Investigar o surgimento da ideia de música jovem no Brasil é o objetivo deste trabalho. Para tanto, privilegiamos os anos 60, momento em que a categoria de jovem, tornava-se hiper-representada na música, na televisão e na imprensa escrita, processo que culmina com a estreia do programa de TV Jovem Guarda, em agosto de 1965. Comandado por Roberto Carlos, Erasmo Carlos e Wanderléa, tratava-se de um apanhado de performances musicais que tinham a juventude como nicho de mercado privilegiado, cruzando influencias que iam dos Beatles à música italiana. Em pouco tempo, seus artistas se tornaram ídolos nacionais. Reconhecíveis em programas de TV, filmes, ensaios fotográficos, reportagens, sessões de entrevistas e até artigos de consumo como calças, botas, bonecos e lancheiras, em pouco tempo seus artistas tornaram-se não só ídolos nacionais, mas modelos de reconhecimento, identificação e conduta. Tratava-se do esforço inédito de construir uma cultura juvenil ao redor do consumo de música. O protagonismo da mídia é evidente em todo o processo, não somente por articular um mercado de bens culturais, mas sobretudo por fixar os quadros de referência que permitem enxergar, enquadrar e interpretar o jovem. Isso explica o foco desta tese na ação da indústria cultural. Ao lidar com uma grande diversidade de fontes - letras de canções, capas de disco, material de imprensa, artigos de consumo, pesquisas de mercado, entrevistas, registros audiovisuais -, em sua maioria primárias, estuda-se os diversos e conflitantes significados que forjaram a ideia de uma cultura juvenil no Brasil, desde sua enunciação em meados da década de 50, até seu amadurecimento na década seguinte. Sendo a música jovem o nosso campo de investigação privilegiado, o objetivo central é analisar a representação social da juventude construída pela Jovem Guarda e articulada no interior dos veículos de comunicação de massa. Para alcançá-lo, interessa-nos investigar: que representação é essa; como ela é assumida por agentes e instituições; através de que linguagem se afirma; a qual universo simbólico se refere e como é confrontada por narrativas concorrentes. Trabalhando na interseção entre a sociologia da música e a sociologia da juventude, exploramos em que medida a juventude se torna uma categoria central para pensar a música e a música, uma categoria central para pensar a juventude. / The aim of this work is to investigate the emergence, in Brazil, of the ideia of a music for young people. This brings us to the 60´s, a moment when the category of youth began to dominate album covers, song lyrics, press statements, and a good number of advertising materials. One of this process\'s landmarks was the Jovem Guarda (Young Guard) television show launched in September 1965 and led by Roberto Carlos, Wanderléa and Erasmo Carlos. Consisting of a number of musical performances, it targeted youth and gathered influences ranging from the Beatles to Italian pop music. Soon, its artists become national idols; their image multiplied in TV shows, films, photo essays, reports, interviews and even consumer goods like pants, boots, dolls, lunch boxes etc. It is through these platforms that singers were constructed as models of youth identity, putting forward an unprecedented effort to build a youth culture around music consumption. In this equation, the media played a decisive role by offering not only items for young consumers, but primarily ways of viewing, framing and interpreting youth. That explains the focus of this thesis on the cultural industry. By dealing with a wide range of materials - song lyrics , album covers, newspapers, consumer goods , market research statistics, interviews , audio-visual records -, most of them primary sources, we study the various and conflicting meanings that forged the idea of a youth culture in Brazil since its enunciation in the mid- 50 until its maturity in the next decade. As the music is our privileged field of research, the main objective is to analyze the social representation of youth built by the Jovem Guarda and articulated within the mass media. To reach our aims, we are interested in investigating: the nature of this representation, how artists and institutions adopted it, the language used to affirm it, the symbolic universe it refers to and how it is confronted by competing narratives. Working on the intersection between the sociology of music and the sociology of youth, we explore in which way the youth became a central category to think about music, and music, a central category to think about youth.

