Recordings, performance and musicology in the universe of choro
The urban music of Brazil became popular through the use of media and recordings, and the radio and the disc can be thought as important means of transmission of musical performances. The recording technology allowed the settlement of musical productions through recordings that became paradigms for...
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| Format: | Online |
| Language: | Portuguese |
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Universidade Estadual de Campinas
2013
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| Online Access: | https://econtents.sbu.unicamp.br/inpec/index.php/muspop/article/view/12967 |
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| author | Pessoa, Felipe Freire, Ricardo Dourado Pessoa, Felipe Freire, Ricardo Dourado Pessoa, Felipe Freire, Ricardo Dourado |
| author_facet | Pessoa, Felipe Freire, Ricardo Dourado Pessoa, Felipe Freire, Ricardo Dourado Pessoa, Felipe Freire, Ricardo Dourado |
| author_sort | Pessoa, Felipe |
| collection | Portal da Incubadora de Periódicos Científicos, Acadêmicos e Educacionais |
| container_reference | Música Popular em Revista; Vol. 2 No. 1 (2013); 34-60 |
| description | The urban music of Brazil became popular through the use of media and recordings, and the radio and the disc can be thought as important means of transmission of musical performances. The recording technology allowed the settlement of musical productions through recordings that became paradigms for reception and learning new musical styles. The changes in recording technologies helped to define the very perception of sound objects. The mechanical recordings became the main reference for musicians of several cities and states, and they started to play by imitating recording performances and not only through scores or live performances. In the case of Choro, the construction of accompaniment by guitars, cavaquinho and pandeiro was influenced both by the recordings and by the radio. The electric recording, that allowed the recording and the broadcasting of musical programs, was established when singers and instrumental soloists showed themselves accompanied by the Regional group. The stereophonic recording, that was developing duringthe 1950s, enabled instruments to be recorded in a separate manner, which allowed a greater precision and musical clarity. The dialogic relation between performance style and technology offers subvention for the Musicology to approach Choro development from the changes in the context, enabling the comprehension of the relationship between the artist and the medium he is inserted. |
| first_indexed | 2025-10-08T14:28:51Z |
| format | Online |
| id | ojs-article-12967 |
| institution | Universidade Estadual de Campinas |
| issn | 2316-7858 |
| language | por |
| last_indexed | 2025-10-08T14:28:51Z |
| publishDate | 2013 |
| publisher | Universidade Estadual de Campinas |
| record_format | ojs |
| spelling | ojs-article-129672020-09-17T20:10:13Z Recordings, performance and musicology in the universe of choro Fonogramas, musicología y performance en el universo choro Fonogramas, musicologia e performance no universo do choro Pessoa, Felipe Freire, Ricardo Dourado Pessoa, Felipe Freire, Ricardo Dourado Pessoa, Felipe Freire, Ricardo Dourado Musicologia Música brasileira Choro Performance Fonogramas Musicology Brazilian music Choro Performance Recordings Musicología Música brasileña Llorar Actuación Fonogramas The urban music of Brazil became popular through the use of media and recordings, and the radio and the disc can be thought as important means of transmission of musical performances. The recording technology allowed the settlement of musical productions through recordings that became paradigms for reception and learning new musical styles. The changes in recording technologies helped to define the very perception of sound objects. The mechanical recordings became the main reference for musicians of several cities and states, and they started to play by imitating recording performances and not only through scores or live performances. In the case of Choro, the construction of accompaniment by guitars, cavaquinho and pandeiro was influenced both by the recordings and by the radio. The electric recording, that allowed the recording and the broadcasting of musical programs, was established when singers and instrumental soloists showed themselves accompanied by the Regional group. The stereophonic recording, that was developing duringthe 1950s, enabled instruments to be recorded in a separate manner, which allowed a greater precision and musical clarity. The dialogic relation between performance style and technology offers subvention for the Musicology to approach Choro development from the changes in the context, enabling the comprehension of the relationship between the artist and the medium he is inserted. La música urbana del siglo XX se hizo popular como resultado de su difusión mediante