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POPULAR MUSIC EXHIBITIONS IN PORTUGAL: PRACTICES OF REPRESENTATION FROM 2007 TO 2013

POPULAR MUSIC EXHIBITIONS IN PORTUGAL: PRACTICES OF REPRESENTATION FROM 2007 TO 2013

My project started almost accidentally. A few details about my personal and professional background will help explain how it came about. With 2011 in full swing, I was coming to the end of nearly 10 years as executive producer of exhibitions at the Calouste Gulbenkian Foundation where my work had focused on hard sciences themes. At that time, I also felt in need of a break from the pressure and demands of handling the diverse tasks that producing an exhibition requires, and found the idea of a quiet period of study very attractive as my professional life was not very rewarding. As an escape, I had been buying about four CDs a week, retreating almost daily to FNAC store in Colombo at lunchtime to nurture my passion for music and I was also going to as many popular music concerts as I could. I was taking every opportunity during my working day to read books and papers on Museum Studies and enjoying such a quiet activity. My passion for music began when I was young; my father was always playing records because he was absolutely fascinated with the development of sound technologies and a music lover. Nevertheless, after graduating in Musicology, I ended up moving away from this area and worked as a museum professional for 17 years.
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The Curatorial Practices of Exhibiting Popular Music in Portugal at the Beginning of the Twenty-First Century: An Overview

The Curatorial Practices of Exhibiting Popular Music in Portugal at the Beginning of the Twenty-First Century: An Overview

In terms of issues of exhibitability, prominence was attributed to objects of material culture. Although the majority of the exhibitions continuously displayed music within the opening times of the exhibitions, their narratives actually seized upon popular music artifacts within the scope of which existing collections of records clearly stand out. Other artifacts were similarly valued, such as posters, tickets, books, promotional materials, lyric sheets, photos, costumes, musical instruments, radios and turntables. All this points to directly importing practices of representing popular music from the conventional museum, which I believe will soon correspond to a kind of a first stage in the organising of exhibitions of such a remit. Indeed, although these private material collections demonstrate how the curators value such material artefacts, the prominent value remains attributed to the music itself and to the large spectrum of subjective affordances this generates for both individuals and communities. Furthermore, discussions around the advantages of fostering a more sensorial sonic and musical experience, and understanding of the world in conjunction with debates as to how music can best be staged in museums are becoming increasingly commonplace (A RNOTT
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Stroud, sean: the defence of tradition in Brazilian popular music. Politics, culture and the creation of música popular brasileira.

Stroud, sean: the defence of tradition in Brazilian popular music. Politics, culture and the creation of música popular brasileira.

As mentioned by the author in his Introduction, »one of the primary intentions of this book is to identify the influence of those actors in delineating the parameters of Brazilian popular music, and more particularly the construction of a tradition within the wider sphere of popular music as a whole, i.e., Música Popular Brasileira (MPB), the socio/cultural/musical movement that has dominated the artistic scene in Brazil since the mid 1960s.« (pp. 1–2) Nonetheless, this central issue bifurcates into two main subjects, more or less independent, that can be traced both along the seven chap- ters of the book and in Stroud’s discourse: on the one hand, his research tries to ex- plain how and why MPB has come to achieve such a remarkable role in the Brazilian cultural scene from the 1960s on, despite some contradictions denounced by the au- thor, such as MPB’s insignificant sales volume; on the other hand, Sean Stroud’s work is anchored to the attempt to provide the idea of a »tradition« in Brazilian popular music with solid foundations. It is not my intention to question the notion of »tradi- tion«, although the idea itself is easily problematic, as it could interfere with the au- thor’s thesis. As a matter of fact, Stroud believes that, since the Modernist Movement of the 1920s, »tradition« has been defended in different moments of Brazil’s recent history in different ways and by different actors such as the Brazilian music industry, TV and Government initiatives, among others.
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Analysing popular music: theory, method and practice

