This thesis addresses the matter of convention in Broadway songs of the song and dance era. Composers worked with implicit, regular procedures in the commercial aesthetic of the 1920s and 1930s New York theater industry. However, discussions of formal convention in this repertoire have not gone much beyond the identification of AABA and ABAC forms. I explore how hypermeter and conventional formal layouts act as schemata. Through this lens, I advocate for an in-time, listener-based approach to form, attending to the stylistically learned projections and anticipations. Later on, I unpack many of the conventional patterns underlying the ABAC form. I argue that the ABAC form provides a template for climactic musical narratives, which places climaxes near the end of the form. Lastly, I focus on AABA form where I highlight many salient conventions of the AABA form and draw historical connections to AABA forms in rock and jazz.

Esta investigação tem como objetivo central discutir peculiaridades da historiografia da música popular brasileira na primeira metade do século XX, por meio da trajetória de um de seus precursores: Almirante (Henrique Foreis Domingues, Rio de Janeiro, 1908-1980). Além de ter se tornado conhecido como a mais alta patente do rádio já no final da década de 1930, em razão de sua importância para a profissionalização e diversificação da programação radiofônica, Almirante teve papel fundamental nos estudos sobre a história da música popular brasileira, integrando o que podemos chamar de sua primeira geração de historiadores. Seus programas eram caracterizados pela organização e preocupação em conferir valor científico aos temas abordados que abrangiam do folclore à música urbana difundida pelos meios de comunicação em massa , e baseados em pesquisas que contribuíram para a formação de um vasto arquivo sobre música popular, o qual deu origem e sentido ao Museu da Imagem e do Som (MIS-RJ), em 1965. Almirante, junto com outros nomes de sua geração, foi responsável pela seleção, organização, compilação, e arquivamento de registros, estabelecendo hierarquias, determinando recortes, problemas e, assim, um discurso fundador em torno da história da música popular brasileira. Esta historiografia é singular sobretudo porque foi desenvolvida e difundida nos meios de comunicação em massa. É também de certa maneira inovadora na tentativa de compreender a importância da música popular para a formação das identidades culturais urbanas, criando paradigmas e precedendo as investidas acadêmicas, por já recorrer a novas temáticas, objetos e fontes antes que os historiadores se ocupassem disso. Este trabalho propõe, assim, abordar a obra de Almirante do ponto de vista de sua contribuição à historiografia da música popular, através de sua atuação no rádio, de 1938 a 1958. / This research has as its main goal to argue particularities of the historiography on Brazilian popular music in the first half of the XX century, by analyzing the trajectory of one of its precursors: Almirante (Foreis Domingues, Rio de Janeiro, 1908-1980). Besides being known as the highest rank in the radio in the late 30s, due to his roles in the professionalization and diversification of radio broadcasts, Almirante also had a central role in the development of studies on the history of Brazilian popular music, being part of what we can call as the first generation of historians on the subject. His broadcasts were known by their organization, as well as for their concern in treating the subjects presented in a scientific manner subjects ranging from folklore to the more urban music, diffused by the mass media. These broadcasts were based on researches whose results helped forming a vast archive on popular music, which would be the basis for the formation of the Museu da Imagem e do Som (Museum of Image and Sound MIS-RJ), in 1965. Almirante, together with other personalities of his generation, was responsible for the process of selecting, organizing, compiling, and archiving the records, establishing priorities, determining the research approaches and questions and, thus, defining a founding discourse on the history of Brazilian popular music. This historiography is unique in the sense that it was developed and disseminated within and by the mass-media. It is also innovative, in a certain way, in its effort to understand the importance of popular music in the forming of urban cultural identities, creating paradigms and preceding the academic researches in this field. This is due to the fact that these researches worked with new subjects, sources and objects long before \'professional\' historians worked with them. Thus, this work aims to study the works of Almirante from the point of view of their contribution to the historiography of popular music, through his performance in the radio, from 1938 to 1958.

