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Verifying Modeling and Audiovisual Stimuli As Strategies for Mastering Guedes Peixoto's Maracatú

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Verifying Modeling and Audiovisual Stimuli As Strategies for Mastering Guedes Peixoto's Maracatú Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School July 2019 Verifying Modeling and Audiovisual Stimuli as Strategies for Mastering Guedes Peixoto's Maracatú Rodrigo Clementino Diniz Louisiana State University and Agricultural and Mechanical College, dinizart@hotmail.com Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Ethnomusicology Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Clementino Diniz, Rodrigo, "Verifying Modeling and Audiovisual Stimuli as Strategies for Mastering Guedes Peixoto's Maracatú" (2019). LSU Master's Theses. 4977. https://digitalcommons.lsu.edu/gradschool_theses/4977 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact gradetd@lsu.edu. VERIFYING MODELING AND AUDIOVISUAL STIMULI AS STRATEGIES FOR MASTERING GUEDES PEIXOTO´S MARACATÚ A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Music in The School of Music by Rodrigo Clementino Diniz B.M., Universidade Federal de Pernambuco, 2003 August 2019 ACKNOWLEDGMENTS First, my gratitude to Olorum and Orunmila, who endowed me with intelligence, health, tenacity and musical talent, characteristics without which I possibly would not have been able to launch myself on this incredible journey. To my guardian angel, Oyá, who vibrates magnetically in me, for always being by my side, guarding me. Endless thanks to my beloved mother, Francisca Clementino, a warrior woman who gave up so much of her life to raise me by herself. She showed me by example in life that we must have morals and integrity in our actions, teaching me, from a very young age, that education is the most precious good that someone can possess, while making every effort to offer me the best that she could provide. Mom, I love you...! Thanks to my friends and great pianists Elyanna Caldas and Dolores Portella Maciel (In Memoriam) who, after hearing me on the piano, became two of my greatest supporters, pushing me to resume my piano practice, and encouraging me to seek the opportunity for development in the United States. To fellow pianists Manoel Theophilo, who mentioned Professor Gurt for the first time, and to Karina Praxedes, Thaissa Santiago, Vitor Nigri and Gabriel Fernandes, for sharing their experiences in the United States. To Dr. Joao Paulo Casarotti, founder and artistic director of the Piracicaba International Pianist Meeting, in Brazil, a wonderful event that annually brings together an excellent team of piano teachers, where I had the opportunity to play for the person, Professor Gurt, who would become, two years later, my teacher and advisor. Thanks, Joao, for making Eipianopira possible, for continuously praising my piano phrasing and sonority, and for encouraging me to come to study in the US. ii To my dear piano teacher and advisor, Michael Gurt, for making possible this invaluable opportunity by securing me a scholarship. Thank you for all your patience and generosity in sharing your enormous knowledge about the piano and, above all, for believing in my talent, not doubting at any time that I would be able to make it through, and for showing me the reasons why I should believe more in myself. I believe in guardian angels and I think that, in life, we have not only the spiritual but also physical angels, people who are always ready to reach out to us in the most difficult times. In this category, my special and infinite thanks to my friend, the composer and pianist Syrlane Helen, who was always willing to help me with her vast Musical Theory knowledge, giving me free online lessons every time I needed it; to the violist Natasha Sieczkowska, my colleague in the musical theory classes at LSU, with her almost daily help in the difficult process of adaptation to the American academic system, and to my beloved friend and excellent pianist Maira Braga Cabral, who, even when we were not so close to each other, helped me with the whole application process, welcoming me with opened arms when I arrived in Baton Rouge, and was always by my side during these two years. More specifically regarding this research project, I must thank four other guardian angels that God put in my way, without which, I believe, I would not have gotten to complete this work, or even started it. They are: my dear friend and excellent pianist Henrique Borges, who literally saved my research project when everything seemed lost, and also gave me support during the writing of this paper; to the cellist, composer, and dear friend Luciano Correa, who gave me technical support for the recording and masterization of Guedes Peixoto's Maracatú by Henrique Borges, and, later, in the use of the Disklavier for the data collection; to my dear friend and choir director Neviton Barros, who lent me his excellent computer to work on this thesis when no iii other machine seemed to be able to manipulate the file; to the engineer Felipe Simoes, my roommate, who helped me several times to surface the various technical issues I had when writing this paper, with his knowledge in computing and formatting. Without you, for sure, I would not have made it. Thank you very much, guys! Special thanks to my research subjects, Clara Schumann, Eusebius and Beethoven, fellow pianists in the Graduate School who, even in the face of all their academic activities, accepted and persevered during the application of this experiment. I could not fail to thank also the members of my committee, Professor Gregory Sioles and Professor Willis Delony, as well as Dr. Joseph Skillen and Paloma Ruiz for all the compassioned and caring provided. Taking a study abroad experience is always a challenge, especially when it comes to cultural adaptation, which can have a direct impact on your academic output. In this sense, God put two wonderful people in my path, who were willing to help me in the process of adaptation and involvement with the local culture, showing me the American off campus daily life. They are Gary Pate, who took me to meet the choir of the St. Joseph Monastery in Saint Benedict during Easter, and later lodged me in his new residence in Chicago, giving me the opportunity to know that incredible city, full of Art everywhere; and David Falcon, who I met by a twist of fate, less than a year ago and, since then, became my main guardian angel, having almost literally adopting me as his younger brother, helping me in a variety of ways, from everyday things such as riding me to the grocery store, bringing me traditional home-cooked Cajun foods, distracting me a little from the frantic academic life, taking me with him on short trips to New Orleans or Biloxi or to watch the LSU football team (Geaux Tigers!), inviting me to the Christmas dinner with his sons and relatives to helping me with my musical endeavors, having arranged my first piano recital in the USA, in the beautiful church of his hometown Donaldsonville, and helping iv me reviewing this paper. I feel that if nothing had been worthwhile coming to the United States to pursue my Master`s degree, having added this incredible human being in my life would have been enough. David, I will never be able to completely thank you for all the things you have done for me… Finally, I would like to reiterate my thanks to Tiago Lima from Lima & Falcao Associates and Geraldo Frazao for their initial help in the beginning of this journey, to my colleague Rosenberg Frazao, who acted as my substitute in my absence from the Federal Institute of Sertao Pernambucano so that I could be out attending the Master's program, and to the Institute's staff who made it possible for me to pursue this endeavor. v TABLE OF CONTENTS CHAPTER 1. INTRODUCTION ................................................................................................... 1 CHAPTER 2. REVIEW OF RELATED LITERATURE ............................................................... 8 2.1. Brief Musical Performance Research Timeline ................................................................... 8 2.2. Audiovisual Stimuli and Emotional Communication in Musical Performance ................. 11 2.3. Short Literature Review on Modeling in Music ................................................................ 19 CHAPTER 3. RESEARCH QUESTIONS AND PURPOSE OF THE STUDY .......................... 23 CHAPTER 4. MARACATÚ: BACKGROUND INFORMATION, ORIGIN, MUSICAL FEATURES, AND GUEDES PEIXOTO´S MARACATÚ ........................................................... 26 4.1. Brazilian Historical Background........................................................................................ 26 4.2. Black Religious Sodalities in Colonial Brazil and the Kings of Congo Crowning Ceremonies ............................................................................................................................... 30 4.3. What does Maracatú Stand For? ....................................................................................... 37 4.4. Maracatú Musical Features ............................................................................................... 42 4.5. Guedes Peixoto´s Maracatú ............................................................................................... 47 CHAPTER 5. METHODOLOGY
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