Adam John May
This research project explores the long and diverse history of the cavaquinho through a
combination of practical performance and archival research. This four-string soprano guitar
is a ubiquitous instrument in several musical cultures and its origins may be traced to
Portugal where very similar instruments have been in use since the seventeenth century. The
cavaquinho, and closely related instruments, spread across the globe along routes of
migration and this study will focus on four key traditions, those of Brazil, Portugal,
Indonesia, and Hawaii. These historical links will be investigated through recorded
performances played on the modern Brazilian cavaquinho, together with written analysis of
historical and performance contexts. A diverse portfolio of recordings showcases
performance practices and repertoires from the nineteenth century, through to the flourishing
tradition of the twentieth century and new and emerging contemporary genres. The Brazilian
cavaquinho is the instrument through which I engage with these contrasting repertoires,
drawing on the richness of the instrument’s technique and performance style. The recordings
are not presented as historical recreations, but as extensions of the distinct evolving traditions
through the application of contemporary practices. Collaborations with renowned
international practitioners feature on many of the recordings, and the creative element of this
thesis extends to original arrangements and compositions. Through a combination of
performance recordings, research, analysis and original arrangements and compositions, this
project demonstrates how the cavaquinho is the perfect vehicle to illuminate and reinvigorate
historically linked traditions and styles.