Analysing popular music: theory, method and practice

The results of the detailed musematic analyses of both Kojak and Fernando (Tagg 1979, 1981a) showed that this mainstream popular music was able to carry messages which, at preconscious and connotative levels of thought, were able to relate types of person- ality, environments and events to emotional attitudes, implicit evaluations and pat- terns of response. In the case of Kojak, for example, the music was found to reinforce a basically monocentric view of the world and to reinforce the fallacy that the negative experience of a hostile urban environment can be overcome solely by means of an indi- vidualist attitude of strength and go-it-alone heroism. In Fernando, a similar sort of monocentrism prevails, but the threat and worry epitomised by oppression, hunger and rebellion under neo-colonialism are warded off by the adoption of a tourist attitude (most strikingly expressed in the spatial panning, which has ‘ethnic’ quena flutes in the stereo wings and the West European vocalist up centre front — a commutation revers- ing these positions could have been interesting!) and by nostalgic reminiscences heard against a familiar ‘home’ accompaniment of ‘soft disco’ (these elements gaining a re- pressive, Angst-dispelling upper hand).
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Lúcio Rangel Eating “Soft-Boiled Eggs with Noel Rosa”: The Invention of a Historiography of Popular Music

Lúcio Rangel Eating “Soft-Boiled Eggs with Noel Rosa”: The Invention of a Historiography of Popular Music

year. In November and December of 1955 it presented just one issue, returning only in April of the following year. From Volume 12 onwards it began to run out of steam, appearing again in June and September (Issue 14), when the magazine vanished for good. This fact perhaps underlines the limit to its impact, especially when compared, for instance, to the same missionizing zeal shown by Almirante on his radio programs during the same period (lima, 2014; Paes, 2012). The magazine maintained its paid adverts in the press, such as O Jornal, and the columnists in the mainstream press always commented with much satisfaction on the publication of a new issue. The editorial to the second issue gives a small clue to how well the magazine was received when it announces the “enthusiasm stirred” by the first issue, sold out in “the majority of the newsstands of the Federal District [Rio de Janeiro at the time] and São Paulo, despite the high print run for a specialized publication” (RMP, 2006, p. 77). We simply need to take into account the somewhat boastful and self-interested nature of the information, communicated by the editorial of a recently launched publication seeking market space and divulgation. Furthermore, despite enlist- ing authors from diverse backgrounds and covering a variety of themes, RMP was a magazine that above all revealed the artistic and Bohemian ambient and lifestyle of Rio, displayed both in the comments on the everyday life or ‘tittle- tattle’ of the city, and in the reports and adverts for bars, shows and the like. In this sense, perhaps it would be prudent to look more carefully at the influence that it may have had at the time. It was probably the community of journalists who established the magazine, and rightly so, as responsible for setting the foundations for the musical criticism that emerged during the period and there- after became realized in a more professional and permanent manner in Brazil’s newspapers and magazines. However, its activities and influence may have been overestimated. Possibly the prestige of lúcio, intellectuals and other critics that appeared with such cultural force at the time had projected an importance to the publication that was much more confined to a specific community, an interpretation that the historiography of popular music that appears at the start of the twenty-first century seems to have rather inadvertently submitted. In reality, little is known still about its reception and wider influences.
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Genre Complexes in Popular Music.

Genre Complexes in Popular Music.

Conclusion: The Multiple Structural Logics of Popular Music Drawing from some 3 million bands who have self-classified within a matrix of 122 available genres, we provide the first empirical analysis of this size we are aware of that investigates the structure of popular music by genre. We find that the world of MySpace musicians is not a sin- gle world that is made up of “tight” or “loose” genre associations, but instead, is made up of three meso-level genre complexes. A primary result of this paper is to have uncovered the basic properties of these worlds. Rock is a world of sub-cultural differentiation and sub-cultural mix- ing, operating within a broader common culture of Rock N’ Roll. Sub-cultural formation and transformation produce prevalent interpenetration of sub-cultural identities. The experience of a musician located within such a world is thus one in which musical boundaries are noticeably present, but are flexible and open to constant redefinition and transgression. A heuristic for the generative structural principle at work appears to be: “connect frequently to a common center, but combine some sub-sets more than others.”
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VISÕES SOBRE A CONQUISTA DA AMÉRICA HISPÂNICA PELA MÚSICA POPULAR<em>VIEWS ABOUT THE HISPANIC AMERICA CONQUEST FROM  THE POPULAR MUSIC<em>