[pt] O objetivo desse trabalho é debater de forma crítica o corpo no campo da canção popular no Brasil. Como a partir do corpo, e da em-cena-ação deste, em diversas áreas que envolvem a produção e recepção da canção, se abrem novas possibilidades para pensar questões que atravessam a música popular e que reverberam na vida cultural brasileira. Minha proposta é refletir sobre a inscrição desse corpo na cena cultural na qual está implicada sua presença e sobre sua intervenção decisiva nesse campo de produção. Sua capacidade ímpar, se o comparamos aos corpos de artistas de outras grandes áreas da produção cultural como cinema, literatura ou teatro, de permanecer como índice estético, social e político de nossa sociedade. Esse lugar muito especial que o cancionista ocupa no Brasil e que só encontra similitudes em outros poucos países nos quais a música popular se desenvolveu com a mesma força. O corpo funcionará aqui como um liquidificador que processa todos esses índices e os (d)enuncia como dados concretos de uma experiência. / [en] The aim of this work is to critically debate on the body within the field of popular song in Brazil. The way how, from the body and its in-scene-n-a(c)tion, new possibilities in several areas involving the production and reception of the song are opened to think about issues transcending popular music and consequently reverberating through Brazilian cultural life. My proposition is to reflect on the inscription of this body on the cultural scene in which its presence is implied, and on its decisive intervention in this field of production. Its unique capacity - if compared to the bodies of artists from other great areas of cultural production such as film, literature or theatre - of lasting as an aesthetic, social and political index of our society. This very special place that the songwriter occupies in Brazil, and which solely finds similarities in a few other countries where popular music has developed with the same strength. The body will work here as a blender processing all these indexes, an(de)nouncing them as concrete data from an experience.

This thesis is an ethnographic and gender-sensitive account of the identities urban Palestinian youth perform through their self-defined ‘alternative’ scene-based musical practices in the post-Oslo era. Departing from the problematic that Palestinian folkloric identity and/or the classical Palestinian national resistance paradigm dominate studies of popular and expressive musics in the Palestinian context, I ask instead how scene affiliates’ musical practices do, or do not do, political work, and in what way – if even at all – these relate to the nation, resistance, and Palestinianness. My approach is ‘bottom-up’ and qualitative, drawing on thirteen months of fieldwork in the interdependent cities of Ramallah (1967/West Bank), Haifa (1948/modern-day Israel), and Amman (Jordan). I carried out sixty-four in-depth interviews and fifteen focus groups with young musicians, bands, audience members, fans, DJs, beat-makers, emcees, producers, party planners, bar and club owners, and other related persons in the scene; as well as over eighty participant observations at concerts, parties, gigs, raves, and bars scenesters frequent. I conclude that their musics perform political work contingently, shifting according to the narratives and practices research lenses focus on, as well as the institutional and geopolitical backdrops hosting them. I argue that in a local Palestinian context, musics perform political, anti-colonial work beyond, and sometimes even against, the classical national resistance paradigm. Given Oslo’s failed ‘peace’ process, scene-affiliates critique the Palestinian Authority (PA), its institutionalisation of the national movement, and territorially-based two-state solution, re-drawing their community instead on the regional lines of bilad al-sham. However, while politicised content is foreground, it is not the only issue youth are concerned with. Many are reluctant to narrow their aesthetic positionalities to political frames, instead pushing musics’ social role as a site of conviviality where new (gendered and other) identities are imagined and enacted. Since Palestine’s globalising ‘turn’ in part enabled these emerging identities and social contexts, leisure and consumption play central roles in their embodiment. Hybrid and translocal in formation, scenesters use localised tropes of Palestinianness (dabke dancing, wedding musics), and globalised ‘hip’ fashions (tattoos, androgynous dress), musics (psy-trance, electro, reggae, hip-hop), and social practices (clubbing, raving, bar-hopping) to perform their imaginaries of alterity. Such translocalisms uncouple Palestinianness from Palestinian national identity, upholding Palestinian