Dedico esta música com muito carinho ao Milton Nascimento.
Voz & Piano: Michael Anthony Lahue
How should one begin? I guess I will start on a positive note. It was interesting to experience a glimpse of Brazil from the 1980’s that covered the typical two-week touristic itinerary. Now, let us move to some constructive criticism.
First I will comment on the language. It seems that the narration text was originally in German (I gathered this from the German film credits) and translated into English, or more accurately Spanglish (English+Spanish). Or it may have been Portuguese translated into Port-English (Portuguese+English) with key Brazilian terms translated into Spanish. Or, the narrator may be a Brazilian reading a Spanglish script translated from German. At any rate, “samba”, an Afro-Brazilian term, is masculine (“o samba”), despite the “a” at the end of the word. The film tells us it is “la samba”, which in correct Spanish would be “el samba”. We are also told that “la rumba” is Brazilian even though it developed in Havana, Cuba (same hemisphere, different continent). “La Rumba” in Portuguese would be “a rumba”. “La lambada” (“a lambada” in Portuguese) is in fact a Brazilian music and dance that became popular in the 1980’s. It evolved from “Carimbó” music and has since been relegated to obscurity, replaced by a comeback of several of its predecessors, including “carimbó”.
Now let us have our history lesson. The narrator states that the Brazilian capital was moved from Rio de Janeiro to Brasília in 1985. Actually, the Brazilian Federal District officially became Brazil’s capital on April 22, 1965 (same century, different decade). The shape of the city is a bow and arrow, paying homage to Brazil’s indigenous populations. It has since been compared to the shape an airplane, with the government buildings at the cockpit (or tip of the arrow). The film tells us the original design was modeled on a “cross”.
And finally, some comments on the soundtrack. I am curious to know which entry-level vintage keyboard was used to generate the samba riff. It was most likely an electronic instrument that produces generic beeps of various timbres and calls each one by a different acoustic instrument name; with a bank of world rhythms to boot. Congratulations to the button-pressing engineer/would-be film score composer who programmed this sequence of sound events that I hesitate to call music.
Despite all these shortcomings, I still recommend that each person experience his or her own disillusionment with the film.
Por Luiz Carlos Rigo Uhlik
Hoje é o dia do músico!
Entretanto, reflita comigo:
Temos o que comemorar?
Vale a pena a leitura do texto:
Festa social, todo mundo com copo de whisky na mão. Dois sujeitos conversam:
– Olá, tudo bem?
– Sim, e você, como vai?
– Vou bem. Me disseram que você é músico?
– Nossa, e que instrumento você toca?
– Toco ZABUMBA.
– E toca em quais orquestras?
– Na OSESP e na OSUSP.
– Que beleza, hein? Deve ser cansativo, não?
– É o trabalho, né?
– Realmente, admiro vocês músicos, grande profissão essa. Até queria que meu filho fizesse música, mas o garoto não tem jeito, insiste que quer ser médico ou advogado.
– Ah, hoje em dia é assim, a garotada não tem jeito. Mas, e você, o que faz da vida?
– Eu sou médico.
– Jura? Mas como assim?
– Trabalho no Hospital das Clínicas.
– Clínicas…, não conheço. E faz o que lá?
– Sou cardiologista.
– Mas você tem um emprego não tem?
– Então, trabalho no hospital.
– Nas horas vagas?
– Não. Esse é o meu emprego.
– Mas ganha pra isso?
– Ganho sim, dá pra viver.
– E você não estudou? Não quis saber de faculdade?
– Estudei, fiz faculdade de medicina.
– Ah, é? Não sabia que tinha. Que interessante. Sabe, eu fui médico amador quando era jovem, uma vez fiz até uma operação num rapaz que tinha sido atropelado. Usei uma flanela de carro pra estancar o sangue e uma faca pra abrir a barriga do rapaz e parar a hemorragia. Eu até gostava, mas não levava muito jeito pra coisa. E ai minha mãe até disse: “Larga disso, garoto, vai estudar música”.
– É…, queria ter tido uma mãe assim.
