VISUAL SOUNDS: the nature of place in the composition of music (Atena Editora) (original) (raw)

MODERNITY AND THE IMAGINARY SOUNDS OF BRAZIL

REVISTA COMUNICAÇÃO, MÍDIA E CONSUMO - ano 10 vol.10 n.29 p. 77-100 SET./DEZ. 2013

This paper discusses the importance of the radio in the construction of imaginary in modern Brazil. There is a discussion about the concept of imaginary supported on authors as: Mix (2006), Durand (1988; 1997; 2004) and Baczko (1985), the research intends to expand this concept including the imaginary sounds. It is argued that music is an important element for the building process of identities and imagined communities, especially from Modernity, when it begins to be listened on the radio and mixes global, national and local ingredients.

Ten (Anti-) Theses for a Brazilian Popular Musical Aesthetic

AM Journal of Art and Media Studies

This article points out some elements that can help to understand the difficulty of analyzing popular music in Brazil with the forms of analysis commonly used by classical aesthetics and philosophy of music. In addition, it indicates some possible paths for the development of a critique of national musical material. To this end, this article retrieves some fundamental questions about the history of popular music in Brazil: its triple origin (African, European and Amerindian), the influence of capitalism in the first decades of the twentieth century, the concept of ‘popular’, its connection with early lyric poetry and its multiple forms of expression. Article received: April 20, 2021; Article accepted: June 23, 2021; Published online: October 15, 2021; Review paper How to cite this article: Burnett, Henry. "Ten (Anti-) Theses for a Brazilian Popular Musical Aesthetic." AM Journal of Art and Media Studies 26 (October 2021): 53-61. doi: 10.25038/am.v0i26.469

Introduction: Brazilian musics, Brazilian identities

Ethnomusicology Forum, 2000

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“Brazilian Musics, Brazilian Identities”

Ethnomusicology OnLine, 2002

Research on Brazilian music, whether by Brazilian or foreign scholars, has been dominated by the combined mystiques of tri-racial ethnicity and progressive nationalization. While at “the center” ethnography has been primarily drawn upon as a means of illustrating particular theoretical perspectives, in Brazil it is the theoretical models that are fitted to the ethnography. The predictability of the places at which Brazilian musicologists have looked in their quest for musical otherness, however, is rendered evident by the presence of a Japanese scholar's contribution.

Brazil (Music). Handbook of Latin American Studies v. 76 (2022)

Handbook of Latin American Studies, 2022

Introductory essay and abstracts of selected works about music in Brazil published in the Americas and Europe during 2018-21. Ensaio introdutório e resumos descritivos e/ou críticos de obras selecionadas sobre música no Brasil publicadas nas Américas e Europa entre 2018 e 2021.

Brazil (Music). Handbook of Latin American Studies v. 74 (2020)

Music - Brazil. Handbook of Latin American Studies - Humanities - Vol. 74. Washington: Library of Congress, 2020

Introductory essay and abstracts of selected works about music in Brazil published in the Americas and Europe during 2014-18. Ensaio introdutório e resumos descritivos e/ou críticos de obras selecionadas sobre música no Brasil publicadas nas Américas e Europa entre 2014 e 2018.

The imaginary of Brazilian popular music

Vibrant: Virtual Brazilian Anthropology, 2011

During the early half of the twentieth century there was in Brazil a proliferation of songs which depicted this period’s imaginary. Songs that made up the Brazilian Popular Music (MPB, Música Popular Brasileira) - name given to the ensemble of sambas, chorinhos and Carnival marchas for this period - foregrounded three themes: work, women, and money. Work is rejected, while malandragem is praised. Women are powerful, capable of either encouraging men to accomplish deeds on the streets because they are loved at home, or immobilizing them by betrayal. Money is worth less than love, but it is nonetheless a necessary good. Since it is difficult to earn enough from work, there is, at once, an increasing awareness of the importance of money and the proposal of magical solutions for minimizing its scarcity.

Rock, Refrain and Remove: Hearing Place and Seeing Music in Brasília

Ethnomusicology Forum, 2012

This article investigates relationships between rock music and the concept of place in the modernist, functionalist, planned city of Brasília, Brazil, known at times as 'Capital of Rock' and 'Capital of Hope'. With rock history in Brasília, the city's built environment and its social character as my foci, I theorise the homology of remove as a way to conceptualise substantive relationships between these three, seemingly disparate 'spheres'. Fieldwork, notably three repeated motifs*the 'refrains'*subjects use to explain their observations, historical research, and space syntax theory's 'integration' provide the material.

Araújo Porto Alegre e a música no Brasil Império: filosofia, história, ideias e projetos

Revista do IHGB, 2019

The main purpose of this article is to discuss the importance of music to Manuel Araújo Porto Alegre (1806-1879) – an artist and intellectual who had a particular relevance within the first romantic generation in Brazil. The text is divided into five parts. An introduction analyzing the theme from the Intellectual History point of view and from the concept of Coloniality, according to Carlos Altamirano, Jorge Myers, Ângela de Castro Gomes, Patrícia Hansen and Nelson Maldonado-Torres. The second part, seeks to understand Porto Alegre's particular position among the men of letters of Brazil Empire. He was the only one to have specific interests in affirming the importance of Fine Arts in the development of Brazilian society as in the construction of national identity. In the third part, his main ideas about music will be analyzed, in philosophical and historical terms. The fourth part highlights the great relevance that music had among his institutional projects. We will emphasize the Imperial Academy of Fine Arts reform, the support given for the maintenance of the Conservatory as well as his direct involvement in the creation of a "national opera". The final considerations will reaffirm the importance that music had for Porto Alegre, stressing its importance in the institutional development of this art in Rio de Janeiro in the nineteenth century.