Procedimentos Composicionais PDF

UNIVERSIDADE FEDERAL DE GOIÁS
ESCOLA DE MÚSICA E ARTES CÊNICAS

PROGRAMA DE PÓS-GRADUAÇÃO EM MÚSICA
EVERSON RIBEIRO BASTOS
PROCEDIMENTOS COMPOSICIONAIS NA
MÚSICA DE EDU LOBO DE 1960 A 1980
Goiânia
2010
PROCEDIMENTOS COMPOSICIONAIS NA
MÚSICA DE EDU LOBO DE 1960 A 1980
Dissertação apresentada ao Programa de Pós-

Graduação Stricto Sensu da Escola de
Música e Artes Cênicas da Universidade
Federal de Goiás, para obtenção do título de
Mestre em Música.
Área de concentração: Música na
Contemporaneidade
Linha de pesquisa: Música, Cultura e
Sociedade.
Orientadora: Profª. Adriana Fernandes,
PhD.
Goiânia
2010
Dados Internacionais de Catalogação na Publicação na (CIP)
GPT/BC/UFG
Bastos,Everson Ribeiro.
B327p Procedimentos composicionais na música de Edu Lobo
de 1960 a 1980 [manuscrito] / Everson Ribeiro Bastos. -
2010.
265 f. : il.
Orientadora: Profª. Drª. Adriana Fernandes.

Dissertação (Mestrado) – Universidade Federal de Goiás,
Escola de Música e Artes Cênicas, 2010.
Bibliografia.
Inclui lista de figuras e tabelas.
Anexos.
1. Lobo, Edu 2. Música – Hibridismo 3. Música –

Identidade 4. Música - Estilo 5. Análise musical. I. Título.
CDU: 78.02
PROCEDIMENTOS COMPOSICIONAIS NA EDU LOBO DE 1960 A 1980
Dissertação defendida e aprovada em 26 de março de 2010, pela Banca

Examinadora constituída pelos seguintes professores:
Profa. Dra. Adriana Fernandes

Presidente da Banca
Profa. Dra. Ana Guiomar Rêgo Souza

Universidade Federal de Goiás
Prof. Dr. Estércio Márquez Cunha

Universidade Federal de Goiás
Prof. Dr. Antônio Rafael Carvalho dos Santos

Universidade de Campinas/SP
Para os meus pais.
AGRADECIMENTOS
A todos aqueles que participaram do meu processo de preparação para o mestrado:

Rayne Vitorino (grande amigo), Shirley Cristina, Larissa Camargo, Michele Botelho,
Prof. Flávio Santos e Profa. Margarete Arroyo.
Ao CNPq, que me concedeu uma bolsa de mestrado, possibilitando o desenvolvimento

de grande parte deste trabalho.
A todos os professores e funcionários do programa de pós-gradação da EMAC/UFG
Aos primeiros contatos e direcionamentos no mestrado, por meio da Profa. Drª Marília
Laboissière.
Ao acolhimento do amigo Graciano Arantes em Goiânia.
Às preciosas conversas com a minha turma e em particular com uma pessoa da turma
dos veteranos, Maria Regiane.
Ao amigo Luiz Henrique pela sugestão do tema e disponibilização de livros e CDs.
A todos que enviaram materiais, especialmente a Sérgio Freitas, que também

contribuiu com preciosas conversas e dicas.
Às valiosas sugestões da Profa. Drª Ana Guiomar na qualificação, além dos livros
disponibilizados.
Aos depoimentos de Hermeto Pascoal, Cristovão Bastos, Nelson Ayres e Paulo

Bellinati.
Ao Prof. Dr. Rafael dos Santos, que aceitou participar da banca de defesa desta
dissertação.
ESPECIALMENTE:
Ao Prof. Dr. Estércio Márquez, pela disposição em me atender e responder às dúvidas

sobre as análises, antes, durante e depois da qualificação.
À minha orientadora Profa. Drª Adriana Fernandes, que me direcionou de forma

espetacular.
À minha amada Gil, por tudo
À minha “grande família”, pelo apoio.
Ao criador da vida e dos sons que manipulamos: Deus.

