DOCSLIB.ORG

Cavaquinho Português Em Performance Solo Rodrigues Bastos

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Cavaquinho Português Em Performance Solo Rodrigues Bastos Universidade de Aveiro Departamento de Comunicação e Arte 2018 Paulo Jorge Cavaquinho Português em Performance Solo Rodrigues Bastos Universidade de Aveiro Departamento de Comunicação e Arte 2018 Paulo Jorge Cavaquinho Português em Performance Solo Rodrigues Bastos Dissertação apresentada à Universidade de Aveiro para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Música, realizada sob a orientação científica do Doutor Paulo Maria Ferreira Rodrigues da Silva, Professor Auxiliar do Departamento de Comunicação e Arte da Universidade de Aveiro Dedico este trabalho a todas as pessoas sonhadoras que lutam por concretizar os seus mais arrojados sonhos, a todos os que acreditam no impossível e na “magia”, a todos o que apreciam e se fascinam pelas possibilidades infinitas da criação artística o júri presidente Prof. Doutor Jorge Castro Ribeiro Professor auxiliar da Universidade de Aveiro Prof. Doutor Paulo Maria Ferreira Rodrigues da Silva Professor auxiliar da Universidade de Aveiro (Orientador) Prof. Doutor Filipe Lopes Professor adjunto do Instituto Politécnico do Porto agradecimentos Agradeço à Ludmila Queirós, Bernardo e Duarte Bastos pela honra que é partilhar a vida com eles, pela alegria, inspiração constante ao longo da vida, incondicional e incansável apoio, que assim, me inspiraram e possibilitaram que este mestrado acontecesse. Agradeço ainda e particularmente à Ludmila Queirós pela ajuda em trabalhos diversos de imagem, para este projeto, por ser uma das artistas que mais admiro e que mais me inspira e abre horizontes. Aos meus pais António e Dulce Bastos por todo o apoio incondicional e dedicação das suas vidas a mim, e por me terem facultando uma educação artística. Ao meu irmão António Bastos, por ser sempre uma inspiração musical e performativa para mim ao longo de toda a minha vida. Ao meu orientador Doutor Paulo Rodriguês pelo seu nível de exigência, pelas ideias, sugestões, ajuda, paciência e compreensão no decorrer deste projeto, e por ter sido uma das maiores inspirações artísticas da minha vida, no projeto Bach2Cage que transformou a minha visão da música, da arte e da performance transdisciplinar. Ao meu professor de cavaquinho Pedro Caldeira Cabral, por me mostrar todo um mundo novo na música em geral e no cavaquinho português em particular, em termos técnicos, musicais, de contexto histórico, construção de instrumentos, de requinte e bom gosto musical. À Universidade de Aveiro por ter aceite o meu desafio de candidatura ao mestrado em Música performance para o instrumento cavaquinho português, neste capítulo um agradecimento muito especial à Doutora Rosário Pestana por todo um trabalho e empenho muito pessoal, para tornar este mestrado em performance neste instrumento tradicional português viável na prática. Ao projeto 23 Milhas, por todo o apoio e condições técnicas, que me proporcionou para poder desenvolver este projeto, desde as sessões privadas com meu orientador aos ensaios abertos ao público e performance/concerto final. À Renata Silva pela ajuda nas interações da performance através das danças e a toda a comunidade das danças tradicionais do mundo, pelo apoio e presença contínua no desenrolar deste projeto. Ao Professor Manuel Morais pela entrevista concedida e a todos os tocadores que participaram nos inquéritos apresentados neste documento, a todos agradeço a generosidade, prontidão, empenho e tempo dedicado nas respostas. À “Right IT Services” pela compreensão e flexibilidade horária que me proporcionou, de forma a eu poder frequentar este mestrado. A todos os professores e músicos com quem toquei e que se cruzaram no meu caminho, pois de alguma forma me ensinaram e inspiraram. Finalmente a todos os criadores e artístias que me abriram horizontes palavras-chave cavaquinho português, “performance” artística transdisciplinar, interação com audiência, aplicação para telémovel. resumo Este documento apresenta a contexttualização da “performance” artística Raízes no Ar. Partindo da ideia de que a música está inscrita no mais fundo do comportamento humano e permite a comunicação entre as pessoas, esta “performance” revisita um instrumento profundamente enraizado na tradição portuguesa, o cavaquinho, e coloca-o-o no centro dum processo de ligação entre a música e a dança, mas sobretudo entre um músico e um público que participa de forma activa no desenrolar dos acontecimentos. Tendo como ponto de partida o cavaquinho português, e colocando-o inquestionavelmente no centro do discurso musical, o espectáculo recorre a várias tecnologias para promover uma participação activa do público e propor uma viagem musical que leva a territórios diversos e originais. O público é solicitado a interagir, devendo para isso levar um telemóvel carregado com ligação a dados móveis. Raízes no Ar é uma performance artística criada no âmbito do Mestrado em Música (Performance) da Universidade de Aveiro que procura trazer para a contemporaneidade um instrumento tradicional, o cavaquinho português, as suas diversas nuances organológicas e expressivas, o seu legado musical e social, num exercício de reinvenção do discurso musical a partir duma relação com a tecnologia. keywords portuguese cavaquinho, transdisciplinary artistic performance, intearction with audience, smartphone application. abstract This document presents the context for the artistic performance Raízes no Ar. Based on the idea that music is inscribed in the deepest of human behavior and allows communication between people, this "performance" revisits an instrument deeply rooted in the Portuguese tradition, the cavaquinho, and places it at the center of a