The Choro do Pará Project aims to disseminate and encourage the practice of Choro by
attracting young musicians from different age groups and social classes and stimulating the
formation of new groups. In this context, processes and situations of music transmission occur
in different ways and are (re)modeled and (re)defined, in their design and application, through
collective workshops — for string, wind and percussion instruments — that culminate in the
presentation of the results in concerts of the Choro do Pará Orchestra. The repertoire used in
their musical practice includes established compositions of this genre and original works by
artists from Pará, in order to valorize and spread the local production. Investigating the
practice and transmission of music in the Choro do Pará Project, using the approach of
authors such as Nettl (2010), Blacking (2007) and Merriam (1964), is the main objective of
our work. Specifically, we intend: b) To examine, through interviews and field research, the
methods of musical transmission practiced during the workshops of the Choro do Pará
Project; c) To verify, through interviews and field research, the process of construction of the
musical arrangements executed by the Orquestra Choro do Pará; and d) To find out if the
Choro produced in Pará has characteristics that distinguish it from the Choro produced
elsewhere in Brazil. For this, we performed a survey of relevant bibliographic sources and
conducted semi-structured interviews with participants of the Project and local musicians. Our
interviews with characters related to Choro do Pará Project fit the scope of qualitative
research, in what is called "semi-structured interviews with a single respondent", to which
Bauer and Gaskel (2002, p.64-65) also refer such as "in-depth interview". The spectrum of
points of view on the topics of our interest gathers testimony from: the coordinator of Choro
do Pará Project, Paulinho Moura; the five facilitators, Carlos "Buchecha", Claude Lago,
Diego Santos, Emílio Meninéa and Iva Rothe; two composers whose works are present in
several modules of the workshops, Luiz Pardal and Adamor do Bandolim; four project
participants; two former participants; and from personalities whose trajectories permeate the
narrative of the Choro movement in Pará. Our analysis involves meanings and knowledge,
recognizing that musical practice is a reflection of life in society and conveys unique values,
which result from different sources and experiences.
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