Analiso a constituição e o desenvolvimento das cenas do \"rock paulista\" e do \"rock carioca\" na década de 1980, no intento de compreender quais relações foram estabelecidas com suas metrópoles de origem, com os influxos estrangeiros e com a forte tradição da música popular brasileira construída entre os anos de 1930 e 1970. Objetivo também entender que ideia de \"rock brasileiro\" consagrou-se ao final do período, quais elementos foram incluídos e excluídos desta categoria. Assim, desvendam-se como as dinâmicas social, cultural e econômica de cada cidade imprimiram uma dicção própria às cenas; sonoridades e narrativas foram elaboradas e tensionadas com o contexto local, rendendo perspectivas e linguagens artísticas distintas. Com a inserção dos grupos na indústria fonográfica, concentrada no Rio de Janeiro, as linguagens artísticas desenvolvidas em cada cena não desapareceram, ao contrário, eles foram alçados em meio às disputas simbólicas entre os músicos, críticos e produtores musicais acerca do que seria produzir \"rock brasileiro\". / I analyze the formation and development of the scenes of the \"paulista rock\" and \"carioca rock\" in the 1980s, in an attempt to understand what relations were established with their home cities, with foreign inflows and the strong tradition of popular music Brazilian built between 1930 and 1970. I aim also understand that the idea of \"Brazilian rock\" was consecrated in the end of the period, which elements were included and excluded from this category. Thus is revealed as the social, cultural and economic dynamics of each city printed its own diction to the scenes; sonorities and narratives were created and tensioned with the local context, rendering perspectives and different artistic languages. With the inclusion of groups in the music industry, concentrated in Rio de Janeiro, the artistic languages developed in each scene did not disappear, on the contrary, they reached in the midst of symbolic disputes among musicians, critics and music producers about what would a \"Brazilian rock\".

A presente tese analisa historicamente cinco diferentes momentos em que músicos populares e intelectuais eruditos brasileiros estabeleceram intercâmbios e trabalharam em parceria na construção de discursos sobre o ser nacional, sob influência marcante de um ideário de vanguarda. Para cada um desses momentos, elegeram-se parcerias representativas a serem estudadas. Os momentos abordados, compreendidos entre 1924 e 1969, foram o modernismo, o regionalismo baiano, a bossa-nova, a música de protesto da década de 1960 e o tropicalismo, tendo como representantes escolhidos, respectivamente: Marcelo Tupinambá e Mário de Andrade; Dorival Caymmi e Jorge Amado; Antônio Carlos Jobim, João Gilberto e Vinícius de Moraes; Carlos Lyra e Gianfrancesco Guarnieri; Caetano Veloso e Rogério Duprat. / This thesis examines five different historical moments when Brazilian popular musicians and high culture intellectual established exchanges and worked together in the construction of discourses about the national being, under strong influence of a cutting-edge set of ideas, ranging between 1924 and 1969. For each of these moments, were elected one representative partnership to be studied. The moments discussed were modernism, Bahias regionalism, bossa-nova, protest song movement of the 1960s decade and tropicalism, whose main representatives artists chosen were, respectively: Marcelo Tupinambá and Mário de Andrade; Dorival Caymmi and Jorge Amado; Antonio Carlos Jobim, João Gilberto and Vinícius de Moraes; Carlos Lyra and Gianfrancesco Guarnieri; Caetano Veloso and Rogério Duprat.

Em dezembro de 2004, Chico Buarque lançou a hipótese de que o rap talvez representasse o fim da canção tal como a conhecemos: ou seja, aquela tradição que se caracteriza por um princípio formal melódico-entoativo que realiza esteticamente certa dinâmica de encontros culturais presentes na sociedade brasileira, e que foi incorporada a um projeto de modernização a partir da Bossa Nova. O objetivo desse trabalho é adentrar esse debate compreendendo o sentido mais amplo de seus termos, delimitando mais precisamente qual é essa tradição, o que a tornou possível, e o que se esgotou em sua forma. A partir desse reconhecimento inicial, iremos nos debruçar sobre aquele modelo estético que emerge a partir desse esgotamento, acompanhando detidamente aquela que é uma de suas mais bem realizadas elaborações - a produção do grupo paulistano Racionais MCs, verdadeiro acontecimento que modifica as coordenadas nas quais a música popular brasileira se reconhece. Os raps criados pelo grupo instauram um novo paradigma na canção , ao se vincular a um projeto civilizatório que rompe com certa tradição cordial brasileira, construindo um novo ponto de vista a partir da periferia. / In December 2004, Chico Buarque hypothesized that rap music might represent the end of the song \"as we know it\": that is, the end of a tradition characterized by a melodic formal principle that aesthetically performs a series of cultural encounters present in the Brazilian society, and that was also incorporated into a modernization project with the advent of Bossa Nova. The aim of this work is to enter such debate with a deep understanding of its terms, defining more precisely what that tradition is, what made it possible, and what has since been exhausted in its form. Based on this initial recognition, we will look into the aesthetic model that emerges from this exhaustion, closely analyzing what is one of its best elaborations: the production of São Paulo rap music group Racionais MCs, an event that changed the coordinates in which Brazilian popular music is recognized. The rap music created by the group set up a new paradigm for the concept of song in Brazil, by linking itself to a civilizing project that breaks with the Brazilian tradition of cordiality, building a new point of view based on the urban periphery.

