The guitar in electronic forró of the 1990s: a study on the musical learning of forró guitarists from Rio
Grande do Norte
Musical Learning; Forró Eletrônico; Popular Musicians; Musical Transmission.
This dissertation investigates the musical learning processes of guitarists from electronic forró bands
in Rio Grande do Norte (RN) during the 1990s, considering their training in non-institutional teaching
and learning environments. The research seeks to understand how these musicians developed their
skills, how musical transmission occurred among them, and the impact of the guitar on shaping the
sonic identity of forró eletrônico. The study adopts a retrospective ethnomusicological approach,
combining semi-structured interviews with guitarists, producers, and musicians active during the
period, along with the analysis of sound and audiovisual documents. The methodology includes the
collection of audio recordings, videos, phonographic records, and oral narratives, allowing for a
reconstruction of the musical scene of the time. The results indicate a learning process based on
playing by ear, collective practice, and the adaptation of techniques from genres such as disco music,
lambada and rock to forró eletrônico. Additionally, musicians developed specific nomenclatures for
the rhythmic patterns of the guitar, such as "Calanguetu," "Tina Charles," and "Pica-paus," which we
term “Verbal Cipher”, essential for communication and arrangement execution. This investigation
contributes to the field of music education by documenting and analyzing the practices of popular
musicians from Rio Grande do Norte (RN), expanding knowledge about musical transmission in
electronic forró within this context, and fostering reflections on its incorporation into the formal
teaching of the electric guitar.