Review, Studies in
Musical Theatre), with reviews and articles pending. A concertizing tenor
soloist and composer, he also studies and performs from ethnic song
traditions, playing the accordion and Eastern Georgian panduri. 2016 brought

54
the honor of joining the Universidad de La Rioja doctoral program, and 2017,
conference invitations (MECRI, Madrid; MUSAM, Baeza, Spain; Batumi,
Georgia).

Robert Ferrer (Masaryk University of Brno / Valencian Internacional

University)

Leoš Janáček en la prensa musical española: Esta comunicación pretende

realizar un estudio de la presencia del compositor moravo Leoš Janáček (1854-
1928) en la prensa musical española, a partir del análisis de los distintos
recursos hallados fundamentalmente en las cuatro revistas musicales más
importantes y de referencia en España: Ritmo, Scherzo, Melómano y Ópera
actual. Entre ellos encontramos anuncios y crítica musical de conciertos y
representaciones de ópera a nivel nacional e internacional, crítica discográfica,
reportajes especiales, entrevistas a artistas… publicados en las referidas
revistas en el período comprendido entre el año 1930 y el 2018. De este modo,
el estudio aquí presentado enlaza con una primera aproximación a las fuentes
en torno al compositor localizadas en el archivo de RTVE, cuyos resultados
fueron presentados recientemente en el marco del VI Congreso Internacional
MUSPRES 2018 de la SEdeM en Cuenca, y se enmarca en última instancia en
una investigación más general centrada en la recepción de las obras de Leoš
Janáček en España.

Biografia / biography: Nacido en Faura (Valencia, España) en 1984. Director

de orquesta y musicólogo. Máster en Interpretación e Investigación Musical
por la Universidad Internacional de Valencia y Máster en Investigación en
Lenguas y Literaturas por la Universitat de València. Actualmente es
doctorando en Dirección de orquesta en JAMU y doctorando en Musicología
en la Universidad Masaryk de Brno. Ha publicado varios trabajos sobre música
valenciana del siglo XIX (edición de partitura y grabación en CD de la Sinfonía
Diana Cazadora de Rigoberto Cortina, Retrobem la nostra música, 2014;
monografía Rigoberto Cortina Gallego a la luz de las fuentes documentales,
Institució Alfons el Magnànim, 2015) y actualmente se centra en la recepción
de las obras de Leoš Janáček en España. Es profesor en la Universidad
Internacional de Valencia y miembro de varias asociaciones y organizaciones
como la M.I. Academia de la Música Valenciana, Sociedad Española de
Musicología (SEdeM) y Asociación Española de Directores de Orquesta
(AESDO), entre otras.
(www.robertferrer.com)

55
Rodrigo Teodoro de Paula (CESEM - Pólo da Universidade de Évora)

É de causar hecatombes auditivas: jazz, bossa nova e «outros sons» na

crítica musical de Ezequiel Neves (1964-1965): Antes de tornar-se um dos
maiores especialistas brasileiros em Rock e ser associado às carreiras da banda
Barão Vermelho e do cantor e compositor Cazuza, entre outros destacados
artistas, Ezequiel Neves (1935-2010) exerceu uma importante atividade como
crítico musical. Primeiro em sua cidade natal, Belo Horizonte (Minas Gerais),
onde, sob os auspícios da ditadura militar, foi o responsável, entre julho de
1964 e abril de 1965, pela coluna musical publicada no caderno de cultura do
periódico Diário de Minas. Irreverência, sarcasmo e humor são características
identificáveis nas diversas críticas publicadas por Ezequiel Neves, desde os seus
primeiros trabalhos. Após transferir-se para São Paulo visando o
desenvolvimento de sua carreira como ator de teatro, ali tornou-se o precursor
do jornalismo de Rock, no Brasil, sendo responsável pela cobertura da
produção internacional de rock´n´roll no Jornal da Tarde e, em 1972, no Rio de
Janeiro, pela coluna Toque da edição brasileira da revista Rolling Stone. Apesar
de sua reconhecida atuação nessa área interessa-nos, para essa comunicação,
o seu período como crítico na capital mineira, atividade pouco conhecida ou
divulgada nos textos biográficos e estudos sobre essa intrigante figura da
música brasileira. A análise de seus primeiros textos publicados, que
contemplam maioritariamente o jazz e a bossa nova, será realizada com o
objetivo de traçar um panorama da produção e receção desses estilos
musicais, em Belo Horizonte, nos susoditos anos – temática que também não
mereceu uma merecida atenção por parte dos investigadores – assim como
identificar possíveis articulações entre a rigidez político-cultural de uma
ditadura militar e o jornalismo musical.

Biografia / biography: Doutor em Ciências Musicais - Musicologia Histórica

pela Universidade Nova de Lisboa, é também licenciado em Direcção de
Orquestra pela Escola de Música da Universidade Federal de Minas Gerais
(Brasil), Mestre em Estudo das Práticas Musicais – Música e Sociedade, pela
mesma instituição e Mestre em Interpretación de la Música Antiga pela
Escuela Superior de Música de Cataluña/Universitat Autònoma de Barcelona.
No Brasil, foi pianista por dez anos da banda Lyrical Jazz e, como produtor e
director musical, destacam-se os concertos realizados com consagrada
cantora brasileira Elza Soares. Atualmente é Investigador associado do Centro
de Estudos da Sociologia e Estética Musical – CESEM e membro do Núcleo de
História da Música Luso-brasileira – Caravelas. Também foi membro fundador
do grupo Musicologia Criativa, responsável pelo Encontro Ibero-americano de
Jovens Musicólogos (Lisboa, Porto e Sevilha).

