Abstract
This article aims to address the song-form of moda-de-viola: a music genre considered genuinely Brazilian and of rural origin; however, it was disseminated by the record industry throughout the twentieth century. The issue will be addressed by analyzing the constituent elements of this musical genre, which was based on a bibliographical review of authors who have systematically studied the topic, which was in contrast to studies conducted by the author of this article. So, the exposition of this analysis will be accomplished by revealing the elements that are necessarily present in every moda-de-viola, followed by those elements which eventually appear on compositions. This exposition will, however, be preceded by an introduction that seeks to contextualize the relevance of this reflection for the study of moda-de-viola itself. This argument is readdressed in the final considerations of the article, which looks forward to presenting new research possibilities suggested (or reopened) by this reflection, followed by a brief overview of what was previously present.
Highlights
In November 2015, I had the opportunity to present some partial results of a work that I had developed as a research visitant in the Department of Spanish, Portuguese and Latin American Studies of Kings College London
This occurred during the Latin American Music Seminar, which was set up by Institute of Latin American Studies and by the Institute of Musical Research of the ‘School for Advanced Study’ of The University of London
This article aims to present the song-form moda-de-viola through a structural model that present their constitutive elements in a didactic manner, which facilitates its comprehension by the international public to which this music genre, is unknown, at least until now
Summary
This is the broadest context to which this reflection belongs to, which encompasses the following theoretical presumptions: every music genre has its own rules or formal conventions that are used by composers who take them into consideration in order to get legitimate response from the public This was the first universal aspect of moda-de-viola, whose comprehension I was able to develop and share with the audience at the Latin American Music Seminar and take the chance to reveal in this article. Before pointing out the elements that constitute moda-de-viola, which correspond to the aspect that every composer must consider when elaborating a new moda, it is worth understanding the relevance of such issue when studying moda-de-viola Such relevance may be comprehended for instance by observing one of the first reflections on the form of the moda-de-viola in which Mário de Andrade affirms: Caipiras confidently distinguish a moda.
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