LOST BATUCADA The Art of Deixa Falar, Portela, and Mestre Oscar Bigode OLLI REIJONEN Musicology / Ethnomusicology Department of Philosophy, History, Culture and Art Studies University of Helsinki Helsinki, Finland Academic dissertation to be publicly discussed, by due permission of the Faculty of Arts at the University of Helsinki in auditorium XII (in lecture room PIII), on the 24th of February, 2017 at 12 o’clock. Supervisors: Professor Eero Tarasti Musicology Department of Philosophy, History, Culture and Art Studies University of Helsinki University lecturer Alfonso Padilla Musicology Department of Philosophy, History, Culture and Art Studies University of Helsinki Pre-examiners: Professor Wim van der Meer Universiteit van Amsterdam Professor Paulo de Tarso Camargo Cambraia Salles Universidade de São Paulo Opponent: Professor Paulo de Tarso Camargo Cambraia Salles Universidade de São Paulo Custos: Professor Pirkko Moisala Musicology Department of Philosophy, History, Culture and Art Studies University of Helsinki ISBN 978-951-51-2974-1 (nid) ISBN 978-951-51-2975-8 (PDF) http://ethesis.helsinki.fi Unigrafia Oy Helsinki 2017 ABSTRACT This doctoral dissertation covers the batucada and it focuses on Os 27 Amigos bateria and Oscar Pereira de Souza’s, its director’s, perceptions of the batucada. He was the last active master of Rio de Janeiro’s oldest Deixa Falar – Portela tradition. The central questions are: How did batucada develop and how are the baterias organized? What are the instruments, rhythms, and functions of batucada? What are the elements of batucada? How is the quality of batucada estimated, and what are the criteria? How can the rhythm of batucada be analyzed? What is the harmony of batucada and how it is created? The first section covers the history of the batucada and the organization of baterias, as well as the instruments’ rhythmic functions and the bateria’s structural elements. The qualitative criteria of the batucada are examined at the end of this section. The early batucada rhythm is reconstructed based on Silva’s Bum bum vocalization. The rhythmic is analyzed based on the theory of a basic rhythm – diminuted rhythm – music level. Os 27 Amigos and their contemporary batucadas’ rhythmic characteristics are compared. In the last section, we examine the harmony of the baterias from the 2002-2003 period. After that, we examine de Souza’s perceptions of harmony as a driving factor in the way a bateria plays. In the end is a study on the harmonic structure of Os 27 Amigos bateria and what it is based on. The central methods of this work are the teacher – student method, field work, the paradigmatic method, electronic methods, notations, deduction, experimental work and the three-tiered rhythm analysis. Based on the results, it can be said that the batucada has a very developed musical grammar and terminology. The batucada’s development is heavily based on the development of the surdos, which is grounded, in turn, on a much older concept of music, based on the African cuicas. Two different rhythmic paradigms, an older harmonic on and a newer, anharmonic one, have developed from this. The batucada is based on multiple clave and marker rhythms. This structure and the divisive form of the batucada can be shown clearly. L This work is the first one to delve deep into the musical structure of the batucada and the concepts and terms related to it. It documents the oldest batucada tradition and forms a starting point for further study on the batucada and a wider study of the samba. Its results also shed light on the central structures of Afro-Brazilian, African, and other similar styles of music and thus enables a deeper than previously possible analysis of them, as long as all the relevant musico-cultural conventions are observed. LL ACKNOWLEDGEMENTS First, I want to thank Ana Cristina Lima. She was always there and interpreted our discussion with Mr. de Souza at the Museu do Carnaval. Without her help, the results of our discussion, and thus this work, would be punier. My next thanks are directed at my wife, Eila Reijonen, who painstakingly worked with me. She remains one of the Finns with the most knowledge on the topic. My thanks go also to the Rio based family of Jussi and Isabel Virkki, who offered their friendship, a safe home base and all their assistance on all my trips. Similarly, I would like to thank the family of ”Janne” and Liisa Paré