Villa-Lobos, Antônio Carlos Jobim e Edu Lobo: trilhas de uma moderna brasilidade musical

• Ano de defesa: 2017
• Autor(a) principal: Carlos Ernest Dias
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; UFMG
• Palavras-chave em Português: Cultura; Música; Modernismo; Brasilidade; Musicologia; Modernismo (Música); Musica; Nacionalismo na música Brasil
• Link de acesso: http://hdl.handle.net/1843/AAGS-APCNK6

The research starts from the assumption that musical modernism constitutes a wide range of possibilities for an interdisciplinary analysis on Brazilian musical culture in the twentieth century and on the current situation of musical and musicological studies in the country. For this, the studies run trails open by Heitor Villa-Lobos with the Serestas composed in the 1920s, which are continued by Antonio Carlos Jobim and Vinicius de Moraes from the 1950s and them by Edu Lobo and Chico Buarque from the 1960s onwards. It is postulated that these songs are related to a type of poetic and musical culture created and practiced by members of an intermediate class typical of the Brazilian social configuration, intellectualized, but not academic, popular, but not folkloric, whose tradition seems to have begun with the Modinha in the eighteenth century in both Brazil and Portugal. We believe that by this route develops a kind of poetic-musical composition high-level characterized, among other things, for the "conversational sophistication." We propose relate composers, poets and their songs through the idea of feeling framework developed by the British sociologist Raymond Williams, which is characterized by a sense of emotional awareness and a living continuity and interrelated between creators and their creations. After finding many personal and artistic relationships between composers and poets, we understand that by this structure is possible to identify an affective awareness among them, which unfolds a critical awareness of the country and about the fates of their music. On the other track, talking with musicologists and intellectuals in Brazil and abroad, research circumvents some historical buildings that have become canonical in the cultural history of the movement and that even though questioned by some intellectuals, still seem to remain r alive because of what It is considered, in common with those intellectuals, as a theoretical and conceptual downgrade of Brazilian Musicology in relation to other fields of social science knowledge. Stepping this route, the work aims to analyze modernism from the idea of a modern "Brazilianness" musical, around the idea of nationalism and its ideological derivations that came to be appropriated by a populist and authoritarian regime of government during the late 1930 and part of the 1940s Among these leads, is the construction of a nationalism-folklorist based on a certain conception of "people" and "nation", which was deployed in a search for a "national character" supposedly unique and hegemonic, and now being widely questioned in the context of late modernity, debate gained prominence u both classical scene as the popular scene. In this sense, research proposes a revisionism cultural of Brazilian musical modernism ideology and in its aesthetic aspect, making use of an interdisciplinary approach between Music, Literature, Cultural History, Sociology, Anthropology and Cultural Studies.