Preservation Of Keroncong Music Through Music Learning At SMP Santa Angela Bandung

This study discusses the preservation of keroncong music through music learning at Santa Angela Junior High School in Bandung. Keroncong is a type of hybrid music, native to Indonesia, the result of acculturation between Portuguese music and Indonesian local music. Keroncong experiences a setback at the present time, especially among the younger generation. Through teaching and learning activities in schools one way keroncong music can be sustainable and developed. The focus of the problem that was studied included the keroncong music learning material, the learning methods used and the evaluation techniques used from the keroncong music extracurricular activities in Santa Angela Junior High School Bandung. This research uses a descriptive method with a qualitative approach. Based on research findings, learning keroncong music in extracurricular activities in Santa Angela Junior High School Bandung refers to three main materials namely the skill of playing the keroncong instrument, the skill of playing the keroncong rhythm, the keroncong songs. The benefit of this research is that it can provide innovation in learning keroncong music in schools as an effort to preserve and revitalize one of Indonesia's original music.

UM LUGAR SEM LUGAR... NO ROCK PORTUGUÊS

Neste artigo procuraremos analisar os motivos para a invisibilidade feminina no rockportuguêscomo aspeto central da construção da feminilidade da contemporaneidade portuguesa. Noutro lugar demonstramos a existência de uma consistente dominação masculina no rockportuguês. Parece que as mulheres apenas são recordadas pela lente dos estereótipos dominantes, ou como meras namoradas, acompanhantes e atores sociais submissos em espaço público. Para combater esse esquecimento propomos, primeiro, um estado da arte que cruze género e estudos juvenis, depois uma curta apresentação do estado da participação feminina no rock português, para depois nos centrarmos na questão central do artigo: a história de vida de Xana, vocalista dos RádioMacau. Uma trajetória paradigmática não só de uma músicaportuguesa, mas de toda a construção da feminilidade no mundo das artes e da cultura na história recente de Portugal. Palavras-chave: Portugal.Rock.Dominação Masculina. Género. Xana. Rádio Macau. A PLACE WITH NO PLACE... IN PORTUGUESE ROCK Abstract: In this article we analyze the reasons for female invisibility in Portuguese rock as a central aspect in the construction of the femininity of the Portuguesecontemporaneity. Elsewhere we showed the existence of a consistent male domination in Portuguese rockscene.It seems that the women are barely remembered through the dominant stereotypeslenses, such as mere lovers, companions and submissive social actressesin public space. To combat this invisibility, we propose, first, a state of the art about gender and youth studies, then a brief presentation of the state of female participation in Portuguese rock, and then the central issue of the article: the life historyof Xana, vocalist of Radio Macau.A paradigmatic trajectory not only of Portuguese music, but of the entire construction of femininity in the world of arts and culture in recent Portuguese history. Keywords: Portugal. Rock. Male Domination. Gender. Xana. Radio Macau. UN LUGAR SIN LUGAR ... EN EL ROCK PORTUGUÉS Resumen: En este artículo analizaremos las razones de la invisibilidad femenina en el punk portugués. En otras partes4demostramos la existencia de una profunda misoginia en las letras punk portuguesas.Parece que las mujeres solo son recordadasa través de la lente de los estereotipos dominantes, o como meras novias, chaperonas y actores sociales sumisos en el espacio público. Para combatir este olvido, proponemos, primero, un estado del arte que cruza los estudios de género y juventud, luego una breve presentación del estado de la participación femenina en el rockportugués, y luego nos centramos en el tema central del artículo: la historia de vida de Xana, la vocalista de Rádio Macau.Una trayectoria paradigmática no solo de la música portuguesa, sino de toda la construcción de la feminidad en el mundo de las artes y la cultura en la historia portuguesa reciente.Palabras clave: Portugal. Rock. Dominación Masculina.Gender.Xana.Rádio Macau.

