Forró de sanfoneiro pop: transformações na obra de Dominguinhos, 1964- 1980

• Autor(a) principal: Cunha, Breno César de Albuquerque
• Data de Publicação: 2021
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da UFPB
• Texto Completo: https://repositorio.ufpb.br/jspui/handle/123456789/27140
• topic: Música popular - Forró; Luiz Gonzaga; Dominguinhos; Mudança musical - Forró; Popular music - Forró; Musical change - Forró; CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::MUSICA

The objective of this study was to investigate the transformation in the work of the accordionist and composer Dominguinhos, from 1964 to 1980. This time frame was chosen based on three factors: (1) the beginning of his career in the phonographic industry from 1964 onwards, (2) his popularization from 1973, alongside the tropicalists, (3) and his consecraction from the perspective of his mentor, Luiz Gonzaga, in 1980. To better understand the ideas involved in the transformation processes in the face of tradition of the "forró gonzaguiano", some fundamental concepts were used, such as: "musical change", "musical flow", "performance complex" and "cosmopolitanism". Considering that the research universe of this work is essentially formed by the musical work of Dominguinhos, published in the chosen historical clipping, the data collection took place through the process of appreciation and mapping of the sixteen records released in the period in question. This procedure was followed and complemented by musical analyzes of ten phonograms chosen from the six main subgenres of Gonzaga's canon: xote, baião, forró, toada, arrasta-pé and xaxado. From these analyses, several musical changes were verified in Dominguinhos' work, especially in the mid-1970s, which can be observed through stylistic traits in the compositions, mainly with regard to the following factors: gradual prioritization of vocal music in his albums, the use of melodies and jazz improvisations, sudden modulations to distant tones and experimentation related to instrumentation. At the same time, several examples of continuity in relation to Gonzaga’s conventions were also observed, such as: the abundant use of forró’s subgenres and their respective rhythmic characteristics, some modal and tonal melodic and harmonic traits and the maintenance of the instrumentation of the “trio pé de serra” as an instrumental foundation. It was concluded that Dominguinhos was a cosmopolitan agent, who acted on the frontiers of the flow of forró through his recordings and starred in several points of change and continuity in the conjuncture of Luiz Gonzaga's legacy.