Papers by Luciana F Rosa
Revista Vórtex, 2021
O presente trabalho apresenta uma análise da obra “Santos Football Music” de Gilberto Mendes em p... more O presente trabalho apresenta uma análise da obra “Santos Football Music” de Gilberto Mendes em performance realizada pela Orquestra Sinfônica de Santos em 2005 e registrada em vídeo para compor o documentário “A Odisseia Musical de Gilberto Mendes” (2006). Esta obra se caracteriza como uma prática de música-teatro, em que elementos cênicos e visuais se unem a elementos sonoros. A participação do público na performance também é um componente
fundamental da obra. Desviando de uma perspectiva analítica voltada ao objeto-partitura, buscamos neste trabalho abordar a obra pelo viés da sua performance. Para tanto, nos apoiamos nas distinções de modos de
fazer música de Thomas Turino (2008) e na perspectiva de localidade de Arjun Appadurai (1996).
Música Popular em Revista, 2020
Este artigo trata da transmissão musical e atuação de flautistas no século XIX e início do século... more Este artigo trata da transmissão musical e atuação de flautistas no século XIX e início do século XX, através de pesquisa realizada nos periódicos cariocas, pela busca na Hemeroteca Digital da Biblioteca Nacional. O livro O choro, de Alexandre Gonçalves Pinto (2014) complementa as informações encontradas nos periódicos. A pesquisa teve como objetivo mapear a atividade docente dos flautistas no Rio de Janeiro através de anúncios de professores de flauta publicados nos periódicos, assim como identificar outros ambientes de atuação desses instrumentistas. Também foi realizada a busca por métodos de flauta à venda nos periódicos. Os resultados mostraram ampla atuação de professores particulares de flauta, a predominância de métodos franceses e uma atividade profissional diversificada destes instrumentistas, incluindo a participação em orquestras, bailes e em diferentes áreas, não relacionadas à música. A chegada da flauta metálica do sistema Boehm no Brasil teve sua origem esclarecida nesta busca nos periódicos, sendo atribuída a Achilles Malavasi. Por fim, foi traçada uma linhagem de professores de flauta que atuaram no choro e seus gêneros formadores, que inclui Joaquim Callado, Duque Estrada Meyer, Viriato Figueira, Frederico de Barros e Pedro de Assis. PALAVRAS-CHAVE: Flauta; Choro; Hemeroteca digital; Transmissão musical; Ensino e aprendizagem.
Musical transmission between flutists of the 19th and early 20th centuries: research in Rio de Janeiro newspapers
ABSTRACT: This article deals with the musical transmission and performance of flutists in the 19th and early 20th centuries, through research carried out in Rio de Janeiro newspapers, through the search in the Digital Library of the National Library. Alexandre Gonçalves Pinto's book, O choro(2014), complements the information found in the journals. The research aimed to map the teaching activity of flutists in Rio de Janeiro through advertisements published by flute teachers, as well as to identify other environments in which these instrumentalists operate. The search for flute methods for sale in newspapers was also carried out. The results showed extensive performance by private flute teachers, the predominance of French music methods and a diverse professional activity by these instrumentalists, including participation in orchestras, dances and in different areas not related to music. The arrival of the metallic flute of the Boehm system in Brazil had its origin explained in this search in the newspapers, being attributed to Achilles Malavasi. Finally, a lineage of flute teachers who worked in choro and its forming genres was drawn, which includes Joaquim Callado, Duque Estrada Meyer, Viriato Figueira, Frederico de Barros and Pedro de Assis. KEYWORDS: Flute; Choro; Digital newspaper library;Musical transmission; Teaching and learning.
Anais da ENABET, 2019
Este trabalho reflete sobre a importância da articulação entre a etnomusicologia e educação music... more Este trabalho reflete sobre a importância da articulação entre a etnomusicologia e educação musical no estudo dos processos de ensino-aprendizagem no choro, observando em particular como ocorre esta dinâmica nas rodas de choro. O aporte teórico vem de autores como John. Conclui-se que o diálogo é pertinente e necessário e aponta desdobramentos para outros gêneros musicais. Palavras-chave: Choro. Etnomusicologia. Educação musical. Música brasileira. Processos de ensino-aprendizagem.
