<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>0873-6529</journal-id>
<journal-title><![CDATA[Sociologia, Problemas e Práticas]]></journal-title>
<abbrev-journal-title><![CDATA[Sociologia]]></abbrev-journal-title>
<issn>0873-6529</issn>
<publisher>
<publisher-name><![CDATA[Editora Mundos Sociais]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S0873-65292007000100005</article-id>
<title-group>
<article-title xml:lang="pt"><![CDATA[Modos de relação com a música]]></article-title>
<article-title xml:lang="en"><![CDATA[Ways of relating to music]]></article-title>
<article-title xml:lang="fr"><![CDATA[Rapports à la musique]]></article-title>
<article-title xml:lang="es"><![CDATA[Modos de relación con la música]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Campos]]></surname>
<given-names><![CDATA[Luís Melo]]></given-names>
</name>
</contrib>
</contrib-group>
<aff id="A">
<institution><![CDATA[,  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>01</month>
<year>2007</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>01</month>
<year>2007</year>
</pub-date>
<numero>53</numero>
<fpage>91</fpage>
<lpage>115</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_arttext&amp;pid=S0873-65292007000100005&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_abstract&amp;pid=S0873-65292007000100005&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_pdf&amp;pid=S0873-65292007000100005&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Apresenta-se o conceito de modos de relação com a música que, compreendendo três planos conceptuais, organiza treze dimensões analíticas susceptíveis de operacionalização para efeitos de observação de situações empíricas. Trata-se de aprofundar de modo integrado um diversificado conjunto de relações específicas às práticas musicais, tipificando qualitativamente as modalidades da sua fruição em torno de dois pólos: o essencial e o relacional. Embora construído para analisar músicos profissionais, sustenta-se que o conceito é também adequado (com adaptações) para analisar consumos musicais, assim como outras sedes de produção cultural (intelectual e artística).]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[The concept of ways of relating to music is presented, consisting of three conceptual levels and organized into thirteen analytical dimensions that may be operationalized for the purposes of observing empirical situations. It involves closely examining a diversified set of relationships specific to musical practices, in an integrated manner, qualitatively typifying the forms of enjoying them around two poles: the essential and the relational. Although formulated to analyze professional musicians, it is maintained that the concept is also suitable (with adaptations) for the analysis of musical consumptions and other spheres of cultural production (intellectual and artistic).]]></p></abstract>
<abstract abstract-type="short" xml:lang="fr"><p><![CDATA[Cet article présente le concept de rapports à la musique, qui comprend trois plans conceptuels et qui organise treize dimensions analytiques susceptibles d’être opérationnalisées aux fins d’observation de situations empiriques. Il s’agit d’approfondir de façon intégrée un ensemble diversifié de rapports spécifiques aux pratiques musicales, en classant qualitativement leurs modalités selon deux pôles: l’essentiel et le relationnel. Bien que ce concept ait été construit pour analyser les musiciens professionnels, l’article soutient qu’il est aussi indiqué (avec quelques adaptations) pour analyser les consommations musicales, ainsi que les autres domaines de production culturelle (intellectuelle et artistique).]]></p></abstract>