tecnologías de difusión, y la radio y los discos pueden considerarse medios importantes de transmisión de interpretaciones musicales. La tecnología de grabación permitió la fijación de logros musicales mediante fonogramas que luego se convierten en paradigmas para la recepción y aprendizaje de nuevos estilos musicales. Las transformaciones en la tecnología de grabación y grabación de fonogramas ayudaron a definir la percepción de los objetos sonoros. Lo grabado, al inicio de las grabaciones mecánicas, se convirtió en un referente principal para músicos de otras ciudades y estados, que comienzan a tocar a partir de la imitación de actuaciones grabadas y no solo a través de partituras o actuaciones en directo. En el caso del choro, toda la construcción de los acompañamientos ejecutados por guitarras, cavaquinho y pandereta estuvo influenciada tanto por los fonogramas como por la radio. La tecnología de captura eléctrica, que permitió la grabación y transmisión de programas musicales, sucedió cuando cantantes instrumentales y solistas iban acompañados de grupos regionales. La grabación estereofónica, desarrollada a partir de la década de 1950, permitía grabar los instrumentos por separado y en múltiples tomas, lo que permitía un mayor grado de precisión y claridad musical. La relación dialógica entre estilo escénico y tecnología ofrece subsidios para que la musicología aborde el desarrollo del Choro a partir de los cambios que suceden en el contexto, permitiendo comprender la relación entre el artista y el entorno en el que se inserta. A música urbana do século XX tornou-se popular a partir da divulgação realizada por meio das tecnologias de difusão, sendo que o rádio e o disco podem ser considerados importantes meios de transmissão das performances musicais. A tecnologia de gravação permitiu a fixação das realizações musicais por meio de fonogramas que então se tornam paradigmas para a recepção e aprendizagem de novos estilos musicais. As transformações na tecnologia de captação e registro dos fonogramas auxiliaram a definir a própria percepção dos objetos sonoros. O que foi gravado, no início das gravações mecânicas, tornou-se referência principal para os músicos de outras cidades e estados, que passam a tocar a partir da imitação das performances gravadas e não somente por meio de partituras ou performances ao vivo. No caso do choro, todo a construção dos acompanhamentos realizados pelos violões, cavaquinho e pandeiro sofreram influências tanto dos fonogramas quanto do rádio. A tecnologia de captação elétrica, que permitiu o registro e a transmissão dos programas musicais, aconteceu quando cantores e solistas instrumentais se apresentavam acompanhados pelos conjuntos regionais. A gravação estereofônica, desenvolvida a partir da década de 1950, possibilitou que instrumentos fossem gravados de maneira separada, e em várias tomadas, o que permitiu um maior grau de precisão e clareza musicais. A relação dialógica entre estilo de performance e tecnologia oferece subsídios para a musicologia abordar o desenvolvimento do Choro a partir das alterações que acontecem no contexto, permitindo a compreensão da relação entre artista e o meio no qual ele está inserido. Universidade Estadual de Campinas 2013-12-07 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Artigo avaliado pelos Pares Texto Text Texto application/pdf https://econtents.sbu.unicamp.br/inpec/index.php/muspop/article/view/12967 10.20396/muspop.v2i1.12967 Música Popular em Revista; Vol. 2 No. 1 (2013); 34-60 Música Popular em Revista; Vol. 2 Núm. 1 (2013); 34-60 Música Popular em Revista; v. 2 n. 1 (2013); 34-60 2316-7858 por https://econtents.sbu.unicamp.br/inpec/index.php/muspop/article/view/12967/8336 Brazil; Century XX Brasil; Siglo XX Brasil; Século XX Copyright (c) 2013 Felipe Pessoa, Ricardo Dourado Freire |
| spellingShingle | Pessoa, Felipe Freire, Ricardo Dourado Pessoa, Felipe Freire, Ricardo Dourado Pessoa, Felipe Freire, Ricardo Dourado Musicologia Música brasileira Choro Performance Fonogramas Musicology Brazilian music Choro Performance Recordings Musicología Música brasileña Llorar Actuación Fonogramas Recordings, performance and musicology in the universe of choro |
| title | Recordings, performance and musicology in the universe of choro |
| title_full | Recordings, performance and musicology in the universe of choro |
| title_fullStr | Recordings, performance and musicology in the universe of choro |
| title_full_unstemmed | Recordings, performance and musicology in the universe of choro |
| title_short | Recordings, performance and musicology in the universe of choro |
| title_sort | recordings, performance and musicology in the universe of choro |
| topic | Musicologia Música brasileira Choro Performance Fonogramas Musicology Brazilian music Choro Performance Recordings Musicología Música brasileña Llorar Actuación Fonogramas |
| url | https://econtents.sbu.unicamp.br/inpec/index.php/muspop/article/view/12967 |
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