Cochichando from Pixinguinha

characteristics, influences and contrasts in three recordings

Abstract

This article aims to observe characteristics, influences and contrasts in different recordings of the music Cochichando, composed by Pixinguinha (Alfredo da Rocha Vianna Filho). To do so, we analyze three recordings: the first one, made by Paulinho da Viola in 1976, is part of a Brazilian context of the choro revival; the second was made in 2004 by the multi-instrumentalist, arranger and composer Humberto Araújo and has as background initiatives aimed at the expansion and internationalization of choro; the third recording, in turn, is an ethnographic data made by one of the authors during fieldwork research in 2018 and is inserted in a recent perspective that has choro as a centre for academic debates. Our goal is to understand possible relationships between these three recordings, identifying in what ways the sound information present in two studio recordings is connected to the patterns, sounds and characteristics of the music recorded live – and whose recording is the result of an ethnographic context. For this, we use transcriptions and musical analyzes, aiming to point out the possible relations between recorded and live music.