Presentation of the Postgraduate Program in Music

The Postgraduate Program in Music


The Postgraduate Program in Music is characterized by a commitment to excellence in teaching and research, which is reflected in the composition of its faculty, in their research areas and their curricular structures. It aims to promote innovative musical studies that incorporate research and practice in various areas of music in master's and doctoral levels. The program aims to provide professionals, teachers and music researchers, training that qualifies them to act in a critical and reflective way, with emphasis on the artistic specificity of the area.

History and context of the program

The Postgraduate Program in Music at the University of São Paulo was created from the reformulation and separation of postgraduate programs at ECA (School of Communication and Arts of USP). Since 2007, the programs that were previously grouped under the generic name of "Arts" (this was the first postgraduate degree in Arts in Brazil, begun in 1974, as well as the first PhD in the area, established in 1980), constituted independent programs, namely: Performing Arts, Visual Arts and Music. This redesign has brought greater independence and flexibility to the programs and, as a consequence, greater consistency in the set of activities developed within each of them.

Since its inception, the Postgraduate Program in Music (PPGMUS) has sought to promote innovative musical studies, combining academic research and artistic practice in order to generate new knowledge in music, offering the student body training that qualifies them to act in a critical and innovative way. Thus, the PPGMUS is characterized by a commitment to excellence in teaching, research, extension and artistic practice in its most diverse aspects.

Between 2012-2013 we had a substantial reformulation in lines of research in order to better adapt them to the artistic and academic activities of the teaching staff, creating favorable conditions so the research and guidance processes developed in the program could be organized in a more consistent and vertical form.


The Postgraduate Program in Music of USP aims to:

     a.   the training of qualified personnel to carry out research and teaching activities in higher education in the area of Music;

     b.   the development of research that creates new knowledge;

     c.   the fostering of academic production (bibliographic, technical and artistic) in music and its interfaces.

Areas of Concentration and Lines of Research:

The Postgraduate Program in Music of ECA-USP is organized according to two areas of concentration - Musicology and Processes of Music Creation - which, in turn, have their academic focus in the lines of research specified below:

1 - Concentration Area: Musicology

This addresses issues related to historical, aesthetic and theoretical concepts in their cultural context. We understand Musicology in a broad sense, including studies in music theory, theory of composition, musical analysis, musical aesthetics, music criticism, history of music and ethnomusicology. Therefore we understand that the area should not be restricted to the Western tradition of concert music, but should also include the manifestations of other musical cultures, with special attention to the various manifestations of Brazilian music, fields in which the Department of Music of ECA-USP has historically developed consistent research.

The Musicology area is organized into two lines of research: (1a) Theory and musical analysis; (1b) Musicology and ethnomusicology.

Line of Research (1a): Theory and musical analysis

Musical theories have been developed and find their practical expression in musical analysis. Both the analysis and the theory of music are involved with understanding the musical phenomenon, its implications and reception. Theory creates tools of analysis and returns to the thorough and detailed study of materials, techniques and compositional procedures in its various historical contexts. Analysis deals with the constitution and the interrelation of the formative elements of music. In this line of research, analysis can also be studied as the result of historical processes, in which the actual analytical design becomes the object of investigation.

Advisors: Adriana Lopes Moreira, Rodolfo Coelho de Souza, Marcos Branda Lacerda, Paulo de Tarso Salles, Silvia Berg.

Line of Research (1b): Musicology and Ethnomusicology

This line of research is aimed at interpreting music as a product and cultural construction, which includes not only the study of primary and audiovisual sources of musical documents (from the application of different historical, anthropological and analytical methods, which include the study of manuscripts, philology and textual criticism, iconography, genetic criticism, semiotics, ethnographic work etc.), but also the study of the problems involved in musical practices, in the scope of reception, the ideological processes of speeches, as well as the issue of transit and hybridizations between cultures. It also involves aesthetic issues, turning towards philosophical discussion, the question of experience, to criticism, appreciation, judgment and assessment of the work of musical art in its historical and anthropological contexts.

