DOCSLIB.ORG

A Study of Multiculturalism in 20Th Century Guitar Music

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Study of Multiculturalism in 20Th Century Guitar Music A STUDY OF MULTICULTURALISM IN 20TH CENTURY GUITAR MUSIC AND THE BRAZILIAN ELEMENTS IN THE MUSIC OF ROLAND DYENS by Daniel Duarte Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University December 2016 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Ayana Smith, Research Director ______________________________________ Ernesto Bitetti, Chair ______________________________________ Luke Gillespie ______________________________________ Elzbieta Szmyt December 07, 2016 Acknowledgments This dissertation is dedicated to the memory of Roland Dyens (1955-2016), a musician that has inspired a generation of composers and guitarists through his original and innovative works. Dyens passed on October 29, 2016 in Paris days after this document was approved by the Research Committee and just weeks prior to its public defense. Roland Dyens himself helped the present author to shape this research by kindly agreeing to an interview that is featured in the appendix of this document. Since this dissertation was written while Dyens was alive it was the decision of this author to only refer to him as a non- living composer in this section of the document and in the introduction of this research; therefore chapters two, three, conclusion and appendix will refer to Dyens as a living composer. In fact, Dyens is indeed alive through his music and his legacy as a composer, arranger and performer. I would like to express my profound gratitude to the members of my doctoral committee, including Professor Elzbieta Szmyt and Luke Gillespie for their commitment, since the first year of my Doctoral studies. I extend my gratitude to the Research Director of this project Dr. Ayana Okeeva Smith for her guidance, availability and confidence on the field of musical multiculturalism. To the chair of my doctoral committee and mentor, Maestro Ernesto Bitetti, I can only express gratitude for his guidance throughout my studies, as well as for his generosity and constant support in all areas of my professional career. I also would like to thank the Presser Foundation and Espen Jensen for the Graduate Music Award that funded part of the research related to this document. Lastly, I thank my wife Casey for her partnership and my parents, Celso and Ligia for their belief in education and their constant support, as well as to my sisters Mariana and Leticia. Table of Contents Acknowledgments..........................................................................................................................iii Table of Contents........................................................................................................................... iv Illustrations.................................................................................................................................... v Tables............................................................................................................................................xiii List of Appendices....................................................................................................................... xiv Introduction..................................................................................................................................... 1 Chapter I: Multiculturalism in 20th Century Guitar Music............................................................ 5 Chapter II: Roland Dyens............................................................................................................. 89 Chapter III: The Brazilian Works of Roland Dyens.................................................................... 97 Conclusion...................................................................................................................................166 Appendices...................................................................................................................................168 Bibliography................................................................................................................................226 Illustrations Figures 1.1 Danza Mora by Francisco Tárrega (mm. 6-8)................................................................... 7 1.2 Danza Mora by Francisco Tárrega (mm. 15-20).............................................................. 8 1.3 Nuba, extracted from Zeitschrift fur Musikwissenschaft.................................................. 9 1.4 El Talar by Prudencio Aragón.......................................................................................... 12 1.5 Tango N.2 by Agustin Barrios Mangoré (mm. 1-4).......................................................... 13 1.6 Don Perez Fernando by Agustin Barrios Mangoré (mm. 1-5)......................................... 13 1.7 La Bananita by Agustin Barrios Mangoré (mm.41-45).................................................... 13 1.8 Reference of Saudades do Rio de Janeiro. São Paulo, 12/12/1918.................................. 16 1.9 Tua Imagem by Agustín Barrios Mangoré (mm.1-8)....................................................... 17 2.0 Waltz n.3, Op. 34, n.2 by Frédéric Chopin (mm.1-8)....................................................... 17 2.1 Maxixe.............................................................................................................................. 19 2.2 Maxixe.............................................................................................................................. 