56
Rui Magno Pinto (CESEM / NOVA FCSH)

A «tremenda» «missão» de transmitir o «espírito da civilização» no dealbar

da década de 1870: a (re)emergência da crítica pela pena de Joaquim de
Vasconcelos: Dez anos após o início da publicação da Crónica dos Teatros,
dedicado à divulgação de «artigos analíticos» sobre literatura, teatro, música
e belas-artes, espectáculos públicos e outros entretenimentos de bom gosto,
tomavam o lugar do proprietário Eusébio Simões e do redactor e director José
Maria Pereira Rodrigues os autores de dois opúsculos sobre a história artística
e a criação coeva nacional nos domínios do teatro e da música. Carl Busch,
escritor dramático, tomava o lugar de seus pares – com quem havia já
colaborado – dois meses antes da publicação de Da Crítica Teatral em
Portugal; Joaquim de Vasconcelos tomava a direcção musical daquele
periódico meses depois da polémica recepção do seu estudo bio-bibliográfico
Os Músicos Portugueses pelos «professores» e «curiosos» da capital.
Propalavam ambos que a decadência artística do país decorria também, e em
larga medida, da inexistência de críticos dotados da imparcialidade, da
autoridade e da formação imprescindível para a «correcção dos defeitos» e o
«elogio das qualidades» de autores e intérpretes: se por um lado Busch
reiterava que «a falta de crítica [era] (...) a única (...) das (...) razões (...) porque
o teatro português [estava] atrasado em respeito aos outros teatros»,
Vasconcelos ridiculariza o contínuo «nec plus ultra» a que se resumia a
apreciação da obra dos compositores portugueses por inabilitados
connoisseurs. Cientes «das injustiças, acusações, intrigas e das dificuldades
que (...) autores, artistas, público e empresas (...) se promov[iam]
mutuamente», Busch e Vasconcelos tomaram, ainda que por breve período, a
«grandiosa missão do jornal» e a «tremenda responsabilidade» de avaliar «o
movimento artístico e dramático do nosso país». Na presente comunicação,
procurar-se-á discutir a crítica de música de Joaquim de Vasconcelos na
Crónica dos Teatros, contextualizando-a no âmbito da emergência das
esporádicas manifestações de um «idealismo musical» na capital portuguesa.

Biografia / biography: Rui Magno Pinto é doutorando em Ciências Musicais

Históricas na Faculdade de Ciências Sociais e Humanas da Universidade Nova
de Lisboa, bolseiro da Fundação para a Ciência e a Tecnologia (FCT) e
colaborador interno do Centro de Estudos de Sociologia e Estética Musical
(CESEM – FCSH – UNL). A sua dissertação de doutoramento, orientada pelo
Professor Doutor Paulo Ferreira de Castro, discute a “emergência de uma
cultura sinfónica em Lisboa entre 1860 e 1911.” Concluiu em 2010 na mesma
instituição de ensino o mestrado em Musicologia Histórica, com a dissertação
Virtuosismo para instrumentário de sopro em Lisboa (1821-1870), e em 2007
a licenciatura em Ciências Musicais. Foi bolseiro dos seguintes projectos de
investigação, financiados pela FCT e orientados pelo CESEM: “Património
Musical – Fundação Jorge Álvares” (Julho a Dezembro de 2011) e “O Teatro de
São Carlos: as artes performativas em Portugal (Outubro de 2007 a Setembro
de 2010).

57
Stephen Armstrong (Eastman School of Music)

The Diva Queen of England: Rossini’s Elisabetta, regina d’ Inghiltera and the
London Press: Italian operas had a thriving presence on the London stage, and
these productions caused lively conversations throughout the newspapers and
music journals of Great Britain. Audiences loved Italian operas for their sonic
pleasures, visual spectacles, and exotic otherness, yet opera remained
controversial: the sweet sounds and foreign performers - particularly castrato
singers - were seen as a threat to British morals and national identity. This dual
fascination and unease with Italian culture had been cultivated by a generation
of literary travelers, who had created a kind of imaginary Italy as a backdrop
for travel writing and fiction. But what happened when this creative license
was reversed - when British audiences were confronted by Italian portrayals of
their own national icons?
In this paper, I examine the troubled British reception of Gioachino Rossini’s
Elisabetta, regina d’Inghilterra (1815). Of Rossini’s northern operas from 1815-
1819, Elisabetta had the most pronounced disparity between its British and
Italian reputations; the relative failure of Elisabetta on the London stage
reveals the strikingly complex attitudes of the British toward Italian operas,
especially those that appropriated their own national mythmaking. Elisabetta
was highly subversive to British identity because of its unflattering portrait of
Elisabeth I. In her transformation to operatic diva, «Good Queen Bess» rants
and rages. She toys with the Earl of Leicester, offering to take him as her
consort and then consigning him to the dungeons as a traitor. British critics
were shocked to see their own history performed in the King’s Theatre, created
not in some imaginary Italy of British fantasy, but set to music and performed
by all-too-real musicians from the south. This cultural conflict reveals much
about how early periodicals acted as a stage for the struggle to articulate
nationalist and aesthetic values.

Biografia / biography: Stephen Armstrong is a PhD candidate at the Eastman

School of Music. He completed his master’s degrees in musicology and piano
performance at Michigan State University, where he submitted a thesis on the
historiography of Franz Liszt’s piano music. He has presented papers at the
American Musicological Society, the Society for American Music, the North
American Conference on Video Game Music, and the North American
Conference on Nineteenth-Century
Music. He has published two articles, the first in the Journal of the American
Liszt Society (2015) and the second in Women & Music (2017). An avid pianist
and rock keyboardist, he has performed throughout his native Michigan and in
Italy. His research interests include 19th century Italian opera, British literature,
and virtuosity. He holds a Sproull Fellowship.

