A HISTORICAL PERSPECTIVE ON MUSICA POPULAR A thesis submitted to the faculty of San Francisco State University 5^? ^ In partial fulfillment of > the requirements for ' ^ ^ the Degree Master of Arts In Music: Music History by Joseph Medeiros, III San Francisco, California May 8, 2018 Copyright by Joseph Medeiros, III 2018 CERTIFICATION OF APPROVAL I certify that I have read A Historical Perspective On Musica Popular, by Joseph Medeiros, III, and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirement for the degree Master of Arts in Music: Music History at San Francisco State University. Ph.D.odirzadeh, Ph.D.odirzadeh, Professor, Music A HISTORICAL PERSPECTIVE ON MUSICA POPULAR Joseph Medeiros, III San Francisco, California 2018 This thesis offers a multi-faceted understanding of Musica Popular, or Popular Portuguese Music, with perspectives ranging from the historical to personal, and conceptual. I take the position that three primary musical elements are responsible for the development of the Musica Popular sound - fado, folkloric, and marching band music. To demonstrate this, important artists and pieces within the genre are studied, along with a musical autoethnography of the production process of my own music, as a Musica Popular artist. This thesis concludes with a research model for popular music studies in general, and Musica Popular in particular, emphasizing hybridization as a force that appears to contribute to further development of this vital cultural music. I certify that the Abstract is a correct representation of the content of this thesis. ACKNOWLEDGEMENTS I would like to thank my parents/family for all the support they have given me throughout the years with my music. Also, my profound appreciation goes to Dr. Hafez Modirzadeh, for his invaluable encouragement and support over these last few years, as well as Dr. Paul Ellison, and Dr. Benjamin Sabey, for being on my committee. I would also like to thank Jorge Ferreira, Ricardo Farias, Anabela Silva, Jose Luis da Silva, and Helio Beirao, for their permission to be interviewed and for giving such generous insight and advice. Lastly, I would like to thank God for giving me such a love for music and for granting me the opportunity to advance Portuguese culture, language, and music. v TABLE OF CONTENTS Chapter One - Introduction....................................................................................................1 The Historical Perspective - Genres and Artists......................................................1 The Personal Perspective - A Musical Autoethnography...................................... 4 The Conceptual Perspective - A Research Model.................................................. 5 Chapter Two - A Brief History of Musica Popular.............................................................7 Fado............................................................................................................................ 8 Folkloric Traditions..................................................................................................11 Marching Band Music............................................................................................. 17 Chapter Three - Artistic Development.............................................................................. 21 Amalia Rodrigues.................................................................................................... 21 Roberto Leal.............................................................................................................24 Jorge Ferreira...........................................................................................................26 Tiro Liro Comparison of Artists’ Renditions........................................................ 29 Marching Band Influence........................................................................................34 Chapter Four - A Musical Autoethnography.....................................................................37 Personal Preface...................................................................................................... 37 Production Process..................................................................................................42 Production Practice for Bailinho and Vira............................................................ 43 Production Practice for Marcha............................................................................. 46 Lyrical Content........................................................................................................ 47 TABLE OF CONTENTS CONTINUED Chapter Five - Conclusion..................................................................................................48 Research Model....................................................................................................... 50 Final Thoughts on Hybridization........................................................................... 52 Bibliography......................................................................................................................... 56 LIST OF FIGURES 1. Cavaquinho......................................................................................................................69 2. Ukulele................................................................................................................. 70 3. Oud....................................................................................................................................71 4. Guitarra Portuguesa......................................................................................................... 72 5. Lisbon Variant..................................................................................................................73 6. Portuguese Folkloric Group............................................................................................74 7. Concertina........................................................................................................................75 8. Oldest Portuguese Folkloric Group................................................................................ 76 9. Traje Lavradeira...............................................................................................................77 10. Viola da Terra................................................................................................................78 LIST OF APPENDICES 1. Scores................................................................................................................................59 2. Figures.............................................................................................................................. 69 3. Interviews......................................................................................................................... 79 vii 1 Chapter One - Introduction It is rather rare for a second-generation Portuguese American such as myself, bom in the United States with grandparents originally from Portugal, to express such profound admiration for Portuguese musical culture. Having been brought up in a mixed household, speaking both Portuguese and English, I found both traditional and popular Portuguese music to always be present at home. Whether my enthusiastic ears were absorbing my father’s band rehearsals in the garage, or the blaring sounds of Portuguese radio on weekends when all our windows were open for our “Saturday Morning Housecleaning,” Portuguese Popular music (referred to from here on as Musica Popular) has been a staple presence for my family, as well as probably most every other Portuguese family in America. Being introduced to these sounds at such a young age made me discover a passion that has truly sparked a desire to maintain these sounds and enhance them for a modem era. Musica Popular, for the purposes of this study then, is to be considered from three interrelated perspectives: historical, personal, and conceptual. The Historical Perspective - Genres and Artists Musica Popular has been an intrinsic part of Portuguese communities for decades, with different generations expanding the genre and allowing for new musical artists to enter and broadcast their own sound. I believe this unique style of music to be rooted in three traditional sub-genres within Portugal: fado, marching band, and folkloric music, along with an additional external influence of modem pop music. \ 2 Chapter Two involves an in-depth look into the history of these three musical styles, which on their own, are still widely admired, having stood the test of time. What I am proposing here though, is that fado, marching band, and folkloric music, although independent of each other, are the most important elements which, together, make what we are accustomed to hearing in Musica Popular today. For instance, fado contains some of the same melismas that both old and new Musica Popular artists continually use. Likewise, the melodic style of Portuguese folkloric music is commonplace, originating from a traditional instrumentation that includes the concertina, cavaquinho, castanets, and acoustic guitars. These traditional sounds, along with the powerful horn parts from marching band music, are taken from their roots and incorporated with modem instrumentation and rhythmic patterns to form the Musica Popular sound. The essence of Musica Popular is in the simplicity of its catchy melodies, infectious dance rhythms, and lyrical storytelling. Compositions