Made available in DSpace on 2016-04-26T18:15:13Z (GMT). No. of bitstreams: 1 Thomaz Marcondes Garcia Pedro.pdf: 2109038 bytes, checksum: dd6e5d6eb9f66757a65d87ef252fcfe1 (MD5) Previous issue date: 2015-06-25 / This research focus the phenomenon of Brazilian funk in the Brazilian popular music as a complex sociocultural practice, and recognizing it as a mixture of various musical and non musical elements. It is an investigation that, beside reconstructing one perspective of the development of this music, tried to establish intersections between funk and many others elements that are part of it's context and ambient. To be able to accomplish that, the theoretical ground is based on researchers from the Communication field (Martín-Barbero, Pinheiro, Souza Santos) and from the Popular Music field (Wisnik, Vargas, Rivera) that try to comprehend the cultural practices of Latin America as a complex process, hybrids and mestizos in constant movement, transformation, translation and adaptation between themselves, always avoiding comprehensions marked by dichotomy, which are typical on those fields of study. Are also a part of the theoretical basis of this work researchers that developed studies specifically about Brazilian funk (Lopes, Palombini, Facina, Sá), beside the field researches, that have resulted in reports about those experiences. The results of the research allow a deeper comprehension of funk in the Communication and popular music fields and confirm our spectating that funk is a complex phenomenon that can only be understood in the context and ambient that it has been developed. Beside some musical aspects we fuscous on the relation of funk with market, violence and sexuality. Our approach allowed "listen" to Brazilian funk in a unheard way, free from prejudice and dualist points of view, that have market a way of looking at it, typical of the conservative sectors of society that were able to criminalize this cultural practice / A presente pesquisa focaliza o fenômeno do funk na música popular brasileira como uma prática sociocultural complexa, marcada pela mistura de diversos elementos musicais e não musicais. Trata-se de uma investigação que, além de realizar uma retomada da história do desenvolvimento do estilo, buscou estabelecer intersecções entre o funk e elementos próprios do ambiente e contexto em que é praticado. Para tanto, foram utilizados pesquisadores da área de comunicação (Martín-Barbero, Pinheiro, Souza Santos) e da música popular (Wisnik, Vargas, Rivera) que buscam compreender as práticas culturais da América Latina como processos complexos, híbridos e mestiços em constante transformação, troca, tradução e adaptação entre si, sempre se distanciando de visões dicotômicas que costumam pautar esses campos de estudo. Também balizaram a pesquisa, os trabalhos teóricos que se debruçaram especificamente sobre o funk (Lopes, Palombini, Facina, Sá), além de pesquisas de campo que tiveram como resultados relatos criados a partir dessas experiências. As reflexões realizadas permitiram ampliar a compreensão do funk nos estudos da Comunicação e da música popular brasileira e confirmar nossa hipótese de que o funk é um fenômeno complexo que só pode ser compreendido quando se leva em conta a relação que mantém com seu contexto, já que sua música é fortemente atravessada por questões ligadas à violência, à sexualidade, ao mercado e à grande mídia. A abordagem permitiu escutar o funk de forma inédita, livre de tendências dualistas e preconceituosas, próprias de setores conservadores da sociedade que criminalizam essa prática cultural