VISÕES SOBRE A CONQUISTA DA AMÉRICA HISPÂNICA PELA MÚSICA POPULAR<em>VIEWS ABOUT THE HISPANIC AMERICA CONQUEST FROM THE POPULAR MUSIC<em>

Nesse sentido, o texto pretende discutir algumas possibilidades através produção musical de diferentes países da América Latina partindo de uma temática: a descoberta da América e os sentidos atribuídos à Conquista ibérica e, consequentemente, à dominação da população indígena. A temática se apresenta como conteúdo sempre presente no currículo básico da disciplina de História, assim como em outros campos de disputa da memória, expressos, entre outros, pela música popular, abrindo possibilidades de pensarmos, questões a respeito da nossa própria identidade e demais conceitos universalizantes, como o de nação e nacionalidade. Assim, traremos à discussão uma produção musical que engloba países tão diversificados e distantes entre si, como México, Peru, Argentina. Trata-se de uma série de composições tematizando a questão da Conquista e da relação estabelecida com a população autóctone, ou seja, da chegada dos espanhóis à costa americana e das relações de dominação
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As manifestações da música popular brasileira e suas relações com o jovem roraimense/  The manifestations of brazilian popular music and its relations with the young roraimense

As manifestações da música popular brasileira e suas relações com o jovem roraimense/ The manifestations of brazilian popular music and its relations with the young roraimense

Este estudo surge como um relato de experiência originado em um projeto de educação musical intitulado Manifestações da Música Popular Brasileira, que foi desenvolvido no do curso de Licenciatura em Música da UnB, na disciplina de Estágio Supervisionado III, com alunos do ensino médio e abordou-se a relação entre as manifestações da música popular brasileira e o jovem roraimense. Como o jovem, do ensino médio, da cidade de Boa Vista relaciona os gêneros musicais brasileiros no contexto sócio, econômico e político atual no país?

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A influência da musicologia alemã na obra de Francisco Curt Lange

A influência da musicologia alemã na obra de Francisco Curt Lange

A letter to Friedrich Blume from 1950 shows how Lange approached his German colleagues: Lange wanted to include articles of German colleagues in his journal and to initiate a regular exchange of publications, in this case with Blume. He told Blume that since 1923 he had established musicological research in Latin America; participated in organizational and scientific endeavors in countries from Argentina to Mexico and Cuba; and given lectures at universities, the Pan American Union and the State Department in the United States. Furthermore, Lange sent the Revista de Estudios Musicales to colleagues such as Karl Gustav Fellerer in 1952, and to Heinrich Besseler in 1954. Besseler expressed in his letter from 1954 his interest in the work (orig. Aufbauarbeit) that Lange carried out in Latin America, and he wrote about problems that academics had to deal with in Eastern Germany. Lange told Besseler in a letter from 23 May 1954 how he stimulated unknown researchers and composers in Latin America by giving them the chance to publish, by giving them advice and by advocating them at the right places. He further wrote about his 27,000 letters of correspondence that he had written in six languages since 1934 and about his plans to disseminate his knowledge of Latin American music in Germany. As themes for talks that he could offer he proposed: “Indianer” (Indians); “Volks- und populäre Musik” (Folk and Popular Music); “Kunstmusik” (Art Music); and dances that he could perform together with his wife. In 1958 Besseler informed Lange about his move from Jena to Leipzig. He thanked Lange again for the publications that Lange had sent him, and he reminded Lange of the Congress of the International Society for Musicology in Cologne. In a letter from 15
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Bollywood, Bhajan e Garba: práticas expressivas e representações identitárias na Diáspora Hindu-Gujarati em Moçambique, Portugal e Inglaterra

