The Joy of Music in Songs and Dances yy has. iy CARLOS BARBOSA-LIMA According to Tolstoi, “‘Art is a human activity having for its purpose the transmission to others of the highest and best feelings to which man has risen”. ‘Music has its beginnings in prehistory and through the evolution of humankind it has always Kept the fundamental connection with the need for emotional expression. Also it is related to the most significant experiences of man as an individual, or @ group, or a nation. Music has evolved significantly in recent centuries, but it has maintained its connection with basic human feelings, for the outlet of joy and sorrow, of the sensuous desires. It is truly a universal language enabling men to commimnicate through nations and throughout centuries. Its expressive content reflects man’s life his place in the society and in nature. The vocal chords of man provide him with song, the most natural form of music as an expressive outlet of the human being. Coming from within the body, it is projected by the ‘most personal of all instruments — the human voice. Since immemorial times singing has been the most spontaneous way of making music. ‘A folk song originates with an individual perhaps on the sudden impulse of a certain moment. Other people take it up, some details are changed, a nuance is added. It may assume a few different versions, inspired in the original idea, and it becomes the collective expression of @ group. Folk music involves a treasury of songs reflecting many aspects and stages of life; there are work songs, love songs, dance songs, cradle songs, etc. .. Some have existed for many centuries, others are more recent. In a most sophisticated level of the art song, the sentiment is ‘more special, more directly emphasized. It also includes the same directness of expression of the folk song, but text and music are of known composer, and have the touch of personality. In our days itis a usually common collaboration of ‘both composer and lyricist, although a great combination of these talents are embodied in the songs of Cole Porter. ‘While fotk songs usually reflect the pattern of life in rural areas, the song as a more evolved art form issues from the culture of the cities. Like the folk song, however, its musical content is sharped by man’s experience and projects deeply ‘human emotions. George Gershwin’s songs such as “The Man I Love”, “Of Thee I sing”, “Love is Here to Stay”, and so many others, have become the archetype of the American love song thgt have Universal appeal and exemplify how the power of music set forth basic emotions. Inventive treatment of beautiful songs with creative harmonies, counterpoint, rhythmic drive and colourful instrumental arrangements give them a more dimensional prospect as an art form. Yet keeping the basic message clear and communicative. The human being has in his body an instrument for rhythmic movements. Dance merges from man’s joy in his body, his love for expressive gesture, his release of tension through rhythmic movement. It heightens the pleasure of being, and at the same time it reflects the life of society. A dance piece may be intended for actual use in a dance room, like Glenn Miller’s arrangements of American songs in a dance form, which set up a mood and standard from the late 1930s through the following two decades; or the example of Strauss who brought to its height the most popular city dance of the nineteenth century — the waltz In the award-winning film “Black Orpheus”, Antonio Carlos Jobim masterfully used the favourite Brazilian dance form — samba, in his haunting song A Felicidade, in a colourful way that projects the great joy of the Carnival, in a remarkable integration of dance and song in @ united art form. ‘A dance rhythm may serve as the basis for a more abstract, composition. This kind of piece is not intended for dances; it ‘uses the dance element, evoking images of body movement on an imaginary level. Besides their different feelings, the many varied dance styles testify to the persuasive power of rhythm. ‘Through rhythm music mirrors the patterns of man’s activity in the physical world. AAs an accompanying instrument for songs and dances, the guitar has been the favourite in the tradition of Spain and Portugal, a tradition brought to all of Latin-America and have new techniques and styles developed to fulfil the needs of complex rhythms as a result of the integrations of different races and cultures. As for accompanying love songs, the guitar follows in Latin-America the old tradition of the troubadours. Ina more sophisticated level, the guitar can be a great medium for elaborated solo arrangements of songs and dances by ‘exploring the poliphonic nature of the instrument and its great variety of tone colours. ‘The piece I have chosen to illustrate this month’s article is a Brazilian song by an unknown composer from the early 19th Century. It’s called Se te adoro (how I adore you), and I arranged it around 1965 when I recorded an album in Brazil called ‘Album de Modinhas’ for the Chantecler label. The song still has some European flavour with the gallant and sensuous style ofthe ‘modinha’. : NEXT MONTH IN GUITAR INTERNATIONAL uv J LEO BROUWER °%& & SUSANNE MEBES XX Guitar April 1985. 39ee SETEADORO... ; Carlos Barbosa-Lima 1h Contry Brat Calwo (t= 1] ome ©1985 Carlos Barbosa-Lima mp 40 Guitar April 1985