Videography
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Discography
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Articles
Here you can read some articles I wrote during my academic years. If you wish to make use of these articles in some other way, please contact me. Thank you!
Aqui você pode ler alguns artigos que eu escrevi durante minha vida acadêmica. Se você quiser usar estes artigos de alguma outra forma, por favor entre em contato. Obrigado!
The Problem of the Bebop Violin (2018)
The goal of this paper is to contribute to the academic studies on the history of strings in jazz, by investigating the reasons behind the almost null participation of the violin as a solo instrument in the musical developments of the Bebop Era. It argues that not only musical, but racial and socio-political circumstances may have had a bigger impact in repelling the use of violin as a solo instrument in the bebop era, and may still be responsible for keeping the instrument and its players out of most history books. It shows the historical importance of violin players as band leaders in the early years of jazz and introduces a few of the most important soloists of the swing era, like Joe Venuti, Stéphane Grappelli, Eddie South, and Stuff Smith. Special attention is given to Harry Lookofsky, violinist who had a prolific participation in jazz history, and whose album Stringville served as inspiration for this research.
Note-choice and voice-leading analysis on a solo by Dexter Gordon
This article proposes a voice- leading analysis of Dexter Gordon’s improvised solo on Tadd Dameron’s “Lady Bird”, from a live video recorded in Belgium, in 1964 . The method utilized is inspired by Steve Larson’s adaptation for jazz of Heinrich Schenker’s me thod of analysis.
Zappafying the Jazz: a Frank Zappa Fake Book? (2015)
Being a musician that has always been interested in learning and synthesizing different styles and epochs of music, one of the things that always caught my attention in Frank Zappa was his ability to merge those into a coherent “project/object” throughout his life. It is impossible to label Frank Zappa’s music, and completely unnecessary, although most of the times you will find his work on “some kind of Rock” shelf. However, his music was most directly influenced by avant-garde composers of the 20th century and blues, and although a few references to jazz are found in his body of work, almost nothing has been written about the relations between Frank Zappa and jazz. The purpose of this work is to explore the subtle ways in which Zappa can be associated with this style, which was going through a crucial moment in its history between Zappa’s birth and the first half of his career. Departing from the musical influences and names cited on his famous “Freak Out list”, passing by the background of some of the musicians that worked with him, this research will then identify the aspects that help “qualify” a piece of music to become a “jazz standard”. After that, I will develop a catalog of at least part of his body of work that matches this qualification, and propose the creation of a “Frank Zappa Fake Book”, with a sample of transcription to be used as example. The main objective of this “Fake Book” would be to help include the work of Frank Zappa into the jazz repertoire, spreading his music in this medium of highly developed musicians beyond the very few tunes that are common to this metier.
The Controversy of Third Stream (2015)
Third Stream is a term coined by Gunther Schuller, in the 1950s, to describe the blend of jazz and classical music elements in favor of the creation of a new (third stream of) music. These kinds of musical experiences were already being done since the early twentieth century—when modernist composers such as Paul Hindemith, Igor Stravinsky, and Darius Milhaud found themselves fascinated by the new American music—and kept being explored by musicians throughout the 1950s and 60s. However, Third Stream music fell into oblivion on the 1970s, under criticisms (especially from the jazz aficionados), the emergence of new popular styles (Rock, R&B, Soul, etc.), and the entertainment media and music business revolutions that would change the way people related to music. While most of the literature consists of interviews with Gunther Schuller and reviews and critiques of concerts and recordings, a few articles have been of great importance to the perception of Third Stream by the mainstream of art music. This essay will examine those sources, their authors, and the situation of Third Stream on the beginning of the twenty-first century, in chronological order of their publications. Most of them address the issues of making this kind of music, especially regarding performance practice and formal development versus improvisational freedom.