The Study of the Hybridity in Heitor Villa-lobos' Choro Compositions

• Main Authors: Lin Yi-Chuan, 林怡萱
• Other Authors: Chen Hsi-ju
• Format: Others
• Language: zh-TW
• Published: 2014
• Online Access: http://ndltd.ncl.edu.tw/handle/85203313612945209432

碩士 === 國立高雄師範大學 === 音樂學系 === 102 === Throughout the four centuries histories of European colonial in Brazil, the miscegenation has led to cultural hybridity as result. It is also the issue of cultural hegemony. Due to the impact of nationalism and modernism since 1920s, the Brazil artists become cultural awakening and local concerning. They stressed injection of local elements into their works, thus inevitably result a new composing paradigm of cultural hybridity. In this background, the composer Heitor Villa-Lobos (1887-1959) presented Chôros that he considered most appropriate to present Brazilian national culture, and musical hybrid characteristics. In his initial Choro Compositions, Villa-Lobos has obviously deleted the title in European dance connection, and mixed in more different tempo terms to show his challenge against the tradition. After 1924, his Chôros has completely got rid of the European dance music framework. Through diverse instruments with vocal organization and some personally distinguished patterns -- polyphony, dissonant intervals and harmonies, different rhythm modules sections and even plural style in his series of compositions, the Brazilian cultural diversity and its cross-cultural conflict are highlighted. By blending with Indian folksong or city pop melody, melancholy mimic Modinha style tunes, ritual style chant, onomatopoeia and tone painting skills as well as frequent adoption of percussion instruments from African cultures, the image of primitive jungle and urban popular culture earned more authenticity. Through the mix-up application of the above mentioned material and skills, not only echoed the proposition of local concerning in Manifesto da Poesia Pau-Brasil (Oswald de Andrade, 1924), Villa-Lobos’ Choro works as a new pattern of hybridity, also echoed the Manifesto Antropófago (1928), results emphasizing the advantages of new variants after cultural regeneration in Brazil. The Choro has therefore been branded as a symbol of Brazilian multicultural nationality and laid a seat in music history.