Ceremonies of Pleasure

The importance of music concerts is all too revealing of a complex and malleable framework which operates at aesthetic, artistic, and emotional levels. We are faced here with a new type of relationship with music, in a way that we find not only the classic takes on music as an artwork to be admired, or as a collective identity-building activity, but also as a way in which festival “stages” serves as observatories of youth, cultural and artistic practices, and values in contemporary Portugal. This chapter addresses these questions via the analysis of the mobile photo-sharing application Instagram deposited by the managers of the page of Paredes de Coura's Festival—Portuguese music festival—between 2015 and 2017, and it is from here that the author will try to understand and analyze the dynamics underlying the festival as an immersive experience.

Can genius be taught? Debates in Portuguese music education (1868–1930)

This paper examines how the idea of musical genius, a mythical notion used as a device for musical practices, facilitates a split between the genius of an innate learner and that of an apprentice, thus creating an ambiguous discursive space. Genius was firstly a matter of nature, but also most discussed under the topic of nurture, that is, education. In order to understand how this nature and nurture ambiguousness developed in specific terms for the musical genius I focussed on analysing historical documents on the main resources for genius-building. In this article, these resources are considered the raw material for the embodying of the genius in every single person. What I discovered about the term ‘genius’ and its contradictory uses to support both elitist and democratic schooling made me realise that it is treated as an argument to advocate the merits of music and to take concrete steps in implementing educational excellence. The term ‘genius’ can serve any pedagogical purpose and encompass contradictory ideas, potentially serving unlimited purposes. Genius can be applied to the best of students, but equally to virtually anyone. In future studies the question will be whether this reading fits the scenario in other European countries.

‘TO MAKE OF LISBON A NEW ROME’: THE REPERTORY OF THE PATRIARCHAL CHURCH IN THE 1720S AND 1730S

ABSTRACTThe elevation of the Portuguese Royal Chapel to the rank of Patriarchal Church in 1716 was part of a larger process of ‘Romanization’ – that is, of assimilation and adaptation of Roman models within Portuguese music and culture. This involved the training of numerous chaplain-singers and young Portuguese composers in Rome, as well as the importation of chant books, ministers, singers and even the maestro di cappella of the Cappella Giulia, Domenico Scarlatti. According to the anonymous ‘Breve rezume de tudo o que se canta en cantochaõ, e canto de orgaõ pellos cantores na santa igreja patriarchal’ (Brief summary of all that is sung in plainchant and polyphony by the singers at the holy Patriarchal Church) – a document written at some point between 1722 and 1724 – the repertory of the Patriarchal Church was a varied mixture of works by thirty-two identified composers, mostly Italian and Portuguese, from a period ranging from the sixteenth century to the early eighteenth century. Some of the repertory for Holy Week is also extant in three large choirbooks prepared by a copyist from the Patriarchal Church in 1735 and 1736 for use in the Ducal Chapel in Vila Viçosa. These include ‘modern’ additions to late sixteenth-century and seventeenth-century pieces and also some curious reworkings, made with the purpose of adjusting older works to newly ‘Romanized’ performance conditions and aesthetic ideals. The sources examined in this article thus show that Portuguese ‘Romanization’, far from being a simple transplantation of ideas and practices from the centre to the periphery, was a dynamic process of acculturation and adaptation rooted in emerging forms of historical consciousness.

Good Samaritans and oblivious cheerleaders: ideologies of Portuguese music journalists towards Portuguese music

This article addresses the ideologies developed by Portuguese music journalists towards Portuguese music in the context of the global crisis in the record industry. Music journalists who were once seen as the good Samaritans in coverage of the national repertoire have to reconcile their duty to cover the national acts with the pressures of a global music industry represented by the multinational record companies. Gathering information from interviews conducted between 2001 and 2003, I trace the perceptions of music journalists on coverage of the national repertoire in a period in which a global crisis in the music sector became noticeable and low airplay of Portuguese music became a matter of concern for agents within the local industry. Two approaches emerge from such a context, one more proactive towards coverage of Portuguese music, the other less interested in allowing the influence of the origin filter to determine the journalists' agenda. I conclude that in these two approaches the traditional opposition between music journalists and the music industry needs to be revised.