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Universidade Estadual De Campinas Rodolfo Vilaggio UNIVERSIDADE ESTADUAL DE CAMPINAS RODOLFO VILAGGIO ARILHO ESTUDO INTERPRETATIVO DA OBRA VARIAÇÕES RÍTMICAS OPUS 15 DE MARLOS NOBRE CAMPINAS 2018 UNIVERSIDADE ESTADUAL DE CAMPINAS RODOLFO VILAGGIO ARILHO ESTUDO INTERPRETATIVO DA OBRA VARIAÇÕES RÍTMICAS OPUS 15 DE MARLOS NOBRE Tese de Doutorado apresentada a Pós- Graduação do Instituto de Artes da Universidade Estadual de Campinas como parte dos requisitos exigidos para a obtenção do título de Doutor em Música. Área de concentração: Música: Teoria, Criação e Prática. Orientador: Prof. Dr. Fernando Augusto de Almeida Hashimoto Este exemplar corresponde à versão final da tese defendida pelo aluno Rodolfo Vilaggio Arilho, e orientado pelo Prof. Dr. Fernando Augusto de Almeida Hashimoto. CAMPINAS 2018 15 Agência(s) de fomento e nº(s) de processo(s): Não se aplica. Ficha catalográfica Universidade Estadual de Campinas Biblioteca do Instituto de Artes Silvia Regina Shiroma - CRB 8/8180 Arilho, Rodolfo Vilaggio, 1979- Ar42e AriEstudo interpretativo da obra Variações Rítmicas opus 15 de Marlos Nobre / Rodolfo Vilaggio Arilho. – Campinas, SP : [s.n.], 2018. AriOrientador: Fernando Augusto de Almeida Hashimoto. AriTese (doutorado) – Universidade Estadual de Campinas, Instituto de Artes. Ari1. Nobre, Marlos, 1939-. 2. Percussão (Música). 3. Instrumentos de percussão. 4. Música brasileira. 5. Música - Interpretação (Fraseado, dinâmica, etc.). I. Hashimoto, Fernando Augusto de Almeida, 1972-. II. Universidade Estadual de Campinas. Instituto de Artes. III. Título. Informações para Biblioteca Digital Título em outro idioma: Interpretative study of the work Variações Rítmicas from Marlos Nobre Palavras-chave em inglês: Nobre, Marlos, 1939- Percussion music Percussion instruments Brazilian music Music - Interpretation (Phrasing, dynamics, etc.) Área de concentração: Práticas Interpretativas Titulação: Doutor em Música Banca examinadora: Fernando Augusto de Almeida Hashimoto [Orientador] Paulo Adriano Ronqui Emerson de Biaggi Eduardo Flores Gianesella Gilmar da Silva Goulart Data de defesa: 28-02-2018 Programa de Pós-Graduação: Música Powered by TCPDF (www.tcpdf.org) BANCA EXAMINADORA DA DEFESA DE DOUTORADO RODOLFO VILAGGIO ARILHO ORIENTADOR – PROF. DR. FERNANDO AUGUSTO DE ALMEIDA HASHIMOTO MEMBROS: 1. PROF. DR. FERNANDO AUGUSTO DE ALMEIDA HASHIMOTO 2. PROF. DR. PAULO ADRIANO RONQUI 3. PROF. DR. EMERSON DI BIAGGI 4. PROF. DR. EDUARDO FLORES GIANESELLA 5. PROF. DR. GILMAR DA SILVA GOULART Programa de Pós-Graduação em Música do Instituto de Artes da Universidade Estadual de Campinas. A ata de defesa com as respectivas assinaturas dos membros da banca examinadora encontra- se no processo de vida acadêmica do aluno. Campinas, 28 de fevereiro de 2018. AGRADECIMENTOS A minha mãe Rose Mari Vilaggio Arilho e Família por todo apoio desde meus primeiros estudos musicais até hoje. A minha namorada Elisa Maria Denny pelo incentivo e apoio e ajuda desde sempre. Ao meu orientador Prof. Dr. Fernando Augusto de Almeida Hashimoto pelo incentivo e orientação nesse projeto. Aos meus professores Joaquim Abreu (Zito), Elizabeth Del Grande, Eduardo Gianesella, Carlos Stasi e John Boudler pelos ensinamentos musicais. Aos meus grandes amigos de DURUM e orquestras Leopoldo Prado, Ricardo Appezzato, Fernando Chaib e Richard Fraser por toda ajuda, companheirismo e apoio a esse projeto. Aos amigos e colegas músicos, maestros e outros que de certa forma contribuíram para meu crescimento pessoal e musical. Dedico essa Tese à minha mãe, Rose, que me iniciou no estudo musical e desde sempre me apoia nesse projeto. RESUMO Este trabalho aborda os instrumentos de percussão tipicamente brasileiros utilizados por Marlos Nobre em sua obra Variações Rítmicas (1963) para piano e seis percussionistas. O objetivo principal é discorrer sobre os aspectos interpretativos de cada instrumento de percussão contidos na obra, bem como uma abordagem de sua estrutura rítmica. Essa pode ser considerada a primeira peça de repercussão no cenário brasileiro para esta formação. Nobre compõe uma obra erudita onde mescla os instrumentos da percussão popular como cuíca aguda, chocalho de metal, afoxé, reco-reco, agogô, pandeiro, tamborim e três atabaques ao piano, cuja parte tem característica dodecafônica e serial. Palavras-chave: instrumentos de percussão; Marlos Nobre; Variações Rítmicas; Percussão Brasileira. ABSTRACT This work discusses the typically Brazilian percussion instruments used by the Brazilian composer Marlos Nobre in his work Variações Rítmicas for piano and six percussionists, written in 1963. This can be considered the first piece of repercussion in the Brazilian musical scenario for this chamber group. The composer Marlos Nobre merges the popular percussion instruments such as small Brazilian ‘cuíca’, metal shaker, cabasa, rasper, agogo bells, Brazilian tambourine and three ‘atabaques’, with a composition with has classical, twelve-tone and serial features. Keywords: Percussion Instruments; Marlos Nobre; Variações Rítmicas; Brazilian Percussion. LISTA DE FIGURAS Figura 1 - Cuíca vista por diferentes ângulos ........................................................................... 