Banca de QUALIFICAÇÃO: MARCO CEZAR DE OLIVEIRA BRITO

Uma banca de QUALIFICAÇÃO de MESTRADO foi cadastrada pelo programa.
DISCENTE : MARCO CEZAR DE OLIVEIRA BRITO
DATA : 17/06/2019
HORA: 19:00
LOCAL: Sala 22
TÍTULO:

Contributions of the Choro Wheel Experience for the Training of the Toe Ropes Instrumentalist

PALAVRAS-CHAVES:

Choro Wheel. Oral Tradition. Set Practice.

PÁGINAS: 54
GRANDE ÁREA: Linguística, Letras e Artes
ÁREA: Artes
SUBÁREA: Música
ESPECIALIDADE: Instrumentação Musical
RESUMO:

In this article we discuss the contribution of the experience in the Roda de Choro
for the formation of the instrumentalist strings guitar player. We know that Choro, as a typical
Brazilian musical instrumental genre, is generally performed in the Roda de Choro (Collective
Practices). Through qualitative research we aim to identify and understand the important
aspects of these Wheels based on Oral Transmission, in the learning process to obtain a
significant performance. In line with our professional teaching practice that uses stringed
instruments strung in the training and performance of groups in formal education at beginner,
middle and technical levels, we propose the systematization of some of the didactic
procedures used in these wheels. The experience of Roda de Choro, experienced by us and the
renowned interviewees, professional musicians, teachers, composers and performers, led us to
identify specific characteristics that can be systematized and used in the academic sector as in
the case of Solo Instrumentalist Collaborator who, when performing the solo, assists
accompanying musicians in the formation and amplification of the repertoire and
understanding of the rhythmic-harmonic language of popular music. Among the properties
inherent to the Roda de Choro we mention the improvisation procedure that is present in
general in the practical activities of Choro. As a systematization for the didactic study of the
Choro harmonies, we suggest the work of recognition and memorization of the Harmonic
Didactic Sequences that we understand as basic, composed by triads and seventh tetrads and
their forms of chaining of voices in the fingering instruments. The Harmonic Didactic
Sequences are derived from the tonal language, usually consisting of modulations for the
neighboring tones and the homonyms of the main tones. In the interpretative study we
highlight the Instrumental Perception that is the act of listening and playing in sync with the
consecrated recordings that contribute to the absorption of the various styles and forms of
execution. In search of a better understanding and the awakening of the harmonic and formal
analyzes, we suggest the work of transcription of the specific repertoire that contributes to a
better vision of the structure of the composition.

MEMBROS DA BANCA:
Presidente - 1301266 - EZEQUIAS OLIVEIRA LIRA
Interna - 1533086 - JOANA CUNHA DE HOLANDA
Interno - 1017535 - TIAGO DE QUADROS MAIA CARVALHO