Papers by Eduardo Vidili
Historias das Musicas no Brasil - Sudeste, 2023
A percepção do pandeiro como instrumento-símbolo do Brasil é problematizada no presente estudo. C... more A percepção do pandeiro como instrumento-símbolo do Brasil é problematizada no presente estudo. Como estratégia metodológica, o instrumento é assumido como ator social e, a partir desta perspectiva, são acompanhados seus rastros em periódicos e fonogramas produzidos no Rio de Janeiro durante as primeiras décadas do século XX. Busca-se mapear os ambientes, concretos e simbólicos, por onde o pandeiro transitou; compreender as significações atribuídas ao instrumento e às pessoas que o tocavam; abordar sua inserção no rádio e fonografia. O estudo constata contradições em torno do instrumento: foi alvo de repressão física e simbólica; porém, tinha presença bem aceita em certos ambientes. O pandeiro era visto de forma positiva pela imprensa que cobria o carnaval popular, e foi gradualmente absorvido nos ambientes da elite econômica. Seu som permeou a música popular urbana produzida a partir dos anos 1930, com grande aproveitamento pela fonografia e rádio. Periódicos tiveram papel importante para a construção das imagens dos primeiros profissionais do instrumento nesses âmbitos, os “artistas do pandeiro”. Embora a trajetória do instrumento no período examinado tenha sido repleta de conflitos, aos poucos se delineia a tendência de sua maior aceitação social. Esse acúmulo de processos foi determinante para a positivação da imagem do instrumento e instrumentistas, consolidando uma nova camada semântica do pandeiro, na qual ele passa a ser aceito como símbolo da cultura musical brasileira.
XXXIII Congresso da Anppom, 2023
Partindo da conceituação, proposta por García (2011), do termo "arquivo" como um saber em process... more Partindo da conceituação, proposta por García (2011), do termo "arquivo" como um saber em processo, associado a um tema específico e constituído por enunciados de autoria compartilhada, o presente texto tem, por objetivo, refletir sobre aspectos constitutivos do que aqui é chamado de "arquivo João da Bahiana". Dois enunciados discursivos, relacionados a esse importante músico brasileiro, são comumente aceitos e reproduzidos de forma acrítica: 1) após ter seu pandeiro confiscado pela polícia, João da Bahiana recebeu um instrumento novo de presente do Senador Pinheiro Machado; 2) o músico foi preso por tocar pandeiro, conforme atesta uma foto sua na prisão. Esses enunciados, importantes para a construção da memória do samba e do pandeiro, são problematizados neste texto.
O objeto desta tese é o pandeiro e a vida social deste instrumento musical no Rio de Janeiro, no ... more O objeto desta tese é o pandeiro e a vida social deste instrumento musical no Rio de Janeiro, no período de 1900 a 1939. Como ponto de partida, o estudo problematiza o estatuto do instrumento como símbolo brasileiro, estabelecido ao final daquele período, em face à suposta proibição a ele imposta nas décadas anteriores. Com base em aportes teóricos da sociologia da música e da organologia, sendo esta entendida a partir de uma abordagem etnomusicológica, o pandeiro é assumido como ator social e é enfatizada sua capacidade de agência e mediação. Em diálogo constante com a história social do período, o estudo busca: examinar as práticas musicais e ambientes sociais pelos quais o pandeiro transitava naquele contexto; explorar disputas e tensões em torno dos significados atribuídos a instrumento e instrumentistas; abordar as condições de sua inserção nos âmbitos incipientes da música produzida para o mercado – o rádio e a fonografia. As fontes de pesquisa são os periódicos e fonogramas da época, acessados pelas bases de dados da Hemeroteca Digital Brasileira (Biblioteca Nacional) e Discografia Brasileira (Instituto Moreira Salles). Para as análises de fonogramas com o pandeiro, situados dentro de um quadro mais amplo que abarca gravações feitas com outros instrumentos de percussão, desenvolveu-se um “grupo de escuta” constituído com músicos colaboradores. O estudo constatou contradições em torno do pandeiro: embora seu uso não fosse proibido por nenhuma lei específica, o instrumento era alvo de repressão, física e simbólica, nas primeiras décadas do século XX; por outro lado, sua presença era bem aceita em certos ambientes, e o instrumento era predominantemente positivado pela imprensa que cobria o carnaval popular. Verificou-se a progressiva absorção do pandeiro em meios simbolicamente associados à alta sociedade. Com o grande aproveitamento do instrumento na radiofonia dos anos 1930, propiciado por suas características morfológicas e sonoras, e também na fonografia comercial da mesma época, o som do pandeiro permeou a música brasileira urbana, que então definia algumas de suas feições. Os periódicos contribuíram de maneira importante para a construção das imagens dos primeiros “artistas do pandeiro” atuantes no rádio. Embora a trajetória do instrumento no período tenha sido repleta de nuances e movimentos conflitantes, esse acúmulo de eventos, ligados em grande parte às novas tecnologias e configurações do mercado da música, foi decisivo para a positivação da imagem do pandeiro e dos pandeiristas, constituindo e consolidando uma nova camada semântica do instrumento, na qual ele passa a ser aceito como símbolo da cultura musical brasileira.