30 Figura 2 - Zeca sentado com a cuíca, junto ao Originais do Samba, na década de 60 ............. 32 Figura 3 - Tipos de Chocalho ................................................................................................... 38 Figura 4 - Tipos de afoxés ........................................................................................................ 41 Figura 5 - Grupo Demônios da Garoa. A: década de 50; B: 2013 ........................................... 42 Figura 6 - Tipos de reco-recos .................................................................................................. 45 Figura 7 - Mussum em destaque (centro) com o reco-reco de mola. Originais do Samba, 1972. .................................................................................................................................................. 46 Figura 8 - Mussum (segunda da esquerda para a direita) com o reco-reco. ............................. 47 Figura 9 - Reco-reco de madeira confeccionado pelo Mestre Trambique. .............................. 48 Figura 10 - Tipos de Agogô. A: agogô de coco com duas campânulas; B: agogô de metal com duas campânulas; C: agogô de metal com quatro campânulas. ................................................ 52 Figura 11 - Tipos de pandeiro. A: pandeiro chinês; B: pandeiro do Azerbaijão; C: kanjira; D: mazhar; E: pandeiro da rigião da Galícia; F: daff; G: tamburello; H: tamburo; I: timbrel. ..... 56 Figura 12 - Pandeiro sinfônico. ................................................................................................ 59 Figura 13 - Pandeiros brasileiros. A: pandeiro de couro; B: pandeiro de nylon. ..................... 61 Figura 14 - João da Bahiana ..................................................................................................... 63 Figura 15 - Tipos de tamborins e baquetas. A: tamborim quadrado; B: tamborim com pele de couro; C: tamborim de plástico; D: baquetas para tamborim. .................................................. 67 Figura 16 - Ritmistas com o tamborim quadrado. .................................................................... 69 Figura 17 - A: Bide com o tamborim; B: Bide e Armando Marçal. ......................................... 70 Figura 18 - Atabaques rum, rumpi e lé. .................................................................................... 75 Figura 19 - Tipos de atabaques. A: caxambú; B: conga. .......................................................... 77 Figura 20 - Marlos Nobre, Variações Rítmicas Opus 15 – Material apresentado na Cuíca ..... 84 Figura 21 - Marlos Nobre, Variações Rítmicas Opus 15 – Material apresentado no chocalho 84 Figura 22 - Marlos Nobre, Variações Rítmicas Opus 15 – Material apresentado no Afoxê .... 85 Figura 23 - Marlos Nobre, Variações Rítmicas Opus 15 – Material apresentado no reco-reco .................................................................................................................................................. 85 Figura 24 - Marlos Nobre, Variações Rítmicas Opus 15 – Material apresentado no Agogô: alturas, material gerador e expansão ......................................................................................... 86 Figura 25 - Marlos Nobre, Variações Rítmicas Opus 15 – Material apresentado no Pandeiro: alturas, material gerador e variações ........................................................................................ 86 Figura 26 - Marlos Nobre, Variações Rítmicas Opus 15 – Material apresentado no Atabaque .................................................................................................................................................. 86 Figura 27 - Marlos Nobre, Variações Rítmicas Opus 15 – Variação I: pontos relevantes para questão interpretativa – cuíca c. 31, pandeiro c. 05 e tamborim (linha mais acima) c. 20 ....... 87 Figura 28 - Marlos Nobre, Variações Rítmicas Opus 15 – Variação II: pontos relevantes para questão interpretativa – pandeiro c. 46, agogô c. 47, reco-reco c. 48 e agogô c. 60-61 .......... 88 Figura 29 - Marlos Nobre, Variações Rítmicas Opus 15 – Variação III: pontos relevantes para a questão interpretativa – atabaques c. 68-70 e reco-reco c. 85-87 ......................................... 89 Figura 30 - Marlos Nobre, Variações Rítmicas Opus 15: pontos relevantes para a questão interpretativa – chocalho e afoxé c. 88 e chocalho, afoxé e reco-reco c. 96-98
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