process of connection between music and dance, but above all between a musician and an audience that participates actively in the unfolding of events. Taking the Portuguese cavaquinho as its starting point and placing it unquestionably at the center of the musical discourse, the show uses various technologies to promote an active participation of the public and propose a musical journey that leads to diverse and original territories. The public is asked to interact, and for this they must carry a mobile phone that is loaded with mobile data connection. Raízes na Ar is an artistic performance created in the ambit of the Masters in Music (Performance) of the University of Aveiro, which seeks to bring to the contemporary a traditional instrument, the Portuguese cavaquinho, its various organological and expressive nuances, its musical and social legacy, in an exercise of reinvention of the musical discourse from a relation with the technology. ÍNDICE ÍNDICE ................................................................................................................................................ 1 ÍNDICE DE FIGURAS ......................................................................................................................... 2 ÍNDICE DE EXEMPLOS ..................................................................................................................... 2 1 INTRODUÇÃO ............................................................................................................................. 3 1.1 Enquadramento .................................................................................................................... 3 1.2 Justificação e atualidade da temática ................................................................................... 4 1.3 Problemática ......................................................................................................................... 7 1.4 Objetivos deste trabalho ....................................................................................................... 8 1.5 Metodologias e técnicas ....................................................................................................... 9 2 O CAVAQUINHO PORTUGUÊS ...............................................................................................11 2.1 Fontes principais deste estudo ...........................................................................................11 2.2 Tipologia organológica ........................................................................................................12 2.3 Funcionamento mecânico e vibro-acústico ........................................................................13 2.4 O termo “cavaquinho português” ........................................................................................13 2.5 Contexto histórico / cronograma .........................................................................................16 2.6 Modelos regionais: nomenclaturas e caracterização .........................................................21 2.7 Solistas................................................................................................................................36 2.8 Inventário / levantamento de repertório ..............................................................................39 3 CONTRIBUTOS PARA A DIVULGAÇÃO DO CAVAQUINHO PORTUGUÊS ..........................41 3.1 Criação de portal web: “Cavaquinho Performance” ...........................................................41 3.2 Criação de blog na internet - diário do projeto “Raízes no Ar” ...........................................41 3.3 Criação e participação em eventos publicitados ................................................................42 3.4 Performance final do projeto artístico de mestrado ............................................................45 3.5 Possíveis projetos futuros de divulgação do instrumento
Load more

Recommended publications
  • Brazilian Choro
    The Brazilian by Tadeu Coelho and Julie Koidin Choro: Historical Perspectives and Performance Practices alanço is to choro as swing is to jazz—in both, mandatory elements to proper performance Band enjoyment of the music. Immersion in the sound of choro is imperative to playing it well. Knowledge of its origins and history is also helpful. Introduction the melody through spirited improvisations, sometimes David Willoughby, editor of the College Music Society quoting other melodies, from popular to classical styles. Newsletter, posed these questions: Should it not be a con- Although easier to decipher these performance intricacies stantly sought after goal for musicians trained in narrow via recordings, it still remains difficult—although not specialties to work together towards broader musical impossible—to catch the “twinkle” in the performer’s eye. understandings and towards the creation of a more Choro’s limited dissemination is furthered by its lack of vibrant musical culture? Should such a culture comprise accurate printed music. The vast majority of sheet music only materials imported from Western Europe? Should it publications have accompaniment that is written in a lead not synthesize musical repertories, of various kinds, from sheet format, i.e. chord symbols over melody. Without a all over the world?1 recording, it would be impossible to decipher the rhythms Throughout the world, the tradition of a country studying used in the accompaniment. The numerous errors found in its own cultural practices is not inceptive with its art. Such is the majority of publications, both in the melodic lines and the case of the choro, an indigenous music of Brazil, mostly chord symbols, further infringe on the probability of the instrumental, but at times with lyrics.
