Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Departamento de Música, Programa de Pós-Graduação Música em Contexto, 2017. / Submitted by Raquel Viana (raquelviana@bce.unb.br) on 2018-07-17T19:18:27Z No. of bitstreams: 1 2017_LeonardoFrançaMalagrino.pdf: 10375782 bytes, checksum: 1d48709eba2ef74aeadb1e13be40a745 (MD5) / Approved for entry into archive by Raquel Viana (raquelviana@bce.unb.br) on 2018-07-20T21:52:54Z (GMT) No. of bitstreams: 1 2017_LeonardoFrançaMalagrino.pdf: 10375782 bytes, checksum: 1d48709eba2ef74aeadb1e13be40a745 (MD5) / Made available in DSpace on 2018-07-20T21:52:54Z (GMT). No. of bitstreams: 1 2017_LeonardoFrançaMalagrino.pdf: 10375782 bytes, checksum: 1d48709eba2ef74aeadb1e13be40a745 (MD5) Previous issue date: 2018-07-17 / The present work focuses on the study of rhythms of bantu origin candomblé, also known, among other names, as candomblé angola. The research was developed from the field researches in public rituals and in the study of the sound aspects on the instrumental quartet performed in the Bantu Redandá Culture Temple, based on the album of the Tourist Apprentice collection of the group A Barca, in which were recorded in that temple some of the zuelas (songs) present in the rituals. This study aims to contribute to the ethnomusicological literature about a subject not often discussed in our field – the rhythms of angola nation’s candomblé – and the research was divided into four chapters among contexts in which these rhythms are also inserted. The first chapter deals with the Diaspora of the Bantu peoples in Brazil, presenting historically the peoples from Africa who composed with their religions, languages and cultures, which later was called in Brazil as candomble angola. The second chapter refers to the candomblé, addressing common characteristics and fundamentals of this religion and its african inheritance; and also to the differences between nations, with emphasis on the candomblé angola, the cult of the inkices (saints), and the family ancestry of the Redandá’s religious leader. The third chapter presents data collected with field researches in this temple, including conversations with participants, descriptions, locations, and characteristics of rituals. At last, the fourth chapter refers to the music of Redandá bringing similar and different aspects to other candomblé temples observed in the literature, the musical instruments used in rituals, their respective functions and the transcribed of the main rhythms used in its ceremonies. At the end of this research, bringing studies of other authors in context with the results obtained in the temple surveyed, it will be verify that certain rhythms were originated from angola nation’s candomblé rituals, but are also present in rituals of other nations of candomblé – as well as rhythms that were recognized from other nations – and at the final, the angolan musical traditions influenced other afrobrazilian religions and folk and popular musical genres, concluding that the music coming from this nation of candomblé constituted as a reference for other musical contexts.