19 2.3 Maxixe.............................................................................................................................. 19 2.4 Maxixe as Dengoso by Ernesto Nazareth (mm. 1-4)........................................................ 20 2.5 Tango Brasileiro as Reboliço by Ernesto Nazareth (mm. 1-4)......................................... 20 2.6 Percussive texture in Maxixe by Agustín Barrios Mangoré. (mm. 1-2)........................... 22 2.7 Melodic texture in Maxixe by Agustín Barrios Mangoré (mm.27-28)............................. 22 2.8 Maxixe by Agustín Barrios Mangoré (mm. 1-6)............................................................... 22 2.9 Brejeiro by Ernesto Nazareth (mm. 1-6).......................................................................... 23 3.0 Maxixe by Agustín Barrios Mangoré, melody on bass (mm. 55-60)................................ 24 3.1 Odeon by Ernesto Nazareth, melody on bass (mm. 1-5).................................................. 24 .. 3.2 Interrogando by João Pernambuco (mm. 46-48).............................................................. 28 3.3 Choro da Saudade by Agustín Barrios Mangoré (mm.61-63) ....................................... 28 3.4 Interrogando by João Pernambuco (mm. 2-4).................................................................. 29 3.5 Choro da Saudade by Agustín Barrios Mangoré (mm. 34-36)....................................... 29 3.6 Chôros N.1 by Heitor Villa-Lobs (mm. 43-45)................................................................ 29 3.7 Choro da Saudade by Agustín Barrios Mangoré (mm. 6-8)........................................... 31 3.8 Preludio “Saudade” by Agustín Barrios Mangoré (mm. 42-44).................................... 31 3.9 Gran Jota by Francisco Tárrega, harmonics (mm. 172-177)........................................... 32 4.0 Jota by Agustín Barrios Mangoré, harmonics (mm. 138-143)......................................... 33 4.1 Gran Jota by Francisco Tárrega, ornamentation on first string (mm. 221-224).............. 33 4.2 Jota by Agustín Barrios Mangoré, ornamentation on first string (mm. 118-119)............ 33 4.3 Gran Jota by Francisco Tárrega, glissando on two note chords (mm. 259-260)............. 33 4.4. Jota by Agustín Barrios Mangoré (mm. 93-94)................................................................ 33 4.5 Gran Jota by Francisco Tárrega (mm. 21)....................................................................... 34 4.6 Capricho Español by Agustín Barrios Mangoré (mm. 1-3)............................................. 34 4.7 Polo y Soleá by Juan Parga (mm. 19)............................................................................... 35 4.8 Capricho Español by Agustín Barrios Mangoré (mm. 145)............................................. 35 4.9 Leyenda de Espanã by Agustín Barrios Mangoré (mm.1-4)............................................ 36 5.0 Asturias by Isaac Albéniz (mm.62-68)............................................................................. 36 5.1 Leyenda de Espanã by Agustín Barrios Mangoré (mm.1-4)............................................ 36 5.2 Asturias by Isaac Albéniz (mm.87-92)............................................................................. 36 5.3 Asturias by Isaac Albéniz (mm.1-4)................................................................................. 37 5.4 Leyenda de Espanã by Agustín Barrios Mangoré (mm.89-92)........................................ 39 5.5 Choro Poesia by Juan Ángel Rodríguez Vega (mm.1-16)............................................... 41 5.6 Choro Poesia by Pedro de Alcântara, transcription from 1912 recording (mm.1-16)..... 41 5.7 Habanera/Tango rhythmic pattern.................................................................................... 44 5.8 La soirée dans Grenade by
Load more

Recommended publications
  • It Happened in Montevideo a Look at a Hoard of Rolls from Uruguay
    30 It Happened in Montevideo A look at a hoard of rolls from Uruguay As all collectors know, from time to time something crops up that is quite unexpected and different from anything you’ve seen before. This is certainly the case with a collection of rolls recently imported into the UK from Montevideo in Uruguay, a saga that took a good three years. Earlier articles looking at South America have shown it was a market where pretty well anything was imported, so the majority of rolls are from familiar American, British and German companies. Most are 88-note but with plenty of Artrio-Angelus reproducing rolls, as well as Recordo and QRS Automatic expression rolls – the latter offering more basic expression than reproducing pianos, a type of instrument rarely seen in the UK. The mixture of music, and the condition of the rolls, suggests that the collection is based around the remaining stock from a closed shop. Maybe this was the importer, and piano dealership, Vittone Hnos (Brothers) whose name appears on some box-top labels. So, what was unexpected? It was the final block of rolls made locally in Montevideo. They are on two different labels, the majority on Victor and a few on GH, the initials of their maker, Gioscia Hnos. Autumn 2010 31 Now, anybody with the slightest interest in old records or gramophones will immediately be asking whether this Victor is the famous gramophone maker, or if the name is just a coincidence. The seller actually referred to them as “RCA Victor”, which seemed so far-fetched that it was dismissed (RCA came into the frame very late in the roll-making era).
