Musikfolklore Brasiliens - Stand der Forschung. Bispo, A.A.

29. Januar

Museum für Volkskünste und -techniken (Folklore-Museum)
Auditorium João Ribeiro

Pavillon Lucas Moreira Garcez, Ibirapuera

14:00 Uhr

Ehrenvorsitz: Prof. Dr. Rossini Tavares de Lima
Präsident ad hoc: Prof. Dr.Dr. Julieta de Andrade
Schule der Folklore der Brasilianischen Gesellschaft für Folklore

Die Bedeutung von Rossini Tavares de Lima in der Folklore- und Musikforschung
Prof. Dr. José Geraldo de Souza

Vorsitzender der Brasilianischen Gesellschaft für Musikwissenschaft

Between 1950 und 1953, the President of the Brasilian Society of Musicology came in contact with Rossini Tavares de Lima, one of the most important representatives of Folklore in Brazil. One of the high points of the development of this field was the realization of the first International Congress of Folklore and of the VI International Conference of Folklore Music on the occasion of the IV centenary of the town of São Paulo (1954). Since then, the Museum of Folklore continues to be the centre of these studies in Brazil. (Übers. E. Florence Dewey)

Das Archiv von Tonaufnahmen der Schule und des Museums für Folklore

Prof. Niomar de Souza Pereira

Leiterin des Tonarchivs

The School and Museum of Folklore are not specialized in music, although musical phenomena receives special attention in the studies and research work. The amount of recordings are of great cultural importance as it is the result of the activity in research work realized during decades. The oldest recorded documents were made by the Centre of Folkloric Research Mário de Andrade, founded by Rossini Tavares de Lima in 1946 in the Dramatical and Musical Conservatory of São Paulo. There is also a documentation of recordings compiled by the „Comissão Paulista de Folklore“ in 1959, during the investigations on the folklore of the north coast of São Paulo. The outstanding result of this expedition was the discovery of the use of the marimba. (EFD)

Die „Música immensurata“ und die „Música Suporte“ beim Cururu

Prof. Dr. Dr. Julieta de Andrade

Direktorin der Folklore-Schule des Museums für Folklore

The communication deals with the difficulties of notation of the Brazilian folklore music, taking into consideration an adequate recovery of the pieces coollected. The roots of the Cururu can be found in the troubadours in the south oif France, from whence the Cururu arrived in Brazil through the Iberian Peninsular. The „toadas“ are not difficult to transcribe, excepte those which show a certain freedom in their interpretation. The difficulty arises in the transcription of the „baixões“. Up to now they have been written in a two-four time. However the study of Medieval Music and poetry reveals the poverty of the written system used up to the present and various suggestions can be put forward based on acquired experiences. Brazilian folklore music demands to be worked on by both folklorists and musicologists. (EFD)

Der „Gabinete de Pesquisas Folclóricas“ des Instituts der Künste der Bundesuniversität von Rio Grande do Sul

Prof. Ilka D’Almeida Santos Herrmann

The „Gabinete de Pesquisas Folclóricas“ des Instituts der Künste der Bundesuniversität von Rio Grande do Sul, was founded in 1976 and aimed at incentivating the research of folklore. Since its foundation, numerous public classes, seminaries and courses have been organized. The Center has published a few works on folklore and subsidizes the realization of two researches. One, on the musical styles of „Vaneira“, „vaneirão“ and „bugio“, which is a large collection of pieces from Rio Grande do Sul. Another on „A trova e a Décima“ von Rio Grande do Sul, which examines „ cantos em desafio“ 8a musical competition between two popular singers) and the narrative song, characteristic of the region. (EFD)

Die Trova und die Décima von Rio Grande do Sul
Prof. Rose Marie Reis Garcia

Gaúcho-Institut für Tradition und Folklore

This research work makes part of a larger project of studies on folklore music in the south and south-east of Brazil. The troubadours played an important part as authors of the texts (and sometimes of the music), as interpreters and instrumentalists in the music of Rio Grande do Sul. The „cantoria em desafio“ and the „cantoria narrativa“ (Décima) go back to a European tradition. The predominant „canto de desafio“ is now known as „Trova em Mi Maior de Gavetão“ and consists in a song alternating between two „challengers“. A musical interlude, played on a mouth organ and/or a guitar, is inserted. Other „cantos de desafio“ are the „Trova por Milonga“ and the „Trova por Martelo“. The capacity of improvising verses begins in earliest childhood. In this research work the Brazilian „trova gaúcha“ is compared with the Argentine „pajada“. What they now call „pajada“ in Rio Grande do Sul has nothing to do with that form of „canto platino“. The „décima“ - narrative song of something which has actually happened - can be sung or recited, with or without an instrumental accompaniment. With the coming of the festivals of Chrismas Music in Rio Grande do Sul, these forms of regional songs were incentivated. (EFD)

Musik und Volksreligiosität in der Region von Santa Maria

Prof. Maria del Carmen Macchi
Zentrum für Künste und Literatur der Bundesuniversität von Santa Maria

