Alexandre Damasceno

CESEM / FCSH – NOVA University, Portugal

Abstract

This proposal is part of a larger research that resulted in a master’s thesis, which presented as one of the main objectives, the reflection on the performance of drummer Luciano Perrone with the sextet of maestro Radamés Gnattali. In this work, the option of employing analytical tools, traditionally used in the so-called classical music, in a context that involves the so-called popular music, does not aim to prove its effectiveness or not in the face of this appropriation. The viability of a process originally developed for a piece based on writing when it is placed before a manifestation that is spread more by orality, and as it has been discussed for some time, can make the result of this study limited. However, in our case, the material presented here is the result of a hybrid process, where we come across a musical score, which does not have all the information that should be performed, but has enough content to come a little closer to the result that the composer idealized.

The track analyzed is Divertimento para 6 Instrumentos, which is part of the album Radamés Gnattali Sexteto – Série Depoimento – Vol. 2(1975 – Odeon SM0FB 3879), which has Chiquinho do Acordeom (accordion), Laércio de Freitas (piano), Luciano Perrone (drums), Radamés Gnattali (piano), Pedro Vidal (bass) and Zé Menezes (guitar) as members. This performance, in the case of popular music, is one of the pillars of the so-called one-time arrangements, a term found in the Grove of Jazz that refers to the structuring of an original (musical) material in an improvised way. This happens once each new performance of a particular piece of music, the performers will end up, as usual, performing it differently from its original.

Taking into consideration this intervention that the musician/interpreter exercises on the score, the analysis needs to encompass factors external to the composition, in an attempt to study the music as part of a cultural whole, and where the meaning of analysis has to be a little wider and contemplate a multidisciplinary approach. For the musical analysis, made from the transcriptions, an appreciation based on three different character procedures was chosen: development of musical motives, instrumental adaptations, and onomatopoeia (Telecoteco, Ziriguidum, and Paticumbum)

Keywords: Performance, Jazz studies, Analysis

Biography

Currently studying for a Doctorate in Musical Arts by Universidad Nova de Lisboa, Master in Music – UNICAMP in the area of Musical Performance, Specialist in Teaching in Higher Education by FMU and Bachelor in Music – Drum instrument – by the Faculty of Arts Alcântara Machado. He is a drum teacher in the Alcântara Machado Arts Faculty and the São Caetano do Sul Arts Foundation. As an instrumentalist, he participated in the recording of CDs / DVDs among they are the DVD of Zizi Possi, “Para Inglês Ver e Ouvir”, nominated for the TIM 2006 Award, the CDs “Nem” and “Emily” of the singer and composer Cid Campos and the CD Piratininga, of the group Aquilo Del Nisso. He has also participated in concerts with artists such as Phil de Greg, Henry Greindl, Eva Jagun, Iva Bittova, Caetano Veloso, Arnaldo Antunes, Jaques Morelenbaum, Guinga, Gal Costa and many others.