Choro and Samba Research Papers (original) (raw)

Resumo: Este artigo tem como objetivo investigar a questão de designação e denominação de gêneros musicais na produção musical urbana, desde meados do século XIX até as primeiras décadas do século XX. Neste período várias danças europeias, como a valsa, a quadrilha, a schottisch, o tango, a polca e a habanera chegaram ao Brasil através das companhias musicais que se apresentavam no país. Sua fusão com ritmos e músicas de tradição africana, indígena e portuguesa, como o lundu, o batuque, o cateretê e a modinha, deram origem a denominações como polca-lundu, polca-cateretê, polca-serenata, maxixe, polca-tango, tango brasileiro e tango característico, entre outros, para músicas produzidas e publicadas nesse período. Estes gêneros posteriormente seriam englobados pelo choro, termo que, não obstante seja atualmente utilizado para designar um gênero em si, designa também a uma categoria discursiva que insere conceitos mais amplos. A palavra choro era empregada em meados do século XIX para designar reuniões e festas, ou os grupos musicais que executavam os gêneros acima relacionados. O surgimento do choro como conceito de gênero será investigado no decorrer deste artigo, assim como seu contexto sociocultural e a relação da polca com o choro enquanto gênero.
Palavras-chave: Choro. Música popular. Gêneros musicais. Polca. Música brasileira.
Abstract: This article seeks to investigate the question of designation and denomination of musical genres in urban music production, from the middle of the nineteenth century until the first decades of the twentieth century. During this period several European dances, such as waltz, quadrille, schottish, tango, polka and habanera came to Brazil through the musical companies that worked in the country, and its fusion with rhythms and songs of African, Indian and Portuguese tradition, such as lundu, batuque, cateretê and modinha, gave rise to mixed denominations like polka-lundu, polka-cateretê, polka serenata, maxixe, Brazilian tango and characteristic tango, among others, for musics produced and published in that period. These genres would later be encompassed by choro, a term that, although it is currently used to designate a genre in itself, also refers to a discursive category that inserts broader concepts. The word Choro was used in the mid- nineteenth century to designate gatherings and parties, as well as musical groups performing the above-related genres. The emergence of Choro as a concept of genre will be investigated in the course of this article, as well as a socio-cultural context and the relationship between polka and choro, as a genre.