Paulo Costa Lima
This Brazilian cultural matrix positions Paulo Costa Lima globally... Curation
CURATION
-
from this page:
by Matrix
The Integrated Global Creative Economy
-
Name:
Paulo Costa Lima
-
City/Place:
Salvador, Bahia
-
Country:
Brazil
Life & Work
-
Bio:
Paulo Costa Lima (26.9.1954) é compositor e educador (pleonasmo, de acordo com Ernst Widmer). Iniciou os estudos de música em 1969, na Escola de Música e Artes Cênicas da Universidade Federal da Bahia, com os professores Jamary Oliveira (composição e análise), Ernst Widmer (composição), Lindembergue Cardoso (composição) e Piero Bastianelli (violoncelo).
Graduou-se em Composição pela University of Illinois at Champaign-Urbana (USA), em 1977, "with honors", onde também concluiu o Mestrado em Educação Musical, no ano seguinte, tendo trabalhado nesse período com os compositores Herbert Brün e Ben Johnston, e os educadores Richard Colwell e Charles Leonard. Doutor em Educação pela Universidade Federal da Bahia (1998) e em Artes pela Universidade de São Paulo (2000). Leciona Composição e Teoria da Música no nível de graduação e pós-graduação da Escola de Música, onde atua como professor desde 1979.
Em sua jornada profissional, foi editor-fundador da revista ART (1981-...), membro do Conselho Editorial da UFBA (1984-1988), coordenador das Semanas de Música Contemporânea (1986-1992), presidente do Conselho Editoria da Associação Nacional de Pesquisa e Pós-Graduação em Música, pesquisador pelo CNPq, chefe de departamento (1986-1988, 1994-1995), diretor da Escola de Música (1988-1992) - reiniciando a série de Seminários Internacionais de Música, interrompida em 1959, criando o Mestrado em Música e anexando o prédio do Memorial Lindembergue Cardoso à estrutura física da Escola - e pró-reitor de Extensão em duas gestões (1996-1998 e 1998-...) - criando o programa UFBA em Campo e liderando o movimento de criação e implantação de uma nova concepção de ação acadêmica, denominada Atividade Curricular em Comunidade.
Sua lista de obras inclui cerca de sessenta composições que vem recebendo execuções constantes no Brasil e em diversos países, tais como: Argentina, Venezuela, Portugal, Açores, França, Inglaterra, Bélgica, Alemanha, Estados Unidos, Canadá e Japão, totalizando mais de 50 apresentações no exterior. Tem participado de diversos festivais, merecendo destaque o Sonidos de las Americas (1966), promovido pelo Carnegie Hall em New York, como membro da delegação brasileira, ocasião em que proferiu palestras na Princeton University, Kent State University e Catholic University of America.
No Brasil, tem participado de todos os festivais de destaque na área de música contemporânea, contando com a qualidade de intérpretes como José Eduardo Martins (piano), Matias de Oliveira Pinto (cello), Beatriz Balzi (piano), Bahia Ensemble - sob a regência de Piero Bastianelli - Grupo PIAP, Quarteto da Cidade de São Paulo, Quarteto de Brasília, Orquestra SInfônica da Bahia, Orquestra SInfônica do Estado de São Paulo, Duo Robatto (flauta e clarineta), Mario Ulloa (violão), Edelton Gloeden e Adélia Issa (violão e voz), entre outros.
English:
Paulo Costa Lima (September 26, 1954) is a composer and educator (a pleonasm, according to Ernst Widmer). He began studying music in 1969 at the School of Music and Performing Arts of the Federal University of Bahia, with professors Jamary Oliveira (composition and analysis), Ernst Widmer (composition), Lindembergue Cardoso (composition), and Piero Bastianelli (cello).
He graduated in Composition from the University of Illinois at Champaign-Urbana (USA) in 1977, "with honors," where he also completed a Master's degree in Music Education the following year, having worked during this period with composers Herbert Brün and Ben Johnston, and educators Richard Colwell and Charles Leonard. He holds a PhD in Education from the Federal University of Bahia (1998) and in Arts from the University of São Paulo (2000). He teaches Composition and Music Theory at the undergraduate and graduate levels at the School of Music, where he has been a professor since 1979.
In his professional journey, he was the founding editor of the magazine ART (1981-...), a member of the Editorial Board of UFBA (1984-1988), coordinator of the Weeks of Contemporary Music (1986-1992), president of the Editorial Board of the National Association of Research and Graduate Studies in Music, a researcher for CNPq, department head (1986-1988, 1994-1995), director of the School of Music (1988-1992) - restarting the series of International Music Seminars, interrupted in 1959, creating the Master's program in Music, and annexing the building of the Lindembergue Cardoso Memorial to the physical structure of the School - and vice-chancellor for Extension in two terms (1996-1998 and 1998-...) - creating the UFBA in the Field program and leading the movement to create and implement a new conception of academic action, called Community Curricular Activity.
