Mágoas do violão: mediações culturais na música de Octávio Dutra (Porto Alegre, 1900-1935)

• Ano de defesa: 2010
• Autor(a) principal: Souza, Márcio de
• Orientador(a): Monteiro, Charles
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Pontifícia Universidade Católica do Rio Grande do Sul; Porto Alegre
• Palavras-chave em Português: HISTÓRIA; MÚSICA - PORTO ALEGRE - HISTÓRIA E CRÍTICA; MÚSICA POPULAR BRASILEIRA; DUTRA, OCTÁVIO - CRÍTICA E INTERPRETAÇÃO
• Link de acesso: http://hdl.handle.net/10923/3926

The present thesis approaches and investigates the artistic experience and work of the south-Brazilian guitarist and composer Octávio Dutra (1884-1937). One of its core ideas seeks the relationships between the creational context of his output and his experience as a cultural mediatory on the musical environment of Porto Alegre, the southern Brazilian Capital. It is assumed that his training, actuation and compositions are characterized by the approach to and dialog between the classical and popular references, mixing tradition and modernity in a time of conservative artistic field, yet in broad transformation and becoming autonomous. In order to throw light on these questions, a bibliographic revision was primarily pursued on the fields of History and Music in order to understand how the Brazilian popular music merged and consolidated in its national scope. The raising of new musical genders is reviewed as well as the musical modernism and the pioneering experience of mediatory musicians during the First Republic. In the regional context, one seeks to understand the artistic experience and the musical compositions by Octávio Dutra in relation to the musical field formation in the city of Porto Alegre. During the First Republic, in the early decades of the 20th century, this composer experienced the process of institutionalization of the Musical Education, urban modernization and the appearance of new sonic technologies. Finally, this research intends to contextualize and interpret historically the musical production of Octávio Dutra. In these regards, the compositional issues are analyzed with focus on its diversity and transformations of the musical genders, as well as the representations of the social urban space implicitly or explicitly expressed in his repertoire. The work examined was composed, edited and/or recorded in a chronology that covers the years from 1900 to 1935.