    [Show full text]
  • Aula De Cavaquinho
    A sua afinação varia de acordo com a região do mundo onde ele se encontra e o gênero musical a ser executado. No Brasil usamos a mesma afinação que algumas regiões de Portugal e da ilha da Madeira. Aqui como lá o cavaquinho está extremamente ligado a manifestações populares e festas. É um instrumento musical essencial à nossa cultura popular. Aula de Cavaquinho O cavaquinho é um instrumento musical originário de Braga, na região do Minho, no norte de Portugal. Contudo, talvez um instrumento parecido, que lhe deu origem, tenha sido levado até lá por imigrantes do País Basco, na Espanha. Alguns musicólogos supõem que sua origem remota é a Grécia antiga. Trata-se de um instrumento de quatro cordas, no formato de um violão, mas menor, e de som mais agudo que o dele. É tocado de forma “rasgada”, na qual o músico apenas acompanha a melodia, “rasgando” as cordas com o polegar e o indicador da mão direita em posição rígida, ou de forma “ponteada”, em que o músico sola a melodia. Desde o século XVIII o cavaquinho é um instrumento popular em Portugal, onde tem vários apelidos (entre os quais braguinha, braga, machete, machetinho ou ainda cavaco) e é usado em festas e comemorações. Chegando a Lisboa, capital portuguesa, ficou mais sofisticado e começou a acompanhar outros instrumentos, como o bandolim ou a viola, em pequenos conjuntos instrumentais chamados tunas. Na mesma época, por ser prático de transportar devido ao tamanho, o cavaquinho começou a ser divulgado nas ilhas dos Açores e da Madeira e onde Portugal teve colônias, como Cabo Verde, Angola e Moçambique.
    [Show full text]
  • Brazilian/American Trio São Paulo Underground Expands Psycho-Tropicalia Into New Dimensions on Cantos Invisíveis, a Global Tapestry That Transcends Place & Time
    Bio information: SÃO PAULO UNDERGROUND Title: CANTOS INVISÍVEIS (Cuneiform Rune 423) Format: CD / DIGITAL Cuneiform Promotion Dept: (301) 589-8894 / Fax (301) 589-1819 Press and world radio: [email protected] | North American and world radio: [email protected] www.cuneiformrecords.com FILE UNDER: JAZZ / TROPICALIA / ELECTRONIC / WORLD / PSYCHEDELIC / POST-JAZZ RELEASE DATE: OCTOBER 14, 2016 Brazilian/American Trio São Paulo Underground Expands Psycho-Tropicalia into New Dimensions on Cantos Invisíveis, a Global Tapestry that Transcends Place & Time Cantos Invisíveis is a wondrous album, a startling slab of 21st century trans-global music that mesmerizes, exhilarates and transports the listener to surreal dreamlands astride the equator. Never before has the fearless post-jazz, trans-continental trio São Paulo Underground sounded more confident than here on their fifth album and third release for Cuneiform. Weaving together a borderless electro-acoustic tapestry of North and South American, African and Asian, traditional folk and modern jazz, rock and electronica, the trio create music at once intimate and universal. On Cantos Invisíveis, nine tracks celebrate humanity by evoking lost haunts, enduring love, and the sheer delirious joy of making music together. São Paulo Underground fully manifests its expansive vision of a universal global music, one that blurs edges, transcends genres, defies national and temporal borders, and embraces humankind in its myriad physical and spiritual dimensions. Featuring three multi-instrumentalists, São Paulo Underground is the creation of Chicago-reared polymath Rob Mazurek (cornet, Mellotron, modular synthesizer, Moog Paraphonic, OP-1, percussion and voice) and two Brazilian masters of modern psycho- Tropicalia -- Mauricio Takara (drums, cavaquinho, electronics, Moog Werkstatt, percussion and voice) and Guilherme Granado (keyboards, synthesizers, sampler, percussion and voice).
