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EDWIN RICARDO PITRE VÁSQUEZ Veredas Sonoras Da Cúmbia

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EDWIN RICARDO PITRE VÁSQUEZ Veredas Sonoras Da Cúmbia EDWIN RICARDO PITRE VÁSQUEZ Veredas Sonoras da Cúmbia Panamenha: Estilos e Mudança de Paradigma Tese apresentada à Escola de Comunicações e Artes da Universidade de São Paulo. Linha de pesquisa: História, Estilo e Recepção. Área de Concentração: Musicologia como exigência parcial para obtenção do título de Doutor, sob a orientação do Prof. Dr. Eduardo Seincman. SÃO PAULO 2008 Livros Grátis http://www.livrosgratis.com.br Milhares de livros grátis para download. AUTORIZO A REPRODUÇÃO E DIVULGAÇÃO TOTAL OU PARCIAL DESTE TRABALHO, POR QUALQUER MEIO CONVENCIONAL OU ELETRÔNICO, PARA FINS DE PESQUISA, DESDE QUE CITADA A FONTE. PITRE VÁSQUEZ, Edwin Ricardo Veredas Sonoras da Cúmbia Panamenha: Estilos e Mudança de Paradigma São Paulo, 2008, 151 folhas. Tese – Universidade de São Paulo – Programa de Pós-Graduação da Escola de Comunicações e Artes. Linha de pesquisa: História, Estilo e Recepção. Área de Concentração: Musicologia. Orientador: Prof. Dr. Eduardo Seincman 1. Música-Panamá 2. Etnomusicologia 3. Música Popular-Cúmbia 4. Música Popular décadas de 1980 – 1990 Panamá 5. Música-Instrumento Musical de Teclado-Acordeão. II EDWIN RICARDO PITRE-VÁSQUEZ Banca Examinadora Veredas Sonoras da Cúmbia Panamenha: Estilos e Mudança de Paradigma Esta tese foi julgada adequada para a obtenção do titulo de Doutor e aprovada pela Banca Examinadora da Escola de Comunicações e Artes, Campus capital, São Paulo - SP. Membros: ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ Prof. Dr. Eduardo Seincman (Orientador) São Paulo, .....de ......................... de 2008. III A Paloma, Lia, e Armida IV V Agradeço aos meus antepassados; Ao Prof. Dr. Eduardo Seincman por acreditar no meu sonho e assim possibilitar que se tornasse realidade; Aos parceiros dessa empreitada Jaime Leyton, Luzia Aparecida Ferreira-Lia, Silvana Karpinscki, Vilma Leyton, pela amizade, inúmeras leituras efetuadas e sugestões oportunas; A Universidade de São Paulo e a Escola de Comunicações e Artes que possibilitaram minha pesquisa; Aos professores e amigos da Universidade Nacional do Panamá; Aos professores Alberto Ikeda e Lisbeth Rebollo Gonçalves, por suas valiosas observações no Exame de Qualificação; À Pró-Reitoria de Pós-Graduação da Universidade de São Paulo pelo apoio na viagem que permitiu a pesquisa de campo; Ao Kreslin Guardia de Icaza pela revisão das partituras; Ao Jorge Peren pelas ilustrações dos mapas; Aos amigos Dario, Regina e Miriam da Escola de Comunicação e Artes pelo estímulo constante; Aos revisores de português Paulo Marquezini e Aracy Sanches Grijota que permitiram o ritmo da maior cúmbia que já compus em minha vida, e a todos (as) que em algum momento me apoiaram e forneceram informações: bibliotecárias, informantes, amigos os quais não nomearei para não correr o risco de esquecer alguém; Aos compositores, artistas, produtores musicais do Brasil e do Panamá meu eterno reconhecimento, pois sem vocês essa tese não existiria! VI EPÍGRAFE Veredas Sonoras da Cúmbia Panamenha: Estilos e Mudança de Paradigma Aqui estás, surgido desde el água país caracol, país musgo verde país de heliotropos sin orilla. Aquí tubo el halcón su sítio el quetzal amarillo su rincón amado. (HERNÁNDEZ, 2004, p.15) VII PITRE-VÁSQUEZ , Edwin Ricardo. “Veredas Sonoras da Cúmbia Panamenha: Estilos e Mudança de Paradigma”. Tese de Doutorado – Escola de Comunicações e Artes da Universidade de São Paulo / ECA-USP, São Paulo, 2008. RESUMO O presente trabalho analisa os elementos identitários do gênero musical cúmbia, na contemporaneidade, particularmente durante as décadas de 1980 e 1990 no Panamá. Busquei contextualizar quais foram as transformações sócio-culturais em que se produziu esta música e comprovar a existência da cúmbia panamenha, através das mutações de estilos e sua mudança de paradigma. Como resultado da pesquisa, proponho um modelo de inventário musical para a cúmbia panamenha. Palavras-chave 1. Música-Panamá 2. Etnomusicologia 3. Música Popular-Cúmbia 4. Música Popular décadas de 1980 – 1990 Panamá 5. Música-Instrumento Musical de Teclado-Acordeão. ABSTRACT This work analyses the identity elements of the musical genre cumbia, in the contemporary period, mainly in the 1980 and 1990 decades, trying to contextualize on which socio- cultural transformations was this music produced, proving the existence of a Panamanian Cumbia, through changes in style and paradigm. As a result I propose a musical inventory model for the Panamanian Cumbia. Key-words 1. Panama-Music 2 Ethnomusicology 3. Cumbia-Popular Music 4. Panama Popular Music decades 1980 – 1990 5. Music- Keyboard lnstrumental Music - Accordion RESUMEN Este trabajo