Bollywood, Bhajan e Garba: práticas expressivas e representações identitárias na Diáspora Hindu-Gujarati em Moçambique, Portugal e Inglaterra

pessoal e colectiva. Concomitantemente, estas práticas evidenciavam dinâmicas de mobilidade transnacional ao nível da diáspora hindu-gujarati (bhajan, garba), mas também da diáspora indiana e sul asiática de um modo mais abrangente (Bollywood) com impacto nas práticas de representação do grupo e dos indivíduos. Com efeito, expressões culturais originárias do território do Gujarat (como as formas coreográfico- musicias religiosas, garba e dandya-raas), têm sido nas últimas décadas crescentemente apropriadas comercialmente pelas políticas culturais do governo estadual e pela indústria fonográfica enquanto marcadores referenciais da tradição popular e religiosa local (sendo exportados e representados enquanto tal para o exterior), além de constituírem um dos principais símbolos de identidade cultural entre ‘comunidades’ hindu-gujarati (mas não somente 3 ) dispersas um pouco por todo o globo. Adicionalmente, e tirando partido de dinâmicas culturais locais (p.ex.: danças associadas a scheduled castes and tribes 4 ; tradições musicais associadas a festividades religiosas de regiões específicas, etc.), o território do Gujarat assistiu nas últimas décadas (sobretudo desde o advento da cassete, na década de 1970) ao desenvolvimento de circuitos locais de produção e de comercialização de estilos locais de música popular, direccionados tanto para o mercado interno regional, como para as populações migrantes. Os produtos culturais resultantes desta dinâmica de mercado indiciam frequentemente a confluência de estilos locais e regionais de cultura expressiva (usualmente práticas musicais e musicais-coreográficas encaradas emicamente como folk, ‘tradicionais’ ou ‘tribais’), com elementos de estilos urbanizados e pan-indianos de popular music, como por exemplo melodias de canções e movimentos coreográficos apropriados do cinema Bollywood. Deste modo, através da combinação de diferentes formas de expressão musical e coreográfica são desenvolvidas versões modernizadas da ‘tradição’, que simultaneamente associam categorias ou polaridades de pertença, como rural e urbano; tradicional e moderno; regional (gujarati), nacional (indiano) e global
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Rev. adm. contemp.  vol.10 número especial

Rev. adm. contemp. vol.10 número especial

The games played in direct interactions are embedded in what Durkheim (1915) identified as rituals. Rituals play the important role of synchronizing the individuals’ bodies, attention and action in a given setting. Rituals do not always entail cooperation among individuals, but they also provide scripts for conflicts (Collins, 2004). A conflictive ritual engages its participants’ emotional energy towards the craved award, trophy or symbolic recognition. As a result, the actors fully engaged in the conflictive game will eventually pursue innovative avenues in order to overcome each other. For instance, Collins (2000) proposed a sociological history of Philosophy by describing the conflicts and games the philosophers played with and against each other. Simmel (1955) and later Coser (1966) proposed that conflicts were not necessarily disruptive in a society. In contrast, conflicts have the role of renewing values and consequently social ties. Abbott (1988) shows how different professional bodies construct patterns of interactions out of conflictive processes. As I suggested above, I believe that the Festivals were privileged organizational forms where direct and conflictive interaction took place. Moreover, the conflictive-ridden aspect of Festivals was an important factor to explain the rapid change in the Brazilian Popular Music in that period.
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The live album or many ways of representing performance

The live album or many ways of representing performance

The discussion in the Journal of Aesthetics and Art Criticism about Theodore Gracyk’s article “Performance and recordings” (1997) between the author and Howard Niblock is an interesting ex- ample of this dialectic: Gracyk argues that “the experience of listen- ing to recorded music is not obviously an aesthetic loss as compared to hearing the same music in live performance” (Gracyk 1997), while Niblock speciies that “both recordings and live performances have their particular advantages and drawbacks; and a world without ei- ther of them would be aesthetically poorer” (Niblock 1999: 368; see also Gracyk 1999). Gracyk focused on the central role of recordings in rock music, a point of view shared by other scholars (Clarke 1983; Fisher 1998; Perna 2006; Duffett 2009: 39). As P. Auslander assess- es, although “there is no question but that rock exists primarily as recorded music and that rock culture is organized around recordings [...], [i]t is equally the case, however that rock music is performed live and that, within rock culture, such performance is important and demanded” (Auslander 1998: 2). The importance of recordings in popular music (especially in rock) does not prevent live experiences from playing a signiicant role, as most researchers admit, including those who point at the centrality of recordings (Kania and Gracyk 2011: 88–89; Clarke 1983: 201; Fisher 1998: 119; Duffett 2009: 48). Simon Frith summarizes the different functions of these two types of music experiences: “the recording offered one sort of pleasure (the perfection of a form, a dream state) while live performance offered another (the pleasure of a process, risk and excitement, intoxication)” (Frith 1996: 232).
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Estud. av.  vol.24 número69 en v24n69a01

Estud. av. vol.24 número69 en v24n69a01

Music and poetry are combined in the journal’s tribute to a poet who honored the IEA as a visiting researcher, José Paulo Paes. And Brazilian popular music lovers will find articles dedicated to the viola, to the mottos of our folk tradition, and to the relationship between samba de roda and Brazilian Popular Music (MPB) with critical moments in our political history.

