Rafael Araujo

The Golden Ratio examines the presence of this divine number in art and architecture throughout history, as well as its ubiquity among plants, animals, and even the cosmos. This gorgeous book—with layflat dimensions that closely approximate the golden ratio—features clear, enlightening, and entertaining commentary alongside stunning full-color illustrations by Venezuelan artist and architect Rafael Araujo.

In this work the reader will find cutting-edge information in carefully selected and revised works. This book is intended for all researchers, academics, and students who are interested in the intriguing area of population genetics.

This volume is extremely useful for some practical applications, such as species management and conservation strategies, vector and pathogen monitoring and control, plant and animal breeding, and genetic improvement. This book includes carefully selected works in population genetics reviewed by geneticists.

This book is an interdisciplinary and integrated work that will contribute to the knowledge of academics from different areas of biological sciences. Genetic diversity is one of the measures of biodiversity and has consequences in biological variation. It is crucial to understand the evolutionary and adaptative processes in all living species.

Chillhop Music has been releasing seasonal Essentials compilations since the Spring of 2016, making the newest collection, Essentials Fall 2020, the 19th run in this ongoing series. With immersive and autumnal artwork from Rafael Araújo, this 25 song instrumental release sets the mood for the changing of the seasons, for the end of summer and the beginning of fall. Available everywhere (including double vinyl), Essentials Fall 2020 features producers familiar (Brock Berrigan, L'indécis, Sleepy Fish) and new to the family (Mama Aiuto, Boonie Mayfield, Ezzy).

This important meeting of clarinetist Paulo Moura and 'violonista' (acoustic guitar) player Rafael Rabelo occurs in a pan-cultural setting. Paulo, an older musician schooled in the traditional circles of choro, modern classical music, and gafieira orchestras (which received have a great deal of jazz influences); Rabelo, a young musician who unfotunatly died at an early age, a violão virtuose also experienced in rodas de choro, but with a particular approach to guitar that was strongly influenced by flamenco music (which is evident on the very first track, a medley of "Ronda" and "Sampa," two unofficial anthems for the city of São Paulo, an old and a modern one). "Chorando Baixinho," a choro classic by Abel Ferreira, admits no liberties under the artists' vision: is delicately delivered in the truest tradition, including Villa-Lobos' "Bachianas Brasileiras" passages. Moura's original "Domingo No Orfeão Portugal" is also performed with no "alien" influences; just the old, swinging samba with choro baixarias de violão (violão basslines typical of the choro genre), sometimes in pizzicatto. Baden Powell's "Violão vadio," an ad-lib rendition, also is completely free from influences other than the Brazilian tradition. Even the complex harmonies found when the violão backs the clarinet solo are derived from classical tradition incorporated in Brazilian music since the beginning of the century, not from jazz, as is usually believed. Ary Barroso's classic "Morena Boca de Ouro," (recorded with success by João Gilberto) receives a balançante (swinging) samba treatment. Moura's original "Tempos Felizes" is a romantic valse, very faithful to the choro spirit, with touches of modern classic harmonization and jazz clarinet soloing. The immortal Pixinguinha classic "1x0" receives a pure, typical, jumpy, swinging, and fun choro treatment, only with Rabelo's flamenco attacks bringing other influences into the mix. "Tarde de Chuva," another Moura original, is a beautiful choro theme delivered with samba backing, with baixarias only at its ending, a particularly modern introduction and a jazzy ending. Jobim's "Luíza" is very much to-the-letter and restrained in its melancholic rendition. The master of the gafieiras Severino Araújo was the choice for the album's closing with his typical "Um Chorinho em Aldeia." It's a hot, swinging fast-paced choro suited for the duo's virtuosity. This album is an opportunity for catching the true spirit of choro, which, although not in his most typical face (which is with the backing of the regional) shows a modern yet faithful face.