    [Show full text]
  • A Comparison of the Piano and Guitar Versions of Isaac Albéniz's Spanish Suite Op
    A COMPARISON OF THE PIANO AND GUITAR VERSIONS OF ISAAC ALBÉNIZ'S SPANISH SUITE OP. 47 by YI-YIN CHIEN A LECTURE-DOCUMENT Presented to the School of Music and Dance of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Musical Arts November 2016 2 “A Comparison of the Piano and Guitar Versions of Isaac Albéniz’s Spanish Suite, Op. 47’’ a document prepared by Yi-Yin Chien in partial fulfillment of the requirements for the Doctor of Musical Arts degree in the School of Music and Dance. This document has been approved and accepted by: Jack Boss, Chair of the Examining Committee Date: November 20th, 2016 Committee in Charge: Dr. Jack Boss, Chair Dr. Juan Eduardo Wolf Dr. Dean Kramer Accepted by: Director of Graduate Studies, School of Music and Dance © 2016 Yi-Yin Chien 3 CURRICULUM VITAE NAME OF AUTHOR: Yi-Yin Chien PLACE OF BIRTH: Taiwan DATE OF BIRTH: November 02, 1986 GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon, School of Music and Dance Peabody Institute of the Johns Hopkins University Tainan National University of Arts DEGREES AWARDED: Doctor of Musical Arts, 2016, University of Oregon Master of Music, 2011, Peabody Institute of the Johns Hopkins University Bachelor of Music, 2009, Tainan National University of Arts AREAS OF SPECIAL INTEREST: Piano Pedagogy Music Theory PROFESSIONAL EXPERIENCE: College Piano Teaching, University of Oregon, School of Music and Dance, 09/2014 - 06/2015 Taught piano lessons for music major and non-major college students Graduate Teaching
    [Show full text]
  • Adapting Traditional Kentucky Thumbpicking Repertoire for the Classical Guitar
    University of Kentucky UKnowledge Theses and Dissertations--Music Music 2015 Adapting Traditional Kentucky Thumbpicking Repertoire for the Classical Guitar Andrew Rhinehart University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Rhinehart, Andrew, "Adapting Traditional Kentucky Thumbpicking Repertoire for the Classical Guitar" (2015). Theses and Dissertations--Music. 44. https://uknowledge.uky.edu/music_etds/44 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies.
    [Show full text]
  • Sounding Nostalgia in Post-World War I Paris
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2019 Sounding Nostalgia In Post-World War I Paris Tristan Paré-Morin University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Recommended Citation Paré-Morin, Tristan, "Sounding Nostalgia In Post-World War I Paris" (2019). Publicly Accessible Penn Dissertations. 3399. https://repository.upenn.edu/edissertations/3399 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/3399 For more information, please contact [email protected]. Sounding Nostalgia In Post-World War I Paris Abstract In the years that immediately followed the Armistice of November 11, 1918, Paris was at a turning point in its history: the aftermath of the Great War overlapped with the early stages of what is commonly perceived as a decade of rejuvenation. This transitional period was marked by tension between the preservation (and reconstruction) of a certain prewar heritage and the negation of that heritage through a series of social and cultural innovations. In this dissertation, I examine the intricate role that nostalgia played across various conflicting experiences of sound and music in the cultural institutions and popular media of the city of Paris during that transition to peace, around 1919-1920. I show how artists understood nostalgia as an affective concept and how they employed it as a creative resource that served multiple personal, social, cultural, and national functions. Rather than using the term “nostalgia” as a mere diagnosis of temporal longing, I revert to the capricious definitions of the early twentieth century in order to propose a notion of nostalgia as a set of interconnected forms of longing.