This work reflects about the importance on the articulation between ethnomusicology and musical education, in the study of teaching-learning processes in the Choro, with special attention to its dynamics in the Circles of Choro1. The theoretical framework comes from authors such as John Blacking (2007), Bruno Nettl (1992), Patricia Campbell (2003), Luis Queiroz (2010), Carlos Sandroni (2000) and Anthony Seeger (2008). We conclude that dialogue is pertinent and necessary and points out developments for other musical genres.
Keywords: Choro. Ethnomusicology. Musical Education. Brazilian Music. Teaching-learning Processes.
Anais do VIII Simpósio Internacional de Musicologia da UFG, 2019
Resumo: Este artigo tem como objetivo investigar a questão de designação e denominação de ge... more Resumo: Este artigo tem como objetivo investigar a questão de designação e denominação de gêneros musicais na produção musical urbana, desde meados do século XIX até as primeiras décadas do século XX. Neste período várias danças europeias, como a valsa, a quadrilha, a schottisch, o tango, a polca e a habanera chegaram ao Brasil através das companhias musicais que se apresentavam no país. Sua fusão com ritmos e músicas de tradição africana, indígena e portuguesa, como o lundu, o batuque, o cateretê e a modinha, deram origem a denominações como polca-lundu, polca-cateretê, polca-serenata, maxixe, polca-tango, tango brasileiro e tango característico, entre outros, para músicas produzidas e publicadas nesse período. Estes gêneros posteriormente seriam englobados pelo choro, termo que, não obstante seja atualmente utilizado para designar um gênero em si, designa também a uma categoria discursiva que insere conceitos mais amplos. A palavra choro era empregada em meados do século XIX para designar reuniões e festas, ou os grupos musicais que executavam os gêneros acima relacionados. O surgimento do choro como conceito de gênero será investigado no decorrer deste artigo, assim como seu contexto sociocultural e a relação da polca com o choro enquanto gênero.
Palavras-chave: Choro. Música popular. Gêneros musicais. Polca. Música brasileira.
Abstract: This article seeks to investigate the question of designation and denomination of musical genres in urban music production, from the middle of the nineteenth century until the first decades of the twentieth century. During this period several European dances, such as waltz, quadrille, schottish, tango, polka and habanera came to Brazil through the musical companies that worked in the country, and its fusion with rhythms and songs of African, Indian and Portuguese tradition, such as lundu, batuque, cateretê and modinha, gave rise to mixed denominations like polka-lundu, polka-cateretê, polka serenata, maxixe, Brazilian tango and characteristic tango, among others, for musics produced and published in that period. These genres would later be encompassed by choro, a term that, although it is currently used to designate a genre in itself, also refers to a discursive category that inserts broader concepts. The word Choro was used in the mid- nineteenth century to designate gatherings and parties, as well as musical groups performing the above-related genres. The emergence of Choro as a concept of genre will be investigated in the course of this article, as well as a socio-cultural context and the relationship between polka and choro, as a genre.
Revista Orfeu, 2019
Este trabalho apresenta a etnografia de uma roda de choro ocorrida em julho de 2016 no Instituto ... more Este trabalho apresenta a etnografia de uma roda de choro ocorrida em julho de 2016 no Instituto Casa da Cidade, situado na Vila Madalena, bairro da cidade de São Paulo/SP. A roda em questão, na época realizada mensalmente, era organizada por um músico veterano no cenário do choro paulistano e reunia músicos amadores, profissionais, estudantes e ouvintes. Foram observados aspectos do fazer musical da roda e o perfil de seus participantes sob a perspectiva de alguns autores ligados à etnomusicologia, entre eles Ruth Finnegan, Thomas Turino, John Blacking e Etienne Wenger, por meio da observação participante e entrevistas realizadas com frequentadores do evento. Conclui-se que a roda tem características que a diferem de outras rodas de choro da capital, por ter a participação de músicos amadores e profissionais em um ambiente democrático e acolhedor, e por evidenciar aspectos de resgate da história pessoal dos músicos.
