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Mário De Andrade's Macunaíma.” LUSOBRAZILIAN REVIEW

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Mário De Andrade's Macunaíma.” LUSOBRAZILIAN REVIEW PIANOLATRIA IN CAFELÂNDIA: MÁRIO DE ANDRADE’S “SOCIAL EVOLUTION OF MUSIC IN BRAZIL” AN ANNOTATED TRANSLATION by DENISE CRISTINA PELUSCH B.A. Universidade Estadual de Campinas, Brazil, 1999 M.M. University of North Dakota, 2004 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Doctor of Philosophy Department of Music 2011 This doctoral dissertation entitled: Pianolatria in Cafelândia: Mário de Andrade’s “Social Evolution of Music in Brazil,” An Annotated Translation written by Denise Cristina Pelusch has been approved for the College of Music Department of Musicology Dr. Brenda M. Romero, Chair Dr. Kwasi Ampene Dr. Jay Keister Dr. Tania Martuscelli Dr. Jeremy Smith Date The final copy of this thesis has been examined by the signatories, and we find that both the content and the form meet acceptable presentation standards of scholarly work in the above mentioned discipline. iii Pelusch, Denise Cristina (Ph.D., Musicology) Pianolatria in Cafelândia: Mário de Andrade’s “Social Evolution of Music in Brazil,” An Annotated Translation Dissertation directed by Associate Professor Brenda M. Romero This dissertation is an annotated translation from Portuguese to English of the essay “Evolução Social da Música no Brasil” (“Social Evolution of Music in Brazil”), published in 1939 by Mário Raul de Morais Andrade (1893-1945). I approached the translation keeping in mind that Mário de Andrade’s linguistic style has an important function and carries in itself a meaning. Andrade was in search of the flow and tone of the authentic “Brazilian” idiom, and my translation seeks to impart the literary experience of his colorful and rich writing in Portuguese. I have concluded that this may bring the reader closer to the mindset of the author. In my annotations, I work in detail aspects that Andrade’s text alluded to, and also discuss the intellectual foundations of the author. My methodology was to read the same texts that Andrade read, as well as writings by other intellectuals of the Brazilian modernist movement, of which he was a major figure. In addition, I analyzed musical pieces by composers of his generation. My conclusion is that composers who were Andrade’s contemporaries radically changed their musical orientations after their encounters with him. In this sense, Andrade’s essay represents today a primary source of study on the history of Brazilian music and ethnomusicology. I also found in his text a rhetoric that favors aspects that resonate with the modernist’s nationalism. I argue that, when writing the essay, Andrade was not only stimulated by a modernist nationalist agenda but also prescribed it. My research has revealed that Andrade’s essay figures among the earliest examples in literature on music to promote the iv inclusion of Afro-Brazilians as an equal part in the formation of Brazilian culture (with Native Indians and European immigrants). In this sense, Andrade’s proposition of nationalism promoted a unique modernist challenge to the classical music establishment. I conclude that the essay has also played an important social and intellectual role in the formation of Brazilian music epistemology. v ACKNOWLEDGMENTS I want to give special thanks to my committee members Prof. Tania Martuscelli, Prof. Jeremy Smith, Prof. Jay Keister, Prof. Kwasi Ampene, and my advisor Prof. Brenda M. Romero, to whom I owe particular gratitude for her guidance in my search for larger significance in Andrade’s essay and for her time, knowledge and kindness. I want to thank Prof. Carlo Caballero, Prof. Daphne Leong, Prof. Keith Waters, Prof. Thomas Riis, and Prof. Rebecca Maloy for scholarly guidance while at C.U. A special thank you to Elissa Guralnick who guided me during the beginning process of my writing. I appreciate Prof. Marcelo Schincariol and Prof. Jay Keister for carefully proofreading my translation. I thank Prof. Jeremy Smith and John and Renata Smathers for suggesting edits in my final writing. I thank Sr. Carlos Camargo for helping me with the process of acquiring the rights to translate the essay of his uncle, Mário de Andrade. I wish to express my appreciation to Dr. Gerald Gaul for his generous financial support and friendship. I forever am grateful. Agradeço meus pais, Ervino e Janet, e meus irmãos, Carlos e Fábio, pelo suporte emocional e financeiro, pelos telefonemas de apoio ou de simples conversas, pelos exemplos de conduta e de trabalho, pelas idas e vindas do aeroporto. Por me darem amor e por acreditarem em mim. I will endlessly thank and cherish my husband Dan Smathers for his unfailing love and patience, emotional and material support, and help at any time; and our son, Luca, for his cheering smiles and inspiring will to play! vi CONTENTS Chapter I. Introduction ..................................................................................................................... 1 São Paulo, February 1922: Week of Modern Art ......................................................... 5 February 13, 1922 ......................................................................................................... 5 February 15, 1922 ......................................................................................................... 6 February 17, 1922 ......................................................................................................... 8 Outcomes of the Week................................................................................................ 10 From the Week to “Social Evolution of Music in Brazil”.......................................... 12 Commentaries in Chapters 2, 3, 4, and 5 .................................................................... 16 Overview Chapter 2: Intellectual Context .................................................................. 16 Overview of Chapter 3: Mário de Andrade’s Notions of Nationalism....................... 19 Overview of Chapter 4: Introducing the Essay........................................................... 20 Essay Section I............................................................................................................ 21 Essay Section II........................................................................................................... 22 Overview of Chapter 5: From Love Towards Nationalism ........................................ 24 Essay Section III ......................................................................................................... 24 Essay Section IV......................................................................................................... 26 II. Intellectual Context and Notions of Nationalism......................................................... 30 Collectivitism in Music............................................................................................... 30 Conceptual Artistic Framework for an Autonomous Brazilian identity..................... 34 Virtuosity .................................................................................................................... 35 Governmental Subsidies for Music Schools............................................................... 37 Andrade’s Views on Italianisms ................................................................................. 38 States of Consciousness: How Structuralism Shaped Andrade’s Analysis ................ 39 III. Mário de Andrade’s Notions of Nationalism.............................................................. 46 Heitor Villa-Lobos...................................................................................................... 49 Miscegenation in Mário de Andrade’s the Nationalism ............................................. 55 Conclusion .................................................................................................................. 57 IV. Introducing the Essay ................................................................................................. 58 Essay Section I............................................................................................................ 58 “Pianolatria” in the “Cafelândia” .............................................................................. 58 Mário de Andrade and the Conservatório................................................................... 65 Essay Section II – God First ....................................................................................... 66 Jesuit Villages (Aldeiamentos cristãos)...................................................................... 66 Jesuits, Religion, and Liturgical Forms ...................................................................... 75 Jesuit Music and the Expansion of Merchant Centers................................................ 76 vii V. From Love Towards Nationalism ................................................................................ 79 Essay Section III: Love............................................................................................... 79 Music during the Brazilian Império: Love and Internationalism................................ 79 Secular Music.............................................................................................................. 83 Francisco Manuel: The Foundation of the Conservatório .......................................... 87 Antonio Carlos Gomes................................................................................................ 89 Essay Section IV - Nationalism .................................................................................
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