<abstract abstract-type="short" xml:lang="es"><p><![CDATA[Se presenta el concepto de modos de relación con la música que, abarcando tres planos conceptuales, organiza trece dimensiones analíticas, las cuales son operacionalizables con el fin de observar situaciones empíricas. Se trata de profundizar de modo integrado un diverso conjunto de relaciones específicas a las prácticas musicales, tipificando cualitativamente las modalidades de su usufructo en torno a dos polos: el esencial y el relacional. Más allá de ser construido para analizar músicos profesionales, se sostiene que el concepto también es adecuado (con adaptaciones) para analizar consumos musicales, así como otras sedes de producción cultural (intelectual y artística).]]></p></abstract>
<kwd-group>
<kwd lng="pt"><![CDATA[sociologia]]></kwd>
<kwd lng="pt"><![CDATA[cultura]]></kwd>
<kwd lng="pt"><![CDATA[música]]></kwd>
<kwd lng="pt"><![CDATA[músicos]]></kwd>
<kwd lng="en"><![CDATA[sociology]]></kwd>
<kwd lng="en"><![CDATA[culture]]></kwd>
<kwd lng="en"><![CDATA[music]]></kwd>
<kwd lng="en"><![CDATA[musicians]]></kwd>
<kwd lng="fr"><![CDATA[sociologie]]></kwd>
<kwd lng="fr"><![CDATA[culture]]></kwd>
<kwd lng="fr"><![CDATA[musique]]></kwd>
<kwd lng="fr"><![CDATA[musiciens]]></kwd>
<kwd lng="es"><![CDATA[sociología]]></kwd>
<kwd lng="es"><![CDATA[cultura]]></kwd>
<kwd lng="es"><![CDATA[música]]></kwd>
<kwd lng="es"><![CDATA[músicos]]></kwd>
</kwd-group>
</article-meta>
</front><body><![CDATA[ <P > <B>Modos de rela&#231;&#227;o com a m&#250;sica </B></P>     <P > Lu&#237;s Melo Campos<a href="#1">*</a> <a name="top1"></a></P>      <P > <B>Resumo</B>    </P>     <P >Apresenta-se o conceito de <I>modos de rela&#231;&#227;o com a m&#250;sica</I>    que, compreendendo tr&#234;s planos conceptuais, organiza treze dimens&#245;es    anal&#237;ticas suscept&#237;veis de operacionaliza&#231;&#227;o para efeitos    de observa&#231;&#227;o de situa&#231;&#245;es emp&#237;ricas. Trata-se de aprofundar    de modo integrado um diversificado conjunto de rela&#231;&#245;es espec&#237;ficas    &#224;s pr&#225;ticas musicais, tipificando qualitativamente as modalidades    da sua frui&#231;&#227;o em torno de dois p&#243;los: o&nbsp;essencial e o relacional.    Embora constru&#237;do para analisar m&#250;sicos profissionais, sustenta-se    que o conceito &#233; tamb&#233;m adequado (com adapta&#231;&#245;es) para analisar    consumos musicais, assim como outras sedes de produ&#231;&#227;o cultural (intelectual    e&nbsp;art&#237;stica). </P>     <P > <U>Palavras-chave</U>    sociologia, cultura, m&#250;sica, m&#250;sicos. </P>     <p>&nbsp;</p>     <p><B>Abstract</B> </p>     <P > <b>Ways of relating    to music</b> </P>     <P > The concept of    <I>ways of relating to music</I> is presented, consisting of three conceptual    levels and organized into thirteen analytical dimensions that may be operationalized    for the purposes of observing empirical situations. It involves closely examining    a diversified set of relationships specific to musical practices, in an integrated    manner, qualitatively typifying the forms of enjoying them around two poles:    the essential and the relational. Although formulated to analyze professional    musicians, it is maintained that the concept is also suitable (with adaptations)    for the analysis of musical consumptions and other spheres of cultural production    (intellectual and artistic). </P>     <P> <U>Key-words</U> sociology,    culture, music, musicians. </P>     ]]></body>