His list of works includes about sixty compositions that have been constantly performed in Brazil and in various countries, such as Argentina, Venezuela, Portugal, Azores, France, England, Belgium, Germany, the United States, Canada, and Japan, totaling more than 50 presentations abroad. He has participated in various festivals, notably the Sonidos de las Americas (1966), promoted by Carnegie Hall in New York, as a member of the Brazilian delegation, on which occasion he delivered lectures at Princeton University, Kent State University, and Catholic University of America.
In Brazil, he has participated in all the prominent festivals in the field of contemporary music, with the quality of interpreters such as José Eduardo Martins (piano), Matias de Oliveira Pinto (cello), Beatriz Balzi (piano), Bahia Ensemble - under the direction of Piero Bastianelli - PIAP Group, São Paulo City Quartet, Brasília Quartet, Bahia Symphony Orchestra, São Paulo State Symphony Orchestra, Robatto Duo (flute and clarinet), Mario Ulloa (guitar), Edelton Gloeden and Adélia Issa (guitar and voice), among others.
Clips (more may be added)
-
Paulo Lima - Nde Re He America (vídeo-partitura)
412 views
-
Paulo Lima - Look at the Sky - Op. 56 (vídeo-partitura)
402 views
-
Acabou o papel (versão longa)
409 views
-
(Live) Recital de Violoncelo e Piano - Sextas Musicais
332 views
-
Paulo Costa Lima, Nde Re He America, Alef Caetano Silva (Brasil)
237 views
-
Paulo Costa Lima, Nde Re He America, Emilio Alejandro Escalera (Argentina)
255 views
-
Paulo Costa Lima, Nde Re He America, Samdor Ramírez (Cuba)
386 views
-
Paulo Costa Lima, Look at the sky (cl solo), Evandro Alves
418 views
-
Falando de Música na Osesp Thierry Fischer comenta obras de Costa Lima, Rachmaninov e Piazzolla
232 views
-
MADRIGAL DA UFBA - KYRIE DE NANÃ
291 views
-
Concerto Digital: Osesp e Thierry Fischer (regente) | Obras de Costa Lima, Rachmaninov e Piazzolla
203 views
-
PAULO COSTA LIMA E IURI PASSOS - NINU AFEFE (spoiler)
416 views
There are certain countries, the names of which fire the popular imagination. Brazil is one of them; an amalgam of primitive and sophisticated, jungle and elegance, luscious jazz harmonics — there’s no other place like it in the world. And while Rio de Janeiro, or its fame anyway, tends toward the sophisticated end of the spectrum, Bahia bends toward the atavistic…
It’s like a trick of the mind’s light (I suppose), but standing on beach or escarpment in Salvador and looking out across the Baía de Todos os Santos to the great Recôncavo, and mindful of what happened there (and here; the Bahian Recôncavo was final port-of-call for more enslaved human beings than any other place throughout the entirety of mankind’s existence on this planet, and in the past it extended into what is now urban Salvador), one must be led to the inevitable conclusion that one is in a place unique to history, and to the present:
Brazil absorbed over ten times the number of enslaved Africans taken to the United States of America, and is a repository of African deities (and their music) now largely forgotten in their lands of origin.
Brazil was a refuge (of sorts) for Sephardim fleeing an Inquisition which followed them across the Atlantic (that unofficial symbol of Brazil’s national music — the pandeiro — was almost certainly brought to Brazil by these people).
Across the parched savannas of the interior of Brazil’s culturally fecund nordeste/northeast (where wizard Hermeto Pascoal was born in Lagoa da Canoa — Lagoon of the Canoe — and raised in Olho d’Águia — Eye of the Eagle), much of Brazil’s aboriginal population was absorbed into a caboclo/quilombola culture punctuated by the Star of David.
Three cultures — from three continents — running for their lives, their confluence forming an unprecedented fourth. Pandeirista on the roof.
That's where this Matrix begins:
Wolfram MathWorld
The idea is simple, powerful, and egalitarian: To propagate for them, the Matrix must propagate for all. Most in the world are within six degrees of us. The concept of a "small world" network (see Wolfram above) applies here, placing artists from the Recôncavo and the sertão, from Salvador... from Brooklyn, Berlin and Mombassa... musicians, writers, filmmakers... clicks (recommendations) away from their peers all over the planet.
