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Histórias Da Rabeca Através De Rabequeiros

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Histórias Da Rabeca Através De Rabequeiros UNIVERSIDADE ESTADUAL DE CAMPINAS INSTITUTO DE ARTES DA CANA DE AÇÚCAR ÀS MESAS DE SOM: HISTÓRIAS DA RABECA ATRAVÉS DE RABEQUEIROS CATARINA SCHMITT ROSSI CAMPINAS 2019 CATARINA SCHMITT ROSSI DA CANA DE AÇÚCAR ÀS MESAS DE SOM: HISTÓRIAS DA RABECA ATRAVÉS DE RABEQUEIROS Dissertação apresentada ao Instituto de Artes da Universidade Estadual de Campinas como parte dos requisitos exigidos para a obtenção do título de Mestra em Música, na área de Música: Teoria, Criação e Prática. ORIENTADOR: ESDRAS RODRIGUES SILVA ESTE TRABALHO CORRESPONDE À VERSÃO FINAL DA DISSERTAÇÃO DEFENDIDA PELA ALUNA CATARINA SCHMITT ROSSI, E ORIENTADA PELO PROF. DR. ESDRAS RODRIGUES SILVA. CAMPINAS 2019 Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - Brasil (CAPES). Processo nº 88887.288586/2018-00. BANCA EXAMINADORA DA DEFESA DE MESTRADO CATARINA SCHMITT ROSSI ORIENTADOR: ESDRAS RODRIGUES SILVA MEMBROS: 1. PROF. DR. Esdras Rodrigues Silva 2. PROF. DR. Hermilson Garcia do Nascimento 3. PROF. DR. Agostinho Jorge de Lima Programa de Pós-Graduação em Música do Instituto de Artes da Universidade Estadual de Campinas. A ata da defesa com as respectivas assinaturas dos membros da Comissão Examinadora encontra-se no SIGA/Sistema de Fluxo de Dissertação/Tese e na Secretaria do Programa da Unidade. DATA DA DEFESA: 27.08.2019 AGRADECIMENTOS Aos meus pais Wilson Rossi e Raquel Beatriz Schmitt Rossi, e minhas irmãs Bruna, Ana Rúbia e Camila… Mestres dos saberes e do poder transformador que nasce das tradições e da união. A Letícia e Elza que sempre me apoiando com leveza no caminho, mostraram quão grande e amoroso ele pode ser. A Marcio Demazo pelos primeiros e valiosos ensinos de música, bem como por me apresentar a rabeca. Aos Amigos e Professores, que sempre escutando com paciência minhas tagarelagens, ensinam-me a beleza que é buscar conhecimento através das histórias e da sabedoria popular. Ao Esdras, que pacientemente me guiou nessa jornada, iluminando as linhas desta dissertação. A Maria Fernanda Novo e Professor Agostinho de Lima por todo o suporte fornecido à pesquisa, com tamanha generosidade e profissionalismo. A Clara, Marina, Indira, Anaíra, Renata e Adiel por me apresentarem um universo que ainda reverbera. A Bianca Piagentini por tantos encontros que proporcionou, mas principalmente, pelo nosso. A Nelson da Rabeca, Thomas Rohrer, Gramani, Siba, Claudio Rabeca, Filpo Ribeiro, Jeferson Leite, Marcelo Portela, Felipe Gomide, Rê Araujo e todos os rabequeiros que compartilharam histórias e inspirações. A Universidade Estadual de Campinas pelo livre acesso ao conhecimento e por me formar como pesquisadora, musicista e ser humano. O presente trabalho foi realizado com apoio da Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - Brasil (CAPES) - Código de Financiamento 001. RESUMO Esta pesquisa busca investigar os caminhos pelos quais a rabeca vem seguindo no cenário musical brasileiro, bem como, a abertura de possibilidades sonoras e estilísticas que têm ocorrido na prática do instrumento nas últimas três décadas, como consequência de seu êxodo rural para as zonas urbanas. Para tal, com base no conceito de hibridismo de Canclini, procedeu-se a investigação de três agentes de transformação responsáveis por eventos importantes na história atual da rabeca brasileira: Siba, José Eduardo Gramani e Thomas Rohrer, traçando um paralelo entre a história do instrumento e a performance de rabequeiros contemporâneos, destacando suas inovações no uso da rabeca e contribuições para a construção de novas linguagens. Palavras-chave: Rabeca; Rabequistas; Fusão cultural. ABSTRACT This research seeks to investigate the actual status of the Brazilian rabeca in contemporary Brazilian music scene, and as well, to point out the changes in sound and style that occurred in its practice in the last three decades, as a consequence of its exodus from rural to urban areas. To this end, and based on Canclini’s concept of hybridization, we proceeded to investigate three agents of transformation responsible for important events in the current history of the Brazilian rabeca: Siba, José Eduardo Gramani e Thomas Rohrer, drawing a parallel between the history of the instrument and its performance by contemporary players, and highlighting their innovation in the usage of the instrument and their contribution for the construction of new languages. Keywords: Rabecas; Fiddlers; Cultural fusion. LISTA DE FIGURAS Figura 1: Mapa da rabeca .................................................................................................... 18 Figura 2: Viola e rabeca ....................................................................................................... 