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Tags: Etnomusicologia e Estudos em Música Popular   DeCA | UA  

Ítalo Araújo

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Integrated | PhD Candidate
Departamento de Comunicação e Arte | Universidade de Aveiro
Campus Universitário de Santiago
3810-193 Aveiro
Portugal
Email: This email address is being protected from spambots. You need JavaScript enabled to view it.
Tel: (+351) 234 370 389 (ext. 23700)

Biography

Music Producer, pianist and researcher, Ítalo Araújo has a degree in music by the UFS (Federal University of Sergipe - Aracaju, Brazil), master's degree in ethnomusicology by music school of the UFBA (Federal University of Bahia - Salvador, Brazil) and he is currently getting the doctoral degree in ethnomusicology from the University of Aveiro in Portugal. He taught keyboard at the Conservatory of Music of Sergipe (Aracaju, Brazil) in the year 2010 to 2012, with return as a teacher in the year 2015 until the end of the year 2016. Currently, he develops his solo career as pianist with the project of Brazilian instrumental music - Ítalo Neno Trio – “Batuca Piano”. In addition, he participated in groups in Portugal and Brazil related to its proposal for a thesis on the practice of creation-performance shared in music. As a teacher, he worked at the Conservatory of Music of Sergipe in the area of music theory and keyboard, alongside ministering classes and special courses for piano and harmony, ministering also workshops on various topics, such as improvisation, arrangement, among others. As a music producer, he has already developed several jobs, mainly in Brazilian music and Gospel and is currently responsible for the musical direction and accompanies some regional and national singers of Brazil.
 
 
 
Ciência Vitae | ORCID
 
 
Doctoral Project
 
Title
“Unpredicted Music”: the practice of the shared creation-performance
 
Advisor
 
Co-Advisor
 

Abstract
This work is dedicated to the study of collective performance practices in which sound, with musical intention and in an unpredictable way, is used as material for creation in real time. This musical practice is called here "unpredictable music". It is then a type of group musical practice where performance and creation are assumed by the agents as inseparable and that are connoted with forms of adjectivation of other performative practices such as "improvised", "free", "experimental" and/or "spontaneous". These modes of making music, which dilute the composer/interpreter dichotomy, offer other values to the process of musical performance such as "music" without pre-conceived musical materials and unpredictability in the sound construction. The research is based on an ethnographic work with two groups practicing this model, one in Brazil and the other in Portugal, and the theoretical model of analysis used is based on the context of unpredictability in making music that ends up formatting a model of collective performance.