RBM 27/2

Popular music: history, ethnography and sociology




     
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The Revista Brasileira de Música (Brazilian Journal of Music) is pleased to present this issue with the main theme “Popular music: history, ethnography and sociology”, which continues a realm of research, previously presented in the issue “Music in urban spaces”, by furthering some approaches that have engaged musicology recently. The articles in this issue discuss the urban popular music in Brazil, and some of its representative movements of the 20th and 21st centuries.

The first article takes the phonograph record as the central source of its approach. The second article adopts the anthropological concept of “imaginary”, and the method of textual analysis. The following article takes a sociological approach to the music in the context of conflict, inequality and violence, keeping in perspective the construction of knowledge in ethnomusicology. The fourth article contributes with a case study on a controversial issue in several segments of society, which intersects the legal body, public policies, institutions, and the community of music professionals. The following two articles contribute to deepening reflections on the Brazilian musical historiography. The last article brings to perspective a Brazilian composer of the late nineteenth to the early twentieth century, whose importance awaits further studies

The opening article of Jonas Soares Lana (PUC-RJ) discusses the importance of the orchestral arranger and the music arrangement in defining the meanings of the song, approaching the Tropicália movement with the concept of soundscape, and redefining its proposals in the cultural context of the 1960s. The article by Sílvio Anaz (PUC-SP) proposes an imaginary mapping of romantic love in Brazilian and international pop-rock from the identification of the main symbolic elements present in representative genres that were hits in Brazil and in the Anglo-American scenario since the 1950s. The article by Gustavo Souza Marques (UFMG) discusses violence as a building element of music in the context of conflict in hip-hop culture and rap music, and its predominant masculinity. As Marques’ study corroborates the proposal of shift from dialectical of cheating to the dialectic of marginality, it also points to the ideological and sound traits of the reproduction of violence in rap discourse. The article by Luciana Mesquita (Universidad Nacional del Sur) offers a comparison between the legal systems of Brazil and Argentina concerning the intellectual property rights of musical works. The article by Aloysio Fagerlande (UFRJ) offers a bibliographical survey about the bassoon in Brazilian music, from the seventeenth century to the last decade of the nineteenth century, providing important data for the advancement of research on the subject. The text of Vicente Salles (ABM) offers an interesting perspective of the Brazilian musicological thought for musical nationalism. The article by Maria Alice Volpe (UFRJ and ABM) presents an assessment on the composer Homero de Sá Barreto’s life, compositional output, and reception, hitherto scarcely researched.

In the Memory section, Marena Salles Isdebski evokes the dynamics of working together with her husband, the historian, ethnologist and musicologist from Pará, Vicente Salles (1931-2013), reporting how shared their research experiences.

In the Brazilian Music Archive section, Maria Alice Volpe (UFRJ) presents an introductory text to the Elegy for violoncello (or violin) and piano, by the composer from São Paulo, Homero de Sá Barreto (1884-1924), and the musicological edition here published in collaboration with her students Mário Alexandre Dantas Barbosa, Wagner Gadelha, and Igor Chagas (UFRJ).

 

EDITORIAL

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ARTICLES


Experiencing ambiguity through the arrangement by Rogério Duprat on the tropicalista song recording “Não identificado” by Gal Costa

Jonas Soares Lana 

Abstract

In this work, I propose an analysis of the “tropicalista” song recording “Não identificado” [“Unidentified”] by Gal Costa (1969), focusing on the dialogue between the sung words and the musical arrangement by Rogério Duprat. Reverent parody of ballads by Brazilian rock singer-composer Roberto Carlos, the song presents itself as a platonic love message transported by a disc, which is launched simultaneously as a LP and a flying saucers. Traveling through an idyllic Brazilian sky, as it is described on traditional romantic Brazilian popular song, this unidentified flying object blurs the limits between physic-objective and metaphysic-subjective realms. Aware about the ambiguity of an “unidentified” song, Duprat dilutes the boundary that separates music arrangement and soundscape, introducing sounds heard on American sci-fi movies from the 1950s. This sonic trip, however, goes beyond soundscapes inhabited by aliens, simulating at the same time a psychedelic flight that suggests a fusion between self and the world, as it is experienced in the late 1960s LSD users. Through this analysis, I aim to discuss the importance of the arranger and of the musical arrangement in the definition of recorded song meanings, recognizing, at the least instance, the symbolic power of music and sound in a specific historical and cultural context.

Keywords

Brazilian popular music – Tropicália – song arrangement – soundscape – film music – parody.

