Cantata pra Alagamar: do conflito à produção musical

• Ano de defesa: 2017
• Autor(a) principal: Ferreira, Esdras Sarmento
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal da Paraíba; Brasil; Música; Programa de Pós-Graduação em Música; UFPB
• Palavras-chave em Português: Movimentos camponeses; Música engajada; Agenciamento independente; Ideologia e territorialidade; Peasants movements; Music engaged; Independent agency; Ideology and territoriality; CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::MUSICA
• Link de acesso: https://repositorio.ufpb.br/jspui/handle/123456789/11325

This case study is about the Cantata para Alagamar, a musical piece composed to denounce abuses suffered by peasant families living in the Alagamar farm, located in Paraíba. The work has a denunciative and had as intention, in addition to the aforementioned complaint, to honor the successes achieved through the resistance of these families. In this sense, the present dissertation touches on themes such as agrarian reform, liberation theology, phonographic production and the multiple aspects related to the work in the historical, cultural, social and political context. Following this perspective, the relationship between the composer José Alberto Kaplan, the literary Waldemar José Solha, the archbishop Dom José Maria Pires and the musical producer Marcus Flávio Pereira, with the production of the cantata, is analyzed. Regarding the theoretical approach, the concepts of ideology, agency and territoriality were used as instruments of analysis, having as main reference sources the thoughts of István Mészáros, Pierre Bourdieu and Milton Santos, respectively. Motivated by sociological notions and bearing in mind the conception of a document originating from contemporary historiography, it was used to analyze the selected piece as well as the contexts that involved its phonographic record, a systematized set of methodological procedures that was called arqueologia sonora.