Thesis (Ph. D.)--University of Washington, 2003. / Vita. Includes bibliographical references (leaves 268-279).

Thesis (M.S.)--Florida State University, 2003. / Advisor: Dr. Bruce T. Grindal, Florida State University, College of Arts and Sciences, Dept. of Anthropology. Title and description from dissertation home page (viewed Apr. 7, 2004). Includes bibliographical references.

Indiana University-Purdue University Indianapolis (IUPUI)

Orientador: Eliana Maria de Melo Souza / Banca: Ana Lúcia Castro / Banca: Dagoberto José Fonseca / Banca: José Adriano Fenerick / Banca: Márcia Regina Tosta Dias / Resumo: Esta tese investiga a aclimatação do gênero musical soul music no Brasil dos anos 1970. Por meio da análise da canção de importantes músicos negros da época: Tim Maia, Jorge Ben e Tony Tornado, bem como do chamado movimento "Black Rio", sugerimos uma inflexão na formação de uma identidade negra no país, o que representou a emergência de uma estrutura de sentimentos negra e transnacional. Esta estrutura de sentimentos se caracterizou pela sua afirmação étnica e pelo seu internacionalismo vinculado à contracultura negra ocidental. No contexto político repressivo da ditadura, este movimento musical ajudou a aglutinar jovens negros em torno de uma política de identidades, além de fazer uma oposição manifesta ao mito da democracia racial, ideologia oficial do regime civil-militar / Abstract: This thesis investigates the acclimatisation of soul music genres in Brazil in the 70's by the analysing the songs of important black musicians of the era: Tim Maia, Jorge Ben and Tony Tornado as well as the movement called "Black Rio". We suggest an inflection on the formation of the black identity in the country that represented the emergence of a black structure of feelings in transnational levels. This structure of feelings is chacacterised by its ethinic affirmation and its internationalism tied to black western counterculture. In a repressive political context of dictatorship, this musical movement helped bring together young black men around political identity and made a clear objection to the myth of racial democracy, the official ideology of the civil-military regime / Doutor

Made available in DSpace on 2015-09-17T15:26:54Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-07-29. Added 1 bitstream(s) on 2015-09-17T15:45:02Z : No. of bitstreams: 1 000846628.pdf: 1640434 bytes, checksum: cc92db0f7ba75dd007ed5a5df867a651 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Esta tese investiga a aclimatação do gênero musical soul music no Brasil dos anos 1970. Por meio da análise da canção de importantes músicos negros da época: Tim Maia, Jorge Ben e Tony Tornado, bem como do chamado movimento Black Rio, sugerimos uma inflexão na formação de uma identidade negra no país, o que representou a emergência de uma estrutura de sentimentos negra e transnacional. Esta estrutura de sentimentos se caracterizou pela sua afirmação étnica e pelo seu internacionalismo vinculado à contracultura negra ocidental. No contexto político repressivo da ditadura, este movimento musical ajudou a aglutinar jovens negros em torno de uma política de identidades, além de fazer uma oposição manifesta ao mito da democracia racial, ideologia oficial do regime civil-militar / This thesis investigates the acclimatisation of soul music genres in Brazil in the 70's by the analysing the songs of important black musicians of the era: Tim Maia, Jorge Ben and Tony Tornado as well as the movement called Black Rio. We suggest an inflection on the formation of the black identity in the country that represented the emergence of a black structure of feelings in transnational levels. This structure of feelings is chacacterised by its ethinic affirmation and its internationalism tied to black western counterculture. In a repressive political context of dictatorship, this musical movement helped bring together young black men around political identity and made a clear objection to the myth of racial democracy, the official ideology of the civil-military regime

No description available.

Orientador: José Roberto Zan / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-19T08:52:06Z (GMT). No. of bitstreams: 1 Goncalves_EloaGabriele_M.pdf: 60495318 bytes, checksum: 3a3ebc85450535991b7e825c6bfdb5ef (MD5) Previous issue date: 2011 / Resumo: Este trabalho estuda a trajetória da Banda Black Rio, formada em meados dos anos de 1970, cuja produção caracteriza--?se por fusões de múltiplas musicalidades. Através da análise musical de uma amostragem do repertório gravado pela banda, verificou?se nessa produção a presença de elementos característicos de gêneros brasileiros como o samba, o choro e o baião, mesclados aos do jazz, do soul e do funk. A pesquisa revelou que procedimentos adotados pelos músicos nas composições, releituras, arranjos e instrumentação produziram resultados sonoros peculiares. Trata--?se de uma sonoridade híbrida, que, de certa forma, expressa a emergência de uma nova sensibilidade num contexto histórico brasileiro marcado pela presença de um regime político autoritário, do desenvolvimento e da integração da indústria cultural e do advento de novas identidades geracionais e étnicas / Abstract: This work studies the history of the band Black Rio, formed in the mid 1970s, whose production is characterized by a fusion of multiple musicalities. Through musical analysis of a sample of the repertoire recorded by the band, it was verified the presence of characteristic elements of Brazilian genres such as samba, choro and baião, merged with components of jazz, soul and funk. The research found that the procedures adopted by the musicians in compositions, re--?readings, arrangements and instrumentations produced a peculiar sound result. It is a hybrid sonority that, in a certain way, expresses the emergence of a new sensibility in a Brazilian historical context marked by the presence of an authoritarian political regime, by the development and integration of the cultural industry and by the advent of new generational and ethnical identities / Mestrado / Fundamentos Teoricos / Mestre em Música

