This doctorate research aims to understand how the translation of rhythmic patterns of the
musical culture of Pará into the guitar is carried out in the work of composer and guitarist
Sebastião Tapajós, through the study of his authorial work registered in phonograms from 1962
and how this understanding and daily study were translated, resulting in the creation of a new
work, the “Rio Surubiú Suite”, composed by me, based on the study and understanding of
musical characteristics found in the researched work. It shows how much research contributes
to the insertion of the artist's name and work to the academy. In this musical universe, I try to
show the compositional facets of Sebastião Tapajós, which I name as: The Concertist Performer, the Brazilian Composer and the Amazônida. The Amazônida is the place where I
seek to highlight aspects of musical creation, performance, use of techniques guitar and style
in the artist's work. The authors who helped me in understanding and writing are: Castro (2011),
Copland (2011), Ferraz (2007), Ferreira (2016), Freitas, Garcia (2007), Loureiro (2000),
Padovani and Ferraz (2011), Ribeiro (2006), Nascimento (2013), Oliveira (2000), Rezende
(2007), Salles (2005), Saraiva (2018), Sena (2014), Sebastião Tapajós (2019), Silva and
Rolkouski and Thompson (2004). The methodology used in the research was the fieldwork,
with meetings and interviews with the artist, musicians, friends, and producers who are,
somehow, connected to Sebastião Tapajós and his work; listening to the work, and reading
scores of part of this work. Along with the thesis, a YouTube channel was launched with
interviews, performances, rehearsals, which took place during the field research, with the
composer himself and other artists.
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