58
Theresa Henkel (Universität Regensburg, Bavaria, Germany)

Beethoven: «a hero with a sword and without armour» - Carl Banck as music
critic for the Dresdener Journal 1848-1889: As Robert Schumann’s colleague,
the composer and critic Carl Banck provided a few articles about opera and
vocal music for the Neue Zeitschrift für Musik in Leipzig from 1834 to 1836. Ten
years later he became the main feuilletonist for music in Dresden, where he
then commented and criticised the city’s musical life for over 40 years. In this
period the Dresdner Journal, which was the first and only daily press in the
Saxonian capital after the revolutions of 1848-49 to provide a profound
feuilleton including daily music criticism, printed more than 2000 articles by
Banck.
With this paper I intend to show that Banck – who is nowadays virtually
unknown – played an important role in the education of musical amateurs in
Dresden as well as in the development of taste of composers and performers
alike. On that account, the daily press is an important source, as it provides
countless insights into music and its critical reception. By analysing the main
critics regarding Beethoven and his last symphonies, I shall demonstrate that
we can gain new perspectives on writing about the contemporary reception of
music by equally taking the feuilleton and daily press as well as specialized
press into account instead of focusing on the latter. Moreover, this approach
offers us a versatile picture of the Saxonian capital and its musical life in the
second half of the nineteenth century.
With his constant appreciation of Beethoven’s last works, Banck was able to
form and stabilize the opinion of the Dresdener general public, which was
interested but mostly uneducated concerning musical matters. I will show that
Banck imparted a musical thinking about Beethoven that was strongly
influenced by his readings of Adolph Bernhard Marx. Furthermore, he called
Beethoven the epic poet of the romantic era – Sorely disappointed by his
generation he eventually declared that neither the so-called New German
School nor «Brahms the progressive» could follow in Beethoven’s footsteps.

Biografia / biography: Theresa Henkel (*1988 in Munich) studied Musicology,

Psychology and Computer linguistics and graduated in 2012 at LMU Munich.
She is currently writing her PhD thesis about Carl Banck and German music
criticism in the nineteenth century. For the last period of her dissertation she
got granted a scholarship from Bavarian State Ministry for Education and
Culture, Science and Art. As a member of the University of Regensburg she also
gave a seminar about romantic music criticism in 2017 and was assistant of
Prof. Dr. Katelijne Schiltz from 2015 until September 2018. Furthermore, she
is co-editor of the musicological book series Komponisten in Bayern since 2013
and since 2017 editor for the Tonkünstlerverband Bayern e.V. in the specialised
press neue musikzeitung.

59
Tobias Hermans (Ghent University; Indiana University)

On the pragmatic force of periodical literature: Richard Wagner’s Parisian

music criticism and the tuning of the reader - In the 19th-century music
criticism grew into the central platform of communication about Music.
Leading composers and theoreticians of the day turned to periodicals to enter
discussions about music and share their views with the readership. One of the
composers who embodies music criticism’s stellar rise in importance during
the 19th century, is Richard Wagner. From his early beginnings as a musician
until the very last moments before his death, actually, Wagner frantically wrote
music criticism, using a myriad of media along the way, from articles and op-
eds to pamphlets and voluminous books. Aside from his formal and generic
experiments with the genre, Wagner also used music criticism to further his
image in the public sphere and «tune» is readership. This paper will show that
Wagner was very conscious about the readers of his texts, indeed. Nothing
exemplifies this better than the music criticism he wrote during his first stay in
Paris (1839-1842). As a matter of fact, many of the texts Wagner published
during that time, appeared in both French and German periodicals. These
different versions for each target audience offer us a unique opportunity to
examine the changes he made and the textual techniques he used to make his
persona more favorable in the eyes of the reader. Using selected samples from
Wagner’s Freischütz-reviews and Beethoven-novellas, I will illustrate the
rhetorical, narrative and discursive strategies Wagner employed to cater his
music criticism to the intended reader audience. As a result, I will argue in favor
of a pragmatic reading of music criticism and hope to stimulate a more
profound discussion about the avenues of interactions between musicological
and literary periodical studies.

Biografia / biography: Tobias Hermans is a BOF-postdoc at Ghent University

and a former fellow of the Belgian American Education Foundation. As a
literary scholar, he works on the interaction between music and literature in
the 19th century, and more specifically the rhetorical and narrative design of
musical discourse in the public sphere. In the spring of 2019, his book about
the music criticism of Robert Schumann and Richard Wagner will appear at
Walter De Gruyter. Current projects include the rise of the music guide at the
end of the 19th century, and the effect of clickbait on the reception of news
articles.

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Virginia Whealton (Texas Tech University)

Parisian Musicians as French Romantic voyageurs: Récits de voyage in

nineteenth-century periodicals - Journeys, wandering, and pilgrimage are
some of the most familiar tropes of European Romanticism. Obsession with
travel was - no pun intended - a truly transnational phenomenon, exhibited in
works such as Schubert’s Winterreise, Eugène Delacroix’s paintings, and
Goethe’s Italian Journey. Nonetheless, Romantic representations of travel
developed within national contexts and sociopolitical discourses, in ways that
all too often have been ignored in analyses of travel accounts in nineteenth-
century music periodicals.
In this paper, I investigate the emergence of musicians’ récits de voyage in the
Parisian musical press in the 1830s, 1840s, and 1850s, focusing primarily on
the writings of Hector Berlioz and Franz Liszt. The establishment of dedicated
music periodicals in Paris in the late 1820s offered musicians a powerful
medium for cultivating their public image; however, before Berlioz’s accounts
of his Prix de Rome years and Liszt’s Lettres d’un bachelier ès musique,
musicians had not used the press to portray themselves as Romantic
voyageurs. Far from reflecting a general Romantic fascination with travel,
Berlioz’s and Liszt’s récits de voyage engaged with distinctly French debates
concerning national identity, progressive ideologies, social utopianism, and the
cultural-political role of Paris in the modern world.
In so doing, Berlioz and Liszt emulated the French Romantic récits de voyage
of Chateaubriand, Nerval, and Hugo, but they also challenged them. Unlike the
authors typically associated with the Romantic récit de voyage, Berlioz and Liszt
were neither statesmen nor from French aristocratic families; Liszt, in fact, was
a foreigner. Berlioz and Liszt paved the way for other Parisian musicians,
including Henri Herz, Oscar Comettant, and Louis Moreau Gottschalk, to turn
to the musical press and the récit de voyage to stake out a new place for
themselves as cosmopolitan visionaries and social leaders.

