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University of Oklahoma Graduate College A UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE A STUDY OF BRAZILIAN NATIONALISM IN CAMARGO GUARNIERI’S DANSA BRASILEIRA AND CONCERT OVERTURES: ABERTURA CONCERTANTE AND ABERTURA FESTIVA A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of Doctor of Musical Arts By JAIRO GOMES DE SOUSA Norman, Oklahoma 2007 UMI Number: 3271226 UMI Microform 3271226 Copyright 2007 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, MI 48106-1346 A STUDY OF BRAZILIAN NATIONALISM IN CAMARGO GUARNIERI’S DANSA BRASILEIRA AND CONCERT OVERTURES: ABERTURA CONCERTANTE AND ABERTURA FESTIVA. A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY _______________________________ Dr. Allan Ross, Co-Chairman _______________________________ Dr. William Wakefield, Co-Chairman _______________________________ Dr. Kenneth Stephenson _______________________________ Dr. Eugene Enrico _______________________________ Prof. Mary Margaret Holt © Copyright by JAIRO G. SOUSA 2007 All Rights Reserved ACKNOWLEDGMENTS I would like first to thank my beloved wife, Evelyne Gameleira Sousa for her support, understanding, patience, and endurance in this long process of research and writing. This document has consumed many nights, weekends, and several summers, which limited our time together. To her, my sincere appreciation. Special thanks to Guarnieri’s wife, Vera Silvia Camargo Guarnieri, for giving permission to use his music in this project. Many thanks also to Flávia Camargo Toni, the curator of the Camargo Guarnieri Collection, for providing copies of the manuscripts of his music. I also would like to thank Dr. Allan Ross for his patience and support in this journey, which began in 1994 before the Master’s degree. I am particularly grateful for the time that he allowed to be consumed out of his so awaited and deserved retirement to work with me. To that extent, I also thank Mrs. Barbara Ross for letting me “intrude” in their life with my many evening phone calls. I extend my gratitude to the other members of the committee, Dr. William K. Wakefield, Dr. Kenneth D. Stephenson, Dr. Eugene J. Enrico, and Prof. Mary Margaret Holt, for their expertise, pursuit of excellence, support, and recommendations that guided me in presenting the best material possible. Next, I must thank Lake Country Christian School and Trinity Hills Baptist Church, represented by Mrs. Nancy Purtell and Dr. Larry Sanders, for their support, flexibility, and great patience during the years that I worked on this project. Special thanks go to my closest friend, in fact a true friend (amigo do peito), Dr. Hoffmann U. Pereira, for the many late night long phone conversations at the times when iv I wanted to “ride the helicopter” back home. Having recently gone through finishing a Doctorate, he was crucial in maintaining me on course and assuring me that there is life after such a process. I am also thankful to Dr. Fred Spann for being an inspiration for my musical career and a supporter of my graduate studies. Last, but not least, I would like to thank my mother for not ceasing to pray for me so that I could finish that which I had begun. I appreciate the many times that she asked me how the dissertation was going. That question kept me going. In memoriam, I want to honor my father for the great and honest man that he was and for the attributes that he engraved in my character, much of which I acquired by watching the way he lived and honored life. v CONTENTS ACKNOWLEDGEMENTS ................................................................................... iv LIST OF ILLUSTRATIONS .................................................................................. viii ABSTRACT ........................................................................................................... xiv Chapter 1. INTRODUCTION .................................................................................... 1 Background Material, the Need for the Study, Purpose, and Procedure .................................................................. 1 Review of Related Literature .............................................................. 8 Books ............................................................................................. 9 Dissertations and Theses ................................................................ 11 Periodical Articles .......................................................................... 14 2. NATIONALISM IN BRAZILIAN MUSIC .............................................. 15 The Dawn of Nationalism in Brazil: A Sertaneja ............................... 16 After Dawn: The Precursors................................................................. 19 First Nationalist Generation: The Missing Giant ................................ 21 Modernism: The Week of Modern Art ............................................... 23 Mário de Andrade: The Guru of Brazilian Nationalism ...................... 24 Second Nationalist Generation: On the Way to Maturity and Adulthood ................................................................. 27 Third Nationalist Generation: The Missing Giant II – Camargo Guarnieri ......................................................................... 31 Dodecaphonic Entr’acte: The Open Letter and the Fight for Music Nationalism ......................................................................... 40 After 1950: Revitalization of Nationalism........................................... 45 vi After 1960: Experiments and Multiplicity of Music Trends ............... 46 Conclusion: Definitely a “Giant” ........................................................ 48 3. NATIONALISM IN THE MUSIC AND COMPOSITIONAL STYLE OF CAMARGO GUARNIERI .................................................... 50 Origins of Brazilian Music .................................................................. 51 Rhythm ................................................................................................ 53 Melody ................................................................................................ 56 Harmony and Scales ............................................................................ 57 Original Melodies ............................................................................... 61 Terças Paulistas .................................................................................. 63 Nostalgia ............................................................................................. 64 Terms in Portuguese ............................................................................ 69 Stylized Dances ................................................................................... 74 Instruments .......................................................................................... 76 Orchestra ............................................................................................. 84 4. NATIONALISM IN GUARNIERI’S DANSA BRASILEIRA AND CONCERT OVERTURES .............................................................. 92 Dansa Brasileira (Brazilian Dance) ................................................... 93 Abertura Concertante (Concertante Overture) ................................... 118 Abertura Festiva (Festive Overture) ................................................... 145 5. CONCLUSION ......................................................................................... 178 BIBLIOGRAPHY ................................................................................................... 184 vii ILLUSTRATIONS Figure Page 3.1. The Síncopa ............................................................................................... 54 3.2a. Suite IV centenário, Introdução, mm. 28-31 .............................................. 54 3.2b. Suite infantil, Movement II, mm. 3-8 ........................................................ 55 3.2c. Dansa negra, mm. 3-7 ................................................................................ 55 3.3. Dansa selvagem, the Dansa Rhythm, mm. 4-6 ......................................... 55 3.4. Curuçá, mm. 1-9 ........................................................................................ 56 3.5. Araruna, Brazilian Folklore Melody ......................................................... 57 3.6. Suite infantil, Movement II, mm. 1-5 ........................................................ 59 3.7. Suite IV centenário, Baião, mm. 58-69 ...................................................... 59 3.8a. Mulher rendeira, Brazilian Folk Song ....................................................... 60 3.8b. Suite IV centenário, Baião, mm. 3-15 ........................................................ 61 3.9. Plólogo e fuga, Movement II, mm. 7-19 ................................................... 62 3.10. Curuçá, Piano Reduction Version, mm. 48-53 .......................................... 63 3.11. Suite infantil, Movement III, mm. 22-28 ................................................... 64 3.12. Suite IV centenário, Toada, mm. 1-8 ......................................................... 66 3.13. Suite IV centenário, Toada, mm. 25-51 ..................................................... 69 3.14. Suite IV centenário, Acalanto, mm. 1-10 ................................................... 79 3.15. Dansa selvagem, mm. 1-6 .........................................................................
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