The Roda de Choro offers a rich environment in order to analyze the musical context of performance and the social context which nourishes the musical relations. This article aims at analyzing the relationship of both musical and social contexts according to the concept of musical order established by John Blacking (1995), who argues that "music cannot exist without the perception of order that organizes sound". Empirical data was carried through interviews and based on ethnographic field work realized during eighteen months in a live music restaurant in Brasilia. Through discourse analysis and registers analysis it was possible to identify elements which form musical order inside the Choro according to the musician's proposal. Analyses unveil the role of Rodas de Choro as social contexts for maintaining and to recreating choro musical tradition. As a musical gender, Choro involves a whole set of extra-musical factors that impacts musicians' performance.
Brazilian choro; roda de choro; ethnomusicology; John Blacking