Este estudo etnomusicológico tem por objetivo examinar a constituição de uma música popular do sul do Brasil a partir da trajetória dos Tápes, grupo criado em uma cidade do interior do Rio Grande do Sul, e atuante no período entre o começo da década de 1970 e o final da década de 1980. Pretendo problematizar esse passado musical e suas reverberações em atuais músicos do Estado. Focalizando nas narrativas musicais e nos discursos sobre música, busco evidenciar a agência dos atores sociais e os significados atribuídos a esse fazer sonoro local como um espaço de negociações, e cuja noção de politização opera como um signo expressivo, delineado desde uma cultura de esquerda. Através das inserções em campo, das interlocuções com músicos do passado e do presente, do contato com acervos e gravações, pretendo discutir memória e política como duas dimensões emergentes nesses diálogos. Do Canto da Gente, projeto de disco e espetáculo dos Tápes, aos atuais cantos politizados, apontados por perspectivas insider, transversalizo passado/presente, e sugiro memória e política enquanto nexos, como proposto pelo etnomusicólogo Kwabena Nketia, indicados por esse fazer sonoro musical. A noção de música popular do sul remete ao projeto da Marcus Pereira Discos, na década de 1970, no Brasil, condicionante para o desdobramento da trajetória dos Tápes e demais continuadores de um modo de performatizar a música popular. / This ethnomusicological study aims to examine the constitution of a popular music in southern Brazil from the trajectory of Os Tápes, a group created in a country town of Rio Grande do Sul, and active in the period between the early 1970s and end of the 1980s. My research proposal is to problematize this musical past and its reverberations in current musicians from the state of Rio Grande do Sul. Focusing on the musical narratives and discourses about music, I seek to highlight the agency of social actors and the meanings attributed to this local musical practice as a space for negotiations, and whose notion of politicization operates as an expressive sign, outlined from a leftwing culture. Through field researches, dialogues with musicians from the past and present, and the contact with collections and recordings, I intend to discuss memory and politics as two emerging dimensions in these dialogues. From Canto da Gente, a disc project and a concert of Os Tápes, to the current politicized chants, pointed for an insider’s perspectives, I mainstream past/present, and suggest memory and politics while nexuses, as proposed by the ethnomusicologist Kwabena Nketia, indicated by this sound and musical practicing. The notion of popular southern music refers to Marcus Pereira Discos project in the 1970s, in Brazil, a conditioning factor for the unfolding of Os Tápes’ trajectory and other heirs of a way to performatize the popular music.

Orientador: Margarete Arroyo / Banca: Glaura Lucas / Banca: Sonia Maria Moraes Chada / Banca: Dorotéa Machado Kerr / Banca: Alexandre Francischini / Resumo: O Carimbó é Patrimônio Cultural Imaterial do Brasil desde 2014 e representa, em várias localidades do estado do Pará, um componente fundamental de tradição e identidade do povo paraense. Portanto, esta tese objetiva investigar a presença negra no Carimbó executado na Festividade do Glorioso São Benedito em Santarém Novo (PA), a partir dos seus aspectos originários, etimológicos, religiosos e, sobretudo, musicais. O presente trabalho é o resultado de várias pesquisas realizadas acerca dessa temática no período de 2009 a 2014, tanto bibliográficas quanto empíricas. As informações bibliográficas foram relevantes para definir as bases teóricas e metodológicas necessárias ao entendimento dos aspectos que caracterizam o estudo da presença negra na performance musical do Carimbó executado na Festividade de São Benedito em Santarém Novo, bem como dos assuntos relacionados ao catolicismo popular, à identidade, à tradição, às Irmandades negras no Pará, à religião, entre outros. Com base na abordagem qualitativa, foram adotadas a observação participante e a entrevista não estruturada. Por meio da coleta de dados, almejou-se compreender, analisar e categorizar os dados identificados, as percepções e perspectivas dos diversos sujeitos notadamente envolvidos com o Carimbó e suas próprias formas de entendimento, de acordo com a possibilidade de apreensão de tais sistemas. Logo, a aplicação do método etnográfico propiciou a valorização do conhecimento tradicional em torno do objeto de estudo pesquisado, haja vista os sujeitos envolvidos deterem as bases e concepções do que seja esse ritual. A notação em partitura foi usada em conjunto com outras formas de representação, como as gravações de áudio e vídeo e as fotografias. No que tange aos aspectos originários, verificou-se que tanto autores renomados quanto os tocadores da... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The Carimbó is Intangible Cultural Heritage of Brazil since 2014 and represent, in various localities of Pará state, a key component of tradition and identity of the Pará people. So, this thesis aims to investigate the black presence in Carimbó performed at the Festival of Glorioso St. Benedito in Santarém Novo (PA), from its aspects originating etymological, religious and, above all, musical. This work is the result of various researches conducted about this topic in the period of 2009 to 2014, both bibliographic and empirical. The bibliographic information were relevant to define the theoretical and methodological bases necessary for understanding the aspects that characterize the study of black presence in musical performance of Carimbó performed at the Festival of Glorioso São Benedito in Santarém Novo, as well as issues related to popular Catholicism, to identity, to tradition, to black brotherhoods in Pará, to religion, among others. Based on qualitative approach, we adopted the participant observation and unstructured interview. Through data collection, we tried to understand, analyse and categorize the identified data, perceptions and perspectives of the various subjects involved with Carimbó and its own ways of understanding, according to the possibility of understanding of such systems. Therefore, the application of the ethnographic method allowed the valorization of traditional knowledge, since the subjects involved holds the bases and conceptions of that ritual. The music score was used in conjunction with other forms of representation, such as audio and video recordings and photographs. Regarding the originating aspects, it was found that both renowned authors and brotherhood players recognize the African origin of the generator drum. Regarding the etymological aspect, it was assumed in this thesis that the more certain ... (Complete abstract click electronic access below) / Doutor