This paper presents the ethnography of a roda de choro that occurred in July, 2016, at The Casa da Cidade Institute, located in Vila Madalena, São Paulo. The roda in question, at the time held monthly, was organized by an elderly musician in the scene of the São Paulo choro and brought together amateur musicians, professionals, students and listeners. Aspects of the musical making of the roda and the profile of its participants from the perspective of some authors related to ethnomusicology were observed, among them Ruth Finnegan, Thomas Turino, John Blacking and Etienne Wenger. The methodology adopted was ethnography with participant observation and interviews with attendees of the event. It is concluded that the roda has characteristics that differ from other rodas de choro of the capital, to have the participation of amateur and professional musicians in a democratic and welcoming environment, and for evidencing aspects of rescue of the personal history of the musicians.
Anais do XXIX Congresso da Anppom, 2019
Resumo: O artigo enfatiza a necessidade da abordagem interdisciplinar no estudo dos processos de ... more Resumo: O artigo enfatiza a necessidade da abordagem interdisciplinar no estudo dos processos de ensino e aprendizagem do choro, lançando um olhar sobre os diferentes modelos de interdisciplinaridades propostos por Georgina Born (2010). As contribuições da antropologia e das ferramentas metodológicas da etnomusicologia, assim como apontamentos de estudiosos como Abstract: The article emphasizes the need for an interdisciplinary approach in the study of the teaching-learning processes of the choro genre, looking at the different interdisciplinary models proposed by Georgina Born (2010). The contributions of anthropology and the methodological tools of ethnomusicology, as well as notes from scholars such as Blacking, Seeger, Sandroni, Queiroz, Oliveira Pinto and Campbell enrich the discussion.
[email protected] RESUMO Este artigo analisa as principais características do repertório divulgad... more [email protected] RESUMO Este artigo analisa as principais características do repertório divulgado em apostilas didáticas, nos festivais dedicados ao gênero Choro, realizados com regularidade no Brasil entre 2004 e 2016. Propõe-se uma divisão deste repertório em três fases distintas, onde serão ressaltados os seguintes aspectos: contraste entre tradição e modernidade; resgate de gêneros em desuso e promoção do choro contemporâneo; importância da constituição de acervos de música popular; mudança do perfil do músico de choro, ocorrida a partir do aumento qualitativo do repertório e do acesso facilitado ao mesmo. Por meio da amostragem estatística do conteúdo das apostilas e da fundamentação teórica obtida a partir da periodização de VASCONCELOS (1984) e das contribuições de ARAGÃO (2013) ao tema, analisamos e contextualizamos a prática do choro no Brasil, esperando contribuir desta forma para uma maior disseminação deste repertório na América Latina. ABSTRACT This article analyzes the main characteristics of the repertoire published in Choro's books, in the festivals dedicated to the genre Choro, regularly performed in Brazil between 2004 and 2016. The proposal is to divide this repertoire into three distinct phases, in which one the following aspects will be highlighted: contrast between tradition and modernity; rescue of disused genera and promotion of contemporary Choro; importance of the constitution of collections of popular music; profile change of the musician of choro, which occurred from the qualitative increase of the repertoire and the facilitated access to it. By means of the statistical sampling of the content of the Choro's books and the theoretical basis obtained from the VASCONCELOS periodization (1984) and the ARAGÃO (2013) contributions to the theme, we analyze and contextualize the Choro practice in Brazil, hoping to contribute in this way to a dissemination of this repertoire in Latin America.