Biografia / biography: Virginia Whealton is an assistant Professor of

Musicology at Texas Tech University. Her research interests include French
music, nineteenth-century music, and the cultural history of travel. She
received her PhD from Indiana University, Bloomington. In her dissertation,
Travel, Ideology, and the Geographical Imagination: Parisian Musical
Travelogues, 1830-1870, she investigated how the Romantic generation of
musicians in Paris used prose travelogues and travel-inspired compositions to
craft their public personae and contribute to French sociopolitical discourse.
Dr. Whealton’s research has been supported by several grants, including a
Mellon Innovating International Research and Teaching Fellowship and a
Bartlet Grant from the American Musicological Society. She has presented at
conferences in North America and Europe, and she has been an invited speaker
at the Fryderyk Chopin Institute (2015) and The Franz Liszt Hochschule (2018).
Her essay on Berlioz’s Harold en Italie will appear in a forthcoming volume on
symphonism in nineteenth-century Europe (Brepols).

61
62
Painéis / Panels

63
64
 Painel 1 / Panel 1
Music and the French-Speaking Press 1

Stefano Alba ( Université de Montréal) & Hubert Bolduc-Cloutier

( Université libre de Bruxelles; Université de Montréal)

Retracing the transition to sound film in the French musical press: the
special issue «Le Film sonore» of La Revue musicale: Whereas French cinema
theory is rooted in a large variety of periodicals published in the 1920s and 30s,
film musicology tends to neglect this broad field of archival sources in favor of
few oft-cited articles and post-golden age specialized books.
Our current research aims at reconstructing the discourse on film music in
France through interwar periodicals. The plurality of composers, critics, and
technicians involved in the debate evidence the importance of these sources
to retrace both film history and theory from a musicological perspective.
A key moment in the reflections on film music aesthetic and technique is
represented by the special issue of La Revue musicale, “Le Film sonore.”
Published in December 1934 by one of the most influential music journals of
the time, it constitutes an interdisciplinary synthesis of the main issues at the
end of the transition to sound film in France.
Our aim is to investigate the role of this issue in the broader context of film
music reflections. Furthermore, its articles written by notable composers
(Honegger, Koechlin, and Ibert) can represent a fundamental point of
departure in order to consider the influence of the theoretical debate on the
actual compositional practices and vice-versa.

Biografias / biographies: Stefano Alba is a PhD student in Musicology at

Université de Montréal. His research project focuses on the role of art-music
composers in French animated cinema of the 1930s and 1940s. He received
his master’s degree in Musicology at the University of Milan, where he started
his research on French animation and studied the Italian generazione
dell’Ottanta composers. His interests include European avant-garde and
modernism, film music and intermediality, and 20th-century popular music. A
recipient of the OICRM doctoral scholarship «Musique en France (1870-
1950)», he also participates in the project Esthétique musicale en France,
1900-1950 as part of the activities of the Laboratoire musique, histoire et
société (LMHS) at Université de Montréal.

Hubert Bolduc-Cloutier is research fellow at the National Fund for Scientific

Research (F.R.S.-FNRS, Belgium). He currently pursues a doctoral degree in
musicology in cotutelle between the Université Libre de Bruxelles and the
Université de Montréal. His research focuses on musical creation in sound film

65
during the interwar in France. Hubert Bolduc-Cloutier attended to
international conferences in France, Belgium, the United States, Canada and
Japan.

Eugénie Tessier (Université d’Ottawa) & Christopher Moore

Le café-concert en disparition: Nostalgie et représentation des chanteuses

populaires dans les écrits de Gustave Fréjaville au début des années 1930:
Gustave Fréjaville (1877-1955) est l’un des critiques français les plus
importants de l’entre guerres, étant considéré comme le créateur de la
critique du spectacle de variétés. Collaborant entre autres aux journaux Paris-
Midi et Comoedia, en 1922 Fréjaville publie Au Music-Hall, l’une des premières
études à proposer un regard critique sérieux sur le music-hall, son histoire, et
ses acteurs. Par ses multiples écrits, Fréjaville dresse un portrait détaillé du
monde des variétés et s’y intéresse sous tous ses angles, qu’ils soient
esthétiques, sociaux, culturels, technologiques ou politiques.
Le début des années 1930 marque cependant pour Fréjaville la fin d’une
époque qu’il suivait de près. Démontrant une forme de résistance envers la
modernisation du music-hall, sa critique musicale est marquée d’une nostalgie
profonde pour le café-concert alors en déclin dû à la transformation de
l’industrie du spectacle et à la mutation des lieux où elle s’exprime et se
consomme.
D’une approche féministe, le travail de Kelly Conway (2004) sur le cinéma
français souligne différents modes de représentation de certaines chanteuses
importantes à l’époque et evoque sommairement l’activité essentielle de la
presse dans la construction de la féminité en chanson, permettant en
conséquence de confirmer l’intérêt de cette source dans l’étude de la chanson.
En se penchant sur le cas singulier de Gustave Fréjaville, cette communication
aura pour but d’identifier la façon dont la nostalgie, exprimée à travers sa
critique musicale, influence la façon dont l’auteur représente les chanteuses
par leur corps, leur voix et leur présence scénique.

