Audiotactile expressiveness and interpretive practices of the soloist as an accompanist: the case of Altamiro Carrilho in the LP Depoimento do Poeta (1970)
This article aims to highlight the performance of the flutist Altamiro Carrilho in the specific role of accompanying soloist, using his interventions in the LP Depoimento do Poeta (1970), by Nelson Cavaquinho, as a supporting document, from which we make a brief historical contextualization. Through...
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| Main Authors: | , |
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| Format: | Online |
| Language: | Portuguese |
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Universidade Estadual de Campinas
2020
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| Subjects: | |
| Online Access: | https://econtents.sbu.unicamp.br/inpec/index.php/muspop/article/view/14311 |
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| Summary: | This article aims to highlight the performance of the flutist Altamiro Carrilho in the specific role of accompanying soloist, using his interventions in the LP Depoimento do Poeta (1970), by Nelson Cavaquinho, as a supporting document, from which we make a brief historical contextualization. Through the basic theoretical tools proposed by the TAM (Theory of Audiotactile Music), such as the notions of CNA (Neoauratic Codification) and extemporization – as elaborated by the Italian musicologist Vincenzo Caporaletti and other authors – we propose a terminological adaptation of the field of improvisation studies the musical practices concerning the universe of Brazilian music accompaniment ensembles, represented here by the “regionais” and their soloists, active in genres such as choro and samba. To demonstrate some of Carrilho’s interpretive practices on the referred disc, we chose for the scope of this article the analysis of the case of the extemporaneous samba introductions and a survey of ornamentation aspects in the flutist's interpretation, with special focus on the glissando and his tactile preeminence. |
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| ISSN: | 2316-7858 |
