This project aims to discuss a specific part of the work of Moacir Santos (1926-2006), which is temporarily located in the first decades that the composer took up residence in the U.S., approximately from 1967 to 1985. By that time Santos became a mainly requested composer for the American film and television industries and participated in the production of major movies and TV shows of the period. Here, the materials that will be considered as the main focus of study are the partnerships with Henry Mancini (1924-1994) and Lalo Schifin (1932 -), where Santos worked as a ghostwriter.The author of this project held a previous research that deals with the analysis of scores signed by Moacir Santos in Brazil in the sixties, immediately prior to his trip to North America in order to establish the compositional processes of Santos as a great composer for the audiovisual market. From these results it is intended to point out the musical inserts of the Americans audiovisual products with compositional characteristics of Moacir Santos and thus refer to this part of his work, neglected by researchers until now.
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