Orientador: Antônio Rafael Carvalho dos Santos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-20T17:55:40Z (GMT). No. of bitstreams: 1 Sampaio_EmilianoCardoso_M.pdf: 110299103 bytes, checksum: 4511b3168d95f675dbb40e63d04575ad (MD5) Previous issue date: 2011 / Resumo: O objetivo desta pesquisa é compreender as composições do músico Nailor Azevedo "Proveta", "Bixiga" e "À Procura", ambas para a Banda Mantiqueira, grupo com uma formação instrumental derivada das big bands tradicionais americanas. Para o entendimento das composições realizaremos a digitalização das partituras manuscritas do arquivo pessoal de Nailor, para a partir da grade realizar análises musicais / Abstract: The objective of this research is to understand the compositions of the musician Nailor Azevedo "Proveta", "Bixiga" and "À Procura", both for Banda Mantiqueira, a group derived from the traditional American big bands. To understand the compositions was necessary to get the original hanwriting partitures and make the scores of these two songs, and then perform the analysis / Mestrado / Fundamentos Teoricos / Mestre em Música

Orientador: Roberto Cesar Pires / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-20T22:15:12Z (GMT). No. of bitstreams: 1 PereiraJunior_GeremiasTiofilo_M.pdf: 30726793 bytes, checksum: 87defb498a2db6c065b3c42194e6a355 (MD5) Previous issue date: 2012 / Resumo: O presente trabalho investiga a valsa-canção "Lábios que beijei", composição da dupla J. Cascata (pseudônimo de Álvaro Nunes Filho, 1912-1961) e Leonel Azevedo (1908-1980), gravada em 1937 pela empresa RCA Victor na cidade do Rio de Janeiro. Essa foi uma gravação de grande sucesso e contribuiu para consolidar as carreiras de seu intérprete, o cantor Orlando Silva (1915-1978), e de seu arranjador, Radamés Gnattali (1906-1988). Diante do sucesso dessa valsa-canção, críticos e historiadores enfatizam alguns aspectos musicais fazendo referências ao arranjo de Radamés Gnattali para esta composição. É mediante esse contexto que nossa pesquisa se orienta e busca realizar uma transcrição musical e uma análise deste arranjo. Em complemento serão apresentadas informações sobre a trajetória de Radamés Gnattali como arranjador, bem como de outros arranjadores contemporâneos e antecessores à sua época, contribuindo com as pesquisas sobre o arranjo musical no Brasil, particularmente no início do século XX / Abstract: The present work investigates the song-waltz "Lábios que beijei" ("Lips that I kissed"), composed by J. Cascata (psedonym of Álvaro Nunes Filho, 1912-1961) and Leonel Azevedo (1908-1980) and recorded in 1937 by the company RCA Victor in the city of Rio de Janeiro. This recording was a great success and helped build the careers of his interpreter, the singer Orlando Silva (1915-1978), and his arranger, Radamés Gnattali (1906-1988). Given the success of this waltz-song, critics and historians emphasize some musical aspects by reference to the musical arrangement of Radamés Gnattali for this composition. It is through this context that our research is oriented and seeks to make a musical transcription and analysis of this arrangement. In addition, information will be displayed on the trajectory of Radamés Gnattali as an arranger, as well as other previous arrangers and contemporaries of his time, contributing to research on musical arrangement in Brazil, particularly in the early twentieth century / Mestrado / Fundamentos Teoricos / Mestre em Música