Revista da Tulha, 2018
Este artigo discute a classificação dos gêneros formadores da música urbana brasileira nas ca... more Este artigo discute a classificação dos gêneros formadores da música urbana brasileira nas categorias de música popular e erudita, desde meados do século XVII até início do século XX. Os conceitos e distinções analisados por Didier Francfort e outros autores serão aqui exemplificados nos processos de construção e desenvolvimento dos gêneros musicais formadores da música brasileira, bem como os mecanismos de apropriação e transferência de gêneros entre o universo erudito e o popular. Os gêneros analisados são a modinha, pertencente ao período colonial, e as danças europeias e gêneros executados pelas bandas de corporação no período joanino, como a polca e o schottisch, assim como seus compositores e suas infuências musicais diversas, que culminaram em estilos musicais híbridos. O artigo também demonstra como o esnobismo infuenciou a aceitação de compositores brasileiros pelas classes dominantes de suas épocas, e o efeito que esta rejeição provocou nos compositores e no julgamento de suas obras.
Between erudite and the popular: approaches and detachments in the origins of Brazilian urban music
This article discusses the classi cation of the genres that compose Brazilian urban music in the categories of popular and erudite music, since the middle of the 17th century until the beginning of the 20th century. The concepts and distinctions analyzed by Didier Francfort and other authors will be exempli ed here in the processes of construction and development of the musical genres that compose the Brazilian music, as well as the mechanisms of appropriation and transference of genres between erudite and popular universes. The genres analyzed are the modinha, pertaining to the colonial period, and the European dances and genres performed by the bands of corporation in the Johannine period, such as the polka and the schottisch, as well as their composers and their diverse musical in uences, which culminated in hybrid musical styles. The article also shows how snobbery in uenced the acceptance of Brazilian composers by the dominant classes of their times, and the e ect that this rejection had on the composers and on the judgment of their works.
Resumo: O objetivo desta comunicação é demonstrar como as práticas escritas e orais dialogam na t... more Resumo: O objetivo desta comunicação é demonstrar como as práticas escritas e orais dialogam na transmissão e relações de ensino-aprendizagem do gênero musical choro ao longo da história, desde seu surgimento até a atualidade. A investigação faz parte de pesquisa de doutorado em andamento cujo tema é a relação entre escrita e oralidade no ensino e aprendizagem do choro, utilizando como estudo de caso a Semana Seu Geraldo, em Leme-SP. Desde o aparecimento no Brasil dos gêneros musicais que posteriormente viriam a ser conhecidos como choro, na segunda metade do século XIX, a transmissão teve como característica marcante a oralidade, sem no entanto prescindir de registro escrito. As partituras manuscritas, compiladas em cadernos que circulavam entre os músicos, continham basicamente a melodia, sendo que os acompanhamentos rítmicos e harmônicos eram habitualmente transmitidos de maneira oral. A formação dos músicos de sopros normalmente se dava em instituições oficiais, ao passo que o aprendizado de instrumentos harmônicos acompanhadores, como violão e cavaquinho, ocorria quase sempre através da oralidade e imitação. Também não havia escolas especializadas em ensino de música popular. Já na segunda metade do século XX, o exemplo das aulas particulares do violonista Jayme Florence (Meira) revela que sua maneira de ensinar contemplava tanto o aprendizado escrito como o oral, combinando-os em uma metodologia mista. Esta metodologia serviu de base para o surgimento da Escola Portátil de Música, no Rio de Janeiro, e dos festivais de choro promovidos pela instituição, entre eles a Semana Seu Geraldo. O artigo também discute a utilização dos termos escrita e oralidade em detrimento de ensino formal, não formal e informal e a inadequação destes últimos para categorizar processos de ensino e aprendizagem no caso do choro. Abstract: The purpose of this communication is to demonstrate how written and oral practices dialogue in the transmission and teaching-learning relationships of the musical genre Choro throughout history, from the beginning of the practice to the present. The research is part of ongoing doctoral research whose theme is the relationship between writing and orality in teaching and learning of Choro, using as its case study the Semana Seu Geraldo, in Leme-1 Orientadora: Drª Silvia Maria Pires Cabrera Berg.
