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Tags: Etnomusicologia e Estudos em Música Popular   FCSH | NOVA  

Jaime Reis

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Integrated | PhD Student
Faculdade de Ciências Sociais e Humanas | Universidade Nova de Lisboa
Av. de Berna, n.º 26 C
1069-061 Lisboa
Portugal
Email: This email address is being protected from spambots. You need JavaScript enabled to view it.
Tel: (+351) 21 790 83 00 (ext. 1583)

Biography

Jaime Reis (b. 1983) is a Portuguese composer based in Lisbon who attended seminars with Karlheinz Stockhausen and worked with Emmanuel Nunes (also PhD co-adviser), after studying Composition and Electronic Music in Aveiro University (with 3 prize scholarships as best student of the uni.). He's the artistic director of Festival DME (counting more than 60 editions). His music has been presented over more than 20 countries, both instrumental and electroacoustic, having received prizes in competitions such as Prix Russolo, ‘Métamorphoses’, arte! ⋈ clima, etc. He has worked with institutions/ensembles such as: IRCAM, KCMD, Musik Fabrik, ZKM, Aleph Guitar Quartet, Musiques & Recherches. He's Professor in the Superior School of Applied Arts (Castelo Branco, Portugal) and in the Superior  Music School of Lisbon. Director of Lisboa Incomum.
 
 
 
 
Doctoral Project
 
Title
"Almost a utopia - The paradox of originality": the musical practice of Emmanuel Nunes
 
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Abstract
This thesis presents an ethnomusicological approach to the production of "contemporary Western classical music", particularly in the case of Emmanuel Nunes. I analyse the composer's musical practice, seeking a global perspective that reveals an understanding of the main elements surrounding it, including biographical paths, artistic, scientific and institutional collaborations, study. The main discursive elements used were taken into account, focusing attention on the organisation of his musical production in relation to his production strategies and relations with the way the composer understood the work would be perceived. The analytical grid and methodology were built from different disciplinary perspectives, such as Ethnomusicology, Anthropology, Sociology, Music Informatics and Contemporary History, favouring an interdisciplinary perspective that allowed for a broad approach to the object of study. I tried to problematise the composer's career, from the beginning of his education to his institutional relations, particularly in Portugal, France and Germany, which allowed his work to be disseminated in certain contexts that were described and analysed. A biographical history of the composer was drawn up to complement the previously published elements, using my personal contact with Nunes, but also interviews with his family, friends and other relevant individuals in his career that I was able to contact. The research allowed me to problematise concepts such as "contemporary classical music", particularly in the work of Emmanuel Nunes, through an analysis of the different components involved in the musical production, namely through the case study of the electronics of Einspielung I (1979/2011), revealing their organisation, interconnection and interdependence in the construction of this work for violin and electronics.
 
Keywords: Emmanuel Nunes, contemporary western classical music, music production, composition, electronics.