Navegando por Assunto "choro"
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Item Pixinguinha e Dino Sete Cordas: reflexões sobre a improvisação no choro(Universidade Federal de Goiás, 2009-04-27) GEUS, José Reis de; FERNANDES, Adriana; http://lattes.cnpq.br/4049068003650520Choro consists of a musical movement expressing the popular culture of Rio de Janeiro city, originated around 1870, connected with a gradual process of brazilianization that is, an interpretation style of playing European genres with large use of syncope, played for dance. Choro turned into a musical genre on the first decades of the 20th century, until the Radio Era (here understood as the 1930-45 period), based on an instrumental formation called conjunto regional . Among many groups, there was the Regional de Benedito Lacerda (Lacerda´s Group), which had as its integrants, Pixinguinha and Dino Sete Cordas, the focus of this work. Through the transcription and analysis of the recordings played by Lacerda´s Group in the album entitled Benedicto Lacerda e Pixinguinha (released in 1966 with recordings made between 1946-1951) it was possible to verify the melodic lines and performance style of Pixinguinha´s saxophone and his influence on the seven-string-guitar player Dino Sete Cordas in the album entitled Choros Imortais (1964), recorded by Altamiro Carrilho with Regional do Canhoto (Canhoto´s Group). Pixinguinha s performance on the recordings was based on pre-established improvisations possibly due to recording limitations. Dino Sete Cordas was very close to Pixinguinha and also had him as a model. Because of this contact, among other factors, Dino Sete Cordas came up with a characteristic interpretation style, and individual performance concept and a performance school which influenced countless musicians and contributed for a systematization of seven-strings-guitar´s studyItem A trajetória histórica da improvisação no choro: um enfoque de configurações estilísticas e processos de hibridação cultural(Universidade Federal de Goiás, 2012-04-27) MATOS, Everton Luiz Loredo de; CLÍMACO, Magda de Miranda; http://lattes.cnpq.br/3267761359411377The choro, he cultivates an instrumental genre improvisational style, has been transformed in the course of its history, both in melody and harmony. The first cries compounds possessed simple harmonies, making the soloists of the time to interpret differently from today. The different treatments harmonics, which have arisen over time, seem to have been one of the leaders of these different interpretations, which have been shown in an intense and characteristic improvisation. Apparently, there was an increase in these transformations of choro with the rapid development of technology and media from the mid-twentieth century. This circumstance, perhaps, brought a more intense and immediate contact of this musical genre with global genres such as jazz, for example, as a new and intense focus on improvisation, which has drawn attention to formal structures and performing hybrid performances. The intensification of cultivation of Jazz in the country and later the emergence of Bossa Nova in the mid-twentieth century, it seems, interfered markedly in the improvisation of gender, providing new composers to invest in new procedures related to this harmonic American genre. Given this circumstance, this study aimed to investigate the technical and cultural implications resulting from the interference of different harmonics in procedures related to the processes of improvisation and musical genre choro in this context not only seek melodic and harmonic innovations, but also processes of identity implicated in processes of cultural hybridization.Item Do Regional ao Choro elétrico: convenções, redes e identidade no trabalho musical dos chorões(Universidade Federal de Goiás, 2011-09-05) VIANA, Luciana Alves; NUNES, Jordão Horta; http://lattes.cnpq.br/0257540968113535The artistics‟ activities of musicians that work with choro are the beginning for a development of this research. From Simbolic Interacionism we look to understand what are the characteristics of networks, social and artistics conventions, identity and female participation of chorões‟ groups that work in groups of Goiânia Go and Campinas SP from 2009 to 2011. For this purpose, after theoric fundamentals in chapter one, we construct two ideal types, in chapters two and three, their names are Regional-Samba-Choro and Escola de Choro Elétrico. Through these ideal types of presentation of musical service in artworld of choro we intend to understand the social relationship of chorístico job.