Biografias / biographies: Eugénie est présentement étudiante à l’Université

d’Ottawa où elle complète sa Maîtrise ès arts en musicologie avec
spécialisation en études des femmes. Boursière de l’ÉMF- OIRCM (2017-2019),
sa thèse porte sur la représentation des femmes à travers la chanson française
ainsi qu’au sein de la critique musicale durant les années 1930. La chanteuse
Marianne Oswald sert ainsi de véhicule pour démontrer l’hétérogénéité de
cette scène musicale empreinte d’un contexte politique et sociohistorique
complexe. Récipiendaire de la bourse Ernest Gagnon de l’Université d’Ottawa
(2017-2019) et de la Bourse des études supérieures de l’Ontario (2017-2018),
elle travaille également sur l’industrie musicale du Canada français, plus

66
précisément celle de la communauté franco-ontarienne. Ses recherches
multidisciplinaires se concentrent sur les questions d’identités ainsi que sur la
place et le rôle des artistes doublement minorisés (femmes, personnes
racisées ou immigrantes, etc.) dans la construction identitaire émergente de
ces communautés.
(etess084@uottawa.ca)

Christopher Moore est professeur agrégé de musicologie à l’École de Musique

de l’Université d’Ottawa. Ses recherches portent principalement sur la
musique française du XXe siècle, un répertoire qu’il examine en rapport avec
les thèmes de la critique musicale, du style musical, des études de genre et de
la politique. Ses écrits ont été publiés dans des revues telles que The Musical
Quarterly, 19th-Century Music, The Journal of Musicological Research, Music &
Camp; Politics, Intersections: Revue Canadienne de musique et Les Cahiers de
la société québécoise de recherche en musique. Il a été le récipiendaire du Prix
Philip Brett en 2012 pour son article «Camp in Francis Poulenc’s Early Ballets».
Deux ouvrages co-édités viennent de paraître: Music and Camp (avec Philip
Purvis, Wesleyan University Press) et Music Criticism in France, 1918-1939
(avec Barbara Kelly, Boydell & Brewer).
(christopher.moore@uottawa.ca)

Alessandro Garino (Université de Montréal)

US Jazz Musical Press in the Early 1960s: Down Beat magazine and the New
Thing: For decades, the history of jazz in the United States has coincided with
its legitimization as an art form, the definition of its aesthetics, the
construction of its historiography and periodization, the forging of its national
and racial identity. The pages of newspapers, specialized magazines and other
printed issues have hosted discussions about all these topics. In fact, the
musical press has constituted the most significant place of debate on jazz
musicians and their ensembles, concerts, recordings and styles. However, till
the emergence of the Civil Rights Movement in the 1950s and the affirmation
of a new generation of black Marxist intellectuals in the 1960s, those who took
part to this debate were mainly white critics. In this paper, I will explore some
of the historical and social issues of the early 1960s through a specific case
study: the release of Abbey Lincoln’s Straight Ahead in 1961 and the discussion
it generated on Down Beat. Indeed, the African-American singer’s album
contributed to the advent of a new generation of avant-garde musicians linked
to the so-called New Thing. During the same years, however, «traditional» jazz
was more and more institutionalized, canonized and even exported by the US
government, while a rising movement of black scholars was forging the
meaning of a US black culture. In this context, the emergence of the New Thing

67
produced different narratives, among which that of white institutionalized
critics who wrote on Down Beat and perpetuated the discourse on the
aesthetic autonomy of jazz. The revolutionary black narrative, instead, using
different media, different language and a contrasting aesthetic filter, described
the New Thing as part of a social discourse of protest. Through the Straight
Ahead controversy, I’ll compare these two opposite narratives and I’ll show
how Down Beat represented the social and cultural complexity of jazz in the
early 1960s.

Biografia / biography: Alessandro Garino is a researcher and a professional

pianist and composer. He studied classical piano with Massimo Somenzi at
Venice Conservatory (Italy) and he holds a master’s degree in Musical
Disciplines from the University of Bologna (Italy). During his academic studies
Alessandro reconstructed and produced a critical edition of Manuel de Falla’s
Los Amores de la Inés, a zarzuela which has been represented at the Teatro de
La Zarzuela de Madrid (Spain) in October 2013. Na article from his
ethnomusicological master dissertation on female trance rituals in Meknes
(Morocco) has been published in 2016 in the Italian anthropological journal
Archivio Antropologico Mediterraneo (University of Palermo Press, Italy).
Today Alessandro is a Ph. D. student at Université de Montréal (QC – Canada)
and his main research interests are 1950s and 1960s’ jazz social history and
musical analysis.
(garrincha.samba@gmail.com)

Héloïse Rouleau (Université de Montréal)

Post-Press Speech Analysis: Digital Prints of Quebec’s Rap Scene: In 2017,

the Disc Industry Association (ADISQ) reported that 80% of Quebec’s rap
albums were still not broadcasted by radio stations. For a long time, Quebec’s
rap scene has been kept out of the industry and forced to operate apart from
mainstream broadcasting channels - articulating since 2000 an autonomous
network of labels, specialized blogs and events. Isolated from traditional
medias, Quebec rappers had no choice but to make the most of the new digital
environment in which music now evolves.
By questioning the artists’ abilities to optimize all the new possibilities the
Internet now offers, it is crucial to take an interest in the digital prints they
leave in new medias, in order to better understand the development of their
musical life. While blogs, digital periodicals and social networks played a key
role in the development of Quebec’s rap scene, a genre operating on the
sideline of the mainstream industry, analysis of the content in 2.0 sources - in
post-press - becomes an essential complement to a reception study.

68
Our research therefore leads us to articulate a systematic method for
referencing the digital activities of major artists from Quebec’s rap community.
Our analysis leads us more broadly to think about perspectives offered by
evidence found on the web in the analysis of contemporary musical
phenomena. How can the digital environment be a developmental factor for a
musical genre? How do tracks left in digital medias inform us about the
evolution of current music such as hip-hop? This presentation thus aims to
study how post-press can teach us about the recent evolution of a musical
environment and to question the epistemological contribution of studying
digital sources.