Este trabalho apresenta uma proposta integrada de ensino coletivo de violoncelo para adultos, co... more Este trabalho apresenta uma proposta integrada de ensino coletivo de violoncelo para adultos, combinando metodologias que desenvolvem a leitura musical, o aprendizado pela escuta e imitação, a prática musical em conjunto e o exercício de improvisação como técnica pedagógica. O presente método foi desenvolvido e aprimorado ao longo de quatro semestres com grupos de dez a quatorze adultos e jovens. O objetivo foi reunir os diferentes pontos de ensino da música instrumental e condensá-los em uma introdução ao aprendizado do violoncelo, num período de um a dois semestres. Espera-se que este trabalho contribua para o ensino coletivo, sobretudo o de violoncelo, em uma perspectiva democratizante, no que diz respeito ao acesso de adultos ao ensino de música, e motivadora, pela eficácia e resultado geral.
Conference Presentations by Luciana F Rosa
Anais da XXX Congresso da Anppom, 2020
A Escola Portátil de Música (EPM) é uma instituição dedicada ao ensino do choro e seus gêne... more A Escola Portátil de Música (EPM) é uma instituição dedicada ao ensino do choro e seus gêneros correlatos. Foi fundada em 2000 por músicos liderados por Luciana Rabello e Mauricio Carrilho como uma oficina de choro. A EPM ocupou alguns espaços no Rio de Janeiro até se instalar nas dependências da UNIRIO desde 2005. Este artigo investiga a trajetória da escola e sua contribuição para a consolidação do cenário do choro no Brasil, através de suas atividades pedagógicas, publicações, pesquisa histórica e gravações. Realizou-se pesquisa em periódicos e utilizou-se os referenciais de Greif (2015), Coelho (2003) e Frydberg (2011).
Thesis Chapters by Luciana F Rosa
Esta tese, situada na linha de pesquisa em Educação Musical do Programa de Pós-Graduação em ... more Esta tese, situada na linha de pesquisa em Educação Musical do Programa de Pós-Graduação em Música, investiga as relações entre escrita e oralidade na transmissão e práxis do choro no Brasil, dos primórdios à atualidade. A pesquisa tem abordagem interdisciplinar. Optei por realizar uma etnografia das práticas de ensino e aprendizagem do choro, desde a época que antecede seu surgimento, no início do século XIX, até a atualidade. As questões fundamentais a este trabalho investigadas durante a pesquisa são: como o choro era transmitido no passado e como é atualmente; quais maneiras permanecem e quais maneiras foram acrescidas aos processos de transmissão; como a escrita e a oralidade se relacionam na transmissão do choro; como as tecnologias de difusão de música, como gravações, e as ferramentas audiovisuais e digitais são utilizadas na transmissão, em que medida e como as redes sociais são agentes importantes nestes processos. Demonstrei que escrita e oralidade sempre estiveram presentes na transmissão do choro e são maneiras que se complementam.
ROSA, Luciana Fernandes. Relations between literacy and orality in the transmission and praxis of Choro in Brazil.
Part of the research line on the postgraduate program in Music Education, this thesis investigates the relationship between literacy and orality in the transmission and praxis of the music genre Choro in Brazil, from its origins to present time. This research has an interdisciplinary approach by which I chose to write an ethnography of the teaching-learning practices of the Choro back at a time prior to its appearance, in the early nineteen century and carrying on with it until now. The key issues I investigated during my research are: in what ways the Choro was transmitted in the past, and how it is transmitted nowadays; which features that were transmitted back then still remain, and which features were added to the process; what is the relationship between literacy and orality in the transmission of the Choro; how technologies, such as audio recordings and audiovisual, broadcasting and digital streaming, have been used in the dissemination of this music genre; how and to what extent social media engage in this transmission process. In this thesis I show that literacy and orality have always been around and are complementary ways to transmit the Choro.