particularity while making room for internal differences. However, shifting research focus to a transnational context, I contend that when musicians are branded to London, their self-representations, or the representations their international hosts make of them, often foreground the national resistance, and/or folklorising identity paradigms disavowed locally. Reducing their complex subjectivities to narrow national-territorial frames, in this global circuit of consumption, Palestinian cultural practices perform British multicultural tolerance to ‘ethnic’ otherness on international stages. This, I argue, highlights that Palestinian musics’ reiteration of the nation, resistance, and/or Palestinianness often stems from the operation of geopolitical power, more than the musical content itself. My core argument in the thesis thus is twofold. Firstly, I make the case that scencesters’ musical practices express and enable neither merely resistance, nor solely submisson to the intwertwined status quos of settler-colonial occupation and neoliberal hegemony. Their musics are instead important sites of modest meaning-making. Moving beyond the revolution/co-optation binary reveals scenesters’ everyday and situated negotiations with various political and social powers. Secondly, I argue that since the transnational political economy of images often shapes how Palestinian musics travel in international spaces, we need not ask what Palestinian musics convey, but rather, why we are invited to take up a particular rendering of Palestinian art and culture, and – importantly – what can this tell us about the operation of geopolitical power translocally? Adopting transnational and translocal lenses to analyse how power shapes and normalises conceptualisations of Palestinian musics, my thesis thus calls for the need to see Palestinian cultural production beyond narrow national frames, and position it instead in the global contexts that inform, and are informed by, such aesthetic practices.

Esta pesquisa antropológica buscou compreender os significados do músico Lupicínio Rodrigues através das suas próprias narrativas e das narrativas de músicos ou pessoas ligadas à música de diferentes gerações sobre ele. Procurou-se identificar os elementos que fazem com que a obra e a figura de Lupicínio Rodrigues permaneçam no tempo. Primeiramente, foram estudadas as narrativas do próprio Lupicínio Rodrigues através das suas crônicas e das suas entrevistas, principalmente a entrevista concedida ao jornal carioca O Pasquim, em 1973. Entendendo a música como uma forma de narrativa que é renarrada cada vez que se canta, pensei a obra musical de Lupicínio Rodrigues como uma importante fonte para compreender a perenidade da sua figura e da sua obra. A partir das narrativas criadas pelo próprio Lupicínio Rodrigues, analisei suas obras biográficas como uma forma de narrativa oficial da sua trajetória pessoal e profissional. Da mesma forma, busquei, em entrevistas com músicos e pessoas ligadas à música de diferentes gerações, identificar e analisar as narrativas atuais sobre Lupicínio Rodrigues. E, por último, a análise das narrativas virtuais sobre o velho Lupi, ou seja, as narrativas presentes nos novos meios virtuais de comunicação como a Internet e o Orkut. Todas essas fontes de análise possibilitaram a compreensão da construção de um personagem pelo próprio Lupicínio Rodrigues e pelas pessoas que permanecem construindo narrativas sobre ele: o personagem Lupi. / This anthropological research tries to understand the meanings of Lupicinio Rodrigues own narrative and the narratives about him told by musicians and people linked to music from different generations. The study tries to identify the principles that make Lupicinio’s work and figure remain in time. First I studied Lupicinio’s own narrative, through his chronicles and interviews, specially the interview of O Pasquim, a newspaper of Rio de Janeiro, in 1973. Understanding music as a way of narrative that is told over and over every time someone sings it, I approach Lupicinio’s songs as an important source to understand the perenniality of his figure and work. Taking Lupicinio’s own narratives, I analyzed his biographies as an official form of narrative of his personal and professional path. In the same way, I studied interviews of musicians and people working with music in order to identify and analyze the latest Lupicinio’s narratives. And last, in order to analyze virtual narratives about old Lupi, I examined the narratives that can be found in the new virtual communication media, in the Internet and Orkut. All these sources allowed me to understand the Lupi character: the construction of a character by Lupicinio Rodrigues himself and by the people that go on building narratives about him.

