Uploaded July 2019 | Updated September 2026, 3 hours ago
crosstowntraffic2018.wordpress.com
This presentation took place as part of the conference Crosstown Traffic: Popular Music Theory and Practice, which was hosted by The University of Huddersfield from September 3 - 5 2018. This event combined the IASPM UK&Ireland Biennial Conference, the 13th Art of Record Production Conference (ARP), an ISMMS conference, and the additional participation of Dancecult.
A recurrent theme within popular music studies has been discussion of how the field can integrate different disciplines and professions, for example exploring both music and its context; involving both practitioners and researchers; and encouraging interdisciplinary and collaborative work. Many different issues make such approaches challenging, and various different popular music focused subject organisations have developed somewhat independently of one another. This conference brought four such groups together, to exchange knowledge, collaborate, and encourage crosstalk.
/// SUPPORT
Popular Music Studies Research Group (PMSRG), University of Huddersfield research.hud.ac.uk/pmsrg/#
Centre for Music, Culture and Identity (CMCI), University of Huddersfield
research.hud.ac.uk/institutes-centres/cmci
The International Association for the Study of Popular Music UK and Ireland Branch (IASPM UK & Ireland)
iaspm.org.uk
Association for the Study of the Art of Record Production (ASARP)
artofrecordproduction.com
Dancecult Research Network (DRN) studies into electronic dance music culture
dancecult-research.net
International Society for Metal Music Studies (ISMMS)
metalstudies.org
/// ORGANIZERS
IASPM UK&I: Rupert Till
ARP: Katia Isakoff, Shara Rambarran
ISMMS: Karl Spracklen
Dancecult: Graham St. John
University of Huddersfield: Jan Herbst, Austin Moore, Lisa Colton, Toby Martin, Catherine Haworth, Mark Mynett
/// CREDITS
This online project was edited, collated, and made available online by Chris McConnell, Jack Zissell, and Colin Frank.
/// PRESENTATION DETAILS
“DESAFINADO” a tune by Antonio Carlos Jobim: A comparison of four different written versions
Renato Vasconcellos - Universidade de Brasília
/// ABSTRACT
The proposed paper for the Crosstown Traffic Conference is a portion of my Doctoral thesis called The Lead Sheet and the Misdirections of Fake Books. The panel “Desafinado” by Antonio Carlos Jobim: A comparison of four different written versions is an attempt to show how fake books had changed the path of specific tunes. The song Desafinado was published in Brazil by Editora Musical Arapuã (1959) and in the United States by Hollis Music Incorporation (1962). Anyone can see at the front page of the American edition, found by this researcher at Instituto Antonio Carlos Jobim (*), the hand written anottation by Jobim himself: “Tudo errado”, which means all wrong. That was the motivation for my research and the answer for a question asked to myself over and over again during decades: “Why the Desafinado lead sheet published by the Real Book in 1975 is so mistaken and full of wrong notes and chords?”. It was easy to conclude that the editors of the Real Book might have used the Hollis Music’s edition as a reference for their “manuscript type” lead sheet. The proposed presentation put side by side the lead sheet made by the Real Book and three other written versions of Desafinado to analyze in detail every measure, every note and every chord, reaching the conclusion that publishers copied each other, corroborating and amalgamating errors of transcription.
crosstowntraffic2018.wordpress.com
This presentation took place as part of the conference Crosstown Traffic: Popular Music Theory and Practice, which was hosted by The University of Huddersfield from September 3 - 5 2018. This event combined the IASPM UK&Ireland Biennial Conference, the 13th Art of Record Production Conference (ARP), an ISMMS conference, and the additional participation of Dancecult.
A recurrent theme within popular music studies has been discussion of how the field can integrate different disciplines and professions, for example exploring both music and its context; involving both practitioners and researchers; and encouraging interdisciplinary and collaborative work. Many different issues make such approaches challenging, and various different popular music focused subject organisations have developed somewhat independently of one another. This conference brought four such groups together, to exchange knowledge, collaborate, and encourage crosstalk.
/// SUPPORT
Popular Music Studies Research Group (PMSRG), University of Huddersfield research.hud.ac.uk/pmsrg/#
Centre for Music, Culture and Identity (CMCI), University of Huddersfield
research.hud.ac.uk/institutes-centres/cmci
The International Association for the Study of Popular Music UK and Ireland Branch (IASPM UK & Ireland)
iaspm.org.uk
Association for the Study of the Art of Record Production (ASARP)
artofrecordproduction.com
Dancecult Research Network (DRN) studies into electronic dance music culture
dancecult-research.net
International Society for Metal Music Studies (ISMMS)
metalstudies.org
/// ORGANIZERS
IASPM UK&I: Rupert Till
ARP: Katia Isakoff, Shara Rambarran
ISMMS: Karl Spracklen
Dancecult: Graham St. John
University of Huddersfield: Jan Herbst, Austin Moore, Lisa Colton, Toby Martin, Catherine Haworth, Mark Mynett
/// CREDITS
This online project was edited, collated, and made available online by Chris McConnell, Jack Zissell, and Colin Frank.
/// PRESENTATION DETAILS
“DESAFINADO” a tune by Antonio Carlos Jobim: A comparison of four different written versions
Renato Vasconcellos - Universidade de Brasília
/// ABSTRACT
The proposed paper for the Crosstown Traffic Conference is a portion of my Doctoral thesis called The Lead Sheet and the Misdirections of Fake Books. The panel “Desafinado” by Antonio Carlos Jobim: A comparison of four different written versions is an attempt to show how fake books had changed the path of specific tunes. The song Desafinado was published in Brazil by Editora Musical Arapuã (1959) and in the United States by Hollis Music Incorporation (1962). Anyone can see at the front page of the American edition, found by this researcher at Instituto Antonio Carlos Jobim (*), the hand written anottation by Jobim himself: “Tudo errado”, which means all wrong. That was the motivation for my research and the answer for a question asked to myself over and over again during decades: “Why the Desafinado lead sheet published by the Real Book in 1975 is so mistaken and full of wrong notes and chords?”. It was easy to conclude that the editors of the Real Book might have used the Hollis Music’s edition as a reference for their “manuscript type” lead sheet. The proposed presentation put side by side the lead sheet made by the Real Book and three other written versions of Desafinado to analyze in detail every measure, every note and every chord, reaching the conclusion that publishers copied each other, corroborating and amalgamating errors of transcription.
