Curation & Recommendations ...of and for musicians, writers, academics, painters, choreographers, filmmakers, theater directors, sound and set designers, chefs...
CURATION
from this page:
by Matrix
Network Node
Name:
Welson Tremura
City/Place:
Gainesville, Florida
Country:
United States
Life & Work
Bio:
Welson Tremura (musicologist – guitarist – singer) is a Ph.D. in musicology-ethnomusicology from Florida State University and currently serve as a Professor in the School of Music and the Center for Latin American Studies at the University of Florida. Dr. Tremura’s main research focuses on music and religion as expressed on folk Catholicism traditions of folia de reis or the Three Kings celebration in Brazil.
Additional research areas include the use of digital technology in performance and global technology and the inclusion of world music as a core discipline and collaborative method for composition and performance.
Combining his classical guitar and his voice, Dr. Tremura’s triumphant performances include concert halls in the USA, such as the Carnegie Hall in New York City and DeBartolo Performing Arts Center in Notre Dame, Indiana.
Internationally Dr. Tremura maintains an active performance and academic schedule and has performed and given lectures in Brazil, China, Mexico, Guatemala, United States, India, Spain, Italy, Germany, the Netherlands, and New Zealand.
Dr. Tremura has been consistently praised by music critics and audiences for his interpretation of the most acclaimed bossa nova songs and his own guitar compositions.
Combining performance and research, Dr. Tremura’s academic assignments includes a series of projects to expand music and performance scholarship, to create opportunities for students, faculty, and artists to collaborate nationally and internationally. An important dimension of his academic career has been devoted to building collaborative relationships between various units at the University of Florida to create new and unique programs to facilitate interdisciplinary projects, such as composing music to foster creativity and innovation over the internet. A large collection of artistic and collaborative videos from Dr. Tremura’s can be seen on his YouTube and Vimeo channels, which combined have more than 4 million hits.
Dr. Tremura’s Brazilian Music Institute (BMI) is a unique program in teaching and performing Brazilian music in an academic environment. Every year during the month of May the Institute attracts students, faculty, and international artists from Brazil and the USA to collaborate on a weeklong series of master classes and workshops. The Institute values artistic excellence and commitment to the music and culture of Brazil. Through group lessons in Brazilian instrumental and vocal repertoires, the Institute prepares selected participants to perform in the event’s concluding concert.
At the University of Florida, Dr. Tremura teaches various courses in ethnomusicology, applied fieldwork, music and identity, Latin American music, and world music. He also teaches Brazilian guitar and vocal repertoires, and directs the World Music Ensembles.
Dr. Tremura is the director for the instrumental ensemble Jacaré Choro, dedicated to the performance of Brazilian traditional instrumental music, and is the co-director for the University’s Brazilian music ensemble Jacaré Brazil. Most recently Dr. Tremura has expanded his professional activities by founding the Alachua Guitar Quartet, a classical guitar ensemble devoted to highest level of expression and artistic commitment to perform Latin American classical guitar repertoires.
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Bewitching, bewitched Bahia, Brazil, sprawled across broad equatorial latitudes, stoked, steamed and sensual in the broadest sense of the word, limned in prosody and cadenced melody, is where the magic (mathematical and otherwise) and enchantment upon which this matrix is based, begins...
...a matrix conceived in conversation with now 75-year-old Raymundo Sodré — man of, and for, the trod-upon folk of the Brazilian backlands; his career destroyed during Brazil's dictatorship — during a discourse ranging from the quilombos and senzalas of Cachoeira and Santo Amaro to the wards of New Orleans to the South Side of Chicago...to the sidewalks of Harlem to the villages of Ireland to the Roma camps of France and Belgium...to the Vienna of Beethoven to the shtetls of Eastern Europe... wherein Sodré opined for the ages what is now inscribed on the wall of Plato's cave: "Where there's misery, there's music!"...
...a matrix wherein it's not which pill you take, it's what pathways you take, pathways originating in the sprawling cultural matrix of Terra Brasilis: Indigenous, African, Sephardic and then Ashkenazic, Arabic, European, Asian... Matrix Ground Zero being the Recôncavo, contouring the Bay of All Saints, Earth's absolute center of gravity for the disembarkation of enslaved human beings (and for the sublimity these people created), the bay presided over by Brazil's inffable Black Rome: Salvador da Bahia.
("Black Rome" is an appellation per Caetano Veloso, son of the Recôncavo, via Mãe Aninha of Ilê Axé Opô Afonjá.)
I built the Matrix in the place below (I'm below left, with David Dye & Kim Junod for U.S. National Public Radio) among some of the world's most powerfully moving music, some of it made by people barely known beyond village borders. Or in the case of Sodré, his anthem A MASSA — a paean to Brazil's poor ("our pain is the pain of a timid boy, a calf stepped on...") — having blasted from every radio between the Amazon and Brazil's industrial south, before he was silenced. The Matrix started with Sodré, with João do Boi, with Roberto Mendes, with Bule Bule, with Roque Ferreira... music rooted in the sugarcane plantations of Bahia. Hence our logo (a cane cutter; designed by Walter Mariano of the Federal University of the Recôncavo of Bahia).
The Matrix is a small world network in which creators may recommend other creators and be recommended by other creators. And where, like stars coalescing into a galaxy, creators in the Matrix mathematically gravitate to proximity to all other creators in the Matrix, no matter how far apart in location, fame or society. This gravity is called "the small world phenomenon".
While the Matrix's utilization of small world gravity is unprecedented (position everybody in the creative universe within discoverable range of everybody else in the creative universe), small world networks are all around us, even inside us: our brains contain small world networks. Humanity itself is a small world network, wherein over 8 billion human beings average 6 or fewer steps between any two given people, anywhere. Those steps are seldom all transitable though. In the Matrix they are. In a small world great things are possible.
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers: Personal recording engineer for Prince, inc. "Purple Rain", "Sign o' the Times", "Around the World in a Day"... Director of the Berklee Music Perception and Cognition Laboratory
I'm Pardal here in Brazil (that's "Sparrow" in English). The deep roots of this project are in Manhattan, where Allen Klein (managed the Beatles and The Rolling Stones) called me about royalties for the estate of Sam Cooke... where Jerry Ragovoy (co-wrote Time is On My Side, sung by the Stones; Piece of My Heart, Janis Joplin of course; and Pata Pata, sung by the great Miriam Makeba) called me looking for unpaid royalties... where I did contract and licensing for Carlinhos Brown's participation on Bahia Black with Wayne Shorter and Herbie Hancock...
...where I rescued unpaid royalties for Aretha Franklin (from Atlantic Records), Barbra Streisand (from CBS Records), Led Zeppelin, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Airto Moreira, Jim Hall, Wah Wah Watson (Melvin Ragin), Ray Barretto, Philip Glass, Clement "Sir Coxsone" Dodd for his interest in Bob Marley compositions, Cat Stevens/Yusuf Islam and others...
...where I worked with Earl "Speedo" Carroll of the Cadillacs (who went from doo-wopping as a kid on Harlem streetcorners to top of the charts to working as a janitor at P.S. 87 in Manhattan without ever losing what it was that made him special in the first place), and with Jake and Zeke Carey of The Flamingos (I Only Have Eyes for You)... stuff like that.
Yeah this is Bob's first record contract, made with Clement "Sir Coxsone" Dodd of Studio One and co-signed by his aunt because he was under 21. I took it to Black Rock to argue with CBS' lawyers about the royalties they didn't want to pay (they paid).