Services provided by companies or public sector departments often require people to register themselves, i.e. to create an account. Such registration usually involves the provisioning of users’ authentication credentials, usually a username and password. Centralized Identity Providers (IdPs) appeared to reduce the users’ burden regarding account management. They permitted to evolve from a so-called silo approach (where services do not share accounts) to accounts that can be shared by a set of federated services. Nowadays, popular Internet services such as Google and Facebook, which authenticate millions of people, and keep some relevant user identity attributes in their accounts, are often used as IdPs. These IdPs were conceived for web authentication, using HTTP-based protocols and standards such as SAML, and more recently OAuth2.0 and OpenID Connect, which offer powerful authentication and authorization capabilities. This work explores those capabilities and describes solutions that allow their combination with VPN and WiFi authentication mechanisms. Having the identity and access management functionalities of IdP web authentication available in network access control mechanisms can provide stronger authentication and authorization policies, improve the user experience and simplify management, which consequently aims for enhancing security.

In 2023, Lusophone countries and communities find their sound and music archives, as well as collections in a still-emergent state. A great portion of sound and music objects were primarily safeguarded by individual collectors, music authors, performers, and radio archives, and then reached memory institutions gradually. Since the 2000s, several institutions and individuals spread across the Lusophone world have been actively conducting hetero- geneous and decentralized efforts to preserve, physically and digitally, these types of objects, envisioning longer-term solutions for their safeguarding and dissemination. This, alongside the contemporary increased digitization of services within societies, originated many challenges, one of which is the classification and indexation of music and sound objects. In what concerns music and sound, most classification and indexation tools are of limited use to classify music and sound in Lusophone communities. Most are available primarily in English, contain colonial traces and are not exhaustive on the subject. Many were not validated by the Lusophone epistemic communities, music and sound specialists and linguists. On the other hand, the current versions of these tools in Portuguese language are also flawed, as they don’t encompass other variations of the language, presenting themselves as hermetic, they also rarely permit the inclusion of non-human produced sounds, and weren’t, in some cases, developed within Portuguese-speaking communities. Aside from this, music and sound are also perceived using other languages that throughout history became idiomatic to the field, and not subjugated to geographic borders. The lack of tools to address this situation undermines the findability, accessibility and representability of music and sound objects, limiting the dissemination of knowledge and the conception of more accurate digital representations of music and sound objects polysemic in their nature. This paper aims to provide a theoretical foundation and practices for the creation of a new tool that aims to combine the domains of digital humanities, web semantics, ethnomusicology, musicology and sound studies, to accommodate Portu- guese-speaking communities’ music and sound knowledge.

Notas de programa de Concerto pela Arte Sinfónica | Orquestra de Sopros ARTEAM. Sérgio Carolino, tuba David Fiuza, direcção; Jorge Castro Ribeiro, apresentação. Obras de Percy Grainger (1882-1961)Colonial Song; Andrew Batterham (1968) Concertino for Tuba and Band; R. Vaughan Williams (1872-1958) Sea Songs

Notas de programa do concerto da Banda Sinfónica de Jovens de Santa Maria da Feira. Paulo Martins, direção musical; Roberto Gonçalves, saxofone; Jorge Castro Ribeiro, apresentação. Variações e outras composições: James Barnes (n. 1949) Variações sobre um tema de Paganini; Darius Milhaud (1872-1974) Scaramouche para saxofone e orquestra, op. 165; Arturo Marquez n. 1950); Danzón no. 2 (Arr. Oliver Nickel) Dmitri Schostakovich (1906-1975) Jazz Suite no 2 (Arr. Johan de Meij); Leroy Anderson (1908-1975) The Typewriter (Arr. Hans van der Heide)

Notas de programa de concerto pela Orquestra Sinfónica de Jovens de Santa Maria da Feira. Paulo Martins, direção musical; Jorge Castro Ribeiro, narração e apresentação. Obras de Wolfgang Amadeus Mozart (1756-1791) "Eine kleine Nachtmusik" - Serenata em Sol maior, KV 525 (1787), Sinfonia nº 40 em Sol menor, KV. 550 (1788); Sérgio Azevedo (1986) Eine Mozart Sinfonie; Leopold Mozart (1719-1787) Sinfonia dos Brinquedos

“La lógica te lleva de A a B; la imaginación te lleva a cualquier lugar”, recita un célebre aforismo usualmente atribuido a Albert Einstein. No parece, en realidad, que el gran físico y pensador haya dejado escrito nunca eso. Se trata probablemente de una libérrima paráfrasis de una frase que sí pronunció Einstein en 1929: “La imaginación es más importante que el conocimiento. El conocimiento es limitado; la imaginación abarca el mundo entero”. Y esta idea ha sido a menudo reivindicada desde el mundo del arte y de esa música que el propio Einstein cultivó con entrega y maestría. Pero, ¿toda la música tiene la misma relación con la imaginación? ¿Es equivalente planificar un programa inusual, con una combinación de obras que a nadie se le había ocurrido jamás, que interpretar —magníficamente— un repertorio escuchado una y mil veces? Y ese mismo repertorio, ¿no podemos interpretarlo de un modo plenamente avalado por la tradición o, por el contrario, encontrar en él caminos inesperados y sorprendentes?

