Angelo G Mongiovi
University of Aveiro, Communication and Art (DeCA), Undergraduate
- Guitarrista, compositor, pesquisador e produtor, ficou conhecido pela versatilidade dos trabalhos realizados no mundo da música. Da docência à investigação, da composição à produção, da guitarra ao violão, percorreu do rock à MPB, do samba ao Jazz. Agora, da academia à espiritualidade.edit
This work presents an investigation in jazz area about the solo performance played in electric guitar, more popularly known as chord-melody. Are here brief historical data, a summary of the main musical techniques used in this... more
This work presents an investigation in jazz area about the solo performance played in electric guitar, more popularly known as chord-melody. Are here brief historical data, a summary of the main musical techniques used in this performative style and arrangements composed by me based on this musical language, both in score as on DVD.
Research Interests:
Research Interests:
This work presents an investigation in jazz area about the solo performance played in electric guitar, more popularly known as chord-melody. Are here brief historical data, a summary of the main musical techniques used in this... more
This work presents an investigation in jazz area about the solo performance played in electric guitar, more popularly known as chord-melody. Are here brief historical data, a summary of the main musical techniques used in this performative style and arrangements composed by me based on this musical language, both in score as on DVD.
Research Interests:
This study presents a brief analytical description of the production process, recording and sound result of jazzy theme entitled Baião D'Aveiro. This musical composition by my own its part of my jazz album (Dom Angelo - Porto, 2015,... more
This study presents a brief analytical description of the production process, recording and sound result of jazzy theme entitled Baião D'Aveiro. This musical composition by my own its part of my jazz album (Dom Angelo - Porto, 2015, Figure 1 and 2) that will be analyzed in theoretical foundations as one of the portions of my doctoral thesis. My research seeks to understand and elucidate the musical, social and historical characteristics of the genre known as Brazilian Jazz. As the main analysis tool, I am seeking to illustrate the process of musical rhetoric, using the "Topical Theory" applied to
Brazilian music, work begun by Piedade (1997, 2003, 2005, 2007, 2011 and 2013). The word "transnationalism" is used in this poster as a way to metaphorize the internationalization of Brazilian music and its ownership by jazz musicians from Portugal, with attention to the music genre which refers to a regional and deep Brazil, Baião. The process of artistic understanding and easiness performance of the Portuguese musicians related to this musical genre, reveals the main diagnosis of this academic publication.
Brazilian music, work begun by Piedade (1997, 2003, 2005, 2007, 2011 and 2013). The word "transnationalism" is used in this poster as a way to metaphorize the internationalization of Brazilian music and its ownership by jazz musicians from Portugal, with attention to the music genre which refers to a regional and deep Brazil, Baião. The process of artistic understanding and easiness performance of the Portuguese musicians related to this musical genre, reveals the main diagnosis of this academic publication.
Research Interests:
Since the first decades of the twentieth century the Brazilian artistic-musical class has had an opening of influences to the genres of American popular music. From the 1960s, in Bossa-Nova, there was a strong relationship of exchange of... more
Since the first decades of the twentieth century the Brazilian artistic-musical class has had an opening of influences to the genres of American popular music. From the 1960s, in Bossa-Nova, there was a strong relationship of exchange of influences among the musicians of these countries. Therefore, the term Brazilian Jazz emerged to translate a relationship of hybridism and "friction of musicalities" (Piedade 2003) between American jazz and popular Brazilian instrumental music. In this context, Samba appeared as the main element representing the musical identity of Brazil, evidenced by the albums of the artists linked to this aspect, both Brazilians and North Americans. Subsequently, other musical genres such as Baião and Frevo begin to gain space in this musical amalgam in albums like Coisas (1965, Form), Quarteto Novo (1967, Odeon), Egberto Gismonti (1969, Cast) and Hermeto (1970, Buddah), thus complementing the characteristics necessary for the consolidation of the musical genre known as Jazz Brasileiro.
This work was composed of four main research vectors. In the first part, I focused mainly on the bibliographical analysis to illustrate and evaluate the historical panorama of the studied universe (Schuller 1986; Castro 1990; Calado 1990; Gioia 1998; Tinhorão 1998; Boffi 1999; Gridley 2000; Severiano 2008). In the second part, I sought to elucidate the Jazz Brasileiro language as a rhetorical / musical discourse, reflecting and using the "topic theory" (Ratner 1980; Agawu 1991) aimed at the analysis of Brazilian music (Piedade 2004). In the third part I present a performative component, represented by the composition and production of the author album Porto (2015), in addition to his musical analysis. In the fourth part I analyzed (Bardin 2009) the tasks related to the field work (interviews and a focus group) with the intention of personally witnessing the impressions of some of its actors in this artistic community.
In general, I wanted to cooperate with studies related to Jazz in the academic universe, besides contributing to the consolidation and systematization of the Jazz Brasileiro musical characteristics.
This work was composed of four main research vectors. In the first part, I focused mainly on the bibliographical analysis to illustrate and evaluate the historical panorama of the studied universe (Schuller 1986; Castro 1990; Calado 1990; Gioia 1998; Tinhorão 1998; Boffi 1999; Gridley 2000; Severiano 2008). In the second part, I sought to elucidate the Jazz Brasileiro language as a rhetorical / musical discourse, reflecting and using the "topic theory" (Ratner 1980; Agawu 1991) aimed at the analysis of Brazilian music (Piedade 2004). In the third part I present a performative component, represented by the composition and production of the author album Porto (2015), in addition to his musical analysis. In the fourth part I analyzed (Bardin 2009) the tasks related to the field work (interviews and a focus group) with the intention of personally witnessing the impressions of some of its actors in this artistic community.
In general, I wanted to cooperate with studies related to Jazz in the academic universe, besides contributing to the consolidation and systematization of the Jazz Brasileiro musical characteristics.