Submitted by Ricardo Cedraz Duque Moliterno (ricardo.moliterno@uefs.br) on 2015-11-12T21:29:11Z No. of bitstreams: 1 Disserta??o completa Val?ria Nanc?.pdf: 12132267 bytes, checksum: 1c38be684ff0e232502348b9bcc92042 (MD5) / Made available in DSpace on 2015-11-12T21:29:11Z (GMT). No. of bitstreams: 1 Disserta??o completa Val?ria Nanc?.pdf: 12132267 bytes, checksum: 1c38be684ff0e232502348b9bcc92042 (MD5) Previous issue date: 2013-04-22 / This research deals with the formulation of a set of analytical techniques for evaluation of vinyl record covers of two of the most important periods of Brazilian music, Bossa Nova and Tropic?lia. The dissertation was motivated by the general idea that these movements are able to indicate the important role of music to the Brazilian society and the cultural profile of this nation, from 1958 to 1968. Larger stimulus, however, found specifically in: (i) the author's passion for these two musical styles; (ii) personal desire to add more academic work that al-ways current, i.e. graphical analysis to understand given time of a civilization; (iii) academic need to define procedures and analysis techniques for graphical vinyl record covers, long-playing ? based on industrial design techniques ? that went beyond a mere single, "liked", "cool", "cute". As specific objectives, it was defined: draw a panorama on the graphic-visual languages used by "capistas", i.e., those typographers, artists, graphic designers who designed and illustrated graphically this fascinating industrial product. Sought to contextualize the mus-ical style bossa-tropicalist and released and their productions for the covers of Bossa Nova and Tropic?lia, understanding the design of the image, from the adequacy in temporal context, demonstrating the importance of proper use of visual language in a record in terms of effects work that seeks to generate; social contribution and academically, various aspects of know-ledge. With that objective in mind, it was treated anterior and posterior aspects to customizing album covers ? as it was and as it became the relationship of production "capistas" with the concern on the use of the image. We seek to demonstrate the cultural and aesthetic mark left by these musical periods of the cover designs. We look for references, videos, websites, etc., in addition to data that substantiate this thesis through collaboration (via semi-structured in-terview: forms applied to a sample of twenty interviewees, including broadcasters, musicians, music teachers and music researchers in the city of Feira de Santana-BA); and graphical ana-lyses of the album covers designs from Bossa-nova e Tropica?lia; It was sought through me-thods of some theorists, a proprietary method and methods of research subjects, primarily dealing with aspects related to the project factors, types of designs, ideograms and linguistic techniques. We have specified how much the art of drawing and contemplate the disk cover suffered transformations, the advent of the LP to the Era of MP3, mentioning the losses and gains of LP cover designