Orientador: José Roberto Zan / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-25T23:57:11Z (GMT). No. of bitstreams: 1 Gerolamo_IsmaeldeOliveira_M.pdf: 2526865 bytes, checksum: dc90f025d08df6c3275e2932a78e4926 (MD5) Previous issue date: 2014 / Resumo: O objeto desta dissertação é a produção musical do grupo Quarteto Novo registrada no LP homônimo lançado pela gravadora Odeon em 1967. Partindo de análises de fonogramas do disco, verificou-se que o grupo produziu uma linguagem híbrida, operando com elementos musicais regionais, principalmente aqueles identificados com a cultura sertaneja nordestina, articulados a procedimentos de outros gêneros e estilos associados a repertórios cosmopolitas. A investigação partiu de duas hipóteses: a possibilidade do ideário nacional-popular dos anos 60 ter balizado as escolhas estéticas dos músicos, orientando-os na retomada de tradições musicais brasileiras; e a de que a ruptura com o jazz, expressa nos discursos dos músicos, é relativa, uma vez que há sinais evidentes de procedimentos típicos do gênero norte-americano na construção da sonoridade característica do quarteto. O projeto artístico que orientou a produção do referido LP refletiu, na opinião dos próprios músicos, a preocupação com o "nacionalismo musical" e a busca de uma sonoridade "tipicamente brasileira". Tudo isso se traduziu em aspectos de arranjo, instrumentação e improvisação que se remetem às tradições musicais populares. A proposta do Quarteto Novo estava inserida num contexto de grande efervescência política e cultural impulsionada por artistas e intelectuais sintonizados com o que Ridenti definiu como "brasilidade revolucionária", uma construção simbólica que se constituiu numa maneira específica de auto-compreensão do Brasil naqueles anos, com forte conotação utópica. A brasilidade revolucionária serviu de parâmetro para a mobilização de uma geração de intelectuais e artistas que protagonizou uma das mais importantes experiências de arte engajada da história brasileira. Nessa conjuntura, a idealização de um autêntico "homem do povo", com raízes rurais, sertanejas, orientou boa parte da produção artística daqueles anos, da qual o disco Quarteto Novo pode ser considerado um exemplo significativo / Abstract: The object of this work is the musical production of the Brazilian group Quarteto Novo recorded on the homonymous LP released by Odeon in 1967. Based on analysis of phonograms disk has been found that the group produced a hybrid language, working with regional musical elements, especially those identified with the Brazilian Northeastern culture, articulated to techniques from other genres and styles. The investigation started with two assumptions: the possibility of national-popular ideology of the 60 Tues christened the aesthetic choices of the musicians, guiding them in the recovery of Brazilian musical traditions; and that the idea of rupture with jazz, expressed in the speeches of their own musicians, is relative, since there is very clear signs of typical procedures of jazz in the sonority of the Quarteto Novo. The aesthetic project that guides the production of that LP reflected, in the opinion of the musicians themselves, the concern with the "musical nationalism" and the search for a sound "typically Brazilian". All this has translated into aspects of arrangement, instrumentation and improvisation which refer to the popular music traditions. The proposal of the Quarteto Novo was embedded in a context of great political and cultural ferment stimulated by artists and intellectuals in tune with what Ridenti defined as "revolutionary Brazilianness," a symbolic construction that was a specific way of self-understanding of Brazil in those years, with a strong utopian connotation. The "revolutionary Brazilianness" served as a parameter to mobilize a generation of intellectuals and artists who starred in one of the most important experiences of activist art of Brazilian history. At this conjuncture, the idealization of a real "man of the people" with rural roots oriented much of the artistic production of those years, of which the disc Quarteto Novo is one of the most significant examples / Mestrado / Fundamentos Teoricos / Mestre em Música

North Korea, throughout its history, has had four representative pop music bands that frequently appear on broadcast media to propagate Juche philosophy and represent the political stance of the government: the Bochonbo electronic band, the Wangjaesan light music band, the Moranbong band, and the Chongbong band. The first two were formed during the Il-Sung-Kim regime and gained popularity during the Jung-Il-Kim regime; and the latter two are representative of the Jung-Eun-Kim regime. These bands always appeared at special occasions of North Korea and are used as mouthpieces for the government and the supreme leaders. This study explores the characteristics of North Korean pop music in conjunction with political implications by examining performances of these representative four bands. The aims are to interrogate how pop music in that country has been presented under governmental control, to ascertain what perception the North Korean governors have about pop music, and to delineate specific features in the music that can be identified as political. Certain aspects of the current Jung-Eun-Kim regime and its pop music are appearing for the first time in an academic context and existing research on the earlier regimes of Il-Sung Kim and Jung-Il Kim are posited in relation to this. The genesis of the Wangjaesan light music band and the Bochonbo electronic music band is closely connected to Jung-Il Kim’s directive that North Korean music had to be modernised. The Wangjaesan band concentrated more on traditional music, while the Bochonbo band did on modern trends and life songs. Their performances provide evidence of an un-detachable relationship with Jung-Il Kim’s politics and his perspective on music, “artistry without ideology is worthless”. The Moranbong band and the Chongbong band were formed by Jung Eun Kim himself and they can be regarded as symbolic musical groups of his regime. Demonstrating the earlier Juche ideas of the previous regimes by performing older songs from that era, the bands also illustrate new ideologies of the current regime. It would seem that none of their music was created purely for the artistic and cultural demand of the public. The political use of the bands has been totally intentional since their formation. / Thesis (DMus)--University of Pretoria, 2020. / Music / DMus / Unrestricted

Esta pesquisa investiga o cenário musical paulistano entre os anos 1890 e 1930 tendo como referência o papel especial que desempenharam as bandas de música. Foi extraordinária a presença delas no cotidiano da cidade neste período, tanto para a divulgação musical como para as práticas de formação e profissionalização dos músicos. De certo modo, elas funcionaram como uma espécie de corporação de ofício, constituindo-se um dos raros espaços de aprendizagem profissional para a população mais pobre. Por outro lado, elas também foram instrumentos privilegiados de divulgação musical em uma época anterior à expansão dos meios eletrônicos de difusão. Neste amplo universo se destacou principalmente a Banda de Música da Força Pública do Estado de São Paulo, cuja trajetória é o foco central desta dissertação. É sobretudo a partir dela que são recuperadas práticas musicais na cidade, as inúmeras formas de difusão, os repertórios, as mudanças de gostos, as relações com o público, os processos de formação dos músicos e assim por diante. A partir das décadas de 1920 e 1930 a relação dos paulistanos com as bandas, sobretudo da Força Pública, começou a mudar substancialmente com os avanços das indústrias fonográfica e radiofônica. Apesar da relativa presença de algumas delas nestes novos meios de produção e divulgação, a maior parte desapareceu e a militar, especialmente, teve suas representações e funções culturais e musicais muito reduzidas. É esta rara dinâmica de transformações da cultura musical paulistana tendo como fio condutor a Banda da Força Pública que esta dissertação quer captar e compreender. / This research focuses on the musical setting of Sao Paulo city from the 1890s to the 1930s and the special role of bands, whose presence in the daily life of the city was remarkable both for the dissemination of music and the professional training and practice of musicians. Bands worked as a kind of craft corporation and were one of the few possibilities of professional learning for the poorest population. In addition, bands were also privileged instruments of dissemination of music in a time prior to the expansion of electronic broadcasting. In this broad context, Sao Paulo State Public Force Music Band [Banda de Música da Força Pública do Estado de São Paulo] stood out. Having the trajectory of this band as its central focus, this master\'s thesis recovers the musical practices of São Paulo city, the innumerable forms of dissemination of music, repertoires, changes in tastes, relations with the public, the training of musicians, and so on. Since the 1920s and 1930s the relationship of Sao Paulo city inhabitants with the bands, and especially with the Public Force Band, began to change substantially due to the advances of the phonographic and radiophonic industries. Despite the relative presence of some of these bands in these new means of production and dissemination, most of them have disappeared. The cultural and musical representations and the functions of the Public Force Music Band have also decreased. Having the Public Force Band as its guiding thread, this thesis has sought to capture and understand this rare dynamics of transformations of the musical culture of São Paulo city.