Biografia / biography: Héloïse Rouleau is currently a Master’s student in

musicology at Université de Montréal. After studying journalism, she
participated in several cultural magazines leading her to pursue her academic
path in musicology. She brings her experience as a journalist and a musicologist
to life by joining the Observatoire interdisciplinaire de création et de recherche
en musique (OICRM) in 2016, her studies mainly focusing on Quebec’s rap
scene and music’s mediation.
(heloiserouleau@gmail.com)

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 Painel 2 / Panel 2
Music and the French-Speaking Press 2

Federico Lazzaro (University of Ottawa) & Michel Duchesneau

(University of Montréal)

Musicographic incompetence: historical discourse analysis and post-truth:

Just as it is difficult to decide whether or not to call early 20th century
musicographers «musicologists», it is also challenging to decide on their
competence or incompetence, given the very eclectic nature of music writing
at the time. Composers have often denounced the incompetence of critics, to
the point of considering that only musicians could claim to write about music.
But incompetence is a transversal category that does not necessarily coincide
with the non-specialization of writers. It is not defined by the training or
profession of individuals (musicians/composers can be just as «incompetent»),
but by the kind of discourse they have, characterized by the repetition of
received ideas, the use of vague concepts, rhetoric.
These texts «haunt» journals and, when analyses are carried out on a large
corpus, we can even say that they «pollute» the examined sample. Legitimated
by their being published, «incompetent» speeches are presented on the same
level as those that are more «competent». How can we take this into account
in our historical and aesthetic study? On the one hand, they seem to be very
useful in connecting with diffuse ideas about music and verbal habits to
address it. On the other hand, methodologically, there is a need for tools to
assess this level of competence at a 100-years distance: how to decide whether
a sentence is (and was read by contemporaries as) filling, rhetoric,
commonplace?
Recent studies on post-truth, and more particularly those focusing on the
definition and identification of «bullshit», can provide very effective tools for
the historical analysis of music discourse. The theoretical framework
developed for the study of speaking on any subject by anyone will be used to
study the specific corpus of texts of French music press between 1900 and
1950. We will take as case study the articles on music and sport by playwright
André Obey (1892-1975), which by their imaginative tone, their non-traditional
subject and their programmatic vocation constitute a constant interpretative
challenge.

Biografias / biographies: Federico Lazzaro holds two PhDs in musicology

(Università di Pavia and Université de Montréal) and is currently a FRQSC post-
doctoral fellow at the University of Ottawa. His main area of research is music
in France during the first half of the 20th century, with a special focus on
artistic migration, nationalism, music and sport, the aesthetics of modernity

70
and music criticism. He is the coordinator of the website Presse musicale en
France, 1890-1950 and of the project Esthétique musicale en France, 1900-
1950. His more relevant publications include articles on Monteverdi’s Orfeo in
the 20th century, Carlo Gesualdo, Debussy, Ravel, Jolivet, Rota, and music and
sport. His book Écoles de Paris en musique: Identités, nationalisme,
cosmopolitisme (Paris, Vrin) is in press. He is also preparing two collections
about, respectively, records and radio in French-speaking countries until 1950
(co-edited with Michel Duschesneau, Paris, Vrin) and artistic migration in Paris
during the Third Republic (co-edited with Steven Huebner, New York, Peter
Lang).
(federico.lazzaro@gmail.com)

Michel Duchesneau is Professor at the Faculty of Music of the Université de

Montréal (Québec). His research on French music of the last decades of the
19th and early 20th century and on contemporary music has led to the
publication of numerous articles, as well as various books on French music:
L’avant-garde musicale et ses sociétés à Paris de 1870 à 1939 (Mardaga, 1997),
Musique et Modernité en France (PUM, 2006), Musique, art et religion dans
l’entre-deux-guerres (Symétrie, 2009), Charles Koechlin compositeur et
humaniste (Vrin, 2010), Écrits de compositeurs (Vrin 2013). He is the founder
and director of the Observatoire interdisciplinaire de création et de recherche
en musique, a research center in Montreal working on interdisciplinary
musicology.
(michel.duchesneau@umontreal.ca)

Marie-Pier Leduc (Université de Montréal/Université libre de Bruxelles)

The discourse on music in the political press: Methodological considerations

based on the case of the French critic Émile Vuillermoz: The critic and
musicographer Émile Vuillermoz (1878-1960) is a major figure in French
musical life in the first 20th century. The corpus of his writings is enormous
(more than 9,000 texts in 150 publications) and presents a notable
particularity: most of his texts have not been published in the music press, but
in the mainstream daily and weekly press or in periodicals often with a strong
political orientation.
There are two main traditions for the analysis of music criticism in the
politically charged press: one tends to make a perfect match between the
political orientation of a newspaper and the political ideas—and, by extension,
artistic ideas—of the music critics who write in it [e.g. Fulcher 1999; Fulcher
2005], while the other tends to make music and discourse on music
autonomous to the greatest degree possible and quotes criticism without
socio-political contextualizing them. The analysis of Vuillermoz’s texts from

71
one of these two perspectives would necessarily lead to a deadlock. On the
one hand, he has published in newspapers and magazines with radically
opposed political tendencies (centrist daily newspapers or those linked to the
Parti radical, magazines associated with the briandist left, right or far right
weekly newspapers and even some texts in communist publications), making
the adequacy between his ideas and those of an editorial line impossible. On
the other hand, addressing the political issues of music criticism is crucial since
it is a form of expression in the public space, and more especially in the case
of Vuillermoz who has often made explicit his views on politics in his texts.
In this paper, I will propose a methodological reflection on the analysis of the
discourse on music in the politically oriented press. To do this, I will follow the
various obstacles encountered in studying the corpus of Vuillermoz’s writings.
I will propose an analytical framework that takes into account the nature of the
media, the socio-political context, the critic’s networks, the content of the
texts, and the individual background of each critic.

