Arranjos de três canções do grupo Os Tincoãs: a polirritmia a partir da utilização de elementos rítmicos afro-religiosos no contexto da percussão múltipla solo

• Ano de defesa: 2019
• Autor(a) principal: Érica Pereira de Sá
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; Brasil; MUSICA - ESCOLA DE MUSICA; Programa de Pós-Graduação em Música; UFMG
• Palavras-chave em Português: Percussão múltipla solo; Arranjos para percussão; Toques afro-religiosos; Polirritmia; Os Tincoãs; Percussão (Música); Música popular - Brasil; Negros - Canções e música; Performance musical; Arranjo (Música)
• Link de acesso: http://hdl.handle.net/1843/44667

Multiple percussion playing is of significant importance in the percussion world and has grown in relevance in the scope of instrumental music. By constantly putting in action the autonomy of the limbs in face of the recurring presence of polyrhythmic elements, the practice of multi percussion performance awakens a significant technical progress, as well as stimulates creativeness in finding solutions to problems regarding the spatial arrangement of instruments and also assists in the performer's gestural development. Consequently, it contributes to a better artistic and musical performance of the percussionist. However, in the sphere of percussive concert music, from a bibliographical research standpoint, a lack of repertoire regarding popular Brazilian music for multiple percussion is identified. When it comes to solo works, the shortage is even greater. Another unsettling aspect that could be perceived in the solo percussion repertoire, in general, is the lack of songs and/or musical elements with roots in Brazilian Afro religious culture. Based on these findings, the present work seeks to contribute to what we consider to be a gap in the multiple percussion solo repertoire by developing two arrangements of the popular songs Cordeiro de Nanã (1977) and Lamento às Águas (1977)/Na Beira do Mar (1973) by Mateus Aleluia and Dadinho, members of a group called Os Tincoãs - which is one of the pioneer groups in dealing with approaches to the African social-cultural legacy in Brazilian music.