This Integrated Global Creative Economy (we invented the concept) uncoils from Brazil's sprawling Indigenous, African, Sephardic and then Ashkenazic, Arabic, European, Asian cultural matrix... expanding like the canopy of a rainforest tree rooted in Bahia, branches spreading to embrace the entire world...
Recent Visitors Map
Great culture is great power.
And in a small world great things are possible.
Alicia Svigals
"Thanks, this is a brilliant idea!!"
—Alicia Svigals (NEW YORK CITY): Apotheosis of klezmer violinists
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers (BOSTON): Director of the Berklee Music Perception and Cognition Laboratory ... Former personal recording engineer for Prince; "Purple Rain", "Sign o' the Times", "Around the World in a Day"
"Dear Sparrow, Many thanks for this – I am touched!"
—Julian Lloyd Webber (LONDON): Premier cellist in UK; brother of Andrew (Evita, Jesus Christ Superstar, Cats, Phantom of the Opera...)
"This is super impressive work ! Congratulations ! Thanks for including me :)))"
—Clarice Assad (RIO DE JANEIRO/CHICAGO): Pianist and composer with works performed by Yo Yo Ma and orchestras around the world
"We appreciate you including Kamasi in the matrix, Sparrow."
—Banch Abegaze (LOS ANGELES): manager, Kamasi Washington
"Thanks! It looks great!....I didn't write 'Cantaloupe Island' though...Herbie Hancock did! Great Page though, well done! best, Randy"
"Very nice! Thank you for this. Warmest regards and wishing much success for the project! Matt"
—Son of Jimmy Garrison (bass for John Coltrane, Bill Evans...); plays with Herbie Hancock and other greats...
I opened the shop in Salvador, Bahia in 2005 in order to create an outlet to the wider world for magnificent Brazilian musicians.
David Dye & Kim Junod for NPR found us (above), and Kareem Abdul-Jabbar (he's a huge jazz fan), David Byrne, Oscar Castro-Neves... Spike Lee walked past the place while I was sitting on the stoop across the street drinking beer and listening to samba from the speaker in the window...
But we weren't exactly easy for the world-at-large to get to. So in order to extend the place's ethos I transformed the site associated with it into a network wherein Brazilian musicians I knew would recommend other Brazilian musicians, who would recommend others...
And as I anticipated, the chalky hand of God-as-mathematician intervened: In human society — per the small-world phenomenon — most of the billions of us on earth are within some 6 or fewer degrees of each other. Likewise, within a network of interlinked artists as I've described above, most of these artists will in the same manner be at most a handful of steps away from each other.
So then, all that's necessary to put the Brazilians within possible purview of the wide wide world is to include them among a wide wide range of artists around that world.
If, for example, Quincy Jones is inside the matrix, then anybody on his page — whether they be accessing from a campus in L.A., a pub in Dublin, a shebeen in Cape Town, a tent in Mongolia — will be close, transitable steps away from Raymundo Sodré, even if they know nothing of Brazil and are unaware that Sodré sings/dances upon this planet. Sodré, having been knocked from the perch of fame and ground into anonymity by Brazil's dictatorship, has now the alternative of access to the world-at-large via recourse to the vast potential of network theory.
...to the degree that other artists et al — writers, researchers, filmmakers, painters, choreographers...everywhere — do also. Artificial intelligence not required. Real intelligence, yes.
Years ago in NYC (I've lived here in Brazil for 32 years now) I "rescued" unpaid royalties (performance & mechanical) for artists/composers including Barbra Streisand, Aretha Franklin, Mongo Santamaria, Jim Hall, Clement "Coxsone" Dodd (for his rights in Bob Marley compositions; Clement was Bob's first producer), Led Zeppelin, Ray Barretto, Philip Glass and many others. Aretha called me out of the blue vis-à-vis money owed by Atlantic Records. Allen Klein (managed The Beatles, The Rolling Stones, Ray Charles) called about money due the estate of Sam Cooke. Jerry Ragovoy (Time Is On My Side, Piece of My Heart) called just to see if he had any unpaid money floating around out there (the royalty world was a shark-filled jungle, to mangle metaphors, and I doubt it's changed).
But the pertinent client (and friend) in the present context is Earl "Speedo" Carroll, of The Cadillacs. Earl went from doo-wopping on Harlem streetcorners to chart-topping success to working as a custodian at PS 87 elementary school on the west side of Manhattan. Through all of this he never lost what made him great.
Greatness and fame are too often conflated. The former should be accessible independently of the latter.
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).
Matrix founding creators are behind "one of 10 of the best (radios) around the world", per The Guardian.
Across the creative universe... For another list, reload page.
This list is random, and incomplete. Reload the page for another list.
For a complete list of everybody inside, tap TOTAL below:
TOTAL