The paper relates succinctly a project of research of the „Centro de Artes e Letras“ of the Federal University in Santa Maria, Rio Grande do Sul. The work was done by a group representing various branches. The main aim of the project was toi study the Feast of Our Lady Medriatrice of all Graces (fest that falls on the second sunday of November) and the Feast of our Lady of Pompéia (District of Silveira Martins) as being the most popular religious feasts in Rio Grande do Sul. A study has been attempted dealing with the complexity of the relationship betwenn the sacred and the profane. (EFD)

Das Ritual und die Musik des „Bumba Boi“ in Maranhão

Prof. Suely Ventura Neves

Folkloristin, Musikkonservatorium Niterói

The research, made in 1986, began with the idea of investigating musical instruments, the rhytme and melodies of the tradition relating to „Boi“ in Maranhão. However it was discovered that the music should bi considered within a complex of religious signification.. The „Bumba-Boi“ in Maranhão is a ritual during the period of the year from May, when the new songs are chosen and the bull is baptised, till August or September, whenn the bull’ss death is staged. The public staging takes place from the 23rd of Juni onwards. The groups of „Boi“ divide up into three groups: the „indigina“ or „indigenous“ or „native“ („nativa“) (the Bull with a rattle accent), the „African“ (Bull wirth a Zambube acccent) and the „White“ (Orchestra Bull), which represents distinct musical and choreographical characteristics. In spite of all the social transformations Maranhão is suffering from, the „Bumba-Boi“ will survive to be an integral part of the local religious-cultural identity. (EFD)

Musikfolklore von Pará: Notwendigkeit dessen Erhebung
Orlando Vieira Filho

Leiter der Musikaktivitäten der Bundesuniversität von Pará

There is a very rich patrimony of musical folklore which is in danger of extinction. In the profane field, the Carimbó, Siriá, Chila Marajoara, Lundu, Chote, Retumbão are given as dances accompanied by instrumental groups. In the religious field, one mayremember the litanies of the Island of Marajó, sung on the feasts of Saint Sebastian and Saint Benedict, among others. These litanies can be sung by groups that travel down the rivers in canoes. The Boi-Bumba is also mentioned as well as the „Pastorinhas“. Up to now the specialists have dedicated temselves to reflections of a sociological and anthropological character. It has bekome necessary to point out the urgent necessity of the simple recording, documentation, transmission and divulgation of this material. (EFD)

Bibliographische Anmerkungen der Staatskommission für Folklore

E.A.Magalhães, Fernanda M. S. Macruz, José Gerardo M. Guimarães, Niomar de Souza Pereira, Zilda M.M. Rangel

The revue „Folklore“ edited by the Centre of Folklore Research „Mário de Andrade“ under Rossini Tavares de Lima’s direction, circulated from 1952 to 1953. Unfortunately this publication is little known to specialists. Of the 39 articles published, 19 are of special interest for musicology. Reference is made to the „music of Our Lady“. An analysis and description of the North-American songs circulating in Brazil is being made. The „batuque“, Saint Gonçalo’s dance, the feast of Saint Benedito, Cururu and a collection of children’s songs are being studied. (EFD)

Kulturministerium

Regierung des Staates São Paulo

Kultursekretariat des Staates São Paulo

Stadt São Paulo

FUNARTE - Nationalstiftung für Kunst

Villa-Lobos Museum, Rio de Janeiro

Internationaler Musikrat/UNESCO

Consociatio Internationalis Musicae Sacrae, CIMS

Staatsuniversität Júlio de Mesquita Filho

Instituto de Artes do Planalto

Universität von São Paulo

Universität von Rio de Janeiro

Universität von Ouro Preto

Bundesuniversität von Rio de Janeiro

Bundesuniversität von Minas Gerais

Bundesuniversität von Goiás

Bundesuniversität von Paraná

Bundesuniversität von Santa Catarina

Bundesuniversität von Rio Grande do Sul

Bundesuniversität von Bahia

Bundesuniversität von Santa Maria, RS

Päpstliche Universität von Paraná

Brasilianische Gesellschaft für Volkskunde

Brasilianische Gesellschaft für Akustik

Gesellschaft Pró-Música Antiga

Brasilianische Gesellschaft für zeitgenössischer Musik

Institut Technologischer Forschung, São Paulo

Brasilianisches Institut für Geographie und Statistik

Bibliothek der Schule für Kommunikation und Künste der Universität São Paulo, ECA

Institut für hymnologische und musikethnologische Studien, Maria Laach

Studienzentrum für Kunstsoziologie der Philosophischen Fakultät der Universität São Paulo

Musikfakultät Carlos Gomes

Museum der Universität São Paulo (Ipiranga-Museum)

Museum für Volkskunde São Paulo

Musikkonservatorium von Niterói

Musikabteilung des Methodistischen Instituts für Hochschulstudien, São Bernardo do Campo

Gesellschaft für Gesang des Mittelsalters, São Paulo

Basilika Unsere Frau von Karmel

Symphonie Orchester der Universität São Paulo

Musikkonservatorium Brooklin Paulista
Chor Camargo Guarnieri, Poços de Caldas
Gregorianischer Chor Pius X, São Paulo