    [Show full text]
  • Heitor Villa-Lobos and the Parisian Art Scene: How to Become a Brazilian Musician*
    1 Mana vol.1 no.se Rio de Janeiro Oct. 2006 Heitor Villa-Lobos and the Parisian art scene: how to become a Brazilian musician* Paulo Renato Guérios Master’s in Social Anthropology at PPGAS/Museu Nacional/UFRJ, currently a doctoral student at the same institution ABSTRACT This article discusses how the flux of cultural productions between centre and periphery works, taking as an example the field of music production in France and Brazil in the 1920s. The life trajectories of Jean Cocteau, French poet and painter, and Heitor Villa-Lobos, a Brazilian composer, are taken as the main reference points for the discussion. The article concludes that social actors from the periphery tend themselves to accept the opinions and judgements of the social actors from the centre, taking for granted their definitions concerning the criteria that validate their productions. Key words: Heitor Villa-Lobos, Brazilian Music, National Culture, Cultural Flows In July 1923, the Brazilian composer Heitor Villa-Lobos arrived in Paris as a complete unknown. Some five years had passed since his first large-scale concert in Brazil; Villa-Lobos journeyed to Europe with the intention of publicizing his musical output. His entry into the Parisian art world took place through the group of Brazilian modernist painters and writers he had encountered in 1922, immediately before the Modern Art Week in São Paulo. Following his arrival, the composer was invited to a lunch in the studio of the painter Tarsila do Amaral where he met up with, among others, the poet Sérgio Milliet, the pianist João de Souza Lima, the writer Oswald de Andrade and, among the Parisians, the poet Blaise Cendrars, the musician Erik Satie and the poet and painter Jean Cocteau.
    [Show full text]
  • Nationalism, Primitivism, & Neoclassicism
    Nationalism, Primitivism, & Neoclassicism" Igor Stravinsky (1882-1971)! Biographical sketch:! §" Born in St. Petersburg, Russia.! §" Studied composition with “Mighty Russian Five” composer Nicolai Rimsky-Korsakov.! §" Emigrated to Switzerland (1910) and France (1920) before settling in the United States during WW II (1939). ! §" Along with Arnold Schönberg, generally considered the most important composer of the first half or the 20th century.! §" Works generally divided into three style periods:! •" “Russian” Period (c.1907-1918), including “primitivist” works! •" Neoclassical Period (c.1922-1952)! •" Serialist Period (c.1952-1971)! §" Died in New York City in 1971.! Pablo Picasso: Portrait of Igor Stravinsky (1920)! Ballets Russes" History:! §" Founded in 1909 by impresario Serge Diaghilev.! §" The original company was active until Diaghilev’s death in 1929.! §" In addition to choreographing works by established composers (Tschaikowsky, Rimsky- Korsakov, Borodin, Schumann), commissioned important new works by Debussy, Satie, Ravel, Prokofiev, Poulenc, and Stravinsky.! §" Stravinsky composed three of his most famous and important works for the Ballets Russes: L’Oiseau de Feu (Firebird, 1910), Petrouchka (1911), and Le Sacre du Printemps (The Rite of Spring, 1913).! §" Flamboyant dancer/choreographer Vaclav Nijinsky was an important collaborator during the early years of the troupe.! ! Serge Diaghilev (1872-1929) ! Ballets Russes" Serge Diaghilev and Igor Stravinsky.! Stravinsky with Vaclav Nijinsky as Petrouchka (Paris, 1911).! Ballets
    [Show full text]
  • GUITARS at AUCTION FEBRUARY 27 Dear Guitar Collector
    GUITARS AT AUCTION FEBRUARY 27 Dear Guitar Collector: On this disc are images of the 284 guitars currently in this Auction plus an GUITARS additional 82 lots of collectible amps, music awards and other related items all being sold on Saturday, February 27. The Auction is being divided into two sessions AT AUCTION FEBRUARY 27 starting at 2pm and 6pm (all East Coast time.) Session I, contains an extraordinary array of fine and exciting instruments starting with Lot 200 on this disc. The majority of lots in this Auction are being sold without minimum reserve. AUCTION Saturday, February 27 The event is being held “live” at New York City’s Bohemian National Hall, a great Session I – 2pm: Commencing with Lot #200 setting at 321 East 73rd Street in Manhattan. For those unable to attend in person, Session II – 6pm: Commencing with Lot #400 the event is being conducted on two “bidding platforms”… liveauctioneers. com and invaluable.com. For those who so wish, telephone bidding can easily PUBLIC PREVIEW February 25 & 26 be arranged by contacting us. All the auction items will be on preview display Noon to 8pm (each day) Thursday and Friday, February 25 and 26, from 12 noon to 8 pm each day. LOCATION Bohemian National Hall 321 East 73rd Street Please note that this disc only contains photographic images of the items along New York, NY with their lot headings. For example, the heading for Lot 422 is 1936 D’Angelico ONLINE BIDDING Liveauctioneers.com Style A. Descriptions, condition reports and estimates do not appear on this disc.
