Orientador: Alberto Tsuyoshi Ikeda / Banca: Antonio Rago Filho / Banca: Paulo Castagna / Resumo: Esse trabalho tem por objetivo estudar o Clube do Choro de São Paulo, que funcionou entre os anos de 1977 e 1979. O Clube foi uma entidade criada por músicos, jornalistas e aficcionados do gênero, com o objetivo de promover a música instrumental brasileira, editar discos e partituras, recolher depoimentos de artistas e promover o intercâmbio entre músicos antigos e jovens, visando à preservação do choro. Foi utilizada uma abordagem histórico-musicológica, isto é, procurou-se não apenas estudar o Clube e suas ações, mas também a conjuntura política e social em que ele esteve inserido, e os efeitos que este entorno pode ter tido sobre suas realizações. Procurou-se demarcar quais dessas ações foram mais significativas e provocaram maior impacto no cenário musical paulistano. Paralelamente ocorreu a recuperação do material bibliográfico produzido pelo Clube, que soma mais de cem artigos de jornal, além de cartas, fotos e anotações. O material sonoro encontra-se em fase de recuperação, isto é, as fitas de rolo passam atualmente por processo de digitalização, onde serão convertidas em arquivos eletrônicos. Por meio desse processo, essas gravações podem ser preservadas em mídias mais modernas, tais como Cds e Dvds, e disponibilizadas aos interessados. / Abstract: This paper aims to study the São Paulo's 'Clube do Choro', which existed in that city between 1977 and 1979. The Clube was an organization created by musicians, jornalists and fans of the choro style, and its objectives were: promoting the brazilian instrumental music; releasing records and editing sheet music; collecting interviews with artists exchanging informacion between musicians of the old and new schools, aiming to preserve the choro. An historical-musicological approach to the subject was used, i.e., the Clube do Choro and its actions were studied inserted in its political and social context, and the effects that this context might have had in the Clube's deeds. We tried to mark which of those acts were more significant ou promoted a bigger impact on the musical scene of São Paulo. At the same time, we proceeded the recovery of the bibliographical material produced by the Clube, which amounts to more than one hundred newspaper articles, besides letters, photos and notes. The sound material produced by the Clube is still in restoration, i.e., tapes are being digitalized, in a process that will convert them to electronical archives. Through this process, the recordings can be stores in modern midia, such as CDs and DVDs, making its handling easier for those interested in this subject. / Mestre

The use of keyboard percussion instruments in choro, one of the earliest forms of Brazilian popular music, is a relatively recent phenomenon and its expansion into university music programs and relocation from small clubs and private homes to concert halls has changed the way that choro is learned and performed. For many Brazilians, this kind of innovation in a “traditional” genre represents a challenge to their notion of a Brazilian cultural identity. This study examines the dynamic relationship that Brazilians have with representations of their culture, especially in the area of popular music, through an in depth discussion of the use of keyboard percussion instruments within the genre of choro. I discuss the implications of using keyboard percussion in choro with a detailed description of its contemporary practice and a critical examination of the sociological and academic issues that surround choro historically and as practiced today. This includes an historical overview of choro and organology of keyboard percussion instruments in Brazil. I discuss multiple perspectives on the genre including a consideration of choro as part of the “world music” movement and choro’s ambiguous relationship to jazz. Through an examination of the typical instrumentation and performance conventions used in choro, I address the meanings and implications of the adaptation of those practices and of the various instrumental roles found in choro to keyboard percussion instruments. Solutions to problems relating to instrumental adaptation are offered, with particular attention to issues of notation, improvisation, rhythmic approach and the role of the cavaquinho. I also discuss the significance of rhythmic feel and suingue (swing) in relation to the concept of brasilidade (brazilianness) as informed by and expressed through Brazilian popular music.