En 1976, le phénomène punk surgit à Londres, semble remettre en cause certains des codes sociaux et des normes culturelles la société britannique, et est le sujet d’une « panique morale ». La même année, en Irlande du Nord, 297 personnes sont tuées à cause du conflit. Les Sex Pistols invoquent l’anarchie dans leurs textes, mais pour les nord-irlandais, « Anarchy in the UK » est bien plus qu’une chanson : il s’agit de leur quotidien. Pourtant, alors que le conflit fait rage, alors que protestants et catholiques restent cantonnés dans leurs quartiers respectifs, des centaines de jeunes issus de deux communautés que tout semble opposer se retrouvent semaine après semaine dans les mêmes lieux pour partager une passion commune : celle du punk rock. Quelles sont les spécificités que présentent le punk en Irlande du Nord ? Quel impact ce phénomène de culture populaire a-t-il sur les pratiques des jeunes Nord-Irlandais qui participent à cette scène et à cette subculture alors que le conflit bat son plein ? Quels mécanismes permettent aux punks d’imaginer et d’incarner une « Alternative Ulster » ? Afin d’apporter des réponses à ces questions, le présent travail s’attache à retracer l’émergence de la scène punk nord-irlandaise (1976-1983), à analyser les manières dont sont « pratiqués » les lieux sur lesquels elle repose, à interroger l’importance de la tenue et du corps punk et, finalement, à mettre en lumière les thématiques qui traversent la chanson punk. / In 1976, punk took the United Kingdom by surprise, and for one brief moment, challenged some of the cultural and social assumptions of British society, shocking public opinion and causing an outbreak of moral panic in its wake. The Sex Pistols could sing about it, but for people living in Northern Ireland, “Anarchy in the UK” was more than just a song, it was what they experienced in their everyday lives. Yet, while the conflict raged on, and at a time when cross-community contact had become uncommon, a minority of the North’s youth turned to punk. These young Catholics and Protestants ignored their political and religious differences and met up in streets and record shops during the day, and at night crowded into the few bars and pubs that allowed punk bands to play. What specific features did Northern Ireland punk display? What impact did this popular culture phenomenon have on the practices of the young participants who took part in this scene and subculture in the midst of the “Troubles”? What mechanisms enabled punks to imagine and embody an “Alternative Ulster”? In order to find answers to these questions, we will provide an account of the emergence of the punk scene in Northern Ireland (1976-1983), analyse the ways in which its spaces were “practiced”, examine the importance of punk dress and, finally, explore the themes which appear in punk rock songs.

Croisant deux sphères artistiques dont les relations ont été quelque peu ignorées et dont les antagonismes ont été parfois fantasmés, cette étude se propose d’analyser les résonances croisées, fécondes et réciproques existant entre le rock et la littérature. Ouvrant un champ de recherche quasiment vierge, elle est confrontée à l’instabilité d’un mot insaisissable (le rock) qui est peut-être en cela une métaphore de l’imaginaire contemporain. Critique et vecteur du spectacle, bruit apparemment informe dont il est difficile de parler, le rock résonne dans les productions littéraires comme il est influencé par elles. A l’aune de cette problématique, nous avons cherché à manifester un espace littéraire à l’écoute du rock, espace hétérogène constitué par des rock-fictions ou fictions du rock, la critique rock, les écrits des artistes, une poésie électrique ou encore des oeuvres littéraires sans cesse citées par les musiques populaires. Outre une cartographie de cet espace, nous avons observé la manière dont les textes fantasment leur proximité, leur appartenance ou leur rejet du rock et, ou, du littéraire, dans autant d’échos et de distorsions poétiques, esthétiques et axiologiques. Dès lors, eu égard à la disparité formelle du rock et à sa volatilité sémantique, cette analyse dépasse nécessairement les bornes d’une réflexion musico-littéraire. La métaphore de l’écoute qui l'a guidé ne vise donc pas (simplement) à réconcilier amateurs ou littératures des musiques savantes et des musiques populaires, mais elle est le modèle d’une posture d’écoute qui conjugue aussi bien la distraction face aux résonances (littéraires) du rock que l’attention face aux dissonances du réel / Intertwining two artistic spheres of which the relations have been quite ignored and their antagonisms have sometimes been the object of fantasies, this study proposes to analyze the intertwined, fruitful and mutual resonances, between rock and literature. In fact, by opening a field of research almost inexistent, it is confronted to the instability of an elusive word (rock) which can be thus considered as a metaphor of the contemporary imaginary. Critic and medium of the spectacle, noise seemly inform about which it is hard to talk, rock resonates in literary productions as it is influenced by it. In regard of this problematic, the aim of this study is to reveal a literary space listening to rock, an heterogeneous space composed by rock-fictions or fictions of rock, rock criticism, artists’ writing, an electrical poetry or even literary works constantly quoted by popular music. Beside a cartography of this literary space, we observed the way the texts fantasized their proximity, their belonging or their reject of rock and, or, the literary field, through as many echo as poetic, esthetic and axiological distortions. From that point, in regard of the formal disparity of rock and of its semantic volatility, this work goes inevitably beyond the limits of a musical-literary analysis. The metaphor of the listening which has guided this study does not (simply) point to the reconciliation between lovers or literatures of academic music and popular music, but it stands as the model of a listening posture which combines the distractions in front of the (literary) resonances as well as the attention to the dissonances of the real