This thesis deals with the issue of gender stereotypes, which are presented in music videos in actual popular songs. The work is divided into two parts. The first, theoretical part is focused on defining the basic concepts and definitions, which are linked to the gender theory, media and media communications. Next part is showing gender in media communications with an emphasis on advertising messages and popular music. The second part deals with the actual practical research, which is primary based on Goffman's view of gender stereotyping in advertising messages. In the continuity of the theoretical part there are analyzed selected music videos. The focus is concentrated on identifying and describing the mechanisms by which the gender stereotypes in popular music are reproduced. Selected music clips were analyzed by procedures established under the content analysis. The results show how the masculinity and the femininity are displayed in contemporary popular music video clips.

“Suingueiros do Sul do Brasil” tem como objetivo investigar os músicos, as músicas e os principais espaços de performance do suingue em Porto Alegre. Os suingueiros referidos no título são principalmente nove músicos nascidos nas décadas de 1940 e 1950 no estado do Rio Grande do Sul e identificados com a produção musical da comunidade negra distribuída pelo “Atlântico Negro” (África e Américas). O suingue é um gênero musical híbrido com diversas influências de outros gêneros da música popular. Os espaços de realização da prática musical suingueira são os bares, associações e blocos culturais da cidade de Porto Alegre. O trabalho se inscreve na perspectiva da etnomusicologia, e foi utilizado o processo metodológico de etnografia musical e o estudo de trajetórias, valendo-se de uma escrita que incorporou ao texto final, as vozes, os áudios e as imagens dos artistas colaboradores. Assim sendo, fez-se uma recomposição das trajetórias de músicos e grupos significativos do gênero denominado suingue (com variações para esta denominação encontradas com frequência em outras regiões do país, como samba-rock e balanço), buscando pontuar os percursos artísticos de alguns músicos e grupos como Luis Vagner, Bedeu e Pau Brasil, bem como o contexto social e cultural no qual estão inseridos, desde o período em que começou a se configurar o suingue de Porto Alegre, nos anos 60, até os dias de hoje. Na sequência, fez-se uma abordagem do repertório de canções, destacando cinco aspectos de âmbito musical, a partir de indicações surgidas na experiência de campo: melodia, ritmo, parcerias composicionais, presença dos sopros e possibilidades de arranjo. Além disto, foram destacados os principais espaços de lazer e sociabilidade onde as músicas e onde o próprio suingue como híbrido musical são reinterpretados e atualizados semanalmente, enfatizando a relação dinâmica que se estabelece nestes ambientes entre pesquisador, artistas e público frequentador. Ao final, buscou-se articular algumas reflexões a partir das questões suscitadas pela pesquisa etnomusicológica. São considerados como principais resultados da dissertação: a apresentação dos múltiplos cruzamentos entre os contextos local, nacional e global na formatação de uma identidade musical de artistas e público vinculados ao suingue musical da população da capital mais ao sul do Brasil, e a recuperação e discussão das obras e das trajetórias destes artistas, ainda ausentes na academia. / “Suingueiros from southern of Brazil” discuss as its main theme the musicians, the music and the main spheres where suingue music take place in Porto Alegre. The “suingueiros” mentioned in the article