Diferença e repetição na performance baterística do ritmo lambadão

• Ano de defesa: 2023
• Autor(a) principal: Souza, Alex Paulo Teixeira de
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Mato Grosso; Brasil; Faculdade de Comunicação e Artes (FCA); UFMT CUC - Cuiabá; Programa de Pós-Graduação em Estudos de Cultura Contemporânea
• Palavras-chave em Português: Diferença/repetição; Performance/aprendizagem baterística; Ritmo lambadão; CNPQ::LINGUISTICA, LETRAS E ARTES; Difference/repetition; Drum performance/learning; Lambadão rhythm
• Link de acesso: http://ri.ufmt.br/handle/1/5243

The present study aims to understand the lambadão rhythm through the drumming performances of Júnior Magrão, Vadinho and Luan Batera. In this aspect, it seeks to discuss the phenomenology of the creative processes in drumming in the musical context, and the studies in contemporary culture about lambadão. The theoretical framework used in the discussions and analysis are based on the theory of Difference and repetition (2008) by Gilles Deleuze, Matter and Memory: essay on the relation of body and spirit (2010) by Henri Bergson, Mil Platôs Vol. 4, Ritornelo (2008d) by Gilles Deleuze and Félix Guattari, CAOSMOSIS: a new aesthetic paradigm (1998) by Félix Guattari, Performance (SCHECHNER, 2006), Musical Script (COOK, 2006), Percussive Melodic (D'ANUNCIAÇÃO, 2008), liminality and communitas (TURNER, 2013). The discussions were based on data collected in the interview with structured questionnaire conducted with 03 (three) said lambadão drummers (2021), and in the 36 Reports of the Teaching Proposal in Bateria with 03 (three) students of the Elmaz Gattas Monteiro School, taught from March to July 2022. In addition, we used the performative research (HASEMAN, 2015) in the exemplification of drumming performances, in parallel with the literature covered in the theoretical reference. In this perspective, the study culminated in the indication of 05 (five) drum patterns, listing the chimbal as the main element of difference and repetition in the performance and learning of the lambadão rhythm.