Cliff Korman | UNIRIO - Universidade Federal do Estado do Rio de Janeiro (original) (raw)
Papers by Cliff Korman
Música Popular em Revista, Dec 31, 2020
Critical studies in improvisation, May 16, 2011
His career spanned six decades, from the late 1940s through 2010, and his compositions, arrangeme... more His career spanned six decades, from the late 1940s through 2010, and his compositions, arrangements, and recordings can now be considered vital documents of many of the most important trends in twentieth-century Brazilian music. Paulo Moura, the youngest of a family of musicians, began at twelve years of age to play the clarinet professionally with his father's band in the gafieira dance halls of their hometown in the interior of São Paulo state. He moved with his family to Rio de Janeiro-Brazil's center of urban music-in 1945. He studied classical theory, harmony, and clarinet at the Escola Nacional de Música and at the same time had his first contact with modern jazz through informal listening and playing sessions, both at the home of an acquaintance who lived near Moura's neighborhood of Tijuca and as a frequent participant of the Sinatra-Farney fan club (1948-53).
Elementos idiomaticos do cavaquinho foram/sao usados por pianistas na construcao de arranjos e co... more Elementos idiomaticos do cavaquinho foram/sao usados por pianistas na construcao de arranjos e composicoes para piano desde o inicio da historia do choro. O presente trabalho busca compreender as principais caracteristicas desses elementos, especialmente do cavaquinho-centro, e identificar, em partituras e gravacoes de pianistas de diversas epocas e contextos (piano solo, duos, piano junto a um grupo de choro), a forma como esses adaptaram tais recursos ao piano.
Jazz Research Journal, 2016
As with American and other well-documented global jazz iterations, the presence of jazz in Brazil... more As with American and other well-documented global jazz iterations, the presence of jazz in Brazil may be seen in the context of a story that includes or even initiates from local, regional and national trends in popular and improvised music. This long and complex history seems to require a descriptive label that is more nuanced, and in fact, more based on an equivalency of contribution than the Americo-centric ‘Brazilian jazz’. Through a case study of Paulo Moura’s recordings of 1968–69, this article considers the transmission, appropriation, invention and circulation of musical style and language. Following the work of George E. Lewis and David Ake, the possibility of identifying and defining a particular Brazilian set of approaches to this process is contemplated.
Anais do XXIX Congresso da ANPPOM - Associação Nacional de Pesquisa e Pós-Graduação em Música , 2019
Texto do coordenadores do Simpósio "A improvisação musical em seus múltiplos aspectos", realizado... more Texto do coordenadores do Simpósio "A improvisação musical em seus múltiplos aspectos", realizado no XXIX Congresso da ANPPOM, 2019, Pelotas, RS, Brasil.
Música Popular em Revista - "Música Instrumental e Improvisação", 2020
Texto de apresentação dos artigos na temática da Improvisação.
Diálogos musicais na pós-graduação: Práticas de Performance, 2018
Resumo: Neste artigo apresentamos uma análise do recurso " acordes em bloco " na versão do pianis... more Resumo: Neste artigo apresentamos uma análise do recurso " acordes em bloco " na versão do pianista Antonio Adolfo para a música Gaúcho (Corta-jaca) de Chiquinha Gonzaga, lançada no CD Chiquinha com Jazz (1997, Artezanal, Kuarup). Nosso objetivo é destacar o uso do recurso como opção de arranjo para o intérprete de música popular. O termo arranjo é brevemente discutido no contexto da música popular a partir de ARAGÃO (2001) e NASCIMENTO (2011). Para dar suporte à análise, discorremos sobre (1) possibilidades de construção dos blocos (tipos); (2) harmonização de notas da melodia que não pertencem ao acorde (notas não harmônicas) e (3) substituições de notas do acorde por notas de tensão harmônicas. Os exemplos são apresentados com foco no uso do recurso ao piano. A análise e parte da bibliografia utilizada podem motivar o estudo prático dos acordes em bloco, bem como sua aplicação em diferentes repertórios.
Palavras-chave: acordes em bloco ao piano; arranjo na música popular; piano popular brasileiro; Chiquinha Gonzaga e Antonio Adolfo.
Abstract: In this article, we present an analysis of the resource block chords in Antonio Adolfo's version of the song " Gaúcho " (" Corta-jaca ") by Chiquinha Gonzaga, released on CD Chiquinha com Jazz (1997, Artezanal, Kuarup). Our objective is to highlight the use of the resource as an arrangement option for the popular music performer. The term arrangement is discussed briefly in the context of popular music from ARAGÃO (2001) and NASCIMENTO (2011). To support the analysis, we discuss (1) the possibilities of building the blocks (types); (2) harmonization of melody notes that do not belong to the chord (non-harmonic tones) and (3) substitutions of chord notes by harmonic tension notes. The examples are presented with a focus on applying the resource to the piano. The analysis and part of the bibliography used can motivate the practical study of block chords as well as their application in different repertoires.