Palavras-chave: Pandeiro. Pandeiristas. Organologia. Rádio no Brasil. Fonografia.
The object of this dissertation is the pandeiro and the social life of this musical instrument in Rio de Janeiro, from 1900 to 1939. As a starting point, the study discusses the status of the instrument as a Brazilian symbol, established by the end of that period, in view of the supposed prohibition imposed on it in previous decades. Based on theoretical contributions from the sociology of music and organology, which is understood from an ethnomusicological approach, the pandeiro is assumed as a social actor, and its capacity of agency and mediation is emphasized. In constant dialogue with the social history of the period, the study seeks to: examine the musical practices and social environments through which the pandeiro transited in that context; explore disputes and tensions around the meanings attributed to the instrument and its players; address the conditions of its insertion into the incipient realms of music produced for market purposes – radio and phonography. Periodicals and phonograms of that period constitute the sources for the research, accessed by the databases of Hemeroteca Digital Brasileira (from Brazilian National Library) and Discografia Brasileira (from Moreira Salles Institute). For the analysis of phonograms with the pandeiro, situated within a broader framework that includes recordings in which other percussion instruments take part, a “listening group” consisting of collaborating musicians was developed. The study verified contradictions around the pandeiro: although its use was not prohibited by any specific laws, the instrument was subjected to physical and symbolic repression in the first decades of the 20th century; on the other hand, its presence was well accepted in certain environments, and the instrument was predominantly positivated by the press that covered popular carnival. There was a progressive absorption of the pandeiro in environments symbolically associated with high society. With the broad use of the instrument in radiophony in the 1930s, afforded by its morphological and sounding characteristics, and also in commercial phonography of the same period, the sound of the pandeiro permeated Brazilian urban music that had some of its features defined at that time. The periodicals made important contributions to the building of images of the first “pandeiro artists” working in radio. Although the instrument's trajectory in the period was full of nuances and conflicting movements, this accumulation of events, largely linked to new technologies and configurations of the music market, was decisive for the positivization of the image of the pandeiro and pandeiro players, constituting and consolidating a new semantic layer of the instrument, in which it came to be accepted as a symbol of Brazilian musical culture.
Keywords: Pandeiro. Pandeiro players. Organology. Radio in Brazil. Phonography.
O percussionista Marcos Suzano e considerado um inovador tecnico e estilistico do pandeiro brasil... more O percussionista Marcos Suzano e considerado um inovador tecnico e estilistico do pandeiro brasileiro. Este trabalho busca transcrever e analisar performances do musico, neste instrumento, gravadas no disco Olho de Peixe (1993), com o intuito de compreender de que maneira as concepcoes de Suzano se manifestam nos padroes sonoros resultantes. Para as transcricoes sera adotado o sistema notacional proposto por Carlos Stasi.
OPUS, Apr 26, 2018
Resumo: Este artigo apresenta resultados parciais obtidos em minha pesquisa de mestrado (VIDILI, ... more Resumo: Este artigo apresenta resultados parciais obtidos em minha pesquisa de mestrado (VIDILI, 2017). Com o intuito de investigar traços estilísticos de pandeiristas atuantes nas primeiras décadas de funcionamento comercial do rádio no Brasil, contornei o problema representado pela audição de fonogramas da época, de qualidade insatisfatória para os fins deste estudo, por meio da coleta do depoimento do músico Jorginho do Pandeiro, contemporâneo destes pandeiristas. Jorginho forneceu, por meio de narrativas e performances musicais, informações a respeito das características estilísticas de seus pares. Estas performances foram transcritas com utilização do sistema notacional desenvolvido por Carlos Stasi e analisadas sob o viés do conceito do spatio-motor thinking (BAILY, 1985). O artigo inclui uma discussão sobre relações entre história oral e memória com base em Halbwachs (1990), Portelli (1997a, 1997b) e Alberti (2008).
