A Jurema encantada para contrabaixo solo de Danilo Guanais: considerações sobre o trabalho colaborativo

Abstract

This work investigates the process of collaboration between composer and interpreter in the elaboration of Jurema Encantada for double bass, by composer Danilo Guanais. It seeks to present the musical language, created from collaborative work. Find out the aspects that we consider innovative in the construction of the piece. For this, we present the collaborative process that resulted in the musical and idiomatic construction of Jurema Encantada in its three movements, I (O Casamento), II (O Rápto) and III (A Guerra), as well as the respective audios, so that one can have a greater understanding of the musical aspects of the play. The theoretical foundation is supported by studies by Rucker Queiroz (2002), Erickinson Lima (2014), Mariana Holschuh (2017) and Leonardo Ventura (2007), about the armorial movement and its influence on Guanais's work. The bibliography on collaborative work is supported by Fausto Bórem (1998), Rodrigo Lobo (2016), Rodolfo Borges (2017), Herivelto Brandino (2012), Sônia Ray (2010) and Catarina Domenici (2011). In annex C, the final edition of the score is available, presenting aspects of the language for the double bass, built from the collaborative work, an audio and video recording was also made available to publicize the piece, in addition to the public recital of the premiere of the work.