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| Author(s): |
Renan Moretti Bertho
Total Authors: 1
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| Document type: | Master's Dissertation |
| Press: | Campinas, SP. |
| Institution: | Universidade Estadual de Campinas (UNICAMP). Instituto de Artes |
| Defense date: | 2015-08-27 |
| Examining board members: |
Lenita Waldige Mendes Nogueira;
Suzel Ana Reily;
Rose Satiko Gitirana Hikiji
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| Advisor: | Lenita Waldige Mendes Nogueira; Vilson Zattera |
| Abstract | |
Rodas de choro are spaces for musical performance where choro is (and always was) practiced. It began at Rio de Janeiro, in the late nineteenth century and expanded gradually. Currently manifestations of this nature are conducted in several states of Brazil and other countries. This work is about performance and music making of a roda de choro that happens every two weeks in the city of São Carlos, São Paulo. Participate in this practice as a flute player since 2011 and gradually emerged the following questions: Why professional and amateur musicians of various ages, but especially young people, meet every two weeks in a bar to play choro? What are the characteristics, behaviors and codes governing this music making? How to map the roda¿s performance and understand how the musicians participate? To answer these issues I chose by the use of ethnomusicology as a method in the construction of data and as theoretical and epistemological support reflection. During this research were produced photos and videos, results so much of my musical experience as my look on as a researcher. So, present as results an ethnographic description seeking to understand how people make music in a given space (AU) | |
| FAPESP's process: | 13/08972-1 - Identity and performance in the RODAS de CHORO de Carlos |
| Grantee: | Renan Moretti Bertho |
| Support Opportunities: | Scholarships in Brazil - Master |