Resumo
A presente dissertação aborda a música de Eduardo de Góes Lobo, Edu Lobo

(1943-), no período de 1960 à 1980. A pesquisa visa a identificar as características das
suas obras neste período de forma contextualizada, observando as fases composicionais
e considerando as influências que o ajudaram a construir o seu estilo. Para isto foram
transcritas e analisadas cinco composições, selecionadas a partir de critérios que
levaram em consideração a importância da obra e a atuação de Edu Lobo como
compositor/arranjador.
A diversidade de procedimentos encontrada na obra deste compositor
proporcionou uma abordagem que escapa às armadilhas de rotulações estilísticas e de
gêneros musicais. Buscou-se, então, uma moldura teórica nos conceitos de identidade,
hibridismo e estilo, os quais foram relacionados à sua trajetória musical e aos elementos
identificados nas análises. Além disso, realizou-se entrevistas com músicos que
trabalharam com Edu Lobo, o que proporcionou dados complementares à pesquisa.
Os resultados obtidos mostram os hibridismos musicais realizados por Edu Lobo
como ferramenta para formação do seu estilo, além de apontar os elementos
composicionais recorrentes e específicos nas obras analisadas.
Palavras chave: Edu Lobo; hibridismo; identidade; estilo; análise musical;

Abstract
This dissertation approaches the music by Eduardo de Góes Lobo, Edu Lobo
(1943 -), from 1960 to 1980. The research identifies the characteristics of these works in
context, looking at the compositional phases and considering the influences that built
his style. Five compositions were selected, transcribed and analyzed taking into account
the importance of the work and the final results reached by Edu Lobo as a composer and
arranger.
The diversity of procedures found in his works unleashed us from the traps of
labeling styles and music genres. A theoretical framework was built around the
concepts of identity, hybridism and style, related to his musical career and the elements
found in the analysis. In addition, interviews with musicians who worked with Edu
Lobo provided additional data to the research.
The results show the music hybridisms used by Edu Lobo as a tool for the
formation of his style and musical identity, or signature, pointing to the recurring and
particular compositional elements in the works under scrutiny.
Keywords: Edu Lobo, hybridism, identity, style, music analysis;

Lista de Figuras
Capítulo 2
Fig.1 - Frase 1 – “Beatriz”......................................................................................... 66
Fig.2 - Intro- “Memórias de Marta Saré”................................................................... 71
Fig.3 - Motivo principal [“Memórias de Marta Saré”].............................................. 72
Fig.4 - Frase 1 da Seção A[“Memórias de Marta Saré”].......................................... 74
Fig.5 - Frase 2 da Seção A [“Memórias de Marta Saré”].......................................... 74
Fig.6 - Órgão na Introdução [“Memórias de Marta Saré”]........................................ 76
Fig.7 - Violoncelo na Seção A [“Memórias de Marta Saré”].................................... 76
Fig.8 - Seção B (refrão) [“Memórias de Marta Saré”]............................................... 77
Fig.9 - Comparação melódica entre o início da Seção A e o Refrão [“Memórias de
Marta Saré”]............................................................................................................... 78
Fig.10 - Ponte da Seção B [“Memórias de Marta Saré”]........................................... 79
Fig.11 - Motivo principal da Seção C [“Memórias de Marta Saré”]......................... 80
Fig.12 - Seção C [“Memórias de Marta Saré”].......................................................... 81
Fig.13 - Seção B1(refrão) [“Memórias de Marta Saré”]............................................ 83
Fig.14 - Interlúdio [“Memórias de Marta Saré”]....................................................... 85
Fig.15 - Seção A1 [“Memórias de Marta Saré”]........................................................ 86
Fig.16 - Ponte da seção B1’ e o motivo principal da canção (Seção A) [“Memórias
de Marta Saré”].......................................................................................................... 88
Fig.17 - Seção B” (refrão) [“Memórias de Marta Saré”]........................................... 89
Capítulo 3
Fig.18 - Introdução [“Vento Bravo”]......................................................................... 103