O engraçado é que o contrário não é ridículo.
Por Raquel Siqueira
Coordenadora do curso de graduação em Musicoterapia do CBM-CEU
Rio de Janeiro, 16 de novembro de 2009 - No próximo dia 20 de novembro será exibido um Globo Repórter que abordará a questão de pessoas que vivem com dor crônica. A musicoterapia é uma das possibilidades de tratamento para esta situação. A equipe do Programa filmou trabalhos musicoterápicos do RJ e SP.Os alunos do curso de graduação em Musicoterapia do Conservatório Brasileiro de Música – Centro Universitário (CBM-CEU)também participaram da gravação. No CBM-CEU funcionam os cursos de graduação e pós-graduação em Musicoterapia do Rio de Janeiro.
Por favor, divulguem esta notícia para seus contatos. É importante que as pessoas saibam mais sobre o que a Musicoterapia pode proporcionar à saúde.
Ao final da reportagem pedimos para que acessem o site do programa e façam comentários.
By Michael A. Lahue
With increasing amounts of scientific research regarding global warming and the resulting heightened public awareness of the role humans play in processes of environmental degradation, it has become apparent that effective solutions must involve ubiquitous and comprehensive transformation. We are an integral part of our natural environment and with an awakened understanding of our uniqueness as planetary stewards, we must envision and create our present and future in harmony with nature. Since the founding of the US Green Building Council (USGBC) in 1993 research has shown that buildings account for up to 48% of all greenhouse gas emissions. Buildings also consume significant amounts of water, raw materials and electricity and produce large quantities of waste. High-performance properties (green buildings) significantly reduce their impact on the environment and human health.
A commercial green building is considered to be one certified by the LEED (Leader in Energy and Environmental Design) Green Building Rating System of the USGBC. The LEED rating system is categorized as follows: New Construction (NC), Commercial Interiors (CI), Core and Shell (CS), Existing Buildings (EB), Homes (H) and Neighborhood Development (ND). Within each category buildings are rated at the Certified, Bronze, Silver, Gold and Platinum levels. Green buildings yield important benefits to owners, managers, businesses and employees compared to conventional (“brown”) construction including increased occupant health and well being, building value, worker productivity and return on investment. As the economic benefits of high performance buildings are more widely recognized, non-green buildings may likely become obsolete. Architecture 2030, NGO and partner of the American Institute of Architects, has proposed that by 2030 all new buildings should operate as carbon neutral.
The major concern often raised when considering the design of a high-performance building is cost. On first mention, green construction sometimes triggers a perceived higher cost, possibly because of the newness of the concept. Fortunately, through the application of integrated design, high-performance buildings can be designed on conventional budgets. Efficient equipment such as HVAC, coupled with an efficient building that requires less energy to run, allows for efficient and smaller systems, thus reducing overall cost.
Sweetwater, the third-largest music instrument and pro audio retailer in the world, was awarded LEED Platinum NC Certification on June 26, 2009 for the construction of their $35 million, 150,000 square foot corporate headquarters in Fort Wayne, IN, completed in January 2008. Sweetwater’s headquarters is the first commercial structure in northeast Indiana to receive LEED Platinum certification by the USGBC. The LEED award recognizes Sweetwater’s commitment to preserve natural resources and to provide a safer, healthier workplace. To accomplish these goals, Sweetwater employed a combination of state-of-the-art technology; rapid-renewal materials; and recycling, both during building construction and in day-to-day operations. These practices benefit not only Sweetwater and its employees but also the entire community.
Built on a 44-acre campus, Sweetwater’s facility houses offices, a retail store, a warehouse, recording studios, their state-of-the-art Performance Theatre, and the Sweetwater Academy of Music. The building also includes a restaurant, an arcade, and an employee fitness center.
LEED certification of Sweetwater was based on a number of environmentally friendly design and construction features that have positively impacted the project itself, the local community, and the region.
Sweetwater’s Fort Wayne Campus key green attributes include:
Access to daylight & views.
Energy efficient glass.
Light sensors & controls.
Outdoor air delivery monitoring.