    [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]
  • 1 1 De Mulheres E Malandros: O Samba De Geraldo Pereira
    Anais do SILEL. Volume 3, Número 1. Uberlândia: EDUFU, 2013. 1 DE MULHERES E MALANDROS: O SAMBA DE GERALDO PEREIRA1 Cilene Margarete PEREIRA Universidade Vale do Rio Verde [email protected] Resumo: Geraldo Pereira nasceu em Juiz de Fora em 1918. Em 1930, o malandro mineiro chegou ao Rio de Janeiro, período de efervescência do samba e década que consagraria Noel Rosa. Dono de uma batida diferente – de um “samba sincopado” –, Geraldo excursionou pelo Morro da Mangueira, convivendo com Carlos Cachaça, Nelson Cavaquinho e Cartola, seu professor de violão, ao lado de Aluísio Dias. Apesar de compor desde 1938, seu primeiro sucesso é o samba de breque “Acertei no milhar” (1940), parceria duvidosa com Wilson Batista. Durante os dezessete anos de carreira – o sambista morreu aos 37 anos –, Geraldo compôs inúmeros sucessos que exploravam temas comuns ao universo do samba. Em sua obra destaca-se, no entanto, a construção de personagens femininas ambíguas, retratadas ora como pérfida, ora como “companheira” fiel, e de malandros, em oposição nítida à vida cordata e opressora do trabalhador humilde. Mas o malandro de Geraldo Pereira pode também se regenerar, inserindo-se no mundo burocratizado do trabalho, a partir do amor feminino. É objetivo deste texto analisar as personagens femininas e os malandros de alguns dos sambas deste mineiro que faz parte da história da música popular brasileira. Palavras-chave: samba; Geraldo Pereira; personagem feminina; malandro. No ano seguinte à ontológica gravação do samba “Pelo telefone”; em 1918, nascia, em Juiz de Fora, Geraldo Theodoro Pereira. O moço de família humilde chegaria ao Rio de Janeiro aos dezoito anos, em 1930, época de consolidação do samba como produto cultural2 e década de consagração de Noel Rosa.3 No Rio, Geraldo foi trabalhar com o irmão mais velho, Manoel Araújo, morador do Santo Antônio, Morro da Mangueira.
    [Show full text]
  • The Cavaquinho TIMES and WAYS FASHIONS and PLACES
    AC MUSEU CAVAQUINHO João Luís Oliva 2014 The cavaquinho TIMES AND WAYS FASHIONS AND PLACES Why should an old, small and simple – almost rudimentary – four-stringed instrument play nowadays a relevant role in contemporary artistic expression on a global level? In fact, in a world of music and of music of the world, the strength held by Brazil or the Cape Verde of the Atlantic are inseparable from the acoustic presence of the Brazilian or Cape Verdean cavaquinho; and the American ukulele from Hawaii, a migrant grandchild of the Portuguese instrument – we will later see why ‘grandchild’ rather than ‘child’ - is the present leading character of a powerful World music movement despite its aged and ever-melodious grandfather, the cavaquinho from Minho, still being played in the Portuguese northwest in a unique and unrepeatable way from any other string instrument. It should be noted – only as an example but without ignoring in the 21st century the strength of electronic communication – that looking up in the world’s most used search engine in the web, at the time when this piece was being revised, in March 2013, it registered 3 million videos and 4 million references to the word «cavaquinho». And the research on the «ukulele» registered the immense number of 86 million videos in almost 40 million results with a daily increase of hundreds of registers. What is aimed at here, through a collection of notes and references, is to examine this singularity by going over and commenting the historic, geographic, social and aesthetic turns of the cavaquinho. Far from being an original investigation – others, duly mentioned, have done it – and also not being a scholarly study, it does not mean to be a list of quotes, or an organised register of common knowledge either.