Fig.19 - Frase 1 e 2 da Seção A [“Vento Bravo”]...................................................... 104
Fig.20 - Relação entre trechos melódicos: sopros (introdução) e canção [“Vento
Bravo”]....................................................................................................................... 104
Fig.21 - Trecho 1 da Seção A [“Vento Bravo”]......................................................... 105
Fig.22 - Trecho 2 da Seção A [“Vento Bravo”]......................................................... 106
Fig.23 - Seção A1 [“Vento Bravo”]........................................................................... 107
Fig.24 - Seção A1(trecho 2) [“Vento Bravo”]........................................................... 108
Fig.25 - Seção B [“Vento Bravo”]............................................................................. 109
Fig.26 - Análise harmônica da Seção B [“Vento Bravo”]......................................... 110
Fig.27 - Interlúdio [“Vento Bravo”].......................................................................... 111
Fig.28 - Coda [“Vento Bravo”]................................................................................. 113
Fig.29 - Modo Octatônico.......................................................................................... 118
Fig.30 - Intro – cordas [“Libera-nos”]....................................................................... 121
Fig.31 - Estrutura X7(#9, #11, 13) a partir de mov. asc. e desc. [“Libera-nos”]....... 121
Fig.32 - Intro – sopros [“Libera-nos”]....................................................................... 121
Fig.33 - Relação entre motivo da flauta, a Intro. e a Frase 2 da Seção A[“Libera-
nos”].......................................................................................................................... 122
Fig.34 - Seção A [“Libera-nos”]................................................................................ 123
Fig.35 - Seção A1 [“Libera-nos”].............................................................................. 124
Fig.36 - Seção B [“Libera-nos”]................................................................................ 125
Fig.37 - Análise harmônica da Seção B [“Libera-nos”]............................................ 126
Fig.38 - Seção C [“Libera-nos”]................................................................................ 128
Fig.39 - Ostinato de Stravinsky (Danças das adolescentes) e ostinato de Edu Lobo
(Libera-nos)................................................................................................................ 129
Fig.40 - Seção B1 [“Libera-nos”].............................................................................. 130
Fig.41 - Relação entre a mel. da Seção B e a mel. da Seção B1 [“Libera-nos”]....... 131
Fig.42 - Seção C1 [“Libera-nos”].............................................................................. 132
Fig.43 - Seção B2 [“Libera-nos”].............................................................................. 133
Fig.44 - Coda [“Libera-nos”].................................................................................... 134
Fig.45 - Estrutura formal a partir de elementos octatônicos e dominantes [“Libera-
nos”]........................................................................................................................... 135
Capítulo 4
Fig. 46 - Introdução de “Dança das Máquinas”......................................................... 143

Fig.47 - Trecho 1 da Introdução [“Jogo Um”- mov.1].............................................. 149
Fig.49 - Clarineta baixo na Introdução [“Jogo Um”- mov.1].................................... 151
Fig.51 - Frases 1 e 2 da Seção A [“Jogo Um”-mov.1]............................................... 155
Fig.52 - Frases 3 e 4 da Seção A [“Jogo Um”- mov.1].............................................. 156
Fig.55 - Frases 9 e 10 da Seção A [“Jogo Um”- mov.1]............................................ 157
Fig.56 - Coda (Seção A) [“Jogo Um”- mov.1].......................................................... 158
Fig.57 - Intro [“Jogo Um” - mov.2].......................................................................... 159
Fig.58 - Seção A do 2º mov. – comparação com frases do 1ºmov. [“Jogo Um”]...... 160
Fig.59 - Seção A1 – comparação com a seção A [“Jogo Um”- mov.2]..................... 162
Fig.60 - Seção B – comparação com frases da Seção A [“Jogo Um” - mov.2]........ 163
Fig.61 - Relação entre padrões rítmicos da Seção C e o Maracatu [“Jogo Um” -
mov.2]........................................................................................................................ 164
Fig.62 - Frases 1, 2, 3 e 4 da Seção C [“Jogo Um” - mov.2].................................... 165
Fig.63 - Frases 5, 6 e 7 da Seção C [“Jogo Um”- mov.2].......................................... 166
Fig.64 - Frases 8, 9 e 10 da Seção C [“Jogo Um” - mov.2]...................................... 166
Fig.65 - Análise harmônica da Seção C [“Jogos Um” - mov.2]............................... 167
Fig.66 - Frases 1, 2, 3 e 4 da Seção C1 [“Jogos Um”]............................................... 168
Fig.67 - Frases 5-10 da Seção C1 [“Jogos Um” - mov.2]......................................... 169
Fig.68 - Frases da Seção B [“Jogos Um”]................................................................. 169
Fig.69 - Seção A2 - Intercala frases das Seções A e A1 [“Jogo Um”- mov.2]......... 170
Fig.70 - Ponte [“Jogo Um”]....................................................................................... 171
Fig.71 - Coda [“Jogo Um” - mov.2]......................................................................... 172
Fig.72 - Relação formal entre o mov.1 e o 2 [“Jogo Um].......................................... 173
Fig.73 - Introdução [Beatriz]..................................................................................... 180
Fig.74 - Seção A [“Beatriz”]...................................................................................... 181
Fig.75 - Frases 1-3 da Seção A1 [“Beatriz”]............................................................. 186
Fig.78 - Análise harmônica da Seção B [“Beatriz”]................................................. 188
Fig.79 - Frases 1-4 da Seção B [“Beatriz”]................................................................ 189
Fig.80 - Frase 5 da Seção B [“Beatriz]...................................................................... 190
Fig.81 - Coda [“Beatriz”]........................................................................................... 192
Lista de Tabelas
Tabela 1 - Interpretação da letra da canção “Memórias de Marta Saré”.................... 68

