O classical crossover e a canção popular e de concerto brasileira: a criação de 12 arranjos para o Trio Amadeus

Abstract

This work addresses the gap in national production of original compositions and adaptations in the classical crossover style, specifically focusing on works in the Portuguese language. The study aimed at adapting Brazilian songs, encompassing popular, traditional, and art song repertoires, with the goal of integrating them into the classical crossover genre. It involved the analysis and implementation of necessary vocal, textual, and stylistic adjustments for their performance. The arrangements were created and performed by Trio Amadeus, a musical group founded and led by the author as the principal soloist. The methodology employed was based on autoethnography as a method of artistic research, in accordance with the framework proposed in the book Investigación artística en música: Problemas, métodos, experiencias y modelos (LÓPEZ-CANO and OPAZO, 2014). The process included the selection of 12 songs, their transcription, the development of new arrangements, the editing of scores in classical crossover style, and the recording of these arrangements. A detailed analysis of musical, vocal, textual, and stylistic elements contained within the adapted arrangements was also undertaken. To enhance historical contextualization, relevant information about each song and its respective composer was provided.As key outputs of this research, a phonographic album titled Masters of Brazilian Song — From Classical to Popular: 12 Songs in Classical Crossover Style and a homonymous sheet music book were produced. These works compile the classical crossover arrangements developed and performed by Trio Amadeus for the 12 selected songs. The repertoire is primarily composed of works by canonical and renowned Brazilian composers, such as Villa-Lobos and Tom Jobim. However, the project also includes two 21st-century songs, one of which is original and the other unpublished, with its first recording conceived in the context of this research. This positions the work as a contribution not only to the preservation but also to the renewal of Brazilian musical repertoire. The main objective of this work is to contribute to the development and dissemination of the classical crossover style in Brazil, fostering the appreciation of national compositions and exploring the potential of the Portuguese language as an artistic vehicle within this musical genre.