So many times we have seen music preceded by words that explained or commented on what was to be played! But what would happen if the words were spoken during the performance of the musical works? Would the magic be lost? Or could it be, instead, a way of achieving a deeper connection with the audience? That is what I am exploring in this new chapter of my inVERSIONS project, starting with the nineteenth-century practice of the melologue and filtering it through some striking musical experiments from the last half-century (I am thinking, in particular, of Frederic Rzewski's De Profundis and his other works for speaking pianist.) The idea is to make these words part of the artistic product, talking and playing at the same time: not only comments between works in the form of interludes accompanied by piano improvisations, but also sentences and thoughts inserted in strategic places in the works themselves. This L8Nite Performance for EPARM 2023 focuses on the extraordinary studies of Hélène de Montgeroult (1764-1836). A leading figure on the Parisian musical scene at the time of the Revolution, her activity as an improviser, composer and treatise writer left a mark of incalculable depth on the history of the piano. Until very recently, however, the works and the person of Montgeroult have been almost totally forgotten, despite the fact that the interplay between her life, her music and their subsequent reception makes her one of the most fascinating cases in the history of music. It is then doubly interesting to present this extraordinary woman in the framework of this reinvention of the concert format that I propose here: there is so much to share with the audience, in the form of music and of ideas! This is what I propose with this intimate reinvention of the classical recital format: an alternative way of living together with the audience a musical experience that turns into emotion what we could read in a hand program. Biographical details, stylistic nuances, metaphorical readings and the musicological research itself become the basic material of a creative way of sharing knowledge, applicable to the most diverse situations.

Los centros universitarios y las escuelas superiores en las que se imparte una educación musical especializada se enfrentan tradicionalmente al reto de conjugar el manejo de las habilidades técnicas con conocimientos de tipo teórico, histórico y analítico. La magnitud de este reto es especialmente evidente en el caso de la música docta, donde la herencia decimonónica ha avalado una separación entre estas dos vertientes que no existe en otras prácticas musicales, y tiene una compleja articulación dentro de la estructura curricular de tipo universitario, marcada por un riguroso reparto de contenidos, competencias profesionales y procesos didácticos. Esta presentación quiere poner el acento en las carencias estructurales que esta situación genera hoy entre quienes se enfrentan a la música de tradición europea, abogando por un rescate de los espacios dedicados a la historia de la interpretación, así como a un mayor debate en torno a los posibles marcos teóricos y analíticos asociados a ella. Los casos emblemáticos de Rosa Renard y Claudio Arrau, los documentos que ilustran su actividad y la diversa recepción que tuvieron tras su muerte se presentan, en este sentido, como un excelente ejemplo de los retos pendientes a los que la comunidad musical en su conjunto se enfrenta hoy a la hora de convertir su propio pasado en un referente más sólido y argumentado para diseñar el futuro.

Kleptoplasty, the process by which a host organism sequesters and retains algal chloroplasts, is relatively common in protists. The origin of the plastid varies, as do the length of time it is retained in the host and the functionality of the association. In metazoa, the capacity for long-term (several weeks to months) maintenance of photosynthetically active chloroplasts is a unique characteristic of a handful of sacoglossan sea slugs. This capability has earned these slugs the epithets "crawling leaves" and "solar-powered sea slugs." This Unsolved Mystery explores the basis of chloroplast maintenance and function and attempts to clarify contradictory results in the published literature. We address some of the mysteries of this remarkable association. Why are functional chloroplasts retained? And how is the function of stolen chloroplasts maintained without the support of the algal nucleus?

Codium tomentosum is a recently domesticated green macroalga, being currently cultured as an extractive species in integrated multi-trophic aquaculture (IMTA). Optimization of light requirements in outdoor systems must be achieved to increase the market value of cultivated algal biomass. The present study addresses the seasonal effects of light intensity and wavelength on productivity, pigment composition and epiphyte overgrowth in C. tomentosum cultured in a land-based IMTA system. Exposure to high light (non-filtered sun light) lead to higher net productivities in spring. However, non-filtered sun light caused significantly reduced productivities during summer when compared to filtered sun light (~ 4x lower irradiance levels). Furthermore, lower photosynthetic capacity (Fv/Fm) was observed in macroalgae cultured under high light during summer, indicating photoinhibition. Treatments with filtered sun light (low and red light) showed intermediate and more stable productivities. Epiphyte biomass was higher under high light and the lowest epiphyte overgrowth was recorded under red light. Concentrations of light-harvesting pigments were lower in summer than in spring, indicating a seasonal photoacclimation of macroalgae. An opposite seasonal trend was observed for accessory xanthophylls, as the main role of these pigments is photoprotection. Higher all-trans-neoxanthin and violaxanthin concentrations were found in high light than in low or red light treatments, confirming the important role of these biomolecules in the photoprotection of C. tomentosum. This study underlines the importance of controlling light to optimize algal growth outdoors and enhance the production of high-value compounds (i.e., pigments). Additionally, this practice can also reduce epiphyte overgrowth, thus enhancing the valorization of macroalgal biomass derived from C. tomentosum aquaculture