    [Show full text]
  • 1 the Politics of Ghostwriting Lawyers
    1 The Politics of Ghostwriting Lawyers “The lawyers of the United States form a party which is but little feared and scarcely per- ceived, which has no badge peculiar to itself, which adapts itself with great flexibility to the exigencies of the time. it acts upon the country imperceptibly, but it finally fashions it to suit its purposes." – Alexis de Tocqueville, Democracy in America1 If, as James Scott argues, most politics are “like infrared rays," taking place “beyond the visible end of the spectrum" and contradicting or inflecting “what appears in the public transcript," then lawyers are the virtuosos of democratic “infrapolitics."2 For under “the auspices of a disinterested exchange in the service of the law,"3 lawyers can remake social relations, broker fields of knowledge, construct novel polities, and dismantle old ones. Ubiquitous in Western societies, they are embedded in any social movement challenging or consolidating political authority.4 Yet officially they are to remain offstage, neither repre- senting their own interests (but those of their clients) nor providing decisions under law (for that is the judge’s job). Amidst clients ‘lawyering up’ and judges ‘pronouncing the words of the law,’ lawyers make do with the appearance of mere go-betweens. 1Tocqueville, Alexis de. 2003 [1862]. Democracy in America, Vols. I & II. New York, NY: Barnes & Noble Books, at 254-255. 2Scott, James C. 1990. Domination and the Arts of Resistance. New Haven, CT: Yale University Press, at 4-5; 183-184. 3Vauchez, Antoine. 2015. Brokering Europe. New York, NY: Cambridge University Press, at 115. 4Halliday, Terence, and Lucien Karpik.
    [Show full text]
  • CLASSICAL MANDOLIN SOCIETY of AMERICA PRESENTS Dorina Frati, Mandolin and Daniele Roi, Harpsichord Gravenstein Mandolin Ensemble Mazurka Madness
    CLASSICAL MANDOLIN SOCIETY OF AMERICA PRESENTS Dorina Frati, mandolin and Daniele Roi, harpsichord Gravenstein Mandolin Ensemble Mazurka Madness Thursday, November 15, 2018, 7:30 pm Ballroom, Flamingo Resort & Spa, Santa Rosa CA PROGRAM GRAVENSTEIN MANDOLIN ENSEMBLE Gus Garelick, Music Director El Zopilote Mojado Mexican Mariachi tune Tres Piezas Luis Gianneo (1942) Violin solo: Gus Garelick Vidala - Cancion Incaica - Chacarera Cadiz Isaac Albeniz (1886) Klezmer Medley: Grey Eyes/ Bulgar Jalousie (tango) Jacob Gade (1926) Presto! Franz Joseph Haydn (ca.1780) La Partida Trad. Venezuelan waltz Brejeiro (choro) Ernest Nazareth (1893) Flute and pandeira: Sandy Feldhorn MAZURKA MADNESS Bruce Zweig, piano; Julie Smolin, violin; Gus Garelick and Matt Vuksenich, mandolins; David Wise, bouzouki Alma Andaluza Flamenco paso doble (trad) Tra Veglia e Sonno (mazurka) L.Canoro/P.Denza (1913) Medley of Polkas: Nancy’s Polka Italian Trad. Il Pensiero Giovanni Biondi (1902) Las Perlitas Mexican Trad. Mazurka per Caterina Matteo Casserino (1975) Mandolira Andrini Brothers (ca.1950) La Zingana (Hungarian Mazurka) Carl Bohm (1895) Dengoso Ernesto Nazareth (1917) ― INTERMISSION ― DORINA FRATI & DANIELE ROI Dorina Frati, mandolino; Daniele Roi, clavicembalo Divertimento per camera I in A major Giuseppe Gaetano Boni (ca.1650 – 1732) Preludio(largo) - Corrente(allegro) - Sarabanda - Allegro Divertimento per camera IX in D major Giuseppe Gaetano Boni (ca.1650 – 1732) Allegro – Adagio – Allegro Sonata V in e minor Roberto Valentini (1680–1759) Adagio – Allegro- Largo – Allegro - 2 - Program (cont.) Concerto in C major RV 425 Antonio Vivaldi (1678 –1741) Allegro – Largo – Allegro Sonata in d minor K89 Domenico Scarlatti (1685 –1757) Allegro – Grave - Allegro PERFORMERS Now considered one of the greatest contemporary virtuosos of the mandolin, Dorina Frati began studying the instrument at the age of six under the guidance of various mandolin teachers in Brescia.