Environmental tobacco smoke control.
Storage & collection of recyclables.
Water use reduction.
Recycled content of materials.
Rapidly renewable materials.
Commissioning of mechanical systems.
Construction waste management.
Sweetwater’s new headquarters has drawn praise from employees, the community, and the music industry. The complex has also been recognized by the U.S. Green Building Council for its environmentally friendly construction and operation. The buildings represent Sweetwater Founder and President Chuck Surack’s commitment to preserve natural resources and to provide a safer, healthier workplace.
Green building ultimately is a question of conscience and responsibility to prepare a healthy and sustainable future for generations to come. Humans have coexisted in nature for millennia and only flocked in large numbers to industrialized urban centers in the past 150 years. In that process we adopted lifestyles detached from natural processes. Today, through the green building revolution, we have an opportunity to reintegrate our urban culture with the natural environment and reconnect with our indigenous roots in a way that is congruent with modern culture and that guarantees our own future on the planet.
“A Firm Commitment to the Environment,” Sweetwater Website, http://www.sweetwater.com/feature/leed.
Yudelson, Jerry. Green Building A to Z: Understanding the Language of Green Building. Gabriola Island: New Society Publishers, 2007.
. Green Building Revolution, The. Washington: Island Press, 2008.
An informational video and a complete list of companies involved in the planning, design, and building of Sweetwater’s campus can be found at: www.sweetwater/feature/leed.
About the USGBC
The U.S. Green Building Council (USGBC) is a nonprofit organization whose vision is a sustainable-built environment within a generation. Its membership includes corporations, builders, universities, government agencies, and other nonprofit organizations. Since USGBC’s founding in 1993, the Council has grown to include more than 17,000 member companies and organizations; a comprehensive family of LEED green building rating systems; an expansive educational offering; the industry’s popular Greenbuild International Conference and Expo (www.greenbuildexpo.org); and a network of 78 local chapters, affiliates, and organizing groups. For more information, visit www.usgbc.org.
In an Extraordinary Collaboration Celebrated Friends to Perform at Avery Fisher Hall
This October get ready for some fun, as conductor João Carlos Martins brings the Bachiana Filharmônica from Brazil to Avery Fisher Hall at Lincoln Center. Joining Mr. Martins and his orchestra are jazz legend Dave Brubeck and his son, trombonist Chris Brubeck.
The “meeting” will be October 2nd, 2009 at 8:00 p.m. It includes a program of Brazilian works along with Dave Brubeck’s own compositions. The night begins with “Ouverture Opera Amazônia” by Mateus Araujo, followed by Villa-Lobos “Bachiana Brasileira No. 7.” Dave will be solo pianist in his “Theme for June” and his son Chris plays solo trombone of his own composition, “Concerto for Trombone and Orchestra.” Mr. Brubeck’s “Brandenburg Gate,” is also on the program, which will finish in a collaborative effort with Dave Brubeck and João Carlos Martins with Mr. Brubeck’s piece, “Thank You”.
Mr. Brubeck and Mr. Martins met several times throughout their lives, each time having musical experiences, which Mr. Martins explains as, “so strong, we cannot forget them.” The first time Mr. Brubeck and Mr. Martins saw each other perform was in a recital in Alaska, and they came to an understanding of how Bach and jazz have many things in common. Later, in 1979, Mr. Martins mentioned on NBC News that he would like to play the Bach Double Piano Concerto with Dave. Due to unfortunate events leading to the damage of both of his hands, Mr. Martins lost the ability to play the piano, and was never able to live up to his dream.
“The rapport between Joao Carlos and me was instant. And ever since that time we shared many a musical thought which is what the October 2nd concert is all about.” – Dave Brubeck
Although the Bach Concerto is not on the program at Avery Fisher Hall, Dave Brubeck and João Carlos will perform together when Mr. Brubeck plays Brandenburg Gate with Mr. Martins’ orchestra. Even with Mr. Martins’ limitations, he will join Mr. Brubeck at the piano for the last piece of the program – a dream come true.
Presented by The Bachiana Foundation