<body><![CDATA[<p>&nbsp;</p>     <p><B>R&#233;sum&#233;</B> </p>     <P > <b>Rapports    &#224; la musique</b> </P>     <P > Cet article pr&#233;sente    le concept de <I>rapports &#224; la musique</I>, qui comprend trois plans conceptuels    et qui organise treize dimensions analytiques susceptibles d&#146;&#234;tre    op&#233;rationnalis&#233;es aux fins d&#146;observation de situations empiriques.    Il s&#146;agit d&#146;approfondir de fa&#231;on int&#233;gr&#233;e un ensemble    diversifi&#233; de rapports sp&#233;cifiques aux pratiques musicales, en classant    qualitativement leurs modalit&#233;s selon deux p&#244;les: l&#146;essentiel    et&nbsp;le&nbsp;relationnel. Bien que ce concept ait &#233;t&#233; construit    pour analyser les musiciens professionnels, l&#146;article soutient qu&#146;il    est aussi indiqu&#233; (avec quelques adaptations) pour&nbsp;analyser les consommations    musicales, ainsi que les autres domaines de production culturelle (intellectuelle    et artistique). </P>     <P > <U>Mots-cl&#233;s</U>    sociologie, culture, musique, musiciens. </P>     <p>&nbsp;</p>     <p><b>Resumen</b> </p>     <P > <b>Modos de relaci&#243;n    con la m&#250;sica</b> </P>     <P > Se presenta el    concepto de <I>modos de relaci&#243;n con la m&#250;sica</I> que, abarcando    tres planos conceptuales, organiza trece dimensiones anal&#237;ticas, las cuales    son operacionalizables con el fin de observar situaciones emp&#237;ricas. Se    trata de profundizar de modo integrado un diverso conjunto de relaciones espec&#237;ficas    a las pr&#225;cticas musicales, tipificando cualitativamente las modalidades    de su usufructo en torno a dos polos: el esencial y el&nbsp;relacional. M&#225;s    all&#225; de ser construido para analizar m&#250;sicos profesionales, se sostiene    que el concepto tambi&#233;n es adecuado (con adaptaciones) para analizar consumos    musicales, as&#237; como otras sedes de producci&#243;n cultural (intelectual    y art&#237;stica). </P>     <P > <U>Palabras-clave</U>    sociolog&#237;a, cultura, m&#250;sica, m&#250;sicos. </P>     ]]></body>
<body><![CDATA[<p>&nbsp;</p>     <p>Texto completo dispon&iacute;vel apenas em PDF. </p>     <p>Full text only available in PDF format.</p>      <P >&nbsp; </P>     <P >&nbsp;</P>     <P ><B>Refer&#234;ncias bibliogr&#225;ficas</B> </P>     <!-- ref --><P > Bourdieu, Pierre (1972), <I>Esquisse d&#146;une Th&#233;orie de la Pratique</I>, Genebra,  Librairie Droz. &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;[&#160;<a href="javascript:void(0);" onclick="javascript: window.open('/scielo.php?script=sci_nlinks&ref=000029&pid=S0873-6529200700010000500001&lng=','','width=640,height=500,resizable=yes,scrollbars=1,menubar=yes,');">Links</a>&#160;]<!-- end-ref --><P > Campos, Lu&#237;s Melo (2006), <I>M&#250;sicos e Modos de Rela&#231;&#227;o com a M&#250;sica</I>, disserta&#231;&#227;o  de doutoramento, Lisboa, ISCTE. </P>     <P > Contador, Ant&#243;nio Concorda (2001), <I>Cultura Juvenil em Portugal, </I>Oeiras,  Celta Editora. </P>     <P > Goffman, Erving (1983), <I>A Representa&#231;&#227;o do Eu na Vida Cotidiana</I>, Petr&#243;polis,  Editora Vozes. </P>     ]]></body>
<body><![CDATA[<P > Hennion, Antoine (1981), <I>Les Professionnels du Disque</I>, Paris, Editions  A. M. M&#233;taili&#233;. </P>     <P > Lahire, Bernard (1998), <I>L&#146;Homme Pluriel. Les Ressorts de l&#146;Action, </I>Paris,  Nathan, Essais &amp; Recherches. </P>     <P > Peterson, Richard A. (1997), <I>Creating Country Music. Fabricating Authenticity</I>,  Chicago/Londres, University of Chicago Press. </P>     <P > Santos, Maria de Lourdes Lima dos (2002), &#147;Amador ou profissional?&#133;    Pe&#231;as de um puzzle&#148;, <I>OBS, Publica&#231;&#227;o Peri&#243;dica do    Observat&#243;rio das Actividades Culturais</I>, 11. </P>     <P >&nbsp;</P>     <P > <a name="1"></a><a href="#top1">*</a>Soci&#243;logo. <I>E-mail</I>: <a href="mailto:luis.campos@iscte.pt">luis.campos@iscte.pt    </a></P>      <P>&nbsp; </P>      ]]></body><back>
<ref-list>
<ref id="B1">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Bourdieu]]></surname>
<given-names><![CDATA[Pierre]]></given-names>
</name>
</person-group>
<source><![CDATA[Esquisse d’une Théorie de la Pratique]]></source>
<year>1972</year>
<publisher-loc><![CDATA[Genebra ]]></publisher-loc>
<publisher-name><![CDATA[Librairie Droz]]></publisher-name>
</nlm-citation>
</ref>
</ref-list>
</back>
</article>