Revista do Instituto de Estudos Brasileiros
Este artigo busca examinar o trânsito do pandeiro no Rio de Janeiro, no período entre 1900 e 1939... more Este artigo busca examinar o trânsito do pandeiro no Rio de Janeiro, no período entre 1900 e 1939, e os significados atribuídos ao instrumento. Os objetivos específicos são: mapear os ambientes pelos quais o pandeiro transitava; entender os papéis simbólicos ocupados pelo instrumento e instrumentistas no imaginário nacional que se constituía naquele período; examinar como se deu a construção das imagens artísticas dos primeiros pandeiristas profissionais. A metodologia adotada é a pesquisa em periódicos de época.
Anais do V Simpom - UniRio - Rio de Janeiro, 2018
O pandeiro ocupa no imaginário brasileiro um lugar simbólico especial, sendo considerado pelo sen... more O pandeiro ocupa no imaginário brasileiro um lugar simbólico especial, sendo considerado pelo senso comum um dos instrumentos musicais mais representativos da cultura popular nacional. Esta construção simbólica não ocorreu isenta de tensões e conflitos. Relatos de músicos profissionais ligados ao samba e ao choro, atuantes no Rio de Janeiro nas primeiras décadas do século XX, dão conta de que, nesta época, o instrumento era alvo de perseguição policial, podendo ser apreendido e sua posse render prisão ao portador. A presente pesquisa pretende mapear notícias que relatam ações policiais repressoras em relação ao pandeiro, veiculadas nos principais periódicos do Rio de Janeiro durante a referida época, analisando os discursos destes veículos da imprensa, que ora condenavam, ora apoiavam (por vezes, tacitamente) a ação policial. A pesquisa foi efetuada por meio de consultas a periódicos digitalizados disponíveis na Hemeroteca Digital Brasileira. Palavras-chave: Pandeiro Brasileiro; Repressão Policial; Pesquisa em Periódicos
Records of Police Repression to the Pandeiro in Rio de Janeiro Newspapers During the First Three Decades of the 20th Century Abstract: The pandeiro (Brazilian tambourine) occupies in Brazilian imaginary a special symbolic place, being considered by common sense one of the most representative musical instruments of national popular culture. This symbolic construction has not occurred free of tensions and conflicts. Professional musicians linked to samba and choro, who lived and performed in Rio de Janeiro in the first decades of the 20th century, have reported that, by that time, the instrument was the target of police persecution, and its possession could cause its apreehension, as well as imprisonment of its bearer. The presente research intends to collect reports of repressive police actions related to the tambourine, published in the main newspapers of Rio de Janeiro during that period, analyzing the discourses of these press vehicles, which either condemned or supported (sometimes tacitly) police action. The research was accomplished through queries to digitized periodicals available in the Hemeroteca Digital Brasileira (Brazilian Digital Periodical Library).
Dissertação (Mestrado em Música) - Udesc, 2017
Esta pesquisa tem o intuito de investigar transformações técnicas e estilísticas verificadas em u... more Esta pesquisa tem o intuito de investigar transformações técnicas e estilísticas verificadas em um tipo de pandeiro brasileiro, conhecido como pandeiro de couro ou pandeiro de choro. Associadas a desenvolvimentos tecnológicos de amplo impacto social, sobretudo nos contextos urbanos, como a fonografia e a radiofonia, estas transformações remontam a meados do século XX e seus desdobramentos se estendem até os dias atuais. A pesquisa se desenvolve com foco nas trajetórias artísticas de dois pandeiristas, Jorginho do Pandeiro e Marcos Suzano, pertencentes a diferentes gerações e reconhecidos por seus pares como inovadores estilísticos deste instrumento. O trabalho baseia-se em pesquisa documental e em entrevistas feitas de acordo com a abordagem da história oral. Performances fonográficas de ambos os músicos investigados, assim como execuções coletadas durante as entrevistas, foram transcritas e analisadas, com o intuito de compreender suas concepções musicais, com especial interesse na observação dos padrões motores por eles empregados para ordenar os padrões sonoros resultantes.
This research aims to investigate technical and stylistic transformations verified in a Brazilian pandeiro (tambourine) type known as pandeiro de couro (leather tambourine) or pandeiro de choro (choro tambourine). Associated with technological developments of broad social impact, especially in urban contexts, such as phonography and radio, these transformations date back to the middle of the twentieth century and its deployments extend to current days. The research focuses on the artistic trajetories of two pandeiro players, Jorginho do Pandeiro and Marcos Suzano, belonging to different generations and recognized by their peers as stylistic innovators of this instrument. The work is based on documental research and interviews made according to oral history approach. Phonographic performances of both the musicians, as well as performances collected during the interviews, were transcribed and analyzed in order to understand their musical conceptions, with special interest in observing the motor patterns used by them to ordenate the resulting sound patterns.