Advisors: Monica Lucas, Flávia Toni, Marcos Branda Lacerda, Marcos Castro Camera, Diósnio Machado Neto, Mário Videira, Ivan Vilela and Pedro Paulo Salles.

2 - Area of Concentration: Processes of Musical Creation

Pursues research, discussion and intellectual production (artistic, bibliographic and technical) related to the issues involved in the creative, compositional, educational and interpretive practices as well as the technical, scientific and technological aspects thereof. Presupposes the improvement and further development of specific skills and reflections of the composer, educator and performer on problems of artistic creation, repertoire, techniques, styles, means of expression, interpretative issues and educational processes. It also opens up interdisciplinary fields and relations with other artistic areas, which include the use of new technologies.

The Processes of Musical Creation Area is organized into four lines of research: (2a) Performance; (2b) Interpretative issues; (2c) Music and education: processes of creation, teaching and learning; (2d) Sonology: creation and audio production.


Line of Research (2a): Performance

Aims towards the improvement and further development of specific skills in music performance. Assumes practical improvement, with the purpose of training excellence in musical performance, and requires the development of a written research paper of solid bibliographic grounding about the issues involved in this practice, such as: analytical and interpretative possibilities in musical repertoire, technical instrumental approaches historically and physiologically informed, specific idiomatic aspects of each musical instrument, interpretative styles historically grounded and means of musical expression. Therefore, it has a selection process and a specific curriculum, including practical tests and public musical performances. Currently the program has advisors for candidates in guitar, piano, violin, cello and choral conducting.

Advisors: Amilcar Zani, Edelton Gloeden, Eduardo Monteiro, Eliane Tokeshi, Fabio Presgrave (Collaborator), Fernando Corvisier, Luciana Sayuri, Marco Antonio da Silva Ramos.


Line of Research (2b): Interpretative Questions

Seeks to investigate and reflect on the issues involved in performance practice, as well as on the technical and technological aspects involved. Presupposes the theoretical reflection of the interpreter about problems linked to the repertoire, techniques, styles, means of expression and interpretative issues.

Advisors: Amilcar Zani, Edelton Gloeden, Eduardo Monteiro, Eliane Tokeshi Fabio Presgrave (Collaborator), Fernando Corvisier, Gil Jardim, Luciana Sayuri, Marco Antonio da Silva Ramos.


Line of Research (2c): Music and education: the processes of creation, teaching and learning

Researches and studies the relationship between music and education in its multiple spaces and possibilities addressing: a) analysis of emerging creative processes at different levels and educational backgrounds; b) processes of perception, listening and musical cognition; c) practices and methodologies for teaching music; d) research in music education and cultural data; e) teacher training; f) history of music education and artistic-musical education.

Advisors: Maria Teresa Alencar de Brito, Marcos Castro Camera, Pedro Paulo Salles, Silvia Berg, Susana Igayara.


Line of Research (2d): Sonology: creation and audio production

Studies acoustic material in its link with productions and musical activities in order to address problems related to creation, perception, reception and epistemology. Explores the creative and reflective processes of a repertoire focused on the exploration of sound as material for artistic creation. It covers research on representation, processing, analysis and sound synthesis and information associated with multiple processes that take place in a musical situation, as well as studies conducted from a cultural perspective or critical creative developments related to sound and entailing changes in production techniques, reproduction, storage, handling and reception. Some specialties closely related to this subarea: Extraction and Musical Information Processing; Electroacoustic music; Contemporary Improvisation; Sound Design; Interactive Systems; Acoustic Construction; Organology; Electronics and Computer Construction.

Advisors: Cesar Villavicencio (Collaborator), Fernando Iazzetta, Heloisa Valente (Collaborator), Regis Rossi A. Faria, Rogério Costa, Rodolfo Coelho, Silvio Ferraz.