for their friendship and the help they gave me on my final trips. From the University, I would like to give my thanks to Professor Erkki Pekkilä who took me under his wing and guided my first steps in musicology. Similarly, I want to thank Docent and University Lecturer Alfonso Padilla, who has always supported and advised me, corrected my work, and ensured its continuation. Likewise, my thanks go to Professor Eero Tarasti, whose presence in this work has been more limited, but whose support, teachings, cheering on and advice have been worth their weight in gold. I would also like to thank the Department’s Teaching Assistant, Irma Vierimaa, who always made things go incredibly smoothly. Professor Pirkko Moisala, who has helped me over many a threshold in these last phases, also deserves my thanks. I thank Professor Samuel Araújo of the Universidade Federal do Rio de Janeiro (UFRJ). His influence on the quality of this work has been considerable. Similarly, I would like to thank LIESA and its cultural coordinator, Doutor Hiram Araújo, who assisted my work in many ways. Thanks go also to the Ambassador of Brazil to Finland, Luiz Henrique Pereira da Fonseca, whose recommendations smoothed my path in Brazil. I am also thankful to the Helsinki office of the VARIG airline, which sponsored the 2002-2003 trip. I would also like to thank my students at the Academia Pombo de Ouro in Lahti. Their interest in, and assistance with the study of batucada has been indispensable. I will, doubtlessly, be unable to remember everyone who supported this work or helped in it somehow. If, and when, you read this, please accept my warm thoughts and thanks and I hope you have happy memories of our journey together, no matter how short. LLL The Finnish Cultural Foundation funded my 2002-2003 field work trip and the work period which followed. I offer my thanks for this remarkable support that I received. LY TABLE OF CONTENTS FOREWORD 1. INTRODUCTION 1 1.1. Background 1 1.2. The subject 6 1.3. Framing the question 8 1.4. Theories and methods 10 1.5. Earlier research 12 1.6. Reading of the study 16 2. RESEARCH AND METHODOLOGY 18 2.1. Oscar Pereira de Souza 18 2.2. The role of mestre de bateria 21 2.3. Approach 22 2.4. Study of written material 23 2.5. Fieldwork 23 2.6. Master-novice method 25 2.7. Working table work 27 2.7.1. Paradigmatic analysis 27 2.7.2. Electronic methods 29 2.7.3. Batucada notations 32 2.7.4. Study of rhyme 37 2.7.5. Study of rhythm 37 2.7.6. The nature of batucada 38 2.7.7. Studies of harmony 38 2.8. Experimental work 39 2.9. Working process 40 3. HISTORY AND BATERIA ORGANIZATIONS 44 3.1. What did Deixa Falar invent? 46 3.2. Instruments and rhythms of Deixa Falar 47 3.3. How batucada got planted in Portela 50 3.4. Bateria organizations 52 3.4.1. Portela tradition 54 3.4.2. Viradouro tradition 55 3.4.3. Mangueira tradition 57 3.4.4. Mocidade development 58 3.4.5. Os 27 Amigos 59 4. BATERIA AND BATUCADA 62 4.1. Instruments, rhythms and functions 62 4.1.1. Couros pesados 63 4.1.2. Surdos 63 4.1.3. Surdos de primeira and segunda marcação 65 4.1.4. Surdos de terceira marcação 66 v 4.1.5. Surdo de quarta marcação 68 4.1.6. Surdos de repicar, repiques 69 4.1.7. Caixas 72 4.1.8. Tarol 73 4.1.9. Caixa de guerra 76 4.1.10. Tumbadora and conga 77 4.1.11. Miudezas 79 4.1.12. Cuica 79 4.1.13. Tamborim 80 4.1.14. Pandeiro 82 4.1.15. Chucalhos 83 4.1.16. Reco-reco 83 4.1.17. Piano de agogô 85 4.1.18. Summary 87 4.2. Elements of batucada 89 4.2.1. Batucada 90 4.2.2. Conjunto 90 4.2.3.Variações do conjunto 91 4.2.4. Marcas 92 4.2.5. Cortar 93 4.2.6. Floriados 95 4.2.7. Ripicas 95 4.2.8. Intermediárias 97 4.2.9. Sequimentos agudos 99 4.2.10. Variedades de sequimentos 100 4.2.11. Complementos 101 4.2.12. Summary 102 4.3. Quality of batucada 106 4.3.1. Poor / good batucada 106 4.3.2. Desafinação de sons 107 4.3.3. Desharmonia 107 4.3.4. Desafinado 108 4.3.5. Semitonado 108 4.3.6. Ritmo atravessado 109 4.3.7. Individualismo na bateria 109 4.3.8. Harmonia 109 4.3.9. Suavidade 110 4.3.10. Sonoridade do estilo / Concordânçia agradável dos sons 110 4.3.11. Summary 110 4.4. Development of batucada 112 4.5. Summary 123 5. ANALYSIS OF BATUCADA 125 5.1. Analysis of the batucada vocalization of Ismael Silva 125 5.1.1. Summary 135 5.2. Analysis of the rhythm 136 5.2.1. Studies of African and Afro-Brazilian rhythm 136 5.2.2. Analysis of batucada 142 vi 5.2.3. System of claves in batucada 144 5.2.4.