Tabela 2 - Quadro formal – “Memórias de Marta Saré”............................................ 70
Tabela 3 - Seções e regiões modais [“Memórias de Marta Saré”]............................. 90
Tabela 4 - Interpretação da letra de “Vento Bravo”................................................... 101
Tabela 5 - Quadro formal – “Vento Bravo”............................................................... 102
Tabela 6 - Relação entre os textos: ordinário da missa e a “Missa Breve”................ 116
Tabela 7 - Quadro formal – “Libera-nos”.................................................................. 120
Tabela 8 - Quadro formal – “Jogo Um” (mov.1) ...................................................... 148
Tabela 9 - Quadro formal – “Jogos Um” (mov. 2)..................................................... 158
Tabela 10 - Quadro formal [“Beatriz”]...................................................................... 179
Tabela 11 - Relação entre a sonoridade da letra da Seção A e da Seção A1............. 185
Tabela 12 - Relação entre a sonoridade da letra das Seções A, A1 e A2................... 191
Sumário
Introdução................................................................................................................. 13
1 - “Princípios teóricos que nos ajudam a tornar este mundo mais traduzível” 21
1.1. A identidade cultural............................................................................... 21
1.2. Identidade e diferença............................................................................. 23
1.3. Hibridismo............................................................................................... 26
1.4. Estilo....................................................................................................... 29
1.5. Dados empíricos que nos ajudam a teorizar – anos de 1960................... 34
1.5.1. Recife............................................................................................. 34
1.5.2. A Bossa Nova................................................................................. 35
1.5.3. A MPB dos anos de 1960............................................................... 39
1.5.4. Edu Lobo na MPB.......................................................................... 44
1.5.5. As influências musicais e o estilo pessoal..................................... 47
1.5.6. A produção de Edu Lobo nos anos de 1960................................... 52
2 - “Música é o resultado de um trabalho muito grande” (1960)........................ 58
2.1. Processo criativo: a intuição e o trabalho............................................... 58
2.2. O modalismo.......................................................................................... 61
2.3. Proposta de análise da canção................................................................. 63
2.3.1. Narratividade.................................................................................. 64
2.3.2. Figurativização............................................................................... 65
2.3.3. Tensões passionais e tensões temáticas......................................... 66
2.4. Análise: “Memórias de Marta Saré” (1965)............................................ 66
2.4.1. A peça “Marta Saré”...................................................................... 67
2.4.2. A trilha sonora................................................................................ 68
2.4.3. Letra e Texto da Peça..................................................................... 68
2.4.4. Análise musical.............................................................................. 91
3 - “Quero viajar cantor e voltar compositor” (1970).......................................... 92
3.1. Decisão pelo estudo................................................................................ 92
3.2. Los Angeles............................................................................................. 93
3.3. O retorno ao Brasil e os conflitos no processo criativo........................... 95
3.4. As novas parcerias................................................................................... 99
3.5. Análise: “Vento Bravo” (1973)............................................................... 100
3.5.1. A letra............................................................................................. 101
3.5.2. Análise musical.............................................................................. 102
3.6. Análise das composições instrumentais.................................................. 114
3.6.1. Análise: “Libera-nos”.................................................................... 115
3.6.1.1. Análise musical........................................................................ 118
4 - “Parceria com patrão” (1980)........................................................................... 138
4.1. A Produção de Edu Lobo nos anos de 1980........................................... 138
4.1.2. Os discos “pessoais”...................................................................... 138
4.1.3. As trilhas encomendadas............................................................... 139
4.2. Novos parceiros e as mudanças no processo criativo............................. 143
4.3. Análise: “Jogo Um”................................................................................. 148
4.3.1. Movimento 1.................................................................................. 148
4.3.2. Movimento 2.................................................................................. 158
4.4. Análise: “Beatriz”................................................................................... 175
4.4.1. “O Grande Circo Místico” e a letra de “Beatriz”........................... 175
4.4.2. Análise musical.............................................................................. 179
5 - Considerações Finais.......................................................................................... 195
6 - Referências Bibliográficas.................................................................................. 201
7 - Referências Sonoras............................................................................................ 207
8 - Referências Audiovisuais................................................................................... 209
9 - Anexos................................................................................................................. 210
Anexo 1. Partitura: “Memórias de Marta Saré”......................................................... 210
Anexo 2. Partitura: “Vento Bravo”............................................................................ 220
Anexo 3. Partitura: “Libera-nos”............................................................................... 225
Anexo 4. Partitura: “Jogo Um”.................................................................................. 231
Anexo 5. Partitura: “Beatriz”..................................................................................... 242
Anexo 6. Entrevista: Hermeto Pascoal...................................................................... 246
Anexo 7. Entrevista: Cristovão Bastos...................................................................... 247
Anexo 8. Entrevista: Nelson Ayres............................................................................ 252
Anexo 9. Entrevista: Paulo Bellinati.......................................................................... 261
Anexo 10. CD: áudio das músicas analisadas............................................................ 265
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UNIVERSIDADE FEDERAL DE GOIÁS

