Detalhes bibliográficos
| Ano de defesa: |
2009 |
| Autor(a) principal: |
Barrozo, Maria Regiane da Silva Lopes
 |
| Orientador(a): |
Noronha, Márcio Pizarro
|
| Banca de defesa: |
Noronha, Márcio Pizarro,
Nascimento, Fernanda Albernaz do,
Simões, Rosa Maria Araújo |
| Tipo de documento: |
Dissertação
|
| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Universidade Federal de Goiás
|
| Programa de Pós-Graduação: |
Programa de Pós-graduação em Musica (EMAC)
|
| Departamento: |
Escola de Música e Artes Cênicas - EMAC (RG)
|
| País: |
Brasil
|
| Palavras-chave em Português: |
|
| Palavras-chave em Inglês: |
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| Área do conhecimento CNPq: |
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| Link de acesso: |
http://repositorio.bc.ufg.br/tede/handle/tede/4904
|
Resumo: |
Is surprising the challenge of the to question and to have the possibility to answer with music. Of the music to question and other sensibility to answer her. The sound doesn't just belong to the music, the music is not only composed of sounds. The life that sounds receives the care historical of the emotional existence, and this experience receives the musical components as indicators of the intertextual reading. The African diáspora offers the rhythm of the pop music that, for your time, she takes charge of being the habitat of the AfroAmerican memory. The sound memory of the diáspora is interpreted by the rhythmic beat of the pop music, an ethnic beat that is causing black reinventions in the musical performances in global contexts. To approach the pop musical expression as phenomenon of reinvention of the black identity, the memory African cultural scored the black identification in the AfroAmerican musical head offices traveled by the rhythmic transformations of the gospel, blues, jazz, swing, rhythm and blues, soul, freejazz, rock, funk, pop and rap. The social rhythm that accompany those gender it is centralized in the freejazz for the development of the research, from where they follow analyses and comments on the process of construction of the pop beat addressed in a social slope of racial protest and in the musical agency of black domain. The ethnic revival of the decade of 1960 is the scenario for the presented musiciansocial dialogues in way to map responsible relationships for the rhythmic development that consolidated the beat of the pop music as an ethnic beat. The reflection around the pop gender renounces academic precepts and formalist of the European musical tradition to present a possibility of musical analysis where the procedure is given by the content to be received from the object. This way the pop music can be questioned before the suffered social context by the agents of your creation. The followed road is updated by those musical agents, that give us elucidation answers if we look for the music as a resulting art of human negotiations. |
