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Biography
Marcos Sampaio is a Professor and researcher of Music Theory and Composition at the Federal University of Bahia (UFBA), where he obtained a Ph.D. in Music Composition in 2012. As a researcher, he works in the area of Music Theory, especially Computational Musicology and Musical Contours. He is an editorial board member of the Brazilian Journal of Music and Mathematics (MusMat). He is currently the UFBA Composition and Conducting course coordinator and has been deputy head of the Department of Music at the same university.
He composed works and arrangements for various instrumental formations, presented by groups such as UFBA Orchestra, GIMBA, UFBA Percussion Group, Duo Robatto, and Duo Sacramento. As a bass player, he had performed with the UFBA Percussion Group, the Trama do Macaco Prego, and local artists.
He also has experience in software development. He had coordinated the development team of Disco Azul Produções Artísticas, working in the Beat Percussion Fever and Music Star Blocks software developments. He also developed ContourMetrics, web software for processing musical contours.
Currently, he is researching Haydn’s string quartets according to a quantitative methodology, based on Computational Musicology tools.
Interests
- Computational Musicology
- Joseph Haydn
- Melodic Contour
- Music Theory
- Mathematics and Music
- Data-based composition
Education
-
PhD in Musical Composition, 2012
Federal University of Bahia
-
MSc in Musical Composition, 2008
Federal University of Bahia
-
BSc in Musical Composition, 2006
Federal University of Bahia
Skills
Music Theory and Composition
80%
Music Education
70%
Music Research
90%
Computer Science
50%
Experience
Developer
Disco Azul
Developed Beat Percussion Fever and Music Star Blocks.
Responsabilities included:
- Product conception
- Modelling
- Sampling Recording
- Website development (backend)
- SEO and ASO Marketing
- Testing
Professor
Federal University of Bahia
Teaches Music Theory and Composition, coordinates Composition and Conduction course, and research in Computational Musicology.
Classes:
- MUSA69 Music Literature and Structure I
- MUSA70 Music Literature and Structure II
- MUSA71 Music Literature and Structure III
- MUSA72 Music Literature and Structure IV
- MUSE27 Topics on Music Composition II
- MUSE29 Topics on Music Theory and Analysis II
- MUSB14 Music Composition V
- MUSB15 Music Composition VI
- MUSF18 Advanced Music Analysis I
- MUSF26 Introduction to Music Analysis
Projects
Haydn, Mozart and Beethoven
Quantitative research of the String Quartets by Haydn, Mozart, and Beethoven (2019-present)
Curricular Restructuring
Curricular restructuring of the Composition and Conducting course at the UFBA (2020-present)
Contour Similarity
Research about the contour similarity problem (2014-2018)
Musical Dictionary
English-Portuguese Dictionary of Musical Terms (2018)
Beat Percussion Fever
Percussion app for mobile devices (2015-2017)
Music Star Blocks
Music Star Blocks is a music memory game available for iPhone and iPad. (2016)
Composition with contours
Application of Contour Theory in Composition (2007-2012)
Resposta Tonal
Questions and answers about music (2015-2016)
Rameau
Algorithms for automatic harmonic analysis (2007-2009)
Featured Publications
A quantitative study of pitch registers in string quartets opus 17, by Joseph Haydn
In this paper, we present an exploratory study of the pitch registers on the string quartets Opus 17, by Joseph Haydn, according to a quantitative approach. This subject is relevant because the pitch registers studies have revealed noteworthy issues in the Musical Analysis area, the statistical techniques help to detect musical subtleties with a small potential for bias, and because on this corpus, Haydn has established standards for the string quartet genre. The pitch registers study allowed us to identify relevant musical aspects in the repertoire, understand the role of extreme registers in the form segmentation, and observe the prominence of the development and second theme sections, and the feasibility of the quantitative methods. We present a brief theoretical foundation, the methodological framework, the results of the investigation on the quartets' instrument pitches, a discussion about these results, and the conclusions.