Contemporary popular music is a ubiquitous social, cultural, and pedagogical force. Enabled by ever-evolving and -expanding technology, its songs and lyrics are transmitted into our most public and private spaces. For this study, I present the Billboard music charts as a functioning pedagogy and curriculum. Riffing on Richter’s denkbilder, Aoki’s curricular worlds of plan and lived experience, Giroux’s public pedagogy, and Giroux & Simon’s theorizing on youth culture, I sound out messages and motives embedded within the hit parade pedagogy. DJing a methodology of qualitative inquiry, autoethnography, and free association, I listen closely to chart-topping songs by Lady Gaga, Katy Perry, and P!nk that feature themes of marginalization, and consider the paradox presented by the juxtaposition of their popularity and subject matter. I suggest that this playlist legitimizes and perpetuates its listeners’ marginalization, running counter to its supposed intent to galvanize and inspire. Before signing off, I consider the implications for school-based educators and pedagogy in regard to engaging marginalization, particularly the notion of implementing a curriculum with which students may participate and sing along.

Submitted by Biblioteca Central (biblioteca@unicap.br) on 2018-06-26T18:11:20Z No. of bitstreams: 2 everton_guilherme_pereira.pdf: 483747 bytes, checksum: 34954e09d720ec1b06c6c7d88552fa2d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-06-26T18:11:20Z (GMT). No. of bitstreams: 2 everton_guilherme_pereira.pdf: 483747 bytes, checksum: 34954e09d720ec1b06c6c7d88552fa2d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-12-21 / The main scope of this dissertation was to show Luiz Gonzaga 's musical and poetic role, at the same time, poetic and prophetic - his voice, his stage performance, his costumes, his accordions. Art, through which, singing the subalternity and suffering that were realities of the people of their region, gave them, however, a sense of hope and not of punishment. In this sense, some songs were selected from what was known as "The King of Baião" and his texts were compared with texts of some representatives of biblical prophecy, identifying that religion was the trace of similarity between the prophets and the northeastern poet of the Brazilian “Sertão”. Our research has concluded that the mystical experience, the sacredness of religious symbols, rituals, belief in a sustaining creator, sustainer, holder of power over rain, sun, forests, plantations, animals and humanity itself and everything that exists, are present in the life and songs of the singer, as they were in the life and words of the prophets of the Judeo-Christian tradition. / O escopo principal dessa dissertação foi o de mostrar o papel, ao mesmo tempo, poético e profético, da arte musical de Luiz Gonzaga – sua voz, sua performance nos palcos, seus trajes, suas sanfonas. Arte, através da qual, cantando a subalternidade e o sofrimento que eram realidades do povo de sua região, deu a elas, no entanto, um sentido de esperança e não de castigo. Nesse sentido, foram selecionadas algumas canções daquele que ficou conhecido como “O Rei do Baião” e seus textos foram comparados com textos de alguns representantes do profetismo bíblico, identificando que a religião era o traço de semelhança entre os profetas e o poeta nordestino do Sertão brasileiro. Nossa pesquisa terminou por concluir que a experiência mística, o sagrado dos símbolos religiosos, os rituais, a crença em um criador mantenedor, sustentador, detentor de poder sobre a chuva, o sol, as florestas, as plantações, os animais e a própria humanidade e tudo o que existe, estão presentes na vida e nas canções do cantor, como estavam na vida e nas palavras dos profetas da tradição judaico-cristã.

