Abstract

Heitor Villa-Lobos’s Tres poêmas indigenas (1926, published 1929) provide an unusual image of Brazilian indigeneity: in three short songs, he creates a narrative of progress, one that ends with redefining himself and modernist colleague Mário de Andrade as Amerindian. The first two songs set melodies collected in 1557 and 1912, the third a new poem by Andrade (1926). The set begins with a narrow pitch collection, thin textures, and ostinatos and ends with a lied-like approach to text–music relations. In this way, Villa-Lobos creates an evolving image of Amerindian music-making that capitalizes on Indianist fantasies while redefining indigeneity as encompassing even the most modern and urbane Brazilians.

中文翻译：

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“ Musique cannibale”：Heitor Villa-Lobos的Trespoêmasindigenas中不断发展的土著声音

摘要

Heitor Villa-Lobos的《Trespoêmasindigenas》（1926年，1929年出版）提供了巴西本土化的不同寻常的图像：他用三首短歌创作了一段关于进步的叙事，最后以重新定义自己和现代主义同事Máriode Andrade为美洲印第安人为结尾。前两首歌设定了1557年和1912年收集的旋律，第三首是安德拉德（1926年）创作的新诗。演出以狭窄的音高，稀薄的纹理和ostinatos开头，最后以谎言般的方式处理文本与音乐的关系。这样，维拉·罗伯斯（Villa-Lobos）创造了美洲印第安人音乐制作的不断发展的图像，它充分利用了印第安人的幻想，同时重新定义了土著，甚至涵盖了最现代和最城市化的巴西人。