Biografia / biography: Marie-Pier Leduc is a PhD candidate in musicology at

Université de Montréal/OICRM and Université Libre de Bruxelles/LaM and has
received a scholarship from the Social Sciences and Humanities Research
Council of Canada. Her thesis focuses on the career of the French music critic
Émile Vuillermoz and the mediatic issues of music life of the first half of the
20th century. She has published in Revue musicale OICRM and Revue de
musicologie, and has written, with Marie-Hélène Benoit-Otis, an initiation to
research in music guide (Presses de l’Université de Montréal, 2018). In 2017
she has won the first prize at the lecture contest Présences de la musique
organized by the Société québécoise de recherche en musique (SQRM). Marie-
Pier also works in the field of scholarly publishing for the series «MusicologieS»
(Vrin, Paris) and is an instructor for the undergraduate courses of methodology
of research and general music history at the Université de Montréal.
mp1leduc@gmail.com

Margaux Sladden (Université Libre de Bruxelles) & Kevin Tougas

(Université de Montréal)

L’impact de la philosophie bergsonienne dans la presse musicale entre 1910

et 1940: Assimilation, adaptations, déformations : Durant la première moitié
du XXe siècle en France, les champs de la littérature, de l’histoire, de la
psychologie, des sciences exactes se voient marqués en profondeur par la
philosophie de Henri Bergson (1859-1941), et le domaine musical n’échappe
pas à cette imprégnation. La presse constitue à cet égard un terrain
d’investigation privilégié: c’est dans les revues que les musicographes posent
les premiers jalons de l’application de la pensée bergsonienne à la musique.

72
La presse permet en outre de distinguer deux niveaux dans le processus
d’appropriation de la philosophie de Bergson: d’une part, des études
approfondies, basées sur une assimilation rigoureuse du philosophe,
permettent à des auteurs comme Louis Laloy, Charles Koechlin ou Gabriel
Marcel d’appréhender le phénomène musical (et les notions apparentées de
durée, de création, du rapport entre musique et langage verbal) selon un
nouvel éclairage conceptuel. D’autre part, la philosophie de Bergson initie une
lecture nettement plus superficielle : dans des quotidiens comme Comoedia
ou Paris-Midi, mais aussi dans les chroniques de nombreux périodiques,
prolifèrent dès le début des années 1910 des critères d’appréciation
directement inspirés des concepts bergsoniens («élan vital», «durée»,
«continuité» ou «devenir» d’une œuvre reviendront fréquemment sous la
plume des critiques jusqu’à la veille de la seconde guerre mondiale). Ces
mentions se muent rapidement en formules consacrées, voire en injonctions
esthétiques, et la pensée de Bergson, loin d’être mobilisée comme un système
philosophique constitué, semble ici plutôt participer d’une forme de sensibilité
dans l’air du temps. C’est sur ce deuxième niveau d’appropriation, propre à la
presse, que nous aimerions axer notre étude, en nous focalisant plus
particulièrement sur le cas du musicographe Max d’Ollone: quel avantage y a-
t-il à tirer, pour un critique musical, du fait de convoquer une pensée
philosophique «en vogue» ? Et au prix de quels raccourcis, imprécisions, voire
déformations du contenu initial?

Biografias / biographies: Margaux Sladden is a research assistant and a

member of the Musicology Laboratory (LaM) at the Université Libre de
Bruxelles. Under the supervision of Valérie Dufour and Antonino Mazzu, she is
preparing a doctoral thesis devoted to the presence of philosophy in musical
discourse during the first half of the 20th century in France, with a particular
focus on Henri Bergson. Her master’s thesis, devoted to the critic Boris de
Schloezer, was awarded at the annual competition of the Royal Belgian
Academy in 2014. Several conferences and articles (published by Presses
universitaires de Rennes, La Revue belge de Musicologie, etc.) report on her
research into the field of music criticism and aesthetics. She also teaches
various disciplines, including the Music history, at the Royal Conservatory of
Brussels.
(msladden@ulb.ac.be)

Présentement étudiant à la maîtrise en philosophie et diplômé de l’Université

de Montréal en interprétation de la batterie jazz (2016), Kevin Tougas poursuit
son travail au sein du projet sur l’esthétique musicale en France (1900-1950)
de l’ÉMF depuis le printemps 2015. Très intéressé par la question esthétique,
il travaille actuellement, dans le cadre de son projet de mémoire, sur la théorie
de «l’art pour l’art», élaborée dans le contexte historique du Romantisme.
Porté par des réflexions sur le statut moral de l’artiste et sur le développement
d’une conception autotélique du Beau à partir du XVIIIe siècle, ce projet se

73
propose d’éclairer le moment historique décisif que constitue le passage du
siècle des Lumières vers le XIXe siècle dans le domaine de l’esthétique.
(kevin.tougas@umontreal.ca)

74
Concerto / Concert

75
76
 Polémica 1911
16 Maio, 19h
Auditório 2, Torre B (NOVA FCSH)

Philippe Marques, piano

Tomás Costa, violino
Isabel Pina, recitação

César Franck
Sonata para violino e piano*

Luiz de Freitas Branco

Sonata para violino e piano*
Albumblätter*

Richard Strauss (arr. Otto Singer II)

Don Juan*

Ruy Coelho
Bouquet*
Sonata para piano e violino*

(*excertos / excerpts)

