A Amazônia e diálogos pianísticos em Lindalva Cruz, Tatá Level e Arnaldo Rebello

Abstract

This thesis aims to understand the sociocultural scene, the influences and the Amazon present in works written for piano and singing accompanied by Arnaldo Rebello and Lindalva Cruz. The eclectic present in the compositions is constructed from the music of European tradition for piano and the impact of the experience in the Amazon. In the critical reading of Arnaldo Rebello's theses, through the history of mentalities, we show the long tradition of understanding the construction of piano teaching from Il Transilvano (1597) to the Expressive Touch in the 1950s. Tatá Level a forgotten pianist woman emerges from the lyrics and reveals the repertoire, aspects of the genre, training and limitations imposed on the women of the piano, a venue that Lindalva Cruz also participated in. The critical reflection is based on BOURDIEU (1986, 1996, 2008) PARAKILAS, (2012), TOFFANO (2007), KOCHEVITSKY (2016), LE GOFF (1995), CROZAT (2016), GADAMER (1997, 2010). The qualitative methodology gave voice to the compositions of Lindalva Cruz and Arnaldo Rebello, and heard the subtle intersemiotic translation for piano keys in Manaus. The process of locating the sources, the performance of the scores, typologies and categories of analysis in the interdisciplinary perspective between music and human sciences, while drawing an understanding from the field perspective. This thesis expands the discussion about the problematic of musical eclecticism in the compositions of Lindalva Cruz and Arnaldo Rebello and the representations of the Amazonian sound landscape in the repertoire of these composers. It inaugurates an interpretive line for the practice pianistica in Manaus, it allows unfolding about the social practices, musical and processes of symbolic representation.