    [Show full text]
  • Brazillian Voices
    FROM BRAZIL TO THE WORLD Who are the Brazilian Voices Brazilian Voices is a female vocal ensemble engaged in musical performances as an instrument for the advancement of intercultural, educational, philanthropic and entertainment activities, with the purpose of creating a peaceful artistic movement with social responsibility to the local and global community. Five times award winner of the International Brazilian Press Awards, Brazilian Voices is composed of about fifty females who have been expanding Brazilian music in the United States, Brazil, Italy and Spain singing famous composers of Brazilian music. Brazilian Voices will immerse you in the beauty of the Brazilian culture with the educational program “From Brazil to the World”. Through a combination of informative presentations and live performances, the participants will learn in an interactive and interesting way about Brazilian rhythms and culture. Music allows all of us to develop a greater capacity for concentration, creative group work, and imagination, while fostering a greater sense of responsibility as well as more adaptive interpersonal involvement. Music also offers unique communication as it provides individuals with an alternative channel of interaction and participation with a wide range of abilities, from listening and active contribution to adept performance. With these objectives in mind, Brazilian Voices has developed this educational program that offers a broader understanding and greater appreciation of musical and cultural diversity. FROM BRAZIL TO THE WORLD What to Know About Brazil Discovered in 1500, Brazil was colonized by the Portuguese, but its population is very diverse, with many races and ethnic groups. Brazil declared its independence in 1822, now being a Federal Republic with a multi-party political system, holding democratic elections.
    [Show full text]
  • Brazilian Piano Through the Ages
    James Madison University JMU Scholarly Commons Senior Honors Projects, 2010-current Honors College Spring 2012 Brazilian piano through the ages: A look at the development in style through the context of social issues and historical influences Rebecca Lin Chen James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/honors201019 Recommended Citation Chen, Rebecca Lin, "Brazilian piano through the ages: A look at the development in style through the context of social issues and historical influences" (2012). Senior Honors Projects, 2010-current. 400. https://commons.lib.jmu.edu/honors201019/400 This Thesis is brought to you for free and open access by the Honors College at JMU Scholarly Commons. It has been accepted for inclusion in Senior Honors Projects, 2010-current by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. Brazilian Piano Through The Ages: A Look at the Development in Style Through the Context of Social Issues and Historical Influences _______________________ A Project Presented to the Faculty of the Undergraduate College of Visual and Performing Arts James Madison University _______________________ in Partial Fulfillment of the Requirements for the Degree of Bachelor of Music _______________________ by Rebecca Lin Chen May 2012 Accepted by the faculty of the Department of Music, James Madison University, in partial fulfillment of the requirements for the Degree of Bachelor of Music. FACULTY COMMITTEE: HONORS PROGRAM APPROVAL: Project Advisor: Paulo Steinberg, D.M.A. Barry Falk, Ph.D., Assistant Professor, Music Director, Honors Program Reader: Andrew Connell, Ph. D., Associate Professor, Music Reader: Bob Hallahan, B.M.
    [Show full text]
  • Popular Virtuosity: the Role of the Flute and Flutists in Brazilian Choro
    POPULAR VIRTUOSITY: THE ROLE OF THE FLUTE AND FLUTISTS IN BRAZILIAN CHORO By RUTH M. “SUNNI” WITMER A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2009 1 © 2009 Ruth M. “Sunni” Witmer 2 Para mis abuelos, Manuel y María Margarita García 3 ACKNOWLEDGMENTS There are very few successes in life that are accomplished without the help of others. Whatever their contribution, I would have never achieved what I have without the kind encouragement, collaboration, and true caring from the following individuals. I would first like to thank my thesis committee, Larry N. Crook, Kristen L. Stoner, and Welson A. Tremura, for their years of steadfast support and guidance. I would also like to thank Martha Ellen Davis and Charles Perrone for their additional contributions to my academic development. I also give muitos obrigados to Carlos Malta, one of Brazil’s finest flute players. What I have learned about becoming a musician, a scholar, and friend, I have learned from all of you. I especially want to thank my family – my parents, Mr. Ellsworth E. and Dora M. Witmer, and my sisters Sheryl, Briana, and Brenda– for it was my parent’s vision of a better life for their children that instilled in them the value of education, which they passed down to us. I am also grateful for the love between all of us that kept us close as a family and rewarded us with the happiness of experiencing life’s joys together.
