Marisa Rezende’s Ginga: compositional processes in one of her works for chamber group

Abstract

This work seeks to establish relationships between the textures of the work Ginga (REZENDE, 1994), for chamber ensemble by Marisa Rezende and the rhythmic structures of the music associated to the African dances ogogo and agbadza and the Brazilian samba. For this purpose, we used studies by Lacerda (1988, 1990), as well as statements made by the composer (REZENDE, 2010). We also aim to elucidate some of the compositional processes involved in the work’s formal development based on ideas raised by several authors (BURKHOLDER, 1995; SPICER, 2004; FERRAZ, 2012), as well as its pitch structures using set theory (FORTE, 1973; STRAUS, 2013). It is intended to highlight the singular position that Ginga occupies in relation to the repertoire related to African or Afro-Brazilian musical manifestations, mainly due to the distinct way these elements were worked into its construction in comparison to the practices of the Brazilian nationalist school. The analysis presented here is the result of academic research by this author in recent years.

Keywords

• composição intercultural. análise musical. música contemporânea brasileira. marisa rezende. ginga.