analiza los elementos identitarios del género musical cúmbia, en la contemporaneidad, particularmente durante las décadas de 1980 y 1990 en Panamá. Busque contextualizar cuales fueron las transformaciones socio-culturales en que se produjo esta música y comprobar la existencia de la cúmbia panameña, a través de las mutaciones de estilos y su mudanza de paradigma. Como resultado de la investigación, propongo un modelo de inventario musical para la cúmbia panameña. Palabras clave: 1. Música-Panamá 2. Etnomusicología 3. Música Popular-Cúmbia 4. Música Popular década de 1980 – 1990 Panamá 5. Música-Instrumento Musical de Teclado-Acordión. VIII LISTA DE ILUSTRAÇÕES Ilustração 01 – Mapa do Panamá...........................................................................8 Ilustração 02 – Tambores de cerâmica indígena ..................................................11 Ilustração 03 – Tocador de rabel .........................................................................44 Ilustração 04 – Afinador de acordeão ..................................................................54 Ilustração 05 – Mapa das nascentes e afluentes da cúmbia...................................69 Ilustração 06 – Mapa dos estilos da cúmbia no Panamá.....................................106 IX Veredas Sonoras da Cúmbia Panamenha: Estilos e Mudança de Paradigma INTRODUÇÃO ........................................................................................................1 Capítulo 1 1. VEREDAS DA CÚMBIA NO PANAMÁ .............................................................6 1.1 Mapeamento histórico-geográfico da cúmbia ..................................................6 1.1.1 Fases históricas.....................................................................................10 1.2 Veredas da cúmbia e seus contornos ..............................................................15 1.2.1 Elementos Identitários .........................................................................15 1.2.2 Interculturalidade mediatizada ..............................................................18 1.2.3 Tempo de(a) cúmbia .............................................................................21 1.3 Habitat da cúmbia..........................................................................................25 1.3.1 Processos sócio-culturais .....................................................................25 1.4 Práticas e usos da cúmbia .............................................................................33 1.4.1 O Folclore, como mediador ..................................................................33 1.4.2 Cultura popular, como contextualizadora .............................................38 Capítulo 2 2. ANÁLISE ESTÉTICA E ESTILÍSTICA DO GÊNERO MUSICAL CÚMBIA....41 2.1 Gênero musical na música popular.................................................................42 2.2 Instrumentos .................................................................................................44 2.2.1 Do rabel para o violino, do violino para o acordeão e de volta ao violino...44 2.2.2 Dos tambores à percussão.....................................................................58 2.2.3 Da mejoranera até a guitarra e o baixo ..................................................64 2.3 O paradigma da cúmbia .................................................................................68 2.4 Os padrões da cúmbia....................................................................................75 2.4.1 Rítmicos ...............................................................................................76 2.4.2 Melódicos.............................................................................................77 2.4.3 Harmônicos ..........................................................................................79 2.5 O caso da cúmbia e o rio................................................................................80 Capítulo 3 3. A CÚMBIA PANAMENHA COMO ELEMENTO IDENTITÁRIO ..................103 3.1 Inventário musical da cúmbia ......................................................................103 3.2 Interpretação dos dados obtidos na pesquisa ................................................126 3.3 Eixos paradigmáticos e estruturais da cúmbia panamenha nas décadas de 1980 e 1990.................................................................................................127 CONSIDERAÇÕES FINAIS .................................................................................128 REFERÊNCIAS ...................................................................................................131 ANEXOS...............................................................................................................141 X XI Veredas Sonoras da Cúmbia Panamenha:
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