77
O MPMP, Movimento Patrimonial pela Música Portuguesa, é uma plataforma
constituída por centenas de músicos do espaço lusófono e reúne diversos
projectos em prol da divulgação de música de tradição erudita ocidental.
Enquanto plataforma de contacto entre compositores, musicólogos,
instrumentistas e melómanos, tem publicado, desde 2010, a revista Glosas,
bem como inúmeros projectos editoriais (CDs, livros e partituras), e promovido
a realização de espectáculos um pouco por todo o país e pelo estrangeiro
(Brasil, Dinamarca, França e Suécia), divulgando música de compositores de
toda as épocas com a colaboração de alguns dos mais promissores nomes da
nova geração de instrumentistas portugueses. Desde a criação do Ensemble
MPMP, em 2012, tem promovido o diálogo entre a criação contemporânea e
a estreia moderna de repertório esquecido, objectivos com que se apresentou
em inúmeros espectáculos nos festivais Música em São Roque, Dias da Música
e Prémio Jovens Músicos, ou em auditórios como o Teatro Municipal de
Almada e o Teatro Municipal do Porto. Estabelecendo parcerias com algumas
das instituições de maior relevo no panorama cultural português, tais como a
Biblioteca Nacional de Portugal, as universidades de Aveiro e de Évora, o
Museu da Música Portuguesa e o Museu Nacional da Música, o MPMP foi ainda
diversas vezes distinguido em concursos de apoio a projectos culturais de
entidades como a Direcção-geral das Artes, a Fundação GDA ou a Câmara
Municipal do Porto e, em 2018, recebeu o Prémio de Música Sequeira Costa,
promovido pela Fundação Mirpuri.

Biografia / Biography

Philippe Marques was born in 1991 in Lausanne, Switzerland. He began his

musical studies at the age of ten, at that time already in Portugal. His first piano
teacher was Catherine C. Paiva. In 2006 he was admitted at the Lisbon National
Conservatoire, completing his piano studies with full marks under Hélder
Entrudo. In 2014, he attained a Master’s degree in Music from the Escola
Superior de Música de Lisboa – where he also earned his first degree – with
the highest classification, always under the guidance of Miguel Henriques.
Along his academic path he also participated in masterclasses led by
accomplished professors, among them Luiz de Moura Castro, Sequeira Costa,
Artur Pizarro and Dmitri Alexeev. He performs regularly as a soloist and
chamber musician at the most prestigious venues in Portugal and has
participated in recitals recorded by the radio station Antena 2. His repertoire
ranges from the Baroque to contemporary composers, with special emphasis
in works by portuguese composers.
As a soloist, in March of 2011 he interpreted Franz Liszt’s first piano concerto.
In 2012 he performed solo in Paris and in California. In 2014, besides giving
recitals in Paris, he participated in a tour of Brazil organised by the MPMP,
whereby he recorded for three Brazilian radio stations and for TV Brasil.

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He has collaborated with the Grupo de Música Contemporânea de Lisboa, is a
member of the Ensemble MPMP and has premièred works by various
Portuguese and foreign composers. His most recent projects include recording
the entirety of the piano sonatas by João Domingos Bomtempo, in a total of
four CDs, for the collection melographia portugueza.
He teaches piano at the Escola Profissional Metropolitana.

Born in 1993, Tomás Costa began his violin studies aged 4, at Academia de
Música de Santa Maria da Feira, with Augusto Trindade and later with António
Fernando Silva. Complementarily, he studied with Daniel Rowland (former
concertmaster of Orquestra Gulbenkian and 1st violinist of the Brodsky
Quartet) between 2000 and 2005, and with Aníbal Lima from 2006 to 2014,
entering Academia Nacional Superior de Orquestra’s Bachelor’s Degree in
2011 and concluding it in 2014. He attended the Master’s Degree in Music
Teaching at Escola Superior de Música de Lisboa (ESML) between September
2014 and December 2016, writing a dissertation on the relationship between
the use of accessories on the violin, principles of mobility and violin pedagogy.
Since 2015 he has also been working as Monitor at ESML, serving as teaching
assistant to the school’s four violin professors and their class.
He collaborates with Orquestra Metropolitana de Lisboa, Orquestra de Câmara
Portuguesa, Orquestra Gulbenkian, Orquestra Filarmonia das Beiras, Lisbon
Film Orchestra, Orquestra de Câmara de Cascais e Oeiras and Orquestra
Filarmónica Portuguesa, having also played as soloist with Orquestra de Jovens
de Santa Maria da Feira, Orquestra Filarmonia das Beiras, Orquestra
Académica Metropolitana - as per the INATEL Prize – and Orquestra Sinfónica
da Escola Superior de Música de Lisboa. He’s a laureate of Prémio Jovens
Músico da Antena 2, Concurso Internacional Cidade do Fundão and Concurso
Santa Cecília do Curso de Música Silva Monteiro. He’s a founding member of
Quarteto Olisipo, having participated in the HARMOS Festival, in 2014, and
working in masterclasses and workshops with Susanne van Els, Diemut
Poppen, Xavier Gagnepain and Cibrán Sierra. He participated in individual
masterclasses with Gerardo Ribeiro, Simon Fischer, Evgeny Bushkov, Mariana
Sirbu, Erik Heide and Sergei Kravchenko, and has been coached privately by
violinists Daniel Kurganov and David Lefèvre (concertmaster of Orchestre
Philarmonique de Monte-Carlo).

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CESEM is a research unit devoted to the study of music and its correlation with other arts,
culture and society, incorporating various approaches and making use of the latest
perspectives and methodologies in Social and Human Sciences.
These are the general purposes of CESEM:

Create a suitable environment for teamwork, organized to tackle the identified scientific needs
and priorities;

Support the research interests of its members and their participation in international
professional venues, and the publication of the research results;

Promote new collaborative research projects that deepen the knowledge and dissemination of
Portuguese, Iberian and Latin American themes;

Create new research tools, applications, and databases, allowing the international academic
community to study local repertoires and other little explored objects as well as promoting the
role of Music in contemporary Portuguese life;

Foster a renewed atmosphere of research and debate, bringing its members together in a
dynamic musicological community capable of maintaining excellence in postgraduate studies
in Music.

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