Name: FELIPE PESSIN MANZOLI
Publication date: 19/05/2022
Advisor:
Name |
Role |
|---|---|
| FABIANO ARAUJO COSTA | Advisor * |
Examining board:
| Name |
Role |
|---|---|
| ALEXANDRE SIQUEIRA DE FREITAS | Internal Examiner * |
| FABIANO ARAUJO COSTA | Advisor * |
Summary: In this work, we undertook an investigation into the effects of phonographic mediation on the culture of the Brazilian guitar through a study focused on the guitarist Américo Jacomino, the Canhoto (1889-1928). The theme is treated on two fronts: on the one hand, Canhoto`s relationship with phonography, an incipient form of technological mediation of music in the first decades of the 20th century. XX, in Brazil; and on the other, a musicological analysis of the specific musical traits of Canhoto`s phonographic work that crystallized in the culture of the Brazilian guitar throughout the 19th century. XX. For this, we resort to the theoretical framework of audiotactile musicology, which identifies the ways of forming music in cultures from a mediological and cognitive approach that distinguishes mediation from visual matrix and audiotactile matrix, and other references that study the impact of media in art and society. Thus, we start from the idea that phonographic mediation plays a fundamental role in recording and transmitting stylistic traits characteristic of the musical practice linked to the Brazilian guitar, and that through Canhoto`s recordings it is possible to recognize specificities of this creative process that have been perpetuated in the style later of Brazilian guitarists. In our analysis, we evidenced in Canhoto`s recorded work the existence of complex and aesthetically relevant structures, called groovemas, which are produced and inscribed as text in the work by the action of the body, and not from the traditional musical notation system, the score. This observation corroborates the study presented in the first part of the work on the practical method created by Canhoto, which offers clues about his pedagogical practice and even about his poetic program as a guitarist. The phonograms used in the analysis procedures were extracted from the historical recordings of Viola minha Viola and Abismo de Rosas, made by Canhoto. We identify and classify the forming particles of the groove, through macrostructural and microstructural analyses, with the help of specialized software. In the case of Abismo de Rosas, we carried out analyzes in a comparative perspective on eleven recordings of the same piece, made by guitarists renowned in the history of the Brazilian guitar, in order to verify the ability to transmit characteristic aspects of Canhoto`s expressiveness through technological mediation of recording.
Keywords: Américo Jacomino; New Media; Audiotactility; Brazilian Acoustic Guitar