The use of keyboard percussion instruments in choro, one of the earliest forms of Brazilian popular music, is a relatively recent phenomenon and its expansion into university music programs and relocation from small clubs and private homes to concert halls has changed the way that choro is learned and performed. For many Brazilians, this kind of innovation in a “traditional” genre represents a challenge to their notion of a Brazilian cultural identity. This study examines the dynamic relationship that Brazilians have with representations of their culture, especially in the area of popular music, through an in depth discussion of the use of keyboard percussion instruments within the genre of choro. I discuss the implications of using keyboard percussion in choro with a detailed description of its contemporary practice and a critical examination of the sociological and academic issues that surround choro historically and as practiced today. This includes an historical overview of choro and organology of keyboard percussion instruments in Brazil. I discuss multiple perspectives on the genre including a consideration of choro as part of the “world music” movement and choro’s ambiguous relationship to jazz. Through an examination of the typical instrumentation and performance conventions used in choro, I address the meanings and implications of the adaptation of those practices and of the various instrumental roles found in choro to keyboard percussion instruments. Solutions to problems relating to instrumental adaptation are offered, with particular attention to issues of notation, improvisation, rhythmic approach and the role of the cavaquinho. I also discuss the significance of rhythmic feel and suingue (swing) in relation to the concept of brasilidade (brazilianness) as informed by and expressed through Brazilian popular music.

Made available in DSpace on 2014-06-11T19:27:27Z (GMT). No. of bitstreams: 0 Previous issue date: 2009Bitstream added on 2014-06-13T19:15:00Z : No. of bitstreams: 1 sousa_mbtrn_me_ia.pdf: 1518149 bytes, checksum: e9a6da7b19b32aaea722d6f799f282c3 (MD5) / Universidade Estadual Paulista (UNESP) / Esse trabalho tem por objetivo estudar o Clube do Choro de São Paulo, que funcionou entre os anos de 1977 e 1979. O Clube foi uma entidade criada por músicos, jornalistas e aficcionados do gênero, com o objetivo de promover a música instrumental brasileira, editar discos e partituras, recolher depoimentos de artistas e promover o intercâmbio entre músicos antigos e jovens, visando à preservação do choro. Foi utilizada uma abordagem histórico-musicológica, isto é, procurou-se não apenas estudar o Clube e suas ações, mas também a conjuntura política e social em que ele esteve inserido, e os efeitos que este entorno pode ter tido sobre suas realizações. Procurou-se demarcar quais dessas ações foram mais significativas e provocaram maior impacto no cenário musical paulistano. Paralelamente ocorreu a recuperação do material bibliográfico produzido pelo Clube, que soma mais de cem artigos de jornal, além de cartas, fotos e anotações. O material sonoro encontra-se em fase de recuperação, isto é, as fitas de rolo passam atualmente por processo de digitalização, onde serão convertidas em arquivos eletrônicos. Por meio desse processo, essas gravações podem ser preservadas em mídias mais modernas, tais como Cds e Dvds, e disponibilizadas aos interessados. / This paper aims to study the São Paulo’s ‘Clube do Choro’, which existed in that city between 1977 and 1979. The Clube was an organization created by musicians, jornalists and fans of the choro style, and its objectives were: promoting the brazilian instrumental music; releasing records and editing sheet music; collecting interviews with artists exchanging informacion between musicians of the old and new schools, aiming to preserve the choro. An historical-musicological approach to the subject was used, i.e., the Clube do Choro and its actions were studied inserted in its political and social context, and the effects that this context might have had in the Clube’s deeds. We tried to mark which of those acts were more significant ou promoted a bigger impact on the musical scene of São Paulo. At the same time, we proceeded the recovery of the bibliographical material produced by the Clube, which amounts to more than one hundred newspaper articles, besides letters, photos and notes. The sound material produced by the Clube is still in restoration, i.e., tapes are being digitalized, in a process that will convert them to electronical archives. Through this process, the recordings can be stores in modern midia, such as CDs and DVDs, making its handling easier for those interested in this subject.