Detalhes bibliográficos
| Ano de defesa: |
2020 |
| Autor(a) principal: |
Silva, Edson Alencar
 |
| Orientador(a): |
Mira, Maria Celeste |
| Banca de defesa: |
Não Informado pela instituição |
| Tipo de documento: |
Tese
|
| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Pontifícia Universidade Católica de São Paulo
|
| Programa de Pós-Graduação: |
Programa de Estudos Pós-Graduados em Ciências Sociais
|
| Departamento: |
Faculdade de Ciências Sociais
|
| País: |
Brasil
|
| Palavras-chave em Português: |
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| Palavras-chave em Inglês: |
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| Área do conhecimento CNPq: |
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| Link de acesso: |
https://tede2.pucsp.br/handle/handle/23321
|
Resumo: |
This thesis focuses on music recorded by punks in the city of São Paulo from 1981 to 2019. Based on that, we argue that these productions are linked to globalized culture, established, therefore, to a specific musical form, to the world punk movement and its ethics group Do It Yourself (DIY). Focusing internally on class habitus and belonging to youth groups spread across the perifhery of the city of São Paulo. This dynamic generated a series of practices, including those linked to recorded music, which has been performing without interruption since 1981. We surveyed productions in which we found 880 elaborated punk phonographic products, most of which were made, disseminated and distributed by São Paulo punks themselves. In this sense, from the research effort, we suggest that, in addition to an economic sense, these practices would be focused on networks of sociability, friendship and identity, shared by São Paulo punks. Which also favored that they could insert their conceptions and worldviews, via recorded music, in a context of musical production dominated by economic and cultural elites from Brazil |
