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CRAVO CABOCLO Uma Reflexão Sobre O Cravo E Sua Abordagem Na Música Brasileira Popular – Dois Estudos De Caso

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CRAVO CABOCLO Uma Reflexão Sobre O Cravo E Sua Abordagem Na Música Brasileira Popular – Dois Estudos De Caso PATRÍCIA GATTI CRAVO CABOCLO Uma reflexão sobre o cravo e sua abordagem na música brasileira popular – dois estudos de caso CAMPINAS 2014 i ii UNIVERSIDADE ESTADUAL DE CAMPINAS INSTITUTO DE ARTES PATRÍCIA GATTI CRAVO CABOCLO Uma reflexão sobre o cravo e sua abordagem na música brasileira popular – dois estudos de caso Tese de Doutorado apresentada ao Instituto de Artes - Unicamp, como requisito parcial para obtenção do título de Doutora em Música - Área de concentração: Práticas Interpretativas. Orientador: Prof. Dr. Edmundo Pacheco Hora Este exemplar corresponde à versão final de Tese defendida pela aluna Patrícia Gatti, e orientada pelo Prof. Dr. Edmundo Pacheco Hora. ___________________________________________ CAMPINAS 2014 iii iv v vi RESUMO O presente estudo propõe um olhar diferenciado sobre o cravo que busca ir além de sua identificação, do ponto de vista organológico e de repertório, exclusivamente com um projeto da música erudita europeia. A partir de uma reconstrução do percurso histórico do instrumento – no que diz respeito aos seus aspectos construtivos, repertório ou na prática interpretativa – traçam-se considerações sobre os vários debates estéticos acerca da sua adoção, a questão da autenticidade, que remete a critérios de fidelidade e legitimidade do instrumento e da sua flexibilização. Numa segunda linha de abordagem histórica do percurso do instrumento, busca-se refazer a trajetória da inserção do cravo no Brasil, com destaque em São Paulo e Campinas, a partir das referências do período colonial, das décadas de 1950 a 1970, até a formação do primeiro curso superior de cravo na Universidade Estadual de Campinas. Nesse trajeto desenhado interviram diversidade de concepções relacionadas a hábitos culturais e exigências de gostos musicais, conduzindo-se uma leitura menos restritiva dos usos do cravo ou “cravos”. Dialogando com o panorama de diversidade de práticas musicais, evidencia-se a presença sutil, mas significativa do cravo em manifestações musicais modernas da cultura pop, tais como Rock, Jovem Guarda e Tropicalismo, entre outras. O estudo também aborda repertórios da atualidade, escrito para o cravo em linguagem da música brasileira de fonte popular. Por meio de dois estudos de caso, apresenta leitura analítica de peças escritas para dueto instrumental com cravo dos compositores: José Eduardo Gramani (1944-1998), que escreveu quarenta e sete peças para “cravo e rabeca”, e Ricardo Matsuda (n. 1965), que compôs doze peças para “cravo e viola caipira”. Buscou-se o referencial da “teoria das tópicas”, como ferramenta analítica proposta a partir do material musical usado, obtendo-se a caracterização do discurso musical para compreensão da musicalidade brasileira. O enfoque analítico orienta não só os leitores a compreenderem os mecanismos estruturais e traços significativos de peças selecionadas, mas também promovem uma possível escuta informada e um diálogo com dois autores que deixam registros musicais criativos e expressivos para o cravo, em sons com tempero e atmosfera de brasilidade. Palavras-chave: Cravo; Musicologia histórica; Música brasileira popular. vii viii ABSTRACT The present study proposes a differentiated look at the harpsichord which seeks beyond its identification, from the organological and repertoire’s viewpoint, solely with a European “soft music” project. From a reconstruction of the instrument’s historical course – regarding its constructive, repertoire and practice aspects – considerations are traced about the many aesthetical debates over its adoption and authenticity, referring to accuracy and legitimacy criteria of the harpsichord and its pliancy. In a second historical approach to the instrument’s course, the study aims to reconstruct the trajectory of its Brazilian insertion highlighting São Paulo and Campinas, from references from the Colonial period, of the 1950’s to 70’s, until the formation of the first higher education course in harpsichord at the Universidade Estadual de Campinas (State University of Campinas). Over that course of events, intervened a variety of conceptions related to cultural manners and demands of musical tastes, with a much less restrictive reading of the uses of harpsichord, or “harpsichords”, being conducted. Dialoguing with the diverse panorama of musical practices, the study evidences the subtle, but significant presence of the harpsichord in modern pop culture music manifestations, such as Rock, Jovem Guarda, Tropicalismo, among others. It also approaches current repertoire written for harpsichord in the language of Brazilian popular-sourced music. Through two instance studies, it presents analytical