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A Steinberg lançou em Outubro em 2016 o software de Notação Musical Dorico, sem dúvida um passo em frente na notação musical. Apresenta um interface inovador e a forma como está estruturado permite resultados superiores.

Tenho usado o Dorico, desde o seu lançamento, por sugestão de colegas que estavam se mostraram interessados vou realizar algumas acções de formação.
Estas formações são certificadas, logo serão atribuídos créditos aos participantes que podem ser usados na formação contínua de professores.

Possuo certificação como formador da autorizado pela Steinberg.

Formações Previstas:

 

Se estiver interessado em marcar alguma formação para além das previstas entre em contacto.

Formações Realizadas

 

 

Material de Referência 

Manuais Oficiais do Dorico

O Dorico em Grupos de discussão e Redes sociais:

Tutoriais sobre o Dorico:

Sites sobre Notação Musical

Software compatível com Dorico

MIDI

 

Bibliografia

Adler, S. (2016). The Study of Orchestration (4th Intern). London: W. W. Norton & Company.

Blatter, A. (1997). Instrumentation and Orchestration (2.a ed.). Cengage Learning.

Del Mar, N. (2009). Anatomy of the Orchestra. London: Faber and Faber.

Feist, J. (2017). Breklee Contemporary Music Notation. Boston: Berklee Press.

Gould, E. (2011). Behind Bars: The Definitive Guide to Music Notation. London: Faber Music Ltd.

Heussenstamm, G. (1987). The Norton Manual of Music Notation (1.a ed.). New York, London: W. W. Norton & Company.

Piston, W. (1969). Orchestration (5.a ed.). London: Victor Gollancz Ltd.

Read, G. (1953). Thesaurus of Orchestral Devices. London, Melbourne, Johannesburg: Sir Isaac Pitman & Sons. Obtido de https://archive.org/details/thesaurusoforche00read

Read, G. (1976). Contemporary Instrumental Techniques. New York: Schirmer Books.

Read, G. (1998). Pictographic Score Notation A Compendium-Greenwood (1.a ed.). Westport, Connecticut; London: Greenwood Press.

Read, G. (1979). Music Notation, a Manual of Modern Practice (2.a ed.). New York: Taplinger Publishing Company.

Roemer, C. (1985). The Art of Music Copying (2.a ed.). Sherman Oaks, California: Roerick Music Co.

Ross, T. (1987). Teach Yourself the Art of Music Engraving and Processing. San Diego, USA: npc Imaging.

Sevsay, E. (2013). The Cambridge Guide to Orchestration. Cambridge University Press.

Stiller, A. (1985). Handbook of Intrumentation (1.a ed.). University of California Press.

Stone, K. (1980). Music Notation in the Twentieth Century (1.a ed.). New York, London: Norton. 

 

In 2018 some works by Ricardo Matosinhos will be present as repertoire in music competitions:

A few months ago, I was in contact with Emma Gregan from Australia, asking her to write a piece for my PhD research. By then I didn't even dreamed I would meet her in the USA. She wrote me "Red-Couloured Glasses" for horn and piano and in return I wrote her "Song for Emma" also for horn and piano. Is is incredible how the world can be so huge and small at the same time! You just need to use your imagination, strech your arms, to make art happen on the other side on the world ;)
I'm looking forward to hear the results of this project

In September 2017, I did a quick tour trought the USA in the states of Minnesota and Iowa.
First I went to Iowa City, to do a Lecture/Recital at the University of Iowa as a guest from professor Jeffrey Agrell. I had a realy great time, geting to know Jeffrey Agrell in person and all his creativity. It was also also interesting to finally meet Courtney Miller, the Oboe player that comissioned the piece Os Contos do Oboé, for oboe and piano, listening the takes from the upcoming CD. In this recital played some of my music, including the US premiere of the 7 Horn Duos with Komsun D., an amazing player from Thailand. Other pieces included Reflections, and some of my 15 Low Horn Etudes12 Jazzy Etudes and 13 (un)Lucky Etudes for Horn.

Next I drove back north to Mineappolis and Saint Paul, to my main reason to visit the USA, attening the rehearsals and premiere my piece B(h)ORN T’WIN, op.72 for horn ensemble that received the 1st prize at the composition competition oprganized by the Twin Cities Horn Club. In this trip I get to know different places including the Boom Island Brewing owned by a horn player, with fantastic belgian inspired beers!
The TCHC is a very dynamic group, and the organization of the event was fantastic, and inspiring for sure that let me think about having something like this group in Portugal, that something definitevely to think about it...
In this trip, I had to opportunity to discuss some ideas with Emma Gregan from Australia, about a new piece for horn and piano I'm writting for her, soon there will be more information about it...

In August 2017 The HORNCLASS, Interpretation Horn Courses took place in Praha-Břevnov, Czech Republic for the 26th consecutive year and organised as usual by the Prague Horn Trio (Jindřich Petráš, Zdeněk Divoký and Jiří Havlík). This time Raimund Zell from Austria and Ricardo Matosinhos from Portugal were the guest teachers. More than 30 horn players among students, professionals, amateurs and horn enthusiasts coming from Czech Republic, Germany, Italy, Japan, Russia, Slovenia, Slovakia, Switzerland, Netherlands, Portugal and from the USA attended this whole week of amazing horn playing. Some highlights of this courses included a performance of the Czech Wind Harmony, a memorable recital by the guest teachers and Andreas Kreuzhuber at the beautiful Břevnov Monastery, a wonderful recital by János Benyus and chamber music promenades at the St. Agnes Closter. There were two pieces presented as czech premieres, including the Heptafunk, Op.64 for horn ensemble by Ricardo Matosinhos and the Mosaico no.3 by Fernando Morais for horn and piano. It is remarkable that, despite being a country of old horn traditions, the czech horn players are open to the world horn practices and keep on influencing players all over the world.