A música do Bumba Boi do Maranhão e suas possibilidades de performance no contrabaixo
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Data
2018-12-10
Autores
Amaral, Renata Pompêo do [UNESP]
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Universidade Estadual Paulista (Unesp)
Resumo
A presente pesquisa aborda os elementos musicais e estruturais de diversos sotaques do Bumba Boi maranhense, trazendo também, a partir da análise desses elementos, propostas para a performance do contrabaixo nesse gênero tradicional brasileiro. O Boi é tema de inúmeras manifestações populares em todo o Brasil. Do Boi de Mamão de Santa Catarina aos grandes espetáculos do Boi Bumbá de Parintins, de norte a sul do país encontramos gêneros tradicionais que têm o Boi como figura central. Registrado em agosto de 2011 como Patrimônio Cultural do Brasil, o denominado Complexo Cultural do Bumba-Meu-Boi do Maranhão é um fenômeno sócio cultural de enormes proporções cujo auge do ciclo – o batismo do Boi – acontece no dia de São João Batista, seu padroeiro maior, a quem são oferecidos como pagamento de promessas ou afirmação da devoção as brincadeiras do Bumba Boi maranhenses. A metodologia adotada passa por revisão de literatura e análise de dois acervos audiovisuais envolvendo procedimentos teórico-reflexivo e analítico. Elementos musicais e estruturais desta tradição popular são analisados nos principais sotaques do Bumba Boi, como chamam as especificidades de cada conjunto, a saber: Sotaques de Matraca ou Ilha, Baixada (Capital), Pandeirões ou Pindaré, Zabumba, Costa de Mão, Baixada Interior e Orquestra, propondo, para cada um desses diferentes sotaques, elementos idiomáticos e técnicos para a performance do contrabaixo nesse gênero.
The present research deals with the musical and structural elements of several Bumba Boi maranhense accents, also presenting, from the analysis of these elements, proposals for the performance of the double bass in this traditional Brazilian genre. The Ox is the theme of countless popular demonstrations throughout Brazil. From Boi de Mamão de Santa Catarina to the great spectacles of Boi Bumbá de Parintins, from north to south of the country we find traditional genres that have the Ox as the central figure. Registered in August of 2011 as Cultural Heritage of Brazil, the Cultural Complex of the Bumba-Meu-Boi of Maranhão is a socio-cultural phenomenon of enormous proportions whose peak of the cycle - the baptism of the Ox - happens on the day of Saint John the Baptist, his patron, who are offered as pledges of promise or affirmation of devotion to the games of Bumba Boi maranhenses. The methodology adopted consists of literature review and analysis of two audiovisual collections involving theoretical-reflexive and analytical procedures. Musical and structural elements of this popular tradition are analyzed in the main accents of Bumba Boi, as they call the specificities of each set, namely: Accents of Matraca or Island, Baixada (capital), Pandeirões or Pindaré, Zabumba, Hand Coast, Baixada Interior and Orchestra, proposing for each one of these different accents idiomatic and technical elements for the performance of the contrabass in this genre.
The present research deals with the musical and structural elements of several Bumba Boi maranhense accents, also presenting, from the analysis of these elements, proposals for the performance of the double bass in this traditional Brazilian genre. The Ox is the theme of countless popular demonstrations throughout Brazil. From Boi de Mamão de Santa Catarina to the great spectacles of Boi Bumbá de Parintins, from north to south of the country we find traditional genres that have the Ox as the central figure. Registered in August of 2011 as Cultural Heritage of Brazil, the Cultural Complex of the Bumba-Meu-Boi of Maranhão is a socio-cultural phenomenon of enormous proportions whose peak of the cycle - the baptism of the Ox - happens on the day of Saint John the Baptist, his patron, who are offered as pledges of promise or affirmation of devotion to the games of Bumba Boi maranhenses. The methodology adopted consists of literature review and analysis of two audiovisual collections involving theoretical-reflexive and analytical procedures. Musical and structural elements of this popular tradition are analyzed in the main accents of Bumba Boi, as they call the specificities of each set, namely: Accents of Matraca or Island, Baixada (capital), Pandeirões or Pindaré, Zabumba, Hand Coast, Baixada Interior and Orchestra, proposing for each one of these different accents idiomatic and technical elements for the performance of the contrabass in this genre.
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Performance, Bumba Boi, Tradições populares brasileiras, Contrabaixo, Brazilian popular traditions, Double bass performance, Electric double bass, Bumba Boi do Maranhão