Inovação e tradição nas baixarias do choro de Rogério Caetano: pós-modernidade e diálogo com Dino Sete Cordas e Raphael Rabello

• Autor(a) principal: Silva Neto, João Fernandes da
• Data de Publicação: 2017
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Repositório Institucional da UFG
• dARK ID: ark:/38995/0013000008537
• Texto Completo: http://repositorio.bc.ufg.br/tede/handle/tede/8307
• topic: Inovação e tradição; Baixarias do choro; Rogério Caetano; Cenário pós-moderno; Dino sete cordas; Raphael Rabelo; Innovation and tradition; Baixarias of choro music; Postmodern scenario; ARTES::MUSICA

This research had as scope to investigate the peculiarities of the elaboration and execution of the baixaria (bass lines) of seven-string guitar in the interpretation of the Choro by Rogério Caetano, aiming to identify how it interacted with the marked diversity that characterizes postmodernity and with the elements of the tradition, here represented by the work of Dino Sete Cordas and Raphael Rabelo, and, in this context, the innovations that he brought to the history of the genre in Brazil. Three works by Rogério Caetano – Amigos, Um chorinho em Cochabamba and Rogerinho no sete – as well as three recordings of the music Noites Cariocas – composed by Jacob do Bandolim – interpreted, respectively, by Rogério Caetano, Dino Sete Cordas, and Raphael Rabello, were selected for analysis, interpretation, and comparison. The methodological trajectory prioritized: bibliographical survey; documentary survey (musical scores); exploration of oral sources (semi- structured interviews), auditory and audio-visual sources; investment in the transcription of baixarias of choro music carried out by the researcher; analysis, interpretation and comparison of the baixarias performed by each of the three mentioned musicians. Finally, it was possible to consider that Rogério Caetano, despite all the mastery of the traditional elements (in the context of the baixaria of Choro), represented here by the work of Dino Sete Cordas and Raphael Rabello, used a lot of melodic material from other musical genres like the jazz, the blues, Latin American music, evidencing that it brought great innovations to the choro genre. We state that this musician achieved this when he established profound dialogues with the diversity characteristic of the postmodern scenario with which he interacted. In what it concerns to the seven-string guitar universe, still having in sight the other two mentioned musicians, he showed that he is able to represent a third school of the seven-string guitar in Brazil.