Keywords: Choro. Literacy and Orality. Musical Transmission. Teaching-Learning Processes. Ethnomusicology. Popular Music.
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Papers by Luciana F Rosa
fundamental da obra. Desviando de uma perspectiva analítica voltada ao objeto-partitura, buscamos neste trabalho abordar a obra pelo viés da sua performance. Para tanto, nos apoiamos nas distinções de modos de
fazer música de Thomas Turino (2008) e na perspectiva de localidade de Arjun Appadurai (1996).
Musical transmission between flutists of the 19th and early 20th centuries: research in Rio de Janeiro newspapers
ABSTRACT: This article deals with the musical transmission and performance of flutists in the 19th and early 20th centuries, through research carried out in Rio de Janeiro newspapers, through the search in the Digital Library of the National Library. Alexandre Gonçalves Pinto's book, O choro(2014), complements the information found in the journals. The research aimed to map the teaching activity of flutists in Rio de Janeiro through advertisements published by flute teachers, as well as to identify other environments in which these instrumentalists operate. The search for flute methods for sale in newspapers was also carried out. The results showed extensive performance by private flute teachers, the predominance of French music methods and a diverse professional activity by these instrumentalists, including participation in orchestras, dances and in different areas not related to music. The arrival of the metallic flute of the Boehm system in Brazil had its origin explained in this search in the newspapers, being attributed to Achilles Malavasi. Finally, a lineage of flute teachers who worked in choro and its forming genres was drawn, which includes Joaquim Callado, Duque Estrada Meyer, Viriato Figueira, Frederico de Barros and Pedro de Assis. KEYWORDS: Flute; Choro; Digital newspaper library;Musical transmission; Teaching and learning.
This work reflects about the importance on the articulation between ethnomusicology and musical education, in the study of teaching-learning processes in the Choro, with special attention to its dynamics in the Circles of Choro1. The theoretical framework comes from authors such as John Blacking (2007), Bruno Nettl (1992), Patricia Campbell (2003), Luis Queiroz (2010), Carlos Sandroni (2000) and Anthony Seeger (2008). We conclude that dialogue is pertinent and necessary and points out developments for other musical genres.
Keywords: Choro. Ethnomusicology. Musical Education. Brazilian Music. Teaching-learning Processes.
Palavras-chave: Choro. Música popular. Gêneros musicais. Polca. Música brasileira.
Abstract: This article seeks to investigate the question of designation and denomination of musical genres in urban music production, from the middle of the nineteenth century until the first decades of the twentieth century. During this period several European dances, such as waltz, quadrille, schottish, tango, polka and habanera came to Brazil through the musical companies that worked in the country, and its fusion with rhythms and songs of African, Indian and Portuguese tradition, such as lundu, batuque, cateretê and modinha, gave rise to mixed denominations like polka-lundu, polka-cateretê, polka serenata, maxixe, Brazilian tango and characteristic tango, among others, for musics produced and published in that period. These genres would later be encompassed by choro, a term that, although it is currently used to designate a genre in itself, also refers to a discursive category that inserts broader concepts. The word Choro was used in the mid- nineteenth century to designate gatherings and parties, as well as musical groups performing the above-related genres. The emergence of Choro as a concept of genre will be investigated in the course of this article, as well as a socio-cultural context and the relationship between polka and choro, as a genre.
This paper presents the ethnography of a roda de choro that occurred in July, 2016, at The Casa da Cidade Institute, located in Vila Madalena, São Paulo. The roda in question, at the time held monthly, was organized by an elderly musician in the scene of the São Paulo choro and brought together amateur musicians, professionals, students and listeners. Aspects of the musical making of the roda and the profile of its participants from the perspective of some authors related to ethnomusicology were observed, among them Ruth Finnegan, Thomas Turino, John Blacking and Etienne Wenger. The methodology adopted was ethnography with participant observation and interviews with attendees of the event. It is concluded that the roda has characteristics that differ from other rodas de choro of the capital, to have the participation of amateur and professional musicians in a democratic and welcoming environment, and for evidencing aspects of rescue of the personal history of the musicians.
