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The most common modality of the cantoria is the Sextilha, with which any presentation is begun. On the other hand, the dialogical character of the presentation and composition establishes a mutual dependence between them. Singing that does not force the melody respects the meter. Here is an essential element of the cantoria: The Sextilha, like the other modalities of verses of seven syllables, does not have a fixed distribution of accents within the lines. These are the elements that confer to the cantoria a certain enchantment and social esteem in their contexts of production. In the first verse of a stanza and in those that follow "acute verses", the first pulse of the first group is a pause or the prolongation of the tonic syllable that closes the previous line.

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Many cantadores prefer to tune the viola a tone and a half lower, but name the strings as described above.

Condições a 01/01/2019

There is a set of rules formulated for this purpose, but the repentistas improvise their verses on a practical basis, such as the poetic rhythm incorporated.

They also have an ethical dimension Travassosbecause the first inhibits the use of memorized verses, and the second makes it improper to escape the themes proposed by partners and listeners.

In the repente, there is also formal redundancy in the melody of the toadas which provides a poetic rhythmin the melodic characteristics that suggest moods and feelings, in repetitive harmony and in required alternation between the two pasasrada in the composition of the stanzas.

In addition, it stimulates the dispute, given that a poet cannot diverge from the themes requested by the audience or initiated by the other. Some try to compose the entire stanza during these 20 or 30 seconds that precede singing. Dates and time periods associated with this audio recording.

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The same idea is relevant for other traditions of repentismo. Their toadas are melodic motifs that coincide with the poetic lines. Rhyme, despite the rigidity of its rules, is considered the most simple foundation, and a well-informed poet is unlikely to err in this regard. The rules synthesize standards of order of poetry and of actions of creating it and singing it, and this order is much of what makes the cantoria something enchanting for those who take part in it, whether as listeners or poets.

Descriptive information to help identify this audio recording. Normally, the dispute between the cantadores is subtle and not explicit. I emphasize "knowledge" or experience, which provide information about origin and various forms of content that the poet should accumulate to be able to use when improvising.

In the decasyllabic, the third, sixth and tenth syllable should be emphasized. In the first verse of a stanza and in those that follow "acute verses", the first pulse of the first group is a pause or the prolongation of the tonic syllable that closes the previous line.

In addition, I understand that musical and poetic realization are products of specific cultural systems, but are also practices that create and recreate aspects of culture and of social life.

Poetic improvisation in the Brazilian Northeast

In all of these contexts, some aspects of the challenge are encompassed by social values and principles that go beyond the social field of the cantoria. Similar warnings are raised by White The interactions demand passaraa knowledge of a spontaneous semiology and of the ability to improvise and develop strategies, based on an immediate reading of the situations.

Although we have emphasized the restrictive power of the norms and rules, they have essential positive roles. It doesn't do anything, just improvises The ten of us gallop along the sea. Discourse leaves unsaid all that which takes place without the need for speech or verbalized reflection. University of Illinois Press.

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Oliveira, Luciano Py de. Links for Robots Helpful links in machine-readable formats. Therefore, more than a relation with aesthetic models and standards of execution, improvisation places the subject in interaction with time, with the actions of other subjects and with other factors of the situation. But normally you think of something to say.

Then, he concludes that poetic improvisation demands an agility of thinking to formulate what is to be said in response to situations.

Nevertheless, this description does not express how the cantadores create and sing the stanzas.

An error in meter is perceived by the ear as a lack or excess of musical quantities, because the verses have a fixed quantity of syllables that correspond to musical tempos while the linguistic accents coincide with accents of melodic rhythm Oliveira The improvisation, therefore, is not only the poetic vibrant v. Crazy to go to the dance, And dad doesn't want to let them, But it's impossible to break even: But no one uses this [when singing], no one counts syllables to make a stanza.

Like the singers rimto the Brazilian Northeast, these poets do not count syllables when they improvise, because they base themselves on a correspondence between melody and meter. This becomes clearer if we consider improvisation in cantoria and in other contexts as relational in two senses: It also indicates the stanzas composed with a basis on these phrases.