| | | | | O projeto Escola Portátil de Música, é um programa de educação musical voltado para a capacitação e profissionalização de músicos através da linguagem do Choro.
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| | | | | O melhor do Choro também na Internet.
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Escola Portátil de Música
Português
Created, in the year 2000, by choro musicians who wanted
to transmit their knowledge of this style of music, Escola
Portátil de Música (Portable School of Music) has experienced
considerable growth and success. Starting with about fifty
students at Sala Funarte, it grew to approximately one
hundred at Rio de Janeiro University, and then more than
tripled at the Gloria location. Currently, at the Uni-Rio
campus in Urca, there are 23 teachers and approximately 600
students who study flute, clarinet, saxophone, trumpet,
trombone, bass, 6 and 7-string guitar, cavaquinho,
mandolin, tambourine (pandeiro), percussion, piano, accordion
and voice - not to mention the courses of choro history,
musical theory, harmony, arrangement, composition, group
practice, etc. The school offers comprehensive musical
training (both theory and practice), allowing graduates
to work in any musical genre, not just choro. That is
why so many students apply each year, attracted by the
innovative opportunity to acquire a musical education
through the language of choro. EPM's goal is to give
students the necessary educational, professional,
social, and emotional foundations for successful
careers and productive lives as artists and citizens.
And not only students are attracted by the sounds that
come from the Escola Portátil. An increasing number of
fans, admirers, and enthusiasts benefit from the positive
repercussions of the School. The weekly big band open
rehearsal - probably the largest "regional" in the world,
gathering all the School's students - has become, through
word of mouth, a Saturday fixture for Cariocas and an
informal tourist attraction. There, at the foot of Sugar
Loaf mountain, music lovers show up every week to listen
to arrangements written specifically for the group, of
Brazilian music classics or new compositions.
Besides the Bandão, other groups were born at the School
and are currently playing on the musical scene. Notable
among them are the Furiosa Portátil - a brass band that
delivers "furious" and memorable performances -, the
Camerata Portátil - an ensemble of guitars, cavaquinhos,
mandolins, flutes, clarinets, percussion - and Os Matutos
de Cordeiro - young and talented musicians from the
small town of Cordeiro (upstate Rio de Janeiro) who
have already recorded their own album. Equally important
are the small "regionais" created informally at the
School. These groups, that play in backyards, bars,
homes, and streets, are responsible for the most
wide-ranging and spontaneous dissemination of choro,
this typically Brazilian musical style that is more
than 150 years old.
Students and teachers promote other activities to make
their music heard. Every Friday, from 5:00 to 6:30pm,
the radio program "Escola Portátil no Ar" is broadcast by
Rádio Nacional AM (available also through the internet).
There, groups from the School present new compositions
or pieces from the vast choro repertoire. The Finep
Instrumental series, in partnership with the School
for the second year running, presents, on the first
Thursday of every month, a concert connected to the
School at Finep's auditorium in Flamengo. These are all
ways to showcase the work done by the School and cultivate
an audience interested in contemporary Brazilian
instrumental music.
Escola Portátil de Música is sponsored by Petrobras and is
open to everyone. It is committed to the dissemination of
one of the greatest treasures of Brazilian culture. Thanks
to this sponsorship, classes are free of charge, and
there is only a semi-annual administrative fee.
Escola Portátil de Música is promoted by Instituto Casa
do Choro (home of the Choro Institute), organizer of the annual
National Choro Festival, an eight-day event that takes place in
a site far from urban centers, offering courses, workshops,
concerts, lectures, videos, etc. Each edition of the Festival
gathers approximately 250 musicians, both amateurs and
professionals, from all over Brazil and abroad. By gathering
students, professionals and amateurs in a single environment
for eight days, the Festival promotes a unique experience, an
exchange of experiences that has no rival in the country. It
is the perfect place to compare notes on what's going on all
over Brazil in connection with the choro, as well as projects
that use this genre as a vehicle. This exchange generates
initiatives throughout the country and even abroad, testifying
to the Festival's multiplication potential.
Why choro
Choro is one of the oldest urban popular music still alive.
Over its more than 150 years, it was a school for the most
important Brazilian musicians, such as Anacleto de Medeiros,
Ernesto Nazareth, Pixinguinha, Sivuca, Hermeto Paschoal,
Tom Jobim, Altamiro Carrilho, Baden Powell, Raphael Rabello,
and many others. A mix of several influences that gathered
in the city that was, then, the country's capital, it
appeared in the 1850s in Rio de Janeiro, and quickly
spread throughout Brazil. In the 20th century, choro had a
remarkable development, regarding composition, interpretation
and recording, as well as in its ability to reach a wider
audience - it definitely became a national music. Used
by composers who have structured Brazilian music, including
concert music, such as Villa-Lobos, Radamés Gnattali
and Guerra-Peixe, choro contributed to make our music
respected worldwide. However, from the 1960s on, having
no space in radios, TVs and other mass media, it became
less known, and frequently seen as "music from the past".
That scenario is being successfully reverted by Escola Portátil
de Música and Instituto Casa do Choro, with the understanding that
choro, as one of the greatest treasures of Brazilian culture,
must be ever explored, researched and known, in order to spread
its branches. Thanks to the high level of the teachers and the
teaching method, which puts practice, composition and historical
study in first place, EPM is taking choro to a higher standard
on the 21st century, encouraging young composers who, familiar
with the repertoire of past centuries masters, enlarge the
contemporary repertory based on solid ground.
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