Between erudite and the popular: approaches and detachments in the origins of Brazilian urban music
This article discusses the classi cation of the genres that compose Brazilian urban music in the categories of popular and erudite music, since the middle of the 17th century until the beginning of the 20th century. The concepts and distinctions analyzed by Didier Francfort and other authors will be exempli ed here in the processes of construction and development of the musical genres that compose the Brazilian music, as well as the mechanisms of appropriation and transference of genres between erudite and popular universes. The genres analyzed are the modinha, pertaining to the colonial period, and the European dances and genres performed by the bands of corporation in the Johannine period, such as the polka and the schottisch, as well as their composers and their diverse musical in uences, which culminated in hybrid musical styles. The article also shows how snobbery in uenced the acceptance of Brazilian composers by the dominant classes of their times, and the e ect that this rejection had on the composers and on the judgment of their works.
Conference Presentations by Luciana F Rosa
Thesis Chapters by Luciana F Rosa
ROSA, Luciana Fernandes. Relations between literacy and orality in the transmission and praxis of Choro in Brazil.
Part of the research line on the postgraduate program in Music Education, this thesis investigates the relationship between literacy and orality in the transmission and praxis of the music genre Choro in Brazil, from its origins to present time. This research has an interdisciplinary approach by which I chose to write an ethnography of the teaching-learning practices of the Choro back at a time prior to its appearance, in the early nineteen century and carrying on with it until now. The key issues I investigated during my research are: in what ways the Choro was transmitted in the past, and how it is transmitted nowadays; which features that were transmitted back then still remain, and which features were added to the process; what is the relationship between literacy and orality in the transmission of the Choro; how technologies, such as audio recordings and audiovisual, broadcasting and digital streaming, have been used in the dissemination of this music genre; how and to what extent social media engage in this transmission process. In this thesis I show that literacy and orality have always been around and are complementary ways to transmit the Choro.
Keywords: Choro. Literacy and Orality. Musical Transmission. Teaching-Learning Processes. Ethnomusicology. Popular Music.
fundamental da obra. Desviando de uma perspectiva analítica voltada ao objeto-partitura, buscamos neste trabalho abordar a obra pelo viés da sua performance. Para tanto, nos apoiamos nas distinções de modos de
fazer música de Thomas Turino (2008) e na perspectiva de localidade de Arjun Appadurai (1996).
Musical transmission between flutists of the 19th and early 20th centuries: research in Rio de Janeiro newspapers
ABSTRACT: This article deals with the musical transmission and performance of flutists in the 19th and early 20th centuries, through research carried out in Rio de Janeiro newspapers, through the search in the Digital Library of the National Library. Alexandre Gonçalves Pinto's book, O choro(2014), complements the information found in the journals. The research aimed to map the teaching activity of flutists in Rio de Janeiro through advertisements published by flute teachers, as well as to identify other environments in which these instrumentalists operate. The search for flute methods for sale in newspapers was also carried out. The results showed extensive performance by private flute teachers, the predominance of French music methods and a diverse professional activity by these instrumentalists, including participation in orchestras, dances and in different areas not related to music. The arrival of the metallic flute of the Boehm system in Brazil had its origin explained in this search in the newspapers, being attributed to Achilles Malavasi. Finally, a lineage of flute teachers who worked in choro and its forming genres was drawn, which includes Joaquim Callado, Duque Estrada Meyer, Viriato Figueira, Frederico de Barros and Pedro de Assis. KEYWORDS: Flute; Choro; Digital newspaper library;Musical transmission; Teaching and learning.
This work reflects about the importance on the articulation between ethnomusicology and musical education, in the study of teaching-learning processes in the Choro, with special attention to its dynamics in the Circles of Choro1. The theoretical framework comes from authors such as John Blacking (2007), Bruno Nettl (1992), Patricia Campbell (2003), Luis Queiroz (2010), Carlos Sandroni (2000) and Anthony Seeger (2008). We conclude that dialogue is pertinent and necessary and points out developments for other musical genres.
