Notes
185 ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ Notes A Note Regarding Musical Transcriptions 1. See figure x.1. Throughout the text, Figures and Transcriptions will be referred to as Fig and T, respectively (e.g., “see T 1.1” = see Transcription 1.1). 2. Seeger (1958). 3. D’Anunciação (1990a). See Figure 5.4 and Appendix 3. D’Anunciação’s musical notation is discussed in chapter 5. 4. T. 4.2 contains an “x” notehead, which represents playing the side of the gourd with the wooden stick. Introduction 1. This chain of events has been adapted from several sources. The capoeira/police encounter occurred in New York’s Central Park in the late 1990s (see Galm 1997), although there are usually several capoeira exhibitions on a daily basis in the Mercado Modelo. I have not seen any conflicts regarding performance permits; the book in the Biblioteca Nacional is Berimbau (Coelho 2000); Ganguzama premiered at Rio’s Theatro Municipal in 1963, and was performed again in 1979 and 1999; berimbau telephone booths are found in Bahia, and the sculpture Tocador de Berimbau is located in the lobby of the Hotel Nacional in Brasília, and was originally created in Bahia. While some of the elements described in this encounter occurred in different geographical and temporal contexts, this speculative instance highlights how the berimbau is represented in several artistic disciplines that appeal to audiences of different ages, generations and social classes. 2. Carneiro (1975:15). 3. Anonymous (2008). 4. Graham and Robinson (2003) have begun preliminary work on the spread of the berimbau in a global context. 5. For example, see development of the Frevo Dance in Pernambuco (Lewis 1992) and life among enslaved people in Rio de Janerio (Karasch 1987). 6. Oliveira (1958). 7. Rego (1968). 8. Shaffer (1982 [orig. pub. 1976]). 9. See, for example, Almeida (1986), Lewis (1992), Dawson (1994), Dossar (1992), Capoeira (1995, 1999, and 2000), and Downey (1998, 2002, and 2005). For studies specifically on the berimbau, see D’Anunciação (1971 and 1990), Shaffer (1982), Pinto (1988-disc, 1990-disc, and 1991), and Graham (1991). D’Anunciação (1990) provides an introduction to extended berimbau techniques beyond the ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶ 186 Notes realm of capoeira in the second half of his work. Although Downey (1998:141) incorporates a broad interdisciplinary analysis of the berimbau within the context of capoeira, he does not recognize its pervasiveness in Brazilian society. He states that the berimbau is now “rarely used outside of capoeira practice . . . a few jazz musicians, especially those experimenting with traditional Bahian sounds, are noteworthy exceptions.” 10. I use “berimbau” for brevity. Exceptions will be noted. 11. Maximum resonance and harmonic range of the instrument can be obtained by placing the tuning loop at a few specific locations where discernible harmonics can be heard between the tuning loop and lower end of the bow. This is based on the harmonic nodes on the string, similar to a monochord. 12. The dobrão is a generic term similar to “doubloon,” and no specific coin is indicated , although capoeira practitioners give preference to copper (Galm 1997). 13. Names associated with the berimbau in Brazil include berimbau, berimbau-debarriga , urucungo, rucumbo, uucungo (Cascudo 1972:157–58); orucungo, oricungo, uricungo, ricungo, marimbau, gobo, bucumbumba, gunga, macungo, matungo, mutungo, marimba (Cascudo 1972:895); humbo, rucumbo, violâm, hungo, m’bolumbumba, berimbau de barriga, marimba, rucumbo, urucungo, gobo, bucumbunga , bucumbumba, uricungo, viola de arame, lucungo (Shaffer 1982:14); viola, médio (Lewis 1992:137); beira boi, contra-gunga (Lewis 1992:231); and bubumbumba , rukungu, birimbau (Schneider 1991:40). 14. See Williams (2001:27). 15. This was a trend throughout Latin America, as newly independent republics developed laws and philosophies that were advantageously adapted from European sources within the notion of developmental scientific progress. In Brazil, this process began with Augusto Conde, a nineteenth-century modernist sociologist who followed the trend to scientifically prove evolutionism (See Aguirre and Salvatore 2001). 16. Alencar (1968). Gomes’s work is discussed again briefly in connection with Ganguzama in chapter 5. 17. Folklorist Silvio Romero later followed evolutionist ideology by pursuing folklore as a way to understand the identity and characteristics of the Brazilian people. Studies of African cultural expressions in Brazil were undertaken not as a way to celebrate and validate their presence, but rather to understand the supposed potential danger that they were believed to present to a broader “civilized” society. These ideologies dominated intellectual thought until the declaration of Brazilian modernism in the early 1920s (See Borges 1995). 18. Neves (1981...
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