Book contents
- Frontmatter
- Contents
- Miscellaneous Frontmatter
- Acknowledgments
- Introduction
- List of Illustrations
- Chapter 1 The conception and language of Hermeto Pascoal: first considerations
- Chapter 2 Bibliographic Discussion
- Chapter 3 The Creative Process Of Hermeto And Group
- Chapter 4 Reflections on Acoustics and Psycho-Acoustics
- Chapter 5 Selected Compositions For Analysis
- Conclusion
- Postscript
- Sources
- Plate section
Chapter 3 - The Creative Process Of Hermeto And Group
- Frontmatter
- Contents
- Miscellaneous Frontmatter
- Acknowledgments
- Introduction
- List of Illustrations
- Chapter 1 The conception and language of Hermeto Pascoal: first considerations
- Chapter 2 Bibliographic Discussion
- Chapter 3 The Creative Process Of Hermeto And Group
- Chapter 4 Reflections on Acoustics and Psycho-Acoustics
- Chapter 5 Selected Compositions For Analysis
- Conclusion
- Postscript
- Sources
- Plate section
Summary
FROM LAGOA DA CANOA TO THE U.S.A., FROM THE U.S.A. TO THE WORLD: A BRIEF BIOGRAPHY OF HERMETO PASCOAL IN SEARCH OF HIS MUSICAL CONCEPTION
Hermeto Pascoal was born in the state of Alagoas, in Olho D’água, a small village near the town of Lagoa da Canoa, in the municipal district of Arapiraca, on June 22, 1936. His bent for music was revealed when he was still a small boy. His first musical experiences were playing fifes that he made himself with leaves from the castor-oil tree or with squash leaves, and composing short tunes through beating on pieces of iron belonging to his blacksmith grandfather:
Just a little boy, around seven, I was already in touch with music. (…) My father played an eight-bass accordion, the pé de bode, a type of accordion, and I played a fife that I made myself, out in the woods, with a tube made from the castor-oil tree. Being albino, I couldn't stay out in the sunshine. I was stubborn, and would disappear in the woods when my father went to work in the fields. I was sort of like the Indians, but I was a different Indian. (…) Since I was musical, I felt that urge to play. And I wanted to know if the birds liked that or not. When my father took me to the fields in an oxcart, I'd make some small flutes to play with the birds. And when he returned, he'd see the tree full of birds. Even now, when I play in a place where there are birds, I can communicate with them.
(Hermeto, O Globo, 1998)The frogs… the frogs were a wonderful audience. Frogs are the most sensitive and faithful audience in the world. They're very intelligent. Roadside frogs are already accustomed to the noise of engines, but, even if you turn off the engine and walk towards them, they'll know there's someone coming their way. A frog can be used to give a warning. It feels everything. They already knew me because I always went to the same lagoon. Frogs have perfect orchestras.
(Hermeto, Backstage, 1998)- Type
- Chapter
- Information
- The Experimental Music of Hermeto Pascoal and Group, 1981–1993Conception and Language, pp. 27 - 60Publisher: Boydell & BrewerPrint publication year: 2015