This paper consists in the analysis of music lyrics in a discursive gender scope, investigating the composition of women image in songs by Rita Lee. The issue behind this paper is related to the fact that some educational institutions have still priviledged the textual typology to the detriment of the teaching of discursive genre and also due to the fact that the discursive text has been taught out of context. Another aspect that also led to this research is the fact that many Brazilian Popular Music composers still depict the profile of the Brazilian woman as someone inferior, submissive, intangible or simply as an object of the mans desire. The aim of this research is to analyse, according to predetermined criteria, this peculiar aspect in the composers work within her particular feminine point of view, showing in which way the feminine universe is depicted in the linguistic-discursive concreteness of her songs. Seven of the artists songs have been analysed based on the following Mikhail Bakhtins followers and theoretical referentials: concrete statement, discursive genres and dialogism, intertextuality and interdiscursivity, ideology, author and authorship. The results confirm that, in the artists point of view, the feminine universe is represented by autonomous, intelligent, strong and independent women. / Este trabalho consiste na análise de letras de música enquanto gênero discursivo e investiga a constituição da imagem da mulher nas canções de Rita Lee. O problema que motivou esta dissertação está relacionado ao fato de algumas instituições de ensino ainda privilegiarem a tipologia textual em detrimento do ensino dos gêneros discursivos e também ao fato de se ensinar o texto descritivo isolado de um contexto. Outro aspecto que também motivou esta pesquisa é o fato de muitos compositores da Música Popular Brasileira ainda abordarem o perfil da mulher como um ser inferior, submisso, inatingível ou simplesmente como um objeto de desejo do homem. O objetivo deste trabalho é analisar, de acordo com critérios preestabelecidos, esse aspecto peculiar na obra da compositora sob seu ponto de vista feminino, apresentando o modo pelo qual o universo da mulher é retratado na materialidade linguístico-discursiva de suas canções. Foram analisadas sete canções da autora com base nos seguintes referenciais teóricos de Michail Bakhtin e de seu Círculo: enunciado concreto, gêneros discursivos e dialogismo, intertextualidade e interdiscursividade, ideologia e autor e autoria. Os resultados confirmam que, na visão da autora, o universo feminino é representado por mulheres autônomas, inteligentes, fortes e independentes.

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The thesis "Popular Music in Television Entertainment in 90's in Czech Republic" is mainly engaged in the development of music show in this period, namely monitors developments of hit-parades Medúza and Eso. The period of 90's can be talk like a top of this kind of shows that have been an integral part of television entertainment. In connection with their development this study also deals with the history of these formats prior to 1989 and with the period context. The complexity of the topic also forms the theoretical basis in which work is about notions of popular culture, mass and consumer culture and globalization. The concept of globalization is closely related to the developement of television programs. Globalization is going through all the basic components of the production of these programs, both music and the television environment itself, and is just a possible consequence of the decline in the popularity of television hit-parades today. Keywords Television entertainment, popular music, format in TV, music show, hit-parade

Comment comprendre ce qui lie la passion musicale au territoire, ou en d’autres termes, ce qui articule la « scène » au « local » ? Le monde du metal constitue un objet de choix pour observer les manifestations de la passion musicale de ses amateurs au travers d’un continuum de pratiques, qui les inscrivent à la fois dans les sphères de la consommation et de la production des scènes locales. Pour attayer ce propos, il s’agit de faire l’étude ethnographique des mécanismes de coordination de la production musicale en région, en s’appuyant sur l’observation de trois scènes locales de musique metal en France. La thèse montre comment l’action collective de ces amateurs est toujours attachée à un territoire, autant qu’aux objets musicaux qui guident leurs pratiques et leurs trajectoires. L’observation des ancrages et des mobilités, à la fois des objets et des humains qui composent ces scènes, démontre ainsi que l’action collective au sein d’un territoire de proximité est toujours pris dans de multiples enchevêtrements d’échelles et de réseaux d’acteurs qui ne peuvent se réduire à l’observation d’un monde musical à huis-clos / A multisited ethnography of three local metal scenes in France. Amateurs practices, networks and territory. How a musical passion can be connected to the territory or, in other words, what links a musical "scene" — in the sense of a local world of art — to its location ? The world of metal inform the manifestations of the musical passion of its fans through a continuum of practices, which are the supports of the sphere of consumption and production of local metal scenes. To reach a better understanding of this local anchoring of the world of metal, we have implemented an ethnographic study of the coordination mechanisms of musical expression and production in the context of local scenes, through the observation of three local metal scenes in France. This ethnographic study shows that the collective agency of music amateurs is always attached to a territory, as well as depending of the musical objects — local and translocation — that guide their practices and their trajectories. The observation of the forms of anchoring and of the mobilities, both of objects and humans, that contribute to the production of these scenes, reminds us that music amateurs always operate within the frame of a local territory. Their collective action is always caught in an entanglements of scales and networks actors, meaning that we cannot reduce the observation of a musical world to practice operated alone and behindclosed doors