Keywords: block chords on the piano, popular music arrangement, Brazilian popular piano, Chiquinha Gonzaga and Antonio Adolfo.
O trabalho apresenta uma análise de elementos interpretativos utilizados pelo pianista Laércio de... more O trabalho apresenta uma análise de elementos interpretativos utilizados
pelo pianista Laércio de Freitas em suas gravações contidas no disco “Laércio de Freitas homenageia Jacob do Bandolim” (2007). Com enfoque na interpretação das melodias, foram analisados os seguintes aspectos: variações rítmico-melódicas, ornamentações, variações na articulação e acentuação, flexibilidade métrica em relação ao pulso e improvisação. Para melhor visualização, foram transcritos trechos dessas performances, e estes foram comparados com as partituras editadas das músicas enfocadas.
Published in Jazz Research Proceedings Yearbook. Manhattan, Kansas: IAJE Publications, 2003
Critical Studies in Improvisation/Études critiques en …, Jan 1, 2011
His career spanned six decades, from the late 1940s through 2010, and his compositions, arrangeme... more His career spanned six decades, from the late 1940s through 2010, and his compositions, arrangements, and recordings can now be considered vital documents of many of the most important trends in twentieth-century Brazilian music. Paulo Moura, the youngest of a family of ...
Drafts by Cliff Korman
As with American and other well-documented global jazz iterations, the presence of jazz in Brazil... more As with American and other well-documented global jazz iterations, the presence of jazz in Brazil may be seen in the context of a story that includes or even initiates from local, regional and national trends in popular and improvised music. This long and complex history seems to require a descriptive label that is more nuanced, and in fact, more based on an equivalency of contribution than the Americo-centric 'Brazilian jazz'. Through a case study of Paulo Moura's recordings of 1968-69, this article considers the transmission, appropriation, invention and circulation of musical style and language. Following the work of George E. Lewis and David Ake, the possibility of identifying and defining a particular Brazilian set of approaches to this process is contemplated.
Jazz Research Journal, 2016
As with American and other well-documented global jazz iterations, the presence of jazz in Brazil... more As with American and other well-documented global jazz iterations, the presence of jazz in Brazil may be seen in the context of a story that includes or even initiates from local, regional and national trends in popular and improvised music. This long and complex history seems to require a descriptive label that is more nuanced, and in fact, more based on an equivalency of contribution than the Americo-centric 'Brazilian jazz'. Through a case study of Paulo Moura's recordings of 1968-69, this article considers the transmission, appropriation, invention and circulation of musical style and language. Following the work of George E. Lewis and David Ake, the possibility of identifying and defining a particular Brazilian set of approaches to this process is contemplated.
Música Popular em Revista, Dec 31, 2020
Critical studies in improvisation, May 16, 2011
His career spanned six decades, from the late 1940s through 2010, and his compositions, arrangeme... more His career spanned six decades, from the late 1940s through 2010, and his compositions, arrangements, and recordings can now be considered vital documents of many of the most important trends in twentieth-century Brazilian music. Paulo Moura, the youngest of a family of musicians, began at twelve years of age to play the clarinet professionally with his father's band in the gafieira dance halls of their hometown in the interior of São Paulo state. He moved with his family to Rio de Janeiro-Brazil's center of urban music-in 1945. He studied classical theory, harmony, and clarinet at the Escola Nacional de Música and at the same time had his first contact with modern jazz through informal listening and playing sessions, both at the home of an acquaintance who lived near Moura's neighborhood of Tijuca and as a frequent participant of the Sinatra-Farney fan club (1948-53).
Elementos idiomaticos do cavaquinho foram/sao usados por pianistas na construcao de arranjos e co... more Elementos idiomaticos do cavaquinho foram/sao usados por pianistas na construcao de arranjos e composicoes para piano desde o inicio da historia do choro. O presente trabalho busca compreender as principais caracteristicas desses elementos, especialmente do cavaquinho-centro, e identificar, em partituras e gravacoes de pianistas de diversas epocas e contextos (piano solo, duos, piano junto a um grupo de choro), a forma como esses adaptaram tais recursos ao piano.
Jazz Research Journal, 2016
As with American and other well-documented global jazz iterations, the presence of jazz in Brazil... more As with American and other well-documented global jazz iterations, the presence of jazz in Brazil may be seen in the context of a story that includes or even initiates from local, regional and national trends in popular and improvised music. This long and complex history seems to require a descriptive label that is more nuanced, and in fact, more based on an equivalency of contribution than the Americo-centric ‘Brazilian jazz’. Through a case study of Paulo Moura’s recordings of 1968–69, this article considers the transmission, appropriation, invention and circulation of musical style and language. Following the work of George E. Lewis and David Ake, the possibility of identifying and defining a particular Brazilian set of approaches to this process is contemplated.
Anais do XXIX Congresso da ANPPOM - Associação Nacional de Pesquisa e Pós-Graduação em Música , 2019
Texto do coordenadores do Simpósio "A improvisação musical em seus múltiplos aspectos", realizado... more Texto do coordenadores do Simpósio "A improvisação musical em seus múltiplos aspectos", realizado no XXIX Congresso da ANPPOM, 2019, Pelotas, RS, Brasil.