Keywords: Choro. Ethnomusicology. Musical Education. Brazilian Music. Teaching-learning Processes.
Palavras-chave: Choro. Música popular. Gêneros musicais. Polca. Música brasileira.
Abstract: This article seeks to investigate the question of designation and denomination of musical genres in urban music production, from the middle of the nineteenth century until the first decades of the twentieth century. During this period several European dances, such as waltz, quadrille, schottish, tango, polka and habanera came to Brazil through the musical companies that worked in the country, and its fusion with rhythms and songs of African, Indian and Portuguese tradition, such as lundu, batuque, cateretê and modinha, gave rise to mixed denominations like polka-lundu, polka-cateretê, polka serenata, maxixe, Brazilian tango and characteristic tango, among others, for musics produced and published in that period. These genres would later be encompassed by choro, a term that, although it is currently used to designate a genre in itself, also refers to a discursive category that inserts broader concepts. The word Choro was used in the mid- nineteenth century to designate gatherings and parties, as well as musical groups performing the above-related genres. The emergence of Choro as a concept of genre will be investigated in the course of this article, as well as a socio-cultural context and the relationship between polka and choro, as a genre.
This paper presents the ethnography of a roda de choro that occurred in July, 2016, at The Casa da Cidade Institute, located in Vila Madalena, São Paulo. The roda in question, at the time held monthly, was organized by an elderly musician in the scene of the São Paulo choro and brought together amateur musicians, professionals, students and listeners. Aspects of the musical making of the roda and the profile of its participants from the perspective of some authors related to ethnomusicology were observed, among them Ruth Finnegan, Thomas Turino, John Blacking and Etienne Wenger. The methodology adopted was ethnography with participant observation and interviews with attendees of the event. It is concluded that the roda has characteristics that differ from other rodas de choro of the capital, to have the participation of amateur and professional musicians in a democratic and welcoming environment, and for evidencing aspects of rescue of the personal history of the musicians.
Between erudite and the popular: approaches and detachments in the origins of Brazilian urban music
This article discusses the classi cation of the genres that compose Brazilian urban music in the categories of popular and erudite music, since the middle of the 17th century until the beginning of the 20th century. The concepts and distinctions analyzed by Didier Francfort and other authors will be exempli ed here in the processes of construction and development of the musical genres that compose the Brazilian music, as well as the mechanisms of appropriation and transference of genres between erudite and popular universes. The genres analyzed are the modinha, pertaining to the colonial period, and the European dances and genres performed by the bands of corporation in the Johannine period, such as the polka and the schottisch, as well as their composers and their diverse musical in uences, which culminated in hybrid musical styles. The article also shows how snobbery in uenced the acceptance of Brazilian composers by the dominant classes of their times, and the e ect that this rejection had on the composers and on the judgment of their works.
ROSA, Luciana Fernandes. Relations between literacy and orality in the transmission and praxis of Choro in Brazil.
Part of the research line on the postgraduate program in Music Education, this thesis investigates the relationship between literacy and orality in the transmission and praxis of the music genre Choro in Brazil, from its origins to present time. This research has an interdisciplinary approach by which I chose to write an ethnography of the teaching-learning practices of the Choro back at a time prior to its appearance, in the early nineteen century and carrying on with it until now. The key issues I investigated during my research are: in what ways the Choro was transmitted in the past, and how it is transmitted nowadays; which features that were transmitted back then still remain, and which features were added to the process; what is the relationship between literacy and orality in the transmission of the Choro; how technologies, such as audio recordings and audiovisual, broadcasting and digital streaming, have been used in the dissemination of this music genre; how and to what extent social media engage in this transmission process. In this thesis I show that literacy and orality have always been around and are complementary ways to transmit the Choro.
Keywords: Choro. Literacy and Orality. Musical Transmission. Teaching-Learning Processes. Ethnomusicology. Popular Music.