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Tags: Acústica Musical e Estudos de Sons   FCSH | NOVA  

Leon Bucaretchi

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Integrated | PhD Student
Faculdade de Ciências Sociais e Humanas | Universidade Nova de Lisboa
Av. de Berna, n.º 26 C
1069-061 Lisboa
Portugal
Email: This email address is being protected from spambots. You need JavaScript enabled to view it.

Biography

Currently a PhD Student in Acoustics and Ethnomusicology at Universidade Nova de Lisboa - with a Master's Degree in Musical Arts (2017) discussing the importance of how communication can affect performance in a recording studio - he also attended a Post-Graduation (2018) in Acoustics and Sound Studies (FCSH-NOVA). He has a degree in Nouvelles Technologies du Son (2014) at the Université de Toulon (France) and also a Full Degree in Art Education and Music - (2005) at UNESP (Bazil). Leon has a mixed trajectory dividing his time between academia, performance and music production. He composed more than 30 soundtracks for theater, cinema and performance, participated in several musical groups and is currently guitarist for the Lisbon based gypsy jazz group "Swing na Guelra".

 

Ciencia Vitae  |  ORCID  

 

 
Doctoral Project
 
Title
Ethnomusical and acoustic perspectives on the Manouche guitar
 
Abstract
Similarly to Fado, the Portuguese guitar and the Portuguese people, which are deeply connected, Gypsy jazz or jazz Manouche developed within a community and found its voice in an iconic guitar. Inspired by the work of Manouche guitarist Django Reinhardt, this musical genre is present at international jazz and world music festivals. But what are the agents that define the sound of the Manouche guitar?
 
To understand the guitar’s sound associated with Manouche people, we need to be aware of the nature of a specific instrument and the way and context of its utilization. In this research, we studied the vibratory characteristics of the Manouche guitar in the laboratory and detailed its morphology, referencing discussions with luthiers specialized in this instrument’s construction. Two years of fieldwork allowed us to view this instrument inserted into context, observing how it is used, by whom, and the importance of community practice and the pedagogy of jazz Manouche in the sound we hear when a musician plays a Manouche guitar.
 
Therefore, this thesis elucidates how the characteristics of an instrument, sound conceptions of musicians of the Manouche genre, and performance techniques interconnect to define the sound of the Manouche guitar.
 
Keywords: Modal Analyses; Jazz Manouche; Interdisciplinary Studies; Musical Practice.
 
 
Funding: Fundação para a Ciência e a Tecnologia (SFRH/BD/143444/2019)