Publicação
A viola e o violão na canção de câmara brasileira: representações musicais
| Resumo: | Intrinsically linked to the song, viola and guitar participated decisively in the appearance and configuration of the main Brazilian vocal genres. Brought by the Portuguese, these instruments gained huge popularity and were gradually established: the guitar, in the urban area, becoming an element of mediation and cultural diffusion, and the viola, in the inland, more rural areas, started to follow another type of song, the moda de viola. Running along its popular aspect, we need to see how these tools were present in the Brazilian art song by representing or translating their images and sounds in the piano accompaniment. Firstly, we will investigate which musical and idiomatic resources are used to build the nationalist songs with piano that have the viola and the guitar as title or subject, then, we will establish symbolic associations to which these musical elements lead us, such as environments, practices and contexts. Finally, we will verify the hypothesis that the guitar – fought for and stigmatized by its relationship with vagrancy and bohemianism – was accepted in the classical sphere through the translation of its image and sound for the piano. In others words, moved from its original space, but keeping its identification with Brazilian culture, the guitar was allowed entry through the artistic treatment and worship that the piano could give it. To verify this musical and symbolic representation, we turn to the analysis of the work of important nationalist composers such as Heitor VillaLobos, Oscar Lorenzo Fernandez and Mozart Camargo Guarnieri. In general, it is observed through this study that some procedures, such as chromaticism, staccatos, bass melodies and counterpoint, are common to both the viola and the guitar. However, how to treat them changes their meaning. Thus, while the viola translates through musical resources related to rural areas, such as the use of parallel thirds and glissandos, the guitar is revealed characterised by its tradition as urban instrument, accompanist of the modinha, where the elements of choro and seresta, not only their language and space, but also the formation of a repertoire of Brazilian art song originally written for voice and guitar. |
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| Autores principais: | Araújo Garcia, Cláudia |
| Assunto: | Violão Viola Canção de câmara brasileira Imagem Associações simbólicas Viola Guitar Brazilian art song Image Symbolic associations |
| Ano: | 2019 |
| País: | Portugal |
| Tipo de documento: | artigo |
| Instituição associada: | Universidade de Aveiro |
| Idioma: | português |
| Origem: | Post-ip: Revista do Fórum Internacional de Estudos em Música e Dança |
| Resumo: | Intrinsically linked to the song, viola and guitar participated decisively in the appearance and configuration of the main Brazilian vocal genres. Brought by the Portuguese, these instruments gained huge popularity and were gradually established: the guitar, in the urban area, becoming an element of mediation and cultural diffusion, and the viola, in the inland, more rural areas, started to follow another type of song, the moda de viola. Running along its popular aspect, we need to see how these tools were present in the Brazilian art song by representing or translating their images and sounds in the piano accompaniment. Firstly, we will investigate which musical and idiomatic resources are used to build the nationalist songs with piano that have the viola and the guitar as title or subject, then, we will establish symbolic associations to which these musical elements lead us, such as environments, practices and contexts. Finally, we will verify the hypothesis that the guitar – fought for and stigmatized by its relationship with vagrancy and bohemianism – was accepted in the classical sphere through the translation of its image and sound for the piano. In others words, moved from its original space, but keeping its identification with Brazilian culture, the guitar was allowed entry through the artistic treatment and worship that the piano could give it. To verify this musical and symbolic representation, we turn to the analysis of the work of important nationalist composers such as Heitor VillaLobos, Oscar Lorenzo Fernandez and Mozart Camargo Guarnieri. In general, it is observed through this study that some procedures, such as chromaticism, staccatos, bass melodies and counterpoint, are common to both the viola and the guitar. However, how to treat them changes their meaning. Thus, while the viola translates through musical resources related to rural areas, such as the use of parallel thirds and glissandos, the guitar is revealed characterised by its tradition as urban instrument, accompanist of the modinha, where the elements of choro and seresta, not only their language and space, but also the formation of a repertoire of Brazilian art song originally written for voice and guitar. |
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