THE INTERPRETATION OF TRÊS CANTOS DE IEMANJÁ FOR VIOLONCELO AND PIANO OF MARLOS NOBLE THROUGH THE LOOK OF AFRO-BRAZILIAN RHYTHMS PRESENT IN THE WORK
Marlos Nobre; Cello; Afro-Brazilian Rhythms; Três Cantos de Iemanjá; Brazilian
Music
This research analyzes the technical and interpretative aspects of the work Três Cantos de
Iemanjá for Cello and Piano by the composer Marlos Nobre (1939), in order to contextualize
the interpreter in the aspects of Afro-Brazilian music present in this piece. The composer uses
characteristic elements such as rhythmic cells, melodies, nuances, which relate to percussion
instruments of Afro-Brazilian music. The rhythms of Maracatu, Coco and genres from Choro
such as Modinha, Lundu and Habanera are present in the work. The methodological procedure
consisted of a biographical study of the composer and of works composed by him that have a
connection with Afro-Brazilian culture. Later, authors such as Carvalho (1998), Silva (2014),
Costa (2017), who discuss Afro-Brazilian culture, were researched and included. Subsequently,
experiments were carried out in order to incorporate aspects of Afro-Brazilian music in the
interpretation besides performances and recordings.