    [Show full text]
  • The Brazilian Seven-String Guitar: Traditions, Techniques and Innovations
    The Brazilian seven-string guitar: Traditions, techniques and innovations Adam John May Submitted in partial fulfilment of the requirements of the degree of Master of Music - Musicology/Ethnomusicology (with course work component) September 2013 Melbourne Conservatorium of Music The University of Melbourne Produced on archival quality paper i Abstract Since the early 1980s a new and unique repertoire has emerged for the seven-string guitar, known in Portuguese as the violão de sete-cordas, a Brazilian instrument typically played in choro ensembles. This thesis demonstrates, through musical analysis, that this new repertoire is a result of two converging musical influences, both the Brazilian six-string guitar repertoire and the traditional accompaniment role of the seven-string guitar in choro ensembles. Choro is a genre of Brazilian instrumental music that developed in Rio de Janeiro during the late nineteenth century and continues to be played throughout Brazil, as well as gaining popularity in other parts of the world. The Brazilian seven-string guitar emerged in Rio de Janeiro at the beginning of the twentieth-century; photographic evidence and recordings confirm that it was included in choro ensembles as early as the 1910s. Traditionally strung with steel strings and played using a metal thumb-pick, the instrument provides a counterpoint accompaniment line that is generally improvised. In the early 1980s a small number of musicians experimented with the use of nylon strings; this resulted in timbral variations and greater expressive qualities similar to the standard classical guitar. Guitarists began to use this new version of the seven-string guitar as a solo instrument, as well as in other musical settings outside of typical choro groups; this significant development is referred to as the duas escolas or two schools of performance practice.
    [Show full text]
  • A Pedagogical Approach to the Waltzes and Tangos for Piano By
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 3-24-2018 A Pedagogical Approach to the Waltzes and Tangos for Piano by Francisca Gonzaga Ana Paula Machado Simoes Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Education Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Machado Simoes, Ana Paula, "A Pedagogical Approach to the Waltzes and Tangos for Piano by Francisca Gonzaga" (2018). LSU Doctoral Dissertations. 4517. https://digitalcommons.lsu.edu/gradschool_dissertations/4517 This Dissertation 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 Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A PEDAGOGICAL APPROACH TO THE WALTZES AND TANGOS FOR PIANO BY FRANCISCA GONZAGA A Dissertation 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 Doctor of Musical Arts in The School of Music by Ana Paula Machado Simoes B.M., Universidade do Estado de Minas Gerais, 2012 M.M., Oklahoma City University, 2015 May 2018 ACKNOWLEDGEMENTS I would like to thank my major professor Gregory Sioles for being patient, attentive, and insightful in my lessons. Thank you for supporting me and for giving me thoughtful advices that helped me so much and improved my playing and my thinking about music. I would also like to thank my pedagogy professor and advisor, Dr.
    [Show full text]
  • Frank Martignetti the MUSIC of BRAZIL by Joseph Kiernan Musi
    Thesis Advisor: Frank Martignetti THE MUSIC OF BRAZIL by Joseph Kiernan Music Education Program Submitted in partial fulfillment of the requirements for the degree Master of Science in Elementary Education in the School of Education University of Bridgeport 2015 © 2015 by Joe Kiernan Kiernan 1 Table of Contents Abstract 2 Introduction 2 Essential Questions 4 Student Learning Objectives 4 Assessment Rubric 4 The Roots of Brazilian Music 6 Modern Brazilian Music: A Unique Blend 8 Outline of the Unit 10 Lessons 13 1. AfoXe’ 2. History and culture 3. Folk songs 4. Samba 5. Samba and recorder performance 6. Bossa nova Multimedia Library 30 References 32 Kiernan 2 Abstract: This curriculum project allows students to eXperience and learn about the music of Brazil, as well as Brazilian culture. The five lessons that compromise the unit are designed for students in fifth grade. Through singing Brazilian folk songs and playing traditional rhythms, students will enhance their performance and music reading skills. Through this unit, students will grow their cultural awareness, singing and movement abilities, and ensemble playing skills. Musical materials include folk songs from Northern Brazil, and characteristic rhythms of Southern Brazil, focusing on the Brazilian genres of afoXe’, samba, and bossa nova. Introduction This unit is intended to assist teachers in sharing the music and culture of Brazil with their students. Brazilian music has played a significant role in my own life as a musician, and I wanted to share it with my students. In 2002, I moved to Paraguay, which borders Brazil. There I befriended people from both Latin and South America.
    [Show full text]