    [Show full text]
  • Francisco Tárrega (1852 – 1909
    UNIVERSIDADE FEDERAL DO CEARÁ PRÓ-REITORIA DE PESQUISA E PÓS-GRADUAÇÃO FACULDADE DE EDUCAÇÃO PROGRAMA DE PÓS-GRADUAÇÃO CURSO DE DOUTORADO EM EDUCAÇÃO BRASILEIRA MARCO TULIO FERREIRA DA COSTA O VIOLÃO CLUBE DO CEARÁ HABITUS E FORMAÇÃO MUSICAL Fortaleza – CE 2010 MARCO TULIO FERREIRA DA COSTA O VIOLÃO CLUBE DO CEARÁ: HABITUS E FORMAÇÃO MUSICAL Tese de Doutorado submetida a defesa junto à Linha de Pesquisa: Educação, Currículo e Ensino / Eixo Temático Ensino de Música do Programa de Pós-Graduação em Educação Brasileira da Universidade Federal do Ceará - UFC. Orientador: Professor Doutor Luiz Botelho Albuquerque Fortaleza – CE 2010 C874v Costa, Marco Túlio Ferreira da. O Violão Clube do Ceará: habitus e formação musical. / Marco Túlio Ferreira da Costa. – Fortaleza (CE), 2010. 131f. : il.; 31 cm. Tese (Doutorado) – Universidade Federal do Ceará, Faculdade de Educação, Programa de Pós-Graduação em Educação, Fortaleza (CE), 2010. Orientação: Prof. Dr. Luiz Botelho Albuquerque. 1- VIOLÃO - ESTUDO E ENSINO. 2 – VIOLÃO CLUBE DO CEARÁ - HISTÓRIA E CRÍTICA. 3- MÚSICA - ESTUDO E ENSINO – FORTALEZA (CE). 4- EDUCAÇÃO MUSICAL. 5- CULTURA E EDUCAÇÃO. 6 - ARTES - ESTUDO E ENSINO – FORTALEZA (CE). I - Albuquerque, Luiz Botelho (Orient). II - Universidade Federal do Ceará, Faculdade de Educação, Programa de Pós-Graduação em Educação. III – Título. CDD: 787.87 07 MARCO TÚLIO FERREIRA DA COSTA O VIOLÃO CLUBE DO CEARÁ HABITUS E FORMAÇÃO MUSICAL Área de Concentração: Ensino em Música APROVADO EM ____/_____/______ BANCA EXAMINADORA _________________________________________________________ Prof. Dr. Luiz Botelho Albuquerque (UFC) Presidente da Banca _________________________________________________________ Prof. Dr. Carlos Velásquez Rueda Examinador (UNIFOR) _________________________________________________________ Prof. Dr. Elvis de Azevedo Mattos Examinador (UFC) _________________________________________________________ Profa Dra Ana Maria Iório Dias Examinadora (UFC) _________________________________________________________ Prof.
