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Authors
Advisor(s)
Abstract(s)
Resumo - O propósito do presente trabalho é o de averiguar se a viola caipira, um instrumento
tradicional e secular, estaria em condições de migrar para outros estilos, tais com jazz, choro,
samba, salsa, música africana, pop, rock, etc, analisando previamente possíveis entraves dessa
migração, e ao mesmo tempo questionar de que forma e em que contexto essa transição pode
ser feita.
Derivada das tradicionais violas de arame portuguesas, aparece no Brasil uma variante
colonial designada viola caipira. As violas portuguesas chegaram ao Brasil no século XVI,
nas mãos dos jesuítas e colonos e foram utilizadas intensamente no processo de catequização
dos nativos, assim em momentos de diversão dos colonos, iniciando-se assim um grande
processo de difusão pelo Brasil (Castro, 2007). Apesar de ainda existirem, ficaram marcadas
como instrumentos ligados ao folclore e pouco se utilizou na música urbana ou em registos
fonográficos ligados ao consumo de massa, com uma pequena excepção por artistas do género
rotulado como música sertaneja e não muito mais que isso, aprisionando sua sonoridade às
manifestações musicais do interior do país sem expandir todo seu potencial sonoro para outros
estilos musicais. Até ao momento, sua existência está maioritariamente adstrita às
manifestações culturais rurais, com pouca participação nos géneros urbanos em se tratando de
manifestações musicais.
Através desta pesquisa tentou perceber-se quais os elementos essenciais para que suas
raízes e linguagem tão vincadas ao universo da música tradicional, pudessem ser aplicadas a
outros domínios e também por outros executantes de diferentes culturas.
Abstract - The purpose of the present work is to inquire if the viola caipira, a traditional and secular instrument, would be able to migrate to other styles such as jazz, choro, samba, salsa, African music, pop, rock, etc, analyzing previously possible obstacles that migration, at the same time question how and in which context this transition can be made. Derived from the traditional Portuguese wire violas, appears in Brazil a colonial variant designated viola caipira. The Portuguese violas came to Brazil in the sixteenth century, in the hands of the Jesuits and settlers and were used extensively in the indoctrination process of the natives, as well as fun times of the settlers, thus beginning a great process of diffusion in Brazil. Although there still exist, they were marked as insstruments linked to folklore and it was few used in urban music or sound recordings linked to mass consumption, with a small exception for gender artists labeled as Brazilian country music and not much more than that, imprisoning its sound to musical demonstrations from the country area without expanding all its potential sound to other musical styles. So far, its existence is mainly timited to the rural cultural events, with little participation in urban genres when it comes to musical events. Through this research it attempts to perceive what the essential elements to their roots and language so linked to the world of traditional music, they could be applied to other areas and also by other performers from different cultures.
Abstract - The purpose of the present work is to inquire if the viola caipira, a traditional and secular instrument, would be able to migrate to other styles such as jazz, choro, samba, salsa, African music, pop, rock, etc, analyzing previously possible obstacles that migration, at the same time question how and in which context this transition can be made. Derived from the traditional Portuguese wire violas, appears in Brazil a colonial variant designated viola caipira. The Portuguese violas came to Brazil in the sixteenth century, in the hands of the Jesuits and settlers and were used extensively in the indoctrination process of the natives, as well as fun times of the settlers, thus beginning a great process of diffusion in Brazil. Although there still exist, they were marked as insstruments linked to folklore and it was few used in urban music or sound recordings linked to mass consumption, with a small exception for gender artists labeled as Brazilian country music and not much more than that, imprisoning its sound to musical demonstrations from the country area without expanding all its potential sound to other musical styles. So far, its existence is mainly timited to the rural cultural events, with little participation in urban genres when it comes to musical events. Through this research it attempts to perceive what the essential elements to their roots and language so linked to the world of traditional music, they could be applied to other areas and also by other performers from different cultures.
Description
Dissertação - Mestrado em Música
Keywords
Viola caipira Tradição Violeiro Migração Performance Atitude Tradition Migration Performance Attitude
Citation
Publisher
Instituto Politécnico de Lisboa - Escola Superior de Música de Lisboa