The purpose of this article is to present a phenomenological analysis of Bajulans from Moteto de Passos, a work by colonial Brazilian composer Manoel Dias de Oliveira (1734/5-1813). Understanding how the piece is structured from the harmonic and phenomenological point of view may contribute to improve its performance. The phenomenological analysis is not a common approach in the interpretation of music yet. However, parameters eminently subjective, as the interpreter's experience in performance, have been shown to be quite significant for music research.
Brazilian colonial music; phenomenology of music; musical performance