    [Show full text]
  • Peru's Musical Heritage of the Viceroyalty: the Creation of a National Identity
    Western Washington University Western CEDAR WWU Graduate School Collection WWU Graduate and Undergraduate Scholarship Spring 2019 Peru's Musical Heritage of the Viceroyalty: The Creation of a National Identity Fabiola Yupari Western Washington University, [email protected] Follow this and additional works at: https://cedar.wwu.edu/wwuet Part of the Music Commons Recommended Citation Yupari, Fabiola, "Peru's Musical Heritage of the Viceroyalty: The Creation of a National Identity" (2019). WWU Graduate School Collection. 887. https://cedar.wwu.edu/wwuet/887 This Masters Thesis is brought to you for free and open access by the WWU Graduate and Undergraduate Scholarship at Western CEDAR. It has been accepted for inclusion in WWU Graduate School Collection by an authorized administrator of Western CEDAR. For more information, please contact [email protected]. Peru’s Musical Heritage of the Viceroyalty: The Creation of a National Identity By Fabiola Yupari Accepted in Partial Completion of the Requirements for the Degree Master of Music ADVISORY COMMITTEE Chair, Dr. Bertil Van Boer Dr. Ryan Dudenbostel Dr. Patrick Roulet GRADUATE SCHOOL Kathleen L. Kitto, Acting Dean Master’s Thesis In presenting this thesis in partial fulfillment of the requirements for a master’s degree at Western Washington University, I grant to Western Washington University the non-exclusive royalty-free right to archive, reproduce, distribute, and display the thesis in any and all forms, including electronic format, via any digital library mechanisms maintained by WWU. I represent and warrant this is my original work, and does not infringe or violate any rights of others. I warrant that I have obtained written permissions from the owner of any third party copyrighted material included in these files.
    [Show full text]
  • Domination and Resistance in Afro-Brazilian Music
    Domination and Resistance In Afro-Brazilian Music Honors Thesis—2002-2003 Independent Major Oberlin College written by Paul A. Swanson advisor: Dr. Roderic Knight ii Table of Contents Abstract Introduction 1 Chapter 1 – Cultural Collisions Between the Old and New World 9 Mutual Influences 9 Portuguese Independence, Exploration, and Conquest 11 Portuguese in Brazil 16 Enslavement: Amerindians and Africans 20 Chapter 2 – Domination: The Impact of Enslavement 25 Chapter 3 – The ‘Arts of Resistance’ 30 Chapter 4 – Afro-Brazilian Resistance During Slavery 35 The Trickster: Anansi, Exú, malandro, and malandra 37 African and Afro-Brazilian Religion and Resistance 41 Attacks on Candomblé 43 Candomblé as Resistance 45 Afro-Brazilian Musical Spaces: the Batuque 47 Batuque Under Attack 50 Batuque as a Place of Resistance 53 Samba de Roda 55 Congadas: Reimagining Power Structures 56 Chapter 5 – Black and White in Brazil? 62 Carnival 63 Partner-dances 68 Chapter 6 – 1808-1917: Empire, Abolition and Republic 74 1808-1889: Kings in Brazil 74 1889-1917: A New Republic 76 Birth of the Morros 78 Chapter 7 – Samba 80 Oppression and Resistance of the Early Sambistas 85 Chapter 8 – the Appropriation and Nationalization of Samba 89 Where to find this national identity? 91 Circumventing the Censors 95 Contested Terrain 99 Chapter 9 – Appropriation, Authenticity, and Creativity 101 Bossa Nova: A New Sound (1958-1962) 104 Leftist Nationalism: the Oppression of Authenticity (1960-1968) 107 Coup of 1964 110 Protest Songs 112 Tropicália: the Destruction of Authenticity (1964-1968) 115 Chapter 10 – Transitions: the Birth of Black-Consciousness 126 Black Soul 129 Chapter 11 – Back to Bahia: the Rise of the Blocos Afro 132 Conclusions 140 Map 1: early Portugal 144 Map 2: the Portuguese Seaborne Empire 145 iii Map 3: Brazil 146 Map 4: Portuguese colonies in Africa 147 Appendix A: Song texts 148 Bibliography 155 End Notes 161 iv Abstract Domination and resistance form a dialectic relationship that is essential to understanding Afro-Brazilian music.
    [Show full text]