are nine musicians mainly, (born between the `40s and `50s, in the state of Rio Grande do Sul), who were indentified with the music production in the negro community, which was spread by the “ Negro Atlantic” (Africa and Americas). Suingue is a hybrid musical gender, which was influenced by many different kinds of popular music gender. Pubs, Organizations and Cultural spots, in Porto Alegre, are places where it’s performed the suingue music. This present work is inserted in the ethnomusicology´s perspective. So, in order to built the research process, it was used the methodological music ethnography process and further trajectories studies, taking advantage of a writing which incorporates to the final text: the voices, the songs, the audios and the image of the contributors artist. Therefore, a recomposition of musicians’ and significatives groups’ trajectories of suingue gender (not forgetting the variety of its denomination such as Samba-rock and balanço, which are found, more frequently, in other parts of Brazil) are done, seeking to point out the artistic path of some musicians and groups such as Luis Vagner, Bedeu and Pau Brasil, as well as the social and cultural context that the musicians are inserted, since the period it has began to configurate the Suingue of Porto Alegre, in the`60s, until now-a-days. Furthermore, the work goes through the song’s set list emphasizing five aspects from the musical sphere: melody, rhythm, composing partnership, presence of brass and arrangements possibilities. Besides that, in the dissertation are highlighted the leisure sphere and sociability, where the music and the musical gender are reinterpreted and up-todated weekly, emphasizing the dynamic relations that are established in those environments between researcher, artists and public. Finally, it tries to articulate some reflexions around the questions evoked in the field of ethnomusicology research. In the dissertation the main results are: the introduction of the multiples crossing between the local, national and global context in the construction of the artists musical identity and linked public to the negro urban community of Porto Alegre; the recuperation and diffusion of the work and the trajectory of those artists, who had their material dispersed without any formal systematization.

Submitted by Suemi Higuchi (suemi.higuchi@fgv.br) on 2009-05-14T21:29:53Z No. of bitstreams: 1 CPDOC2008RafaelMachadoSaldanha.pdf: 426771 bytes, checksum: 35b75e94fe63e25eaeb9a47250a25e8e (MD5) / Made available in DSpace on 2009-05-14T21:29:53Z (GMT). No. of bitstreams: 1 CPDOC2008RafaelMachadoSaldanha.pdf: 426771 bytes, checksum: 35b75e94fe63e25eaeb9a47250a25e8e (MD5) / The purpose of this research is to discuss the evolution of the use of the abbreviation MPB (Música Popular Brasileira – Brazilian Popular Music), since its popularization, on 60’s, until the present days, by placing emphasis on its recent ramification as known as 'Nova MPB'. It also tried to understand how its reception by the Brazilian public works, trying to contrast the information gotten in the bibliographical research with the opinion of MPB listeners congregated in an Internet group. / Este trabalho pretende discutir a evolução do uso da sigla MPB (Música Popular Brasileira), desde sua popularização, nos anos 60, até os dias de hoje, dando ênfase para sua ramificação recente conhecida como 'Nova MPB'. Também se buscou compreender como se dá a recepção por parte do público brasileiro, procurando contrastar as informações obtidas nas pesquisas bibliográficas com a opinião de ouvintes de MPB reunidos através de um fórum da Internet.