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The romantic love imaginary in the mainstream songs: mapping of romantic love simbolic elements in the international and Brazilian pop-rock

Sílvio Anaz

Abstract

This essay brings a map of the romantic love imaginary in the international and Brazilian pop-rock songs, from 1950’s to 2000’s. The analysis is developed based on the mapping of symbolic elements that emerge from pop and rock hits in Brazil, United States and United Kingdom in the same period. The theories used are: Gilbert Durand anthropological concept of imaginary and Roland Barthes textual analysis. The method used is the mapping of romantic love imaginary in the selected songs from the identification of symbolic elements responsible for the “starting place” of meanings. Based on the Durand classification of images regimes, it is realized an analysis of these elements. The conclusion shows a map of the romantic love imaginary in pop-rock songs.

Keywords

Imaginary – romantic love – mainstream songs – pop-rock – semiotics.

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Virility, machismo and violence: the warrior ethos in Brazilian hip-hop

Gustavo Souza Marques

Abstract

This is article is part of the MA thesis “The sound that comes from the street: Hip-hop culture and rap music at Duelo de MCs (MCs Duel)” (MARQUES, 2013). This research surrounds the social and musical aspects of one of the biggest hip-hop events in Brazil: the Duelo de MCs (MCs Duel), held in Belo Horizonte city, Minas Gerais state. The urban culture and its implications on rap music shown that the mannish mentality overtop the MCs rhymes with territorial, manly and violent themes that evinces not only the overwhelming reality that these artists lives in their day-to-day experiences but also the whole society itself.

Keywords

Rap – hip-hop – urban culture – ethos –MCs’ duels.

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Analysis of copyright of musical works in Brazil and Argentina

Luciana Rodrigues de Mesquita e Silva

Abstract

This article aims at analyzing the profile of Brazilian and Argentine legal systems, investigating from the legal, doctrinal and briefly the judicial spheres, the treatment given to the protection of Intellectual Property. For this, we will do a comparative study about intellectual property, specifically the Copyright of Musical Works in both countries.

Keywords

Intellectual property – copyright – music – musical work.

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The bassoon in the Brazilian concert music – Part 1: from the 17th to the 19th centuries

Aloysio Fagerlande

Abstract

This work performs an inquiry about the references of the bassoon in the Brazilian musical literature between the 17th and 19th centuries. Methodologically, the research is based on the work developed by J. Kopp (2012), which relates the musical fact to the development of the instrument along the historical periods. This part of the research ends in 1890, with the inclusion of the bassoon class in the National Institute of Music, now the School of Music of UFRJ.

Keywords

Brazilian musical literature – musical performance – bassoon.

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The idea of Brazilian national music: a study for a definition of the evolution process of its characteristics (Rio de Janeiro, 1961)

Leonardo Lessa (pseud. Vicente Salles), transcr. Marena Isdebski Salles

Abstract

Transcription and publication of the hitherto inedited text of the deceased researcher Vicente Salles (1931-2013), signed under Leonardo Lessa pseudonym. In addition to expressing a view on the question, so relevant at the time, concerning nationalism in Brazilian music, the importance of this text for the Brazilian musical history lies in the recording of the author’s writing process, which suggests that this text has possibly arisen from lecture notes.

Keywords

Brazilian music – musical nationalism – Brazilian musical historiography – musicology in Brazil – Vicente Salles.

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Homero de Sá Barreto (1884-1924), Brazilian post-romantic composer

Maria Alice Volpe

Abstract

Transcription and publication of the hitherto inedited text of the deceased researcher Vicente Salles (1931-2013), signed under Leonardo Lessa pseudonym. In addition to expressing a view on the question, so relevant at the time, concerning nationalism in Brazilian music, the importance of this text for the Brazilian musical history lies in the recording of the author’s writing process, which suggests that this text has possibly arisen from lecture notes.

Keywords

Brazilian music – musical nationalism – Brazilian musical historiography – musicology in Brazil – Vicente Salles.

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MEMORY

My partnership with Vicente

Marena Isdebski Salles

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INTERVIEW

Composing sounding worlds: an interview-essay with Paulo Costa Lima, celebrating his 60 years

Paulo Costa Lima e Guilherme Bertissolo

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BRAZILIAN MUSIC ARCHIVE

Introductory notes to Elegie for violoncello (or violin) and piano by Homero de Sá Barreto (1884-1924)

Maria Alice Volpe

Abstract

Description of documentation used for the preparation of the edition of musical work Elegy in C minor for cello or violin and piano, which had remained unpublished, by the composer Homero de Sá Barreto(1884-1924), and providing information about contemporary auditions and early critical reception, according to the newspapers of Rio de Janeiro and São Paulo.

Keywords

Early twentieth century – Brazilian music – Romanticism – Homero de Sá Barreto –music score – reception studies.

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Elegie for violoncello and piano  (edition by Maria Alice Volpe, Mário Alexandre Dantas Barbosa, Igor Chagas, and Wagner Gadelha)

Homero de Sá Barreto

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