A Nation Sings Itself: São Paulo Voices and the Canons of Brazilian Song by Rachel Chantal Beausoleil-Morrison A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Cultural Mediations Carleton University Ottawa, Ontario © 2017 Rachel Chantal Beausoleil-Morrison With loving gratitude to Rhiannon, Amiel and Ian Beausoleil-Morrison. Table of Contents Acknowledgements ................................................................................................................... i Abstract ......................................................................................................................................... i Introduction ............................................................................................................................... 1 The interpretive framework .......................................................................................................... 5 The methodological framework .................................................................................................... 7 Interviews ............................................................................................................................................. 9 Participant observation ................................................................................................................ 10 A personal perspective .................................................................................................................. 11 A brief summary of the chapters ................................................................................................ 12 Chapter One: MPB and National Identity ...................................................................... 14 Constructing a National Music .................................................................................................... 15 The Voice and National Identity ................................................................................................. 24 Singers in a composer’s domain ................................................................................................. 34 “MPB” as an umbrella label .......................................................................................................... 41 Foreign influence: Jazz and MPB ................................................................................................ 46 Table 1: Comparison of Jazz and MPB ................................................................................................ 53 Samba, National Identity and Mestiçagem (Mixture) ......................................................... 60 Conclusion .......................................................................................................................................... 65 Chapter Two: MPB and Its Canons ................................................................................... 66 Canonicity ........................................................................................................................................... 68 Canon Number 1: The MPB Canon ............................................................................................. 75 Canon Number 2: MPB as national music ............................................................................... 77 National identity through the Portuguese language .................................................................... 81 National identity through mistura (mixture) .................................................................................. 87 Canon Number 3: MPB as “quasi-popular music” ................................................................ 90 Canon Number 4: MPB as Quality music ................................................................................. 96 Canon Number 5: MPB as vocal music: .................................................................................. 103 Canon Number 6: MPB as a composer-centred practice ................................................. 106 Conclusion ........................................................................................................................................ 114 Chapter Three: MPB Pedagogy ........................................................................................ 117 Professionalization in MPB ........................................................................................................ 121 University level training ............................................................................................................. 125 Independent music schools ....................................................................................................... 135 Private teaching studios .............................................................................................................. 138 On-the-job training and self-study .......................................................................................... 141 Workshops, master classes ........................................................................................................ 144 Conferences ..................................................................................................................................... 148 Table 2: Brazilian Singing Before and After Bossa Nova ........................................................ 149 Conclusion ........................................................................................................................................ 150 Chapter Four: São Paulo Voices and MPB canons .................................................... 155 Intérprete v. cantora – terms for vocalists ........................................................................... 157 The intérprete in a composer-centred practice ................................................................. 161 “Good voice” ..................................................................................................................................... 173 2 Gendered expectations of virtuosity ...................................................................................... 181 Case study 1: Mônica Salmaso ................................................................................................... 187 Case study 2: Lu Horta.................................................................................................................. 197 Conclusion ........................................................................................................................................ 200 Conclusion .............................................................................................................................. 202 Case study 1: Mônica Salmaso and ‘Trem das onze’ ........................................................... 209 Case study 2: Fabiana Cozza – Canto Sagrado ...................................................................... 213 Case study 3: “Modinha” as performed by Lívia Nestrovski and Luciana Souza ..... 216 Case study 4: ‘Complexo de épico’ as performed by Regina Machado ........................ 224 Final remarks .................................................................................................................................. 228 References .............................................................................................................................. 233 Acknowledgements I must begin by thanking my co-supervisors, Professor Sonya Lipsett-Rivera, of Carleton University’s History Department, and Professor Lori Burns, of the School of Music at the University of Ottawa. I owe them a debt of gratitude for their strength, knowledge and wisdom. I must also acknowledge some very special mentors: Janet Siltanen, Peter Hodgins, Marie-Ève Carrier-Moisan and Catherine Khordoc. Eu agradeço aos meus amigos e colegas brasileiros: Evandro Gracelli, Carmen Silvia Fullin, Emilio Martins, Beth Amin, Álvaro Faleiros, Rita Jover-Faleiros, Lu Gallo, Joana Mariz, Marcos Pantaleoni, Lívia Nestrovski, Fred Ferreira, Regina Machado, Izábel Padovani, Irajá Pinto de Menezes, os músicos do projeto Panamérica Canção, os membros do VocalSP, Mônica Salmaso, Rosa Passos e Leny Andrade. Eu estou muito grata pelo tempo que passaram comigo, pelas discussões apaixonadas, pela música, pela sua hospitalidade e generosidade. Several people have been a constant source of support throughout this entire process. I wish to thank Elise Letourneau, Pauline Comeau, Marie-Hélène Pichette, and Michaela Kreim. I am extremely grateful to my cohort, Johnny Alam, Joana Pimentel, Jenna Stidwill, David Richler and Lisa Truong. I could not have asked for a stronger team! I can never repay the support I have received from my parents, Nola Lauzon and Raymond Beausoleil; my sister, Elise Beausoleil; and my mum-in-love Lena Morrison. Je remercie particulièrement mes enfants, Amiel et Rhiannon Beausoleil- Morrison, qui ont su m’aider à gérer la maisonnée, et patienter lorsque je n’étais pas disponible. Votre appui m’a aidé à terminer le projet et j’en suis très reconnaissante et fière. Finally, I must thank my husband, Ian Beausoleil-Morrison, for being my brilliant champion, and for pulling the heroic act of seeing me through this journey of self-discovery and fulfillment. Your arms are a place of safety, respect, confidence and understanding, for which I am eternally grateful. Abstract A Nation Sings Itself: São Paulo voices and the canons