Música Popular em Revista - "Música Instrumental e Improvisação", 2020
Texto de apresentação dos artigos na temática da Improvisação.
Diálogos musicais na pós-graduação: Práticas de Performance, 2018
Resumo: Neste artigo apresentamos uma análise do recurso " acordes em bloco " na versão do pianis... more Resumo: Neste artigo apresentamos uma análise do recurso " acordes em bloco " na versão do pianista Antonio Adolfo para a música Gaúcho (Corta-jaca) de Chiquinha Gonzaga, lançada no CD Chiquinha com Jazz (1997, Artezanal, Kuarup). Nosso objetivo é destacar o uso do recurso como opção de arranjo para o intérprete de música popular. O termo arranjo é brevemente discutido no contexto da música popular a partir de ARAGÃO (2001) e NASCIMENTO (2011). Para dar suporte à análise, discorremos sobre (1) possibilidades de construção dos blocos (tipos); (2) harmonização de notas da melodia que não pertencem ao acorde (notas não harmônicas) e (3) substituições de notas do acorde por notas de tensão harmônicas. Os exemplos são apresentados com foco no uso do recurso ao piano. A análise e parte da bibliografia utilizada podem motivar o estudo prático dos acordes em bloco, bem como sua aplicação em diferentes repertórios.
Palavras-chave: acordes em bloco ao piano; arranjo na música popular; piano popular brasileiro; Chiquinha Gonzaga e Antonio Adolfo.
Abstract: In this article, we present an analysis of the resource block chords in Antonio Adolfo's version of the song " Gaúcho " (" Corta-jaca ") by Chiquinha Gonzaga, released on CD Chiquinha com Jazz (1997, Artezanal, Kuarup). Our objective is to highlight the use of the resource as an arrangement option for the popular music performer. The term arrangement is discussed briefly in the context of popular music from ARAGÃO (2001) and NASCIMENTO (2011). To support the analysis, we discuss (1) the possibilities of building the blocks (types); (2) harmonization of melody notes that do not belong to the chord (non-harmonic tones) and (3) substitutions of chord notes by harmonic tension notes. The examples are presented with a focus on applying the resource to the piano. The analysis and part of the bibliography used can motivate the practical study of block chords as well as their application in different repertoires.
Keywords: block chords on the piano, popular music arrangement, Brazilian popular piano, Chiquinha Gonzaga and Antonio Adolfo.
O trabalho apresenta uma análise de elementos interpretativos utilizados pelo pianista Laércio de... more O trabalho apresenta uma análise de elementos interpretativos utilizados
pelo pianista Laércio de Freitas em suas gravações contidas no disco “Laércio de Freitas homenageia Jacob do Bandolim” (2007). Com enfoque na interpretação das melodias, foram analisados os seguintes aspectos: variações rítmico-melódicas, ornamentações, variações na articulação e acentuação, flexibilidade métrica em relação ao pulso e improvisação. Para melhor visualização, foram transcritos trechos dessas performances, e estes foram comparados com as partituras editadas das músicas enfocadas.
Published in Jazz Research Proceedings Yearbook. Manhattan, Kansas: IAJE Publications, 2003
Critical Studies in Improvisation/Études critiques en …, Jan 1, 2011
His career spanned six decades, from the late 1940s through 2010, and his compositions, arrangeme... more His career spanned six decades, from the late 1940s through 2010, and his compositions, arrangements, and recordings can now be considered vital documents of many of the most important trends in twentieth-century Brazilian music. Paulo Moura, the youngest of a family of ...
As with American and other well-documented global jazz iterations, the presence of jazz in Brazil... more As with American and other well-documented global jazz iterations, the presence of jazz in Brazil may be seen in the context of a story that includes or even initiates from local, regional and national trends in popular and improvised music. This long and complex history seems to require a descriptive label that is more nuanced, and in fact, more based on an equivalency of contribution than the Americo-centric 'Brazilian jazz'. Through a case study of Paulo Moura's recordings of 1968-69, this article considers the transmission, appropriation, invention and circulation of musical style and language. Following the work of George E. Lewis and David Ake, the possibility of identifying and defining a particular Brazilian set of approaches to this process is contemplated.
Jazz Research Journal, 2016
As with American and other well-documented global jazz iterations, the presence of jazz in Brazil... more As with American and other well-documented global jazz iterations, the presence of jazz in Brazil may be seen in the context of a story that includes or even initiates from local, regional and national trends in popular and improvised music. This long and complex history seems to require a descriptive label that is more nuanced, and in fact, more based on an equivalency of contribution than the Americo-centric 'Brazilian jazz'. Through a case study of Paulo Moura's recordings of 1968-69, this article considers the transmission, appropriation, invention and circulation of musical style and language. Following the work of George E. Lewis and David Ake, the possibility of identifying and defining a particular Brazilian set of approaches to this process is contemplated.