Paulo Costa Lima Explained

Paulo Costa Lima (born 1954 in Salvador, Bahia) is a Brazilian composer and music theorist. A member of the Brazilian Academy of Music, Lima's main interest is the interaction between composition and culture, including its political aspects, namely composition as a way of resisting colonization and against the "waste of experience,"[1] the traditional circuit in which ideas (theory) are produced elsewhere and absorbed by the South.[2] Lima's publications are on topics such as the theory and pedagogy of musical composition,[3] analysis and history of Brazilian contemporary music, analysis of Brazilian popular songs,[4] the possible dialogue between music and psychoanalysis, and cultural semantics. Lima's compositional interests include rhythmic tradition of the Candomblé.

Early life and education

Born in Salvador, Bahia, Brazil in 1954, Lima studied composition with Lindembergue Cardoso and Ernst Widmer in Brazil, and Ben Johnston and Herbert Brün at the University of Illinois in the United States. He has two doctoral degrees. For one, he wrote his thesis on the pedagogy of music composition; for the other, he analyzed Ernst Widmer's octatonic strategies. His first doctorate led to the Copene Prize in 1999 and the publication of a book, and an abbreviated version of the second was published in the Latin American Music Review in 2001.[5] [6]

Career

Lima became a professor at the Universidade Federal da Bahia in the 1970s and has held several positions there, including Director of the Music School (1988–1992) and Assistant Provost (1996–2002).[5] His composition students have included Guilherme Bertissolo, Paulo Rios Filho, Alex Pochat, Tulio Augusto, Vinicius Amaro, Paulo Cesar Santana, and Danniel Ferraz.[7] Lima is part of the second generation of the movement initiated by the Group of Composers of Bahia, which rejects implicit compliance to existing standards.[8] The movement's manifesto implies that all suggestions are valid and acceptable and stresses the importance of inclusivity.

Lima has performed with the URFJ Orchestra (Bahia Concerto op. 98, 2013),[9] São Paulo State Symphony Orchestra (Cabinda: We are black op. 104, 2015), Neojibá Orchestra (Seven arrows op. 102, 2015), Theatro Municipal, III Fundo Municipal de Cultura de Barreiras (2016), and the Festival für Neue Musik (Cauíza for 10 percussionists, 2017).[10] His works have been performed more than 600 times in more than 25 countries in locations such as Konzerthaus Berlin, Carnegie Hall, Lincoln Center, Benaroya Hall, De Rode Pomp, Sala Cecília Meireles, Sala São Paulo, and Teatro Castro Alves. He was included in the New Grove Dictionary of Music and Musicians in 2001 in an article written by Gerard Béhague and, in 2016, the State University of Campinas held a festival in his honor.[11]

More recently, Lima has proposed the notion of compositionality – the attributes of that which is composed – involving at least five dimensions: the "invention of worlds;" "commitment to critique", referring to interpretation; "reciprocity" or playing with identities; the continuous interaction between theory and practice; and creative thinking.[12] Ilza Nogueira observed in his 1993 composition Atotô do L'homme armé (op. 39) "a procedure of fusion of the appropriated elements (the melodic line and the rhythmic pattern), which compromises their identities and displaces them from their original signifying contexts".[13] [14]

Lima was president of the Fundação Gregório de Mattos, the cultural office of Salvador, between 2005 and 2008.[15] During his time in office, he created programs such as the Mestres Populares da Cultura, which recognized elderly citizens with a wide knowledge of ethnic-popular traditions. Other civic activities include Lima's organization of 456 capoeira performers, walking and dancing on the streets of Salvador to celebrate the anniversary of the city in 2005.[16] Lima also works with the Sociedade Brasileira para o Progresso da Ciência to promote the relationship between arts and sciences.[16]

Personal life

Lima married violinist Ana Margarida de Almeida Cerqueira Lima in 1976; they have two sons, Cláudio and Maurício.