Text in Afrikaans / Musiekvideos is 'n integrerende deel van die (rock)-musiekbedryf, hoofsaaklik as reklame vir die kunstenaars en hul musiekopnames. Musiekvideos is verder 'n wesenlike deel van die massamedia, in so 'n mate dat daar verskeie spesialismusiektelevisiekanale is wat 24 uur per dag op al die kontinente uitsaai, wat 'n aanduiding gee van die omvang van musiekvideos. Hierdie videos speel veral 'n vemame rol by die jeug as sub-kultuurgroep. Ook christenmusikante gebruik musiekvideos, en hul videos word gereeld as deel van christelike programme uitgesaai. Dit is gewoonlik een van die oogmerke van christenkunstenaars om die evangelie deur hul musiek uit te dra, en in die geval van christelike musiekvideos dien hulle dikwels nie net as reklame nie, maar word daar ook 'n christelike boodskap oorgedra, veral in die geval van verhalende en konsepvideos. Daar word na die rol van hierdie videos in die konteks van die christene se benutting van die massamedia gekyk en daar word onder meer 'n teologiese fundering vir die gebruik van die massamedia in die algemeen, asook musiekvideos in die besonder gegee. 'n Aantal musiekvideos van kontemporere musiekkunstenaars soos Carman, Michael W. Smith, Steve Taylor, The Newsboys, en Steven Curtis Chapman word individueel beskryf en vanuit 'n teologiese perspektief beoordeel om te sien hoe suksesvol hulle in die oordra van 'n christelike boodskap is. Daar word 'n vergelyking getref tussen christelike en sekulere musiekvideos en hoe sekere onderwerpe benader word. Sekere tekortkominge, sowel as positiewe aspekte by christelike musiekvideos word as deel van 'n missiologiese reflektering uitgewys. / Christian Spirituality, Church History and Missiology / D.Th. (Missiology)

Made available in DSpace on 2014-06-11T19:25:25Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-06-27Bitstream added on 2014-06-13T19:53:09Z : No. of bitstreams: 1 eid_fc_me_ia.pdf: 1891972 bytes, checksum: e747f2151e63d6df3afcd1522918d24a (MD5) / A presente dissertação tem como objeto de estudo a música latino-americana que, estando vinculada a preceitos da música européia ocidental, foi inspirada em músicas populares latinoamericanas, o que a caracteriza como música híbrida. Devido à magnitude deste objeto, foi estudado o caso específico do violonista e compositor paraguaio Agustín Barrios (1885-1944), que compôs, para o violão de concerto, peças inspiradas em expressões musicais populares de diversas regiões e países da América Latina. Com o propósito de compreender melhor as características da música popular que estas peças mantêm quando levadas às salas de concerto, foi analisada uma obra dele, Cueca, a partir de um estudo da dança popular na qual foi inspirada. Na dissertação também foi apresentado, por meio de pesquisa bibliográfica, o contexto sóciocultural e histórico em que surgiu esta música híbrida na América Latina, assim como a sua relevância na atualidade. A partir disto foram propostos alguns elementos de reflexão que podem servir nos campos da interpretação, ensino/aprendizagem, composição e pesquisa de músicas híbridas latino-americanas / The object of study of this dissertation is the music in Latin America that, being linked to precepts of West European music, was inspired by Latin American popular music, which characterizes it as being hybrid. Due to the magnitude of such object, the specific case of Paraguayan guitarist and composer Agustín Barrios (1885-1944) was studied. Barrios composed, for the concert guitar, works inspired by popular music expressions of many different regions and countries of Latin America. Aiming to better understand the characteristics of the popular music that these pieces keep when taken to the concert halls, a piece by this composer, Cueca, was analyzed. This analysis was based on a study of the popular dance that inspired the work. This dissertation also presents, through a bibliographical research, the social, cultural and historical context in which this hybrid music originated in Latin America, as well as its relevance in the present. Finally, some points of reflection were brought forward, aiming to contribute in the fields of interpretation, teaching/learning, composition and research of Latin American hybrid music

This thesis examines the ways in which Beyoncé Knowles-Carter’s 2016 album Lemonade works as a culturally significant text in the realm of popular media. Situated within Black feminist theoretical concepts of freedom practices and Black Feminist Love Politics, the thesis argues that Lemonade mobilizes stylistic and strategic intertextual references to develop a transmedia storyworld within a paradigm of resistance to, and healing from, white supremacist histories. Such intertextual information exists within the musical, lyrical, visual, poetic, and transmedia domains of Lemonade. The transmedia extensions include interviews, live performances, speeches, social media posts, and photoshoots. Combined with theories from Black feminist thought of freedom practices—which include talking back (bell hooks 1989), dark sousveillance (Simone Browne 2015), and interruptions to whiteness (DiAngelo 2011)— and Black Feminist Love Politics (Jennifer Nash 2013), the intertextual data present in Lemonade can be analyzed using methodologies from the field of popular musicology (intertextuality and mediality).