Percurso por um eu emaranhado: contaminações entre música, gênero e tecnologia em um interior paraibano

• Ano de defesa: 2021
• Autor(a) principal: Silva, José Matheus Fernandes
• 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: Música; Gênero; Tecnologia; Colonialidade; Paraíba; Music; Genre; Technology; Coloniality; CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::MUSICA
• Link de acesso: https://repositorio.ufpb.br/jspui/handle/123456789/22993

The object of this research is a memorial route traced by its author, Matheus Fernandes, when accessing music in different contexts in the interior of Paraíba, such as the city, the church, the school, the university and the computer/internet. Such spatial-temporal situations are used in research due to their direct and indirect consumption character, non-normative learning and digital musical creation that occur transversally according to the accesses and non accesses granted. This logic is used to think about music beyond an institutional cut, judgment of taste or a personal method, that is, music as a continuous and fractionally uncontrollable ecological entanglement. In this sense, it summons the spaces, sounds and people who inhabit them or — the exteriority — into the I, in a great infrastructural contamination that makes music possible. As theoretical, narrative and research problem conductors, identitary codes are placed, especially those of gender and sexuality, to extract the supposed forces that act within musical situations. Factors such as the technical and linguistic flows of the coloniality of gender, music and technology are investigated in order to understand the relationships between tradition and the translation of masculine practices, as well as the way these individuals make viable the industrial and cultural complex of music and the construction of identity in a space often considered globally backward. Finally, the text brings the technology and the technique to outline a thought about the musical production made by the author through the computer-internet, as well as its strategic use to disappear into the nature that the machine makes possible and circumvent musical, technical and sexual contingencies. In short, the research is about investigating how much all these elements overlap and operate in a contaminated way in symbolic constructions that materialize in bodies. In this sense, thinking about genre, music and technology from a tangled self, calls for tracing the experience of the otherness of the body and individuality being invaded by other bodies, individualities, immaterialities, ideas, sounds and forces, calls for tracing an ecological experience in the confusing geometry of entanglement.