Awards and honors

Lima has received awards from the Vitae Foundation (1995), American Composers Orchestra (1996), Secretary of Culture in Bahia (2009), and Fundação Nacional de Artes (2012, 2014, and 2016). He is a member of the Academia de Letras de Bahia and a founder-member of the Academia de Ciências da Bahia, which was created in 2011. The National Council for Scientific and Technological Development has considered him a recognized researcher since 2003. In 2015, he won first place at the Bienal de Música Brasileira Contemporânea.[17]

Works

Books

Albums

Articles

Performances

Compositions

References

External links

Notes and References

  1. Santos, Boaventura de Sousa (2004), ‘A Critique of LazyReason: Against the Waste of Experience’ in Wallerstein, Immanuel (ed.), The modern World-System in the Longue Durée Boulder. Paradigm Publishers, p. 157-197
  2. ART Music Review 025, set 2013, Paulo Costa Lima e Guilherme Bertissolo (Eds.)https://www.revista-art.com/issue-025/
  3. Teoria e prática do compor II: diálogos de invenção e ensino. Salvador, EDUFBA, 2014 https://repositorio.ufba.br/ri/bitstream/ri/20715/1/Teoria%20e%20pr%C3%A1tica%20do%20compor%20II_RI.pdf
  4. Lima, Paulo Costa. Música popular e outras adjacências. Salvador, EDUFBA, 2012 https://repositorio.ufba.br/ri/bitstream/ri/16750/1/Musica%20Popular%20e%20outras%20adjace%C2%A6%C3%A9ncias_repositorio.pdf
  5. Lima, Paulo Costa. Ernst Widmer e o ensino de composição musical na Bahia. Salvador, Copene/Fazcultura, 1999 https://repositorio.ufba.br/ri/handle/ri/18644
  6. Lima, Paulo Costa. Composition in Bahia, Brazil: Ernst Widmer and his octatonic strategies, Latin American Review, Vol. 22, No. 2 (Autumn - Winter, 2001), pp. 157-182 https://www.jstor.org/stable/780462?seq=1#page_scan_tab_contents
  7. https://www.youtube.com/channel/UCi4qmKonGBdOm6WMdKdSkdQ Ferraz, Danniel (Org.) Composers of Bahia, Channel with video-scores
  8. Lima, Paulo Costa, "Group of Composers of Bahia", In: Routledge Encyclopedia of Modernism, Group of Composers of Bahia
  9. Video of the premiere of Bahia Concerto op. 98 (2013) with Aleyson Scopel (Piano), Claudio Cruz (Conductor), UFRJ Orchestra https://www.youtube.com/watch?v=kD86vNfo7Q4
  10. Oehmen, Helde. "Percussion: Virtuosität und Perfektion", 11. Oktober 2017 http://www.rp-online.de/nrw/staedte/kempen/percussion-virtuositaet-und-perfektion-aid-1.7134817
  11. http://sintonizenacultura.com.br/projeto/fmcb3 III Festival de Música Contemporânea Brasileira, 2016
  12. Ilza Nogueira, Entrevista. TeMA informativo, ano 1, n. 2, mai. 2017, Associação Brasileira de Teoria e Análise Musical https://academiadeletrasdabahia.files.wordpress.com/2017/07/tema_info-n2-mai-2017.pdf
  13. Nogueira, Ilza. 2016. Contemporary Knowledge and Musical Creation: Ethic and Paradigms. MUSICA THEORICA. Salvador: TeMA, 201602, p. 1-21. Analysis of Atotô do L'homme armé op. 39 https://web.archive.org/web/20190215162630/http://tema.mus.br/revistas/index.php/musica-theorica/article/download/4/10
  14. Outros Ritmos (CD). 1996. Performance of Atotô op. 39 with Bahia Ensemble and Piero Bastianelli (Conductor)https://www.youtube.com/watch?v=N6A4zHvibDw
  15. https://repositorio.ufba.br/ri/handle/ri/20643 ABC da Fundação Gregório de Mattos (2008)
  16. http://www.sbpccultural.ufba.br/oquee/index.html SBPC Cultural, 2001. UFBA: Bahia, bahia, que lugar é esse?
  17. Catalogue: XXI Bienal de Música Contemporânea Brasileira; indication of Paulo Costa Lima for the first prize in 2015 (p.38) http://www.funarte.gov.br/wp-content/uploads/2015/09/XXI-Bienal-de-M%C3%BAsica-da-Funarte_cat%C3%A1logo.pdf

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