Opus - Revista da Anppom (Associação Nacional de Pesquisa e Pós-graduação em Música), 2018
This paper presents the partial results of my master’s research project (VIDILI, 2017). With
the ... more This paper presents the partial results of my master’s research project (VIDILI, 2017). With
the objective to investigate the stylistic features of pandeiro players during the years following the advent
of commercial radio in Brazil, I bypassed the challenges in listening to phonograms of the time, --whose
quality was unsatisfactory for the purpose of this research—by collecting the oral testimony of Jorginho
do Pandeiro, a contemporary of the aforementioned pandeiro players. Through his narratives and music
performances, Jorginho provided information on the stylistic characteristics of his peers. Using the
notational system developed by Carlos Stasi, his performances were transcribed and analyzed from a
perspective of spatio-motor thinking (BAILY, 1985). The article includes a discussion on the relationship
between oral history and memory based on Halbwachs (1990), Portelli (1997a, 1997b) and Alberti
(2008).
Conference Presentations by Eduardo Vidili
Anais II Congresso Brasileiro de Percussão, 2019
Resumo: Este artigo apresenta resultados parciais de uma pesquisa em andamento, feita mediante co... more Resumo: Este artigo apresenta resultados parciais de uma pesquisa em andamento, feita mediante consulta a periódicos dos anos 1930, que investiga os pandeiristas atuantes nas rádios do Rio de Janeiro durante esta época. Além de procurar compreender as trajetórias profissionais destes músicos, busca-se analisar como os veículos de imprensa os representavam e contribuíam para a construção de suas imagens como artistas.
Palavras-chave: Pandeiro brasileiro. Pandeiristas. Era do rádio. Pesquisa em periódicos. História da música popular brasileira.
The Professional Performance of Brazilian Pandeiro Players on Radio and its Repercussions in the Press in the 1930s
Abstract: This paper presents partial results of an ongoing research, conducted in periodicals of the 1930s, which investigates the pandeiro players who performed at radio stations in Rio de Janeiro during that period. Besides searching for a comprehension of the professional trajectories of these musicians, the aim is analyzing how the press vehicles represented them and contributed to the construction of their images as artists.
Keywords: Brazilian Pandeiro. Pandeiro Players. Radio Era in Brazil. Research in Periodicals. History of Brazilian Popular Music.
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Papers by Eduardo Vidili
Palavras-chave: Pandeiro. Pandeiristas. Organologia. Rádio no Brasil. Fonografia.
The object of this dissertation is the pandeiro and the social life of this musical instrument in Rio de Janeiro, from 1900 to 1939. As a starting point, the study discusses the status of the instrument as a Brazilian symbol, established by the end of that period, in view of the supposed prohibition imposed on it in previous decades. Based on theoretical contributions from the sociology of music and organology, which is understood from an ethnomusicological approach, the pandeiro is assumed as a social actor, and its capacity of agency and mediation is emphasized. In constant dialogue with the social history of the period, the study seeks to: examine the musical practices and social environments through which the pandeiro transited in that context; explore disputes and tensions around the meanings attributed to the instrument and its players; address the conditions of its insertion into the incipient realms of music produced for market purposes – radio and phonography. Periodicals and phonograms of that period constitute the sources for the research, accessed by the databases of Hemeroteca Digital Brasileira (from Brazilian National Library) and Discografia Brasileira (from Moreira Salles Institute). For the analysis of phonograms with the pandeiro, situated within a broader framework that includes recordings in which other percussion instruments take part, a “listening group” consisting of collaborating musicians was developed. The study verified contradictions around the pandeiro: although its use was not prohibited by any specific laws, the instrument was subjected to physical and symbolic repression in the first decades of the 20th century; on the other hand, its presence was well accepted in certain environments, and the instrument was predominantly positivated by the press that covered popular carnival. There was a progressive absorption of the pandeiro in environments symbolically associated with high society. With the broad use of the instrument in radiophony in the 1930s, afforded by its morphological and sounding characteristics, and also in commercial phonography of the same period, the sound of the pandeiro permeated Brazilian urban music that had some of its features defined at that time. The periodicals made important contributions to the building of images of the first “pandeiro artists” working in radio. Although the instrument's trajectory in the period was full of nuances and conflicting movements, this accumulation of events, largely linked to new technologies and configurations of the music market, was decisive for the positivization of the image of the pandeiro and pandeiro players, constituting and consolidating a new semantic layer of the instrument, in which it came to be accepted as a symbol of Brazilian musical culture.