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Dement. neuropsychol.  vol.6 número4

Dement. neuropsychol. vol.6 número4

proposed a taxonomic system for classifying the various forms of amusias (i.e. tone-deafness), grouping them according to four diferent deicits: production deicits, perceptual deicits, memory deicits, and symbolic ma- nipulation deicits (either music reading or writing). All of these classiications consider amusias as a complex and heterogeneous group of disorders of music process- ing that afect either one or more components of musi- cal cognitive processing. herefore, amusias can afect the performance and perception of melodies or their components (pitch, loudness, timbre, duration, and harmony) as well as symbolic systems of musical read- ing and writing.
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Abstract 1: See Plenary 2 Abstract (Pg. 21)

Abstract 1: See Plenary 2 Abstract (Pg. 21)

Abstract: Music teacher education is fuzzy (Raths, 2002) due to the types of music teacher knowledge (MTK) empha- sized and assessed within training programs. One way to understand MTK emphases is to assess program outcomes (Darling-Hammond, 2006), and the types of amalgamation assessments employed to qualify music teachers for the profession (Elpus, 2015). Amalgamation assessment is the summation of smaller discrete informal and formal assessments. The purpose of this study is to begin describing MTK areas emphasized in amalgamation assess- ment for music teacher qualification and comparing those in Brazil and the United States. Research questions are: (1) What organization(s) determines which amalgamation assessments are required? (2) Which amalgamation assessments are required? (3) Which, if any, amalgamation assessments are encouraged, if not required? (4) How do items (1), (2), and (3) compare from one country to the next? (5) What MTK areas receive emphasis but are not well supported through amalgamation assessments? Biography: Kyle Chandler is the Director of Music Education at Arkansas State University (A-State). He teaches courses in graduate music education, choral music education, and directs choral ensem- bles including vocal jazz and contemporary a cappella. His research interests include music teacher education training and curriculum, peda- gogical content skill knowledge (PCSK) acquisition and development, honor ensemble structures (e.g. all-state choir practices and procedures), and music education in higher education (e.g. music education faculty workload and graduate music education curricula). He is also the head distance coach for the A-State Track & Field (i.e. Athletics) team and is married with eight children.
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Know My Language, Know My Music, Know My Culture: adapting a music education unit in regional Australia to meet the individual needs of pre-service teachers

Know My Language, Know My Music, Know My Culture: adapting a music education unit in regional Australia to meet the individual needs of pre-service teachers

Music training in institutions is determined by what is assessed in which perpetu- ates what is deemed important (BIGGS & TANG, 2011; SMALL, 1977). This includes what type of music is taught in a pre-service music education unit. According to Small (1977) in tertiary music institutions “one greatly regrets that only a tiny, arbitrarily chosen, sec- tor is accessible to any individual student; the rest, if he is aware at all of its existence, is put out of his reach by the demands of the syllabus and the examinations” (p.187). Cain (2005) points out “for many music teachers, however, their educational goals and learning outcomes have been filtered as a result of life experiences, and thus uninten- tionally coloured by prejudices, stereotypes, and sometimes misconceptions” (p.104). Introducing Indigenous music to a course has been discussed from the viewpoint of Native American music. Burton and Dunbar-Hall (2002) commented how, “Acceptance of these musics, and clarity about the implications of the study of them, is however only the initial step in the ongoing development of music education as an equitable en- terprise” (p.62). Lee (2018) researched how it is the background of the teachers which impact what music are taught in schools: “The findings also revealed that the teachers’ ethnic backgrounds might affect their repertoire selection, because of familiarity” (p.41). Music education can be approached through an ethnomusicological approach (VOLK 2004). Howard, Swanson and Shehan Campbell (2014) discussed different approaches to diversifying music education in American schools through a series of vignettes. Cain (2005) pointed out, “Despite the multicultural make-up of Australia, the music educa- tion of many students has been, and currently is, predominantly Eurocentric in nature” (p.104). Bowen (2011) discussed how “the rich cultural legacy of the traditional owners of the land has been slow to be acknowledged as enhancing cultural life not only for Indigenous but for all Australians” (p.102).
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Music streaming market in Portugal: the introduction of a new music streaming service

