Gênero musical choro em Goiânia e suas implicações sociopolíticas e culturais (1970-1990)
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2020-12-11
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Universidade Federal de Goiás
Resumo
We are interested in understanding and registering the musical genre “choro” and its socio-politic implications and cultural History in the city of Goiânia. The study of its trajectory requests a hard effort to certain socio Historic comprehen-
sions which involve the symbolic representation and cultural dynamics from a group in a certain period. Such musical genre emerged in Rio de Janeiro in the end of the 19th century among the popular demonstrations, throughout the mixing
of music genre and style and incorporating the African descendant’s traditions. This study aims to understand and translate how it has been configured and identified to the transformations of this weeping music, especially in the capital of Goiás. In this sense, we also idealized to perceive the identity characteristics that make up its musicality and syncopation in its rhythms. It is relevant to point out its sound issues and record it from the perspective of languages, orality and memory. These last fields of History mentioned will be the nodal points especially the guides to the theoretical and methodological discussions to compose the trajectories of the theme of this research. It was chosen the ethnographic work through field visits and interviews, in order to obtain information about the forms of choro performance, similarities
and differences, mainly to this genre practiced in the local capital. The trajectory of choro was able to put it as part of Brazilian popular culture since it appeared at the Second Empire Court. Its musicality was formerly understood as reli-
gious celebrations, barbers' music, house and street parties, aimed at the lower strata of imperial society, until assuming sophisticated spaces such as theaters, imperial halls, spaces of high society, was characterized as a cultural movement of urban character in Rio de Janeiro, being seen more and more as authentic, that interpreting other rhythmic musical styles already existing at the time, announce themselves as such. This music was incorporated into the practices of the lundum rhythmic dances of the colonial slaves in Brazil which were identified in chótis, maxixe, polka, waltzes, and “modinhas”, among others. By assimilating these diverse sounds that were rising in this period we can affirm that the city and its surroundings were a fertile field - a melting pot of multiple rhythms that meant the Court's historical social context. Therefore, this environment was seen as a terrain for its configuration. Thus, we understand that the weeping genre built its aesthetic-sound definitions from there. In Brazil, as we believe that since the immemorial time, they keep a musical matrix, which is structured through syncopation, a rhythmic element distinct from diasporic music. However, our study follows the historical cultural perspective aiming to relate the facts that make up the stages of emergence, changes and
duration of this music in the activity of “chorões” from the Old Guard of Goiás, since we interpret the representations and symbologies that make up this identity of determined social group composed of anonymous subjects in the new
capital of the “cerrado”, Goiânia.
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Choro , Musicalidades , Goiânia , História , Identidade , Weep , Identity , Musicality , Goiânia , History
Citação
SILVA, W. J. S. Gênero musical choro em Goiânia e suas implicações sociopolíticas e culturais (1970-1990). 2020. 155 f. Dissertação (Metrado em História) - Universidade Federal de Goiás, Goiânia, 2020.