O Beiradão está em festa: A obra musical de Teixeira de Manaus nos anos 80 e sua influência junto às festas de beiradão

• Ano de defesa: 2018
• Autor(a) principal: Teixeira , Darle Silva
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade do Estado do Amazonas; Brasil; UEA; Programa de Pós-Graduação Interdisciplinar em Ciências Humanas
• Palavras-chave em Português: Teixeira de Manaus; Anos 80; Beiradão; Indústria Fonográfica; História
• Link de acesso: https://ri.uea.edu.br/handle/riuea/1803

This research brings the musicality of the 80's by the representation of the sax soloist Teixeira de Manaus. Studying the memory of the festivals of / in the "beiradão", relating the parties to themes such as multiculturalism, globalization and diversity from the musical work of the saxophonist in this temporal cut is the purpose of the study. Through documentary analysis and interviews with the artist and other actors involved in these events and places, the methodological route was made. In three moments the study divided: the first part revives how it was to Manaus in this temporal cut. It shows, briefly, the national and local economy, especially considering the Free Zone of Manaus, as a generator of jobs in a moment of hyperinflation and recession in Brazil. The Industrial Pole increased the migratory process to the region, mainly in the Northeast of Brazil. Like all migration, there will be processes of encounters, exchanges and cultural hybridity. It is also worth mentioning the Amazonian Popular Music - MPA as, perhaps the sound aesthetics of the place in counterpoint with the music of Teixeira de Manaus. In sequence, we have the parties inside and in the city where the soloist was and the reconfigurations of these territories for the moment of leisure. It is added to the research if there would be a rhythm called "Beiradão", since it is already used as such by contemporaneous artists who evoke Teixeira de Manaus as a musician who legitimizes this musical genre as a representation of the State. Finally, the work of the instrumentalist is told through his musical trajectory. The invitation, the consecrator, the invention of solos with small refrains and the recording industry were the way to the formation and success of the artist. The research brings to the academy the music of another Brazil that does not appear in the literatures, but that was present in the 80's and that, today, is in re-reading by the singers and bands of the Amazon.