THE RELATIONSHIP OF AFRO-BRAZILIAN RHYTHMS WITH INTERPRETATION OF THE WORK THREE CANTOS DE IEMANJÁ MAROUS NOBLE COMPOSER CELLO AND PIANO
Marlos Nobre; Cello; Afro-Brazilian; Three Cantos de Iemanja; Rhythm.
Iemanjá's Three Cantos for cello and piano was composed by Marlos Nobre, Brazilian pianist
and composer, born in Recife-PE, on February 18, 1939. This work was written for a cellist,
Aurora Nátola Ginastera, wife of the Argentine composer Alberto Ginastera (1938-1983). The
work is composed of three movements: Estrela do Mar, Iemanjá Ôto and Ogum de Lê.
Analyzing the work, we can observe the influence of Afro-Brazilian folk music. It is noted
that the composer works rhythmic varieties between the movements, using techniques that
represent sounds and instruments of the Brazilian folk music, that dialogue with the work. In
this work, we can observe the rhythms of Baião, Maracatu, Samba and Coco, the main
rhythms of Afro-Brazilian music. This analysis has the qualitative focus, since it intends to
use "methods of data collection without numerical measurement, such as descriptions and
observations" (SAMPIERI, 2006, p.5). According to Sampieri (2006, p.11): "A qualitative
study seeks to understand its phenomenon of study in its usual environment". The work was
divided into the following stages: Conducting a study on Marlos Nobre, observing his influences as a composer, through surveys of his works for cello, for piano, study on Afro-Brazilian culture, interview with the composer, interpretative and technical study of the piece.