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The aim of this study was to analyse the validity and reliability of the Self-Regulated Practice Behaviour Scale (SRPB) developed by Miksza (2012) for music students in Portugal. Tasks involved in this study included: (1) translating the original scale and creating a viable Portuguese adaptation for Portuguese musical performance students; (2) analysing the psychometric properties of the Portuguese version of the scale. The translation and adaptation of the original scale resulted in a 52-item Portuguese Self-Regulated Practice Behaviour measure (Portuguese SRPB). Students enrolled in music education programmes from eight conservatoires answered the Portuguese SRPB (n = 1,200). The results of confirmatory factor analysis show that a five-factor model presenting the five correspondent theoretical dimensions of self-regulation (motive, method, behaviour, time management, and social influence) achieved the best fit to the data collected. All Portuguese SRPB dimensions were predictive of students' reports of average practice efficiency, grades, and practice time, highlighting preliminary evidence of predictive validity. The internal consistency reliability coefficients ranged from good to excellent (α = .71 to .84). The findings suggest that the Portuguese SRPB produced a valid and reliable measure of the self-regulatory practice behaviour of Portuguese conservatoire students.

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This reflective case study sought to identify self-regulation processes associated with daily music practice, focusing on the researcher-performer perspective. The first author of this article is also the study participant: a classical guitarist and graduate student at a South-American University who took part in the Instagram challenge #100daysofpractice, which involves recording and posting a video of one’s daily musical practice for 100 uninterrupted days. Using analytic autoethnography as a self-reflective descriptive tool, the research explored self-regulated learning strategies and the impact of social media on music practice. By highlighting the processes and strategies employed during the challenge according to the six psychological dimensions of Self-Regulated Learning, the results suggest that these processes and strategies can be associated with more than one dimension.

This research lies on the concepts of ritual and narrative as applied in a case study of a musical theatre piece. In traditional musical narrative the focus is on construction, and one could speak of fields around which hierarchies, systems and rules of musical language are built. In this piece we find unpredictable transgressive musical gestures, acted out by performers, combined with conventional narrative procedures. This study aims to demonstrate that the concepts of musical narrative and ritual cannot be seen as isolated objects but as entities of transformation by composers, and how the trilogy composer/performer/listener (audience) is associated with narrative and ritual. Ritual and transgression can thus be linked to traditional concepts of musical narrative connecting composing, performing, and listening activities. Keywords: ritual; narrative; performance; transgression; deconstruction.Public performances of contemporary music within the Western-art tradition are characterized by recurring patterns involving not only repertoire choices, but also behavioural norms that affect performers and audience alike. Composers are aware of the ritual dimension implied by this fact, and their creative work is informed by the knowledge of the impact these patterns have on performers and audiences. This study aims to demonstrate that the concepts of musical narrative and ritual are addressed as entities of transformation by composers, and how the trilogy composer/performer/listener (audience) is associated with both musical narrative and ritual. This research lies on the concepts of ritual, transgression and musical narrative, as applied in a case study of a musical theatre piece -Sound Bridges, for flute, marimba and double bass, composed by the first author of this article. The study focuses on how musical gesture takes different meanings in the

Inspired by Italo Calvino's novel Le città invisibili (1972), which presents Marco Polo's description of several invisible and fictional cities, the authors embarked on an imaginary journey to create invisible sounds with the subtlety of the fortepiano. In a process akin to Calvino's novel, the article presents the comings and goings of an exchange process of ideas between the composer and the performer. Physically separated, in Brazil and Portugal, they used video conferences and e-mails to create the work. As the process evolved, technical aspects of the fortepiano and its peculiar sounds were intertwined with adjustments to the composer's creative writing. On the other hand, the combinatorial structure of Calvino's artwork anchored the exchange of musical materials among the work’s movements. This artistic-research project began in April 2014, and led to a recording of Sons Invisíveis (Invisible Sounds), included in the CD Música Nova for Antique Instruments II in 2016. In order to describe this trajectory, this article addresses recent literature in collaboration and performance studies, composition for historical instruments, particularly the fortepiano, the combinatorial nature of Calvino's writing, how the collaborative process was developed, and its final organization, expressing the ineffable character of Calvino's masterpiece through invisible sounds.

Resumo: As práticas do violão percussivo vêm ganhando cada vez mais espaço nas pesquisas e nas práticas musicais. Todavia, os registros escritos e a ausência de sistematização das terminologias e representações dos recursos percussivos apresentam fragilidades. O presente trabalho, a partir de pesquisas bibliográficas e levantamento e análise de dez peças com recursos percussivos, propõe um sistema de notação percussiva para violão de forma estruturada e com aplicação prática. Os resultados obtidos apontam para a viabilidade e o fácil entendimento deste sistema de notação, tanto para violonistas quanto para compositores e arranjadores que quiserem incorporá-lo em seus trabalhos.

é pianista, professora auxiliar da Universidade de Aveiro e investigadora do INET-MD. Os seus interesses de pesquisa centram-se nas áreas dos estudos em performance musical, e história da música portuguesa nos séculos XX e XXI. Lidera presentemente um projecto de investigação financiado por fundos nacionais e europeus sobre música e mulheres em Portugal nos séculos XX e XXI 2 .