Music streaming market in Portugal: the introduction of a new music streaming service

This is when the platform is launched to the audience and open for everyone. It shall be available in the App Store, the Google Play and in the Windows App Store. It is proposed to be launched in the 3 rd quarter, which is when our identified target comes back from holidays, starts studies again, starts to have welcoming to school parties, catching up boring transportations like subway and bus. All these activities usually evolve music to kill the boredom. This is when they are more awake to new products and services, and are more likely to engage with a new music streaming platform. In this phase, shall be monitored logs of platform activity and measured platform performance in the market through downloads, logins, page views, among other metrics.
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Bakhtiniana, Rev. Estud. Discurso  vol.10 número2

Bakhtiniana, Rev. Estud. Discurso vol.10 número2

in power. From a different perspective on music, the article The Role of Music in Work Activities by Ana Raquel Motta (Faculdade de Campinas/ FACAMP; Pontifícia Universidade Católica de São Paulo/ PUCSP) [Campinas College; Pontifical Catholic University of São Paulo] shows the relationship between music and work in an innovative way. The article Notes on an Aesthetics of Trauma in Brazil by João Kogawa e Anderson Salvaterra Magalhães (Universidade Federal de São Paulo/UNIFESP) [Federal University of São Paulo] promotes a dialogue between French post-war culture and the culture of drug trafficking in Rio de Janeiros’s slums. It focuses on the ethical and aesthetic aspects of women’s hair shearing, a punishment for delation, which although distanced by time, is perversely reinvented. Still in this set, the article by Luiz Gonzaga Marchezan (Universidade Estadual Paulista “Júlio de Mesquita Filho”/UNESP- Araraquara) [São Paulo State University], entitled Voices in Machado de Assis’s Short Story about a Fire in Montevideo, examines the different voices found in Machado de Assis’s short story Um incêndio [A Fire], disclosing original dialogues between personages of high importance in Brazilian cultural and literary life.
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music as a pedagogical tool :: Brapci ::

music as a pedagogical tool :: Brapci ::

Fun activities, such as parodies, are among the creative teaching strategies that can motivate learning and critical analysis. This article describes the process of constructing and diffusion of parodies as an instrument for transmission and assimilation of the technical concepts involving microbiology, in the project called ‘Musicalizando a Biologia’ (musicalization of biology), associated with the distance education undergraduate course in biology offered by University of Ceará/Open University of Brazil. It is a experience report of the production of three parodies, through which it was possible to establish the criteria, as well as the choice of popular melodies to facilitate memorization of the content and ideas. The results indicate that the use of this tool can make signiicant contributions to teaching and favoring the learning of concepts of microbiology.
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Music in the streaming era: music curatorship and discovery in Spotify

Music in the streaming era: music curatorship and discovery in Spotify

A ampliação nas formas de acesso à música também está relacionada com uma tendência desvelada por muitos sociólogos da cultura que apontam para a emergência do omnívoro cultural, conceito popularizado por Peterson e Kern (1996) para designar um perfil de gostos diversificados, tanto da cultura de elite, como da cultura popular, misturando gêneros até então tidos como dissonantes (Lahire, 2008). Essa lógica “reflete uma mudança em nossos critérios de valor moral” (van Eijck, 2000, p. 219), já que ser tolerante a outros gêneros musicais é mais valorizado do que o esnobismo e senso de superioridade que dominava as elites socioculturais do passado. A busca pela variedade, hoje, é uma forma de diferenciar-se em meio à multidão. Warde et al. (2007, p. 145) lembram que há uma diferença, porém, entre gostar de tudo indiscriminadamente e estar aberto a novas experiências.
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