This thesis is concerned with popular music's working of time. It takes the experience of time as crucial to the negotiation of social, political or, more simply, existential, conditions. The key example analysed is the funk style invented by legendary musician James Brown. I argue that James Brown's funk might be understood as an apprehension of a minor temporality or the musical expression of a particular form of negotiation of time by a minor culture. Precursors to this idea are found in the literature of the stream of consciousness style and, more significantly for this thesis, in the work of philosopher Gilles Deleuze on the cinema in his books Cinema 1: The Movement-Image and Cinema 2: The Time-Image. These examples are all concerned with the indeterminate unfolding of lived time and where the reality of temporal indeterminacy will take precedence over the more linear conventions of traditional narrative. Deleuze???s Cinema books account for such a shift in emphasis from the narrative depiction of movement through time the movement-image to a more direct experience of the temporal the time-image, and I will trace a similar shift in the history of popular music. For Deleuze, the change in the relation of images to time is catalysed by the intolerable events of World War II. In this thesis, the evolution of funk will be seen to reflect the existential change experienced by a generation of African-Americans in the wake of the civil-rights movement. The funk groove associated with the music of James Brown is discussed as an aesthetic strategy that responds to the existential conditions that grew out of the often perceived failure of the civil rights movement in the 1960s. Funk provided an aesthetic strategy that allowed for the constitution of a minor temporality, involving a series of temporal negotiations that eschew more hegemonic, common sense, compositions of time and space. This has implications for the understanding of much of the popular music that has followed funk. I argue that the understanding of the emergence of funk, and of the contemporary electronic dance music styles which followed, would be enhanced by taking this ontological consideration of the experiential time of minorities into account. I will argue that funk and the electronic dance musics that followed might be seen as articulations of minority expression, where the time-image style of their musical compositions reflect the post-soul eschewing of a narratively driven, common sense view of historical time.

This thesis is concerned with popular music's working of time. It takes the experience of time as crucial to the negotiation of social, political or, more simply, existential, conditions. The key example analysed is the funk style invented by legendary musician James Brown. I argue that James Brown's funk might be understood as an apprehension of a minor temporality or the musical expression of a particular form of negotiation of time by a minor culture. Precursors to this idea are found in the literature of the stream of consciousness style and, more significantly for this thesis, in the work of philosopher Gilles Deleuze on the cinema in his books Cinema 1: The Movement-Image and Cinema 2: The Time-Image. These examples are all concerned with the indeterminate unfolding of lived time and where the reality of temporal indeterminacy will take precedence over the more linear conventions of traditional narrative. Deleuze???s Cinema books account for such a shift in emphasis from the narrative depiction of movement through time the movement-image to a more direct experience of the temporal the time-image, and I will trace a similar shift in the history of popular music. For Deleuze, the change in the relation of images to time is catalysed by the intolerable events of World War II. In this thesis, the evolution of funk will be seen to reflect the existential change experienced by a generation of African-Americans in the wake of the civil-rights movement. The funk groove associated with the music of James Brown is discussed as an aesthetic strategy that responds to the existential conditions that grew out of the often perceived failure of the civil rights movement in the 1960s. Funk provided an aesthetic strategy that allowed for the constitution of a minor temporality, involving a series of temporal negotiations that eschew more hegemonic, common sense, compositions of time and space. This has implications for the understanding of much of the popular music that has followed funk. I argue that the understanding of the emergence of funk, and of the contemporary electronic dance music styles which followed, would be enhanced by taking this ontological consideration of the experiential time of minorities into account. I will argue that funk and the electronic dance musics that followed might be seen as articulations of minority expression, where the time-image style of their musical compositions reflect the post-soul eschewing of a narratively driven, common sense view of historical time.

[pt] Esta dissertação tem por objetivo analisar a experiência dos frequentadores e organizadores dos bailes de música soul na década de 1970 nos subúrbios do Rio de Janeiro. O fenômeno dos bailes se iniciou em fins dos anos sessenta, e ao longo da década seguinte se tornou a principal forma de lazer de centenas de milhares de jovens negros. Inseridos num quadro de circulação de influências que passavam pelo movimento Black Power no Estados Unidos da América e pelas lutas de independência de diversos países africanos, aqueles jovens se reapropriaram das referências culturais e políticas a que tinham acesso e ajudaram a alterar, junto ao nascente movimento negro contemporâneo, a forma pela qual se discutia o racismo e as relações raciais no país. A ditadura iniciada em 1964, que mantinha o mito da democracia racial como importante pilar ideológico, logo conferiu aos bailes o status de ameaça à segurança nacional. Assim, analisar o fenômeno nos ajuda a compreender como o regime encarava o questionamento a esse mito. Mas para além da possível ameaça política representada pelos blacks para a ditadura, o caso dos bailes nos permite inscrever a violência ditatorial em uma temporalidade mais larga. Ou seja, observá-la a partir da perspectiva na qual o controle social das parcelas mais subalternizadas da sociedade – as classes perigosas – é encarado como objetivo fundamental do Estado e suas instituições – especialmente as do sistema penal. / [en] This dissertation aims to analyze the experience of promoters and those who attended the bailes soul in the 1970 s in Rio de Janeiro s suburbs. The phenomenon of the bailes started in late 60 s. Throughout the following decade, it became the most important leisure form of hundreds of thousands of young black men and women. They were inspired by the Black Power movement in the United States of America and the fights for independence in several African countries and have re-appropriated those cultural and political influences. The bailes changed the way that Brazil discussed racism and racial relations. The dictatorship used the myth of the racial democracy as official ideology and saw the bailes as a threat to national security. As we analyze the phenomenon, we can understand how the regime saw the questioning of this myth. However, it was not only about the political threat. The bailes allow us to insert the dictatorship s violence in a much larger temporality. Therefore, we aim to analyze it from a perspective in which the social control of the most subalternized sectors of the society – the classes perigosas – is seen as the fundamental objective of the State and its institutions – specially those of the penal system.