readings of compositions for instrumental duets with harpsichord from composers José Eduardo Gramani (1944-1998), who wrote forty seven works for harpsichord and Brazilian fiddle, and Ricardo Matsuda (b. 1965), who composed twelve works for harpsichord and Brazilian ten-stringed guitar. The Topic Theory’s referential was sought as the proposed analytical tool for the musical material utilized, obtaining the characterization of the musical speech as to comprehend Brazilian musicality. Such foci of analysis guide not only the readers as to comprehend the structural mechanisms and significant features of selected works, but also does promote an informed listening and a dialogue with the two authors, which leave creative and expressive musical records for the harpsichord, in sounds with particular Brazilian temper and atmosphere. Keywords: Harpsichord; Historical musicology, Popular Brazilian Music. ix x Sumário Prólogo ........................................................................................................................ 1 Introdução ................................................................................................................... 7 Capítulo 1 - Um olhar sobre o cravo: características e circunstâncias ..................... 13 1.1 - Cravo – seu mecanismo, terminologia e funcionamento ............................... 14 1.2 - Aspectos da Acústica ..................................................................................... 25 1.3 - Narrativas do declínio .................................................................................... 31 1.4 - O reavivamento .............................................................................................. 35 1.5 - Artefato moderno x Autêntico ....................................................................... 46 1.6 – Cravo em kit e a produção de massa ............................................................. 54 1.7 - Construção de instrumentos: versões brasileiras ........................................... 58 1.8 - A Cena do Cravo “psicodélico” ..................................................................... 67 1.9 - O futuro do pretérito ou notas históricas sobre uma idealização ................... 74 Capítulo 2 – Trajetos do cravo no Brasil pela conexão em São Paulo e Campinas . 85 2.1 - Tempos da colônia: notícias do cravo em São Paulo e Campinas ................. 86 2.1.1 Nota sobre Campinas ......................................................................................... 93 2.2 - Notas do declínio ........................................................................................... 94 2.3 - O reavivamento em São Paulo ....................................................................... 96 2.4 - A rádio-difusão: Viva Landowska! ............................................................... 97 2.5 - Primórdios do ensino e difusão do cravo - os anos 1950 a 1960 em São Paulo ........................................................................................................... 101 2.6 - A década de 1960 - movimento Música Antiga .......................................... 109 2.7 - O Cravo “Rebelde” ...................................................................................... 112 2.8 - Cravistas e novos paradigmas de formação ................................................. 115 2.8.1 - Formação do Instituto de Artes da Unicamp ................................................. 117 2.8.2 - “Curso Festival de Cravo”, em SP: novas ideias, antigos preceitos ............. 123 2.8.3 - O primeiro curso superior de cravo do Brasil ................................................ 127 2.9 Cravo em novos diálogos ............................................................................... 131 xi Capítulo 3 – O cravo em manifestações musicais no Brasil ................................... 137 3.1 - Música Brasileira Popular: desafios e limites conceituais ........................... 139 3.2 - Considerações sobre os gêneros musicais brasileiros ................................. 143 3.3 - O cravo no campo dos gêneros musicais brasileiros ................................... 149 3.4 - O Cravo “Rebelde” e suas influências ......................................................... 154 3.5 - A Tropicália, a Bossa, o Samba e outros sons ............................................. 160 3.6 - Perspectivas atuais de composição para cravo ............................................ 169 3.7 - Notas sobre os compositores e obras ........................................................... 173 3.7.1 - José Eduardo Ciocchi Gramani (1944-1998) ................................................ 173 3.7.2 - Ricardo Saburo Matsuda (n. 1965) ................................................................ 180 Capitulo 4 – Dois estudos de caso: leitura analítica ............................................... 183 4.1 Estudo de caso 1: Duetos para
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