Música, Performance e Contexto

Instituto Politécnico de Lisboa Editora (2024)

This publication is part of the Performance and Context research project, whose main objective is performance, audiovisual recording and academic reflection on artistic objects in the field of musical performance, through the articulation of systematic procedural and declarative knowledge.
Through the chapters included in this volume, the aim is to illustrate the natural and essential link between practice and theoretical discussion in music, with the aim of deepening understanding of the historical, aesthetic, technical, philosophical and procedural implications of musical creation/performance and academic writing about music.

Perpetuating The Music: Entrevistas e Reflexões Sobre Jam Sessions

Papiro Editora (2013)

This work consists of a series of interviews conducted on the theme of jazz jam sessions. It is the result of fieldwork carried out between 2003 and 2005 in Manhattan, as part of a doctoral project in Music Sciences. The testimonies presented here originally emerged from semi-structured ethnographic interviews with jazz musicians, supplemented by observations made in five performance venues located in three different neighborhoods of Manhattan: Harlem (Lenox Lounge and St. Nick’s Pub), Upper West Side (Cleopatra’s Needle and Smoke), and Greenwich Village (Small’s). With this publication, I aim to highlight the perspectives of the musicians interviewed, seeking to contribute to a deeper understanding, from an “inside” view of the jazz scene, of the implications that this performative practice may have on the musicians’ careers, particularly in New York.

Jazz Fora de Horas: Jam Sessions em Nova Iorque

Universidade Lusíada Editora (2012)

Ricardo Pinheiro’s exploration of the jam session provides us with an insightful and comprehensive look at a central aspect of the jazz tradition that has largely eluded the gaze of jazz researchers. Not only does he offer in-depth analyses of the musical aspects of this long-standing jazz institution—its organizational structure, types of repertory involved, and pedagogical benefits—but he also broaches issues such as culture, professional status, and race from new perspectives that broaden our understanding of this rich musical heritage. I found his conception of the jam session as ritual to be particularly illuminating. I highly recommend this important contribution to the jazz and ethnomusicological literature -- Ed Sarath, Professor of Jazz and Contemporary Improvisation,
The University of Michigan

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