In this study I combine music analysis with critical theory to investigate how different conceptions of feminine identity--intersecting with race and class--are materialized through recorded sound. I present interpretive analyses of four popular songs recorded and released between 1967 and 1974: "Baby, I Love You" by Aretha Franklin, "Fist City" by Loretta Lynn, "If I Were Your Woman" by Gladys Knight and the Pips, and "Jolene" by Dolly Parton. My analyses focus on vocal performance, and vocal quality (or timbre) in particular, as I investigate the means by which the sounds of these recordings participate in cultural discourse on gender, sexuality, race, and class. These songs narrate moments in sexual love relationships (the hope of new love or the threat of infidelity), while the performances of each vocalist, the studio musicians, and the work of engineers and producers combine to create representations of black and working-class femininity that express varying degrees of assertiveness and vulnerability in the face of unequal gender power relations. I compare and contextualize these sonic expressions of identity with the personas these vocalists presented in their professional and public lives, illustrating how these recordings participate in the construction of a multi-faceted and always-emergent history of American womanhood. In order to accurately describe the relationship between musical sound and intersectional gender identity, I develop a phenomenological analytic methodology sensitive to how embodied responses (the types of physical engagements invited by sound), associative (or connotative, semiotic) responses, and social and historical context of both the recording and listener all contribute to the process of interpretation. I take my own situated listening experience as the object of study, recognizing how my listening practices and reactions, and overlapping identities--as a white, upper-middle-class woman and music scholar--impact my interpretations of these songs. My focus on the physical engagement inherent in music listening underpins the approach to vocal quality analysis I present at the outset of my study, in which I link descriptive language about voice to the physical components of vocal sound production. In my analyses of lyrics, instrumental quality, dynamics, rhythm, form, pitch, and the sonic "space" afforded by each recording, I continue to attend to the types of embodied and associative responses afforded by each element, demonstrating how an engagement with these sounds informs conceptions of gender identity.

This dissertation investigates the socio-cultural and musical transfigurations of a rural-identified musical genre known as música típica as it engages with the dynamics of Panama's rural-urban divide and the country's nascent engagement with the global political economy. Though regarded as emblematic of Panama's national folklore, música típica is also the basis for the country's principal and most commercially successful popular music style known by the same name. The primary concern of this project is to examine how and why this particular genre continues to undergo simultaneous processes of folklorization and commercialization. As an unresolved genre of music, I argue that música típica can offer rich insight into the politics of working out individual and national Panamanian identities. Based on eighteen months of ethnographic fieldwork conducted in Panama City and several rural communities in the country's interior, I examine the social struggles that subtend the emergence of música típica's genre variations within local, national, and transnational contexts. Through close ethnographic analysis of particular case studies, this work explores how musicians, fans, and the country's political and economic structures constitute divisions in regards to generic labeling and how differing fields of musical circulation and meaning are imagined. This study will first present an examination of late nineteenth and twentieth century Panamanian nationalist discourses in order to contextualize música típica's stylistic and ideological development as a commercial genre of popular music. The following chapter will construct a social history of música típica that takes into account the multiple historical trajectories that today's consumers and producers engage, negotiate, and contest in an attempt to ascribe social and cultural meaning to the role the genre assumes in contemporary discourses of national identity. Processes of folkloric canonization and reconstruction will then be examined in order to understand how the marketing efforts of the Panamanian government draw on a discourse of nationality. The role of corporate sponsorship in today's música típica scene will also be investigated, specifically addressing how the marketing of this genre by beer companies, national cultural festivals, and the Panamanian television industry builds on a foundation of commercial music practices. Subsequent chapters will focus on the local and transnational dynamics of genre formation and dissolution as revealed in the ideological discourses and socio-musical practices of música típica's practitioners, especially in accordion and vocal performance practices. An analysis of música típica's field of cultural production, with its particular mappings of identity, place, and sound, will provide insight into Panamanian modernity and the social experiences of Panamanians, especially within Latin American and global contexts.