21 Figura 3: Zé Pereira ............................................................................................................. 25 Figura 4: Terno de Reis Paixão Côrtes ................................................................................ 26 Figura 5: Zé Côco do Riachão ............................................................................................. 27 Figura 6: Casa Nelson da Rabeca ....................................................................................... 30 Figura 7: Sala de música. .................................................................................................... 31 Figura 8: Oficina......................................................................................................................32 Figura 9: Rabeca Microfonada................................................................................................32 Figura 10: Nelson e Cícero .................................................................................................. 32 Figura 11: Arcos Nelson da Rabeca .................................................................................... 34 Figura 12: Rabecas à venda ............................................................................................... 37 Figura 13: Captadores de fio de telefone ............................................................................. 39 Figura 14: Instrumentação do banco de Cavalo-marinho ..................................................... 45 Figura 15: Transcrição Toada da Estrela ............................................................................. 46 Figura 16: Mestre Salustiano ............................................................................................... 49 Figura 17: Matéria do Jornal “O Globo” ................................................................................ 58 Figura 18: Matéria do Jornal O Globo .................................................................................. 61 Figura 19: Artigo Cláudio Rabeca ........................................................................................ 70 Figura 20: EnRabecador ..................................................................................................... 71 Figura 21: José Eduardo Gramani ....................................................................................... 74 Figura 22: Gramani e Nelson da Rabeca ............................................................................. 77 Figura 23: Zé Gomes ........................................................................................................... 80 Figura 24: Set de Thomas Rohrer utilizado no Show Tradição Improvisada ........................ 85 Figura 25: Nelson e Thomas - Show Tradição Improvisada ................................................. 87 Figura 26: Transcrição do tema principal de O segredo das árvores ................................... 89 Figura 27: Transcrição - Rabequiê (faixa 2 - Tradição Improvisada) .................................... 91 Figura 28: Encarte do CD Tradição Improvisada ................................................................. 94 LISTA DE TABELAS Tabela 1: Relação de construtores e rabequistas da família Pereira (SILVA, 2001, p. 38). 24 Tabela 2: Mudança e continuidade na música de rabequeiros de acordo com LIMA (2015).103 SUMÁRIO INTRODUÇÃO 11 1. A RABECA E SEUS CAMINHOS NO BRASIL 15 1.1 HISTÓRIA .................................................................................................................. 15 1.2 FANDANGO CAIÇARA .............................................................................................. 21 1.3 AS FOLIAS DE REIS E ZÉ COCO DO RIACHÃO ...................................................... 26 1.4 NELSON DA RABECA ............................................................................................... 29 1.5 A RABECA DE PERNAMBUCO ................................................................................. 41 1.5.1 O cavalo-marinho ................................................................................................. 43 1.5.1.1 A música ........................................................................................................... 44 1.5.1.2 Mestre Salustiano ............................................................................................. 47 2. HIBRIDISMO E AS CULTURAS POPULARES 51 2.1 CONCEITO ................................................................................................................ 51 2.2. CASO 1 ..................................................................................................................... 55 2.2.1 Manguebeat ......................................................................................................... 55 2.2.2 Mestre Ambrósio .................................................................................................
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