A presente comunicação observa como as transformações ocorridas entre as décadas de 1920 e 1960 impulsionaram a construção de concepções morais, convenções estéticas e pressupostos ideológicos que se perpetuaram ao longo do tempo e continuam presentes até hoje na prática do choro. Para tanto, utilizo dados etnográficos construídos ao longo da minha pesquisa de mestrado (Bertho, 2015), relacionando-os a autores como Bessa (2010), Saraiva (2008) e Turino (2018).
This paper seeks to observe how the use of the phonographic material influences the technical improvement of the musicians participating in a roda de choro. Therefore, I analyze aspects and changes that occurred between the 1920s and 1960s, and how these transformations fostered the construction of moral conceptions, aesthetic conventions and ideological presuppositions that have been perpetuated over time and are still present in the practice of roda.To do so, I use ethnographic data constructed during my master’s research (Bertho, 2015), relating them to authors such as Bessa (2010), Saraiva (2008) and Turino (2018).