ESCOLA DE MÚSICA E ARTES CÊNICAS

EVERSON RIBEIRO BASTOS

Dissertação apresentada ao Programa de Pós-

Orientadora: Profª. Drª. Adriana Fernandes.

1. Lobo, Edu 2. Música – Hibridismo 3. Música –

PROCEDIMENTOS COMPOSICIONAIS NA EDU LOBO DE 1960 A 1980

Dissertação defendida e aprovada em 26 de março de 2010, pela Banca

Profa. Dra. Adriana Fernandes

Profa. Dra. Ana Guiomar Rêgo Souza

Prof. Dr. Estércio Márquez Cunha

Prof. Dr. Antônio Rafael Carvalho dos Santos

A todos aqueles que participaram do meu processo de preparação para o mestrado:

Ao CNPq, que me concedeu uma bolsa de mestrado, possibilitando o desenvolvimento

A todos os professores e funcionários do programa de pós-gradação da EMAC/UFG

Ao acolhimento do amigo Graciano Arantes em Goiânia.

Ao amigo Luiz Henrique pela sugestão do tema e disponibilização de livros e CDs.

A todos que enviaram materiais, especialmente a Sérgio Freitas, que também

Aos depoimentos de Hermeto Pascoal, Cristovão Bastos, Nelson Ayres e Paulo

Ao Prof. Dr. Estércio Márquez, pela disposição em me atender e responder às dúvidas

À minha orientadora Profa. Drª Adriana Fernandes, que me direcionou de forma

À minha amada Gil, por tudo

À minha “grande família”, pelo apoio.

Ao criador da vida e dos sons que manipulamos: Deus.

A presente dissertação aborda a música de Eduardo de Góes Lobo, Edu Lobo

Palavras chave: Edu Lobo; hibridismo; identidade; estilo; análise musical;

Keywords: Edu Lobo, hybridism, identity, style, music analysis;

Fig.18 - Introdução [“Vento Bravo”]......................................................................... 103

Fig. 46 - Introdução de “Dança das Máquinas”......................................................... 143

Tabela 1 - Interpretação da letra da canção “Memórias de Marta Saré”.................... 68

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