Keywords: Pandeiro. Pandeiro players. Organology. Radio in Brazil. Phonography.
Records of Police Repression to the Pandeiro in Rio de Janeiro Newspapers During the First Three Decades of the 20th Century Abstract: The pandeiro (Brazilian tambourine) occupies in Brazilian imaginary a special symbolic place, being considered by common sense one of the most representative musical instruments of national popular culture. This symbolic construction has not occurred free of tensions and conflicts. Professional musicians linked to samba and choro, who lived and performed in Rio de Janeiro in the first decades of the 20th century, have reported that, by that time, the instrument was the target of police persecution, and its possession could cause its apreehension, as well as imprisonment of its bearer. The presente research intends to collect reports of repressive police actions related to the tambourine, published in the main newspapers of Rio de Janeiro during that period, analyzing the discourses of these press vehicles, which either condemned or supported (sometimes tacitly) police action. The research was accomplished through queries to digitized periodicals available in the Hemeroteca Digital Brasileira (Brazilian Digital Periodical Library).
This research aims to investigate technical and stylistic transformations verified in a Brazilian pandeiro (tambourine) type known as pandeiro de couro (leather tambourine) or pandeiro de choro (choro tambourine). Associated with technological developments of broad social impact, especially in urban contexts, such as phonography and radio, these transformations date back to the middle of the twentieth century and its deployments extend to current days. The research focuses on the artistic trajetories of two pandeiro players, Jorginho do Pandeiro and Marcos Suzano, belonging to different generations and recognized by their peers as stylistic innovators of this instrument. The work is based on documental research and interviews made according to oral history approach. Phonographic performances of both the musicians, as well as performances collected during the interviews, were transcribed and analyzed in order to understand their musical conceptions, with special interest in observing the motor patterns used by them to ordenate the resulting sound patterns.
the objective to investigate the stylistic features of pandeiro players during the years following the advent
of commercial radio in Brazil, I bypassed the challenges in listening to phonograms of the time, --whose
quality was unsatisfactory for the purpose of this research—by collecting the oral testimony of Jorginho
do Pandeiro, a contemporary of the aforementioned pandeiro players. Through his narratives and music
performances, Jorginho provided information on the stylistic characteristics of his peers. Using the
notational system developed by Carlos Stasi, his performances were transcribed and analyzed from a
perspective of spatio-motor thinking (BAILY, 1985). The article includes a discussion on the relationship
between oral history and memory based on Halbwachs (1990), Portelli (1997a, 1997b) and Alberti
(2008).
Conference Presentations by Eduardo Vidili
Palavras-chave: Pandeiro brasileiro. Pandeiristas. Era do rádio. Pesquisa em periódicos. História da música popular brasileira.
The Professional Performance of Brazilian Pandeiro Players on Radio and its Repercussions in the Press in the 1930s
Abstract: This paper presents partial results of an ongoing research, conducted in periodicals of the 1930s, which investigates the pandeiro players who performed at radio stations in Rio de Janeiro during that period. Besides searching for a comprehension of the professional trajectories of these musicians, the aim is analyzing how the press vehicles represented them and contributed to the construction of their images as artists.
Keywords: Brazilian Pandeiro. Pandeiro Players. Radio Era in Brazil. Research in Periodicals. History of Brazilian Popular Music.
Palavras-chave: Pandeiro. Pandeiristas. Organologia. Rádio no Brasil. Fonografia.
The object of this dissertation is the pandeiro and the social life of this musical instrument in Rio de Janeiro, from 1900 to 1939. As a starting point, the study discusses the status of the instrument as a Brazilian symbol, established by the end of that period, in view of the supposed prohibition imposed on it in previous decades. Based on theoretical contributions from the sociology of music and organology, which is understood from an ethnomusicological approach, the pandeiro is assumed as a social actor, and its capacity of agency and mediation is emphasized. In constant dialogue with the social history of the period, the study seeks to: examine the musical practices and social environments through which the pandeiro transited in that context; explore disputes and tensions around the meanings attributed to the instrument and its players; address the conditions of its insertion into the incipient realms of music produced for market purposes – radio and phonography. Periodicals and phonograms of that period constitute the sources for the research, accessed by the databases of Hemeroteca Digital Brasileira (from Brazilian National Library) and Discografia Brasileira (from Moreira Salles Institute). For the analysis of phonograms with the pandeiro, situated within a broader framework that includes recordings in which other percussion instruments take part, a “listening group” consisting of collaborating musicians was developed. The study verified contradictions around the pandeiro: although its use was not prohibited by any specific laws, the instrument was subjected to physical and symbolic repression in the first decades of the 20th century; on the other hand, its presence was well accepted in certain environments, and the instrument was predominantly positivated by the press that covered popular carnival. There was a progressive absorption of the pandeiro in environments symbolically associated with high society. With the broad use of the instrument in radiophony in the 1930s, afforded by its morphological and sounding characteristics, and also in commercial phonography of the same period, the sound of the pandeiro permeated Brazilian urban music that had some of its features defined at that time. The periodicals made important contributions to the building of images of the first “pandeiro artists” working in radio. Although the instrument's trajectory in the period was full of nuances and conflicting movements, this accumulation of events, largely linked to new technologies and configurations of the music market, was decisive for the positivization of the image of the pandeiro and pandeiro players, constituting and consolidating a new semantic layer of the instrument, in which it came to be accepted as a symbol of Brazilian musical culture.
Keywords: Pandeiro. Pandeiro players. Organology. Radio in Brazil. Phonography.
Records of Police Repression to the Pandeiro in Rio de Janeiro Newspapers During the First Three Decades of the 20th Century Abstract: The pandeiro (Brazilian tambourine) occupies in Brazilian imaginary a special symbolic place, being considered by common sense one of the most representative musical instruments of national popular culture. This symbolic construction has not occurred free of tensions and conflicts. Professional musicians linked to samba and choro, who lived and performed in Rio de Janeiro in the first decades of the 20th century, have reported that, by that time, the instrument was the target of police persecution, and its possession could cause its apreehension, as well as imprisonment of its bearer. The presente research intends to collect reports of repressive police actions related to the tambourine, published in the main newspapers of Rio de Janeiro during that period, analyzing the discourses of these press vehicles, which either condemned or supported (sometimes tacitly) police action. The research was accomplished through queries to digitized periodicals available in the Hemeroteca Digital Brasileira (Brazilian Digital Periodical Library).
This research aims to investigate technical and stylistic transformations verified in a Brazilian pandeiro (tambourine) type known as pandeiro de couro (leather tambourine) or pandeiro de choro (choro tambourine). Associated with technological developments of broad social impact, especially in urban contexts, such as phonography and radio, these transformations date back to the middle of the twentieth century and its deployments extend to current days. The research focuses on the artistic trajetories of two pandeiro players, Jorginho do Pandeiro and Marcos Suzano, belonging to different generations and recognized by their peers as stylistic innovators of this instrument. The work is based on documental research and interviews made according to oral history approach. Phonographic performances of both the musicians, as well as performances collected during the interviews, were transcribed and analyzed in order to understand their musical conceptions, with special interest in observing the motor patterns used by them to ordenate the resulting sound patterns.
the objective to investigate the stylistic features of pandeiro players during the years following the advent
of commercial radio in Brazil, I bypassed the challenges in listening to phonograms of the time, --whose
quality was unsatisfactory for the purpose of this research—by collecting the oral testimony of Jorginho
do Pandeiro, a contemporary of the aforementioned pandeiro players. Through his narratives and music
performances, Jorginho provided information on the stylistic characteristics of his peers. Using the
notational system developed by Carlos Stasi, his performances were transcribed and analyzed from a
perspective of spatio-motor thinking (BAILY, 1985). The article includes a discussion on the relationship
between oral history and memory based on Halbwachs (1990), Portelli (1997a, 1997b) and Alberti
(2008).
Palavras-chave: Pandeiro brasileiro. Pandeiristas. Era do rádio. Pesquisa em periódicos. História da música popular brasileira.
The Professional Performance of Brazilian Pandeiro Players on Radio and its Repercussions in the Press in the 1930s
Abstract: This paper presents partial results of an ongoing research, conducted in periodicals of the 1930s, which investigates the pandeiro players who performed at radio stations in Rio de Janeiro during that period. Besides searching for a comprehension of the professional trajectories of these musicians, the aim is analyzing how the press vehicles represented them and contributed to the construction of their images as artists.
Keywords: Brazilian Pandeiro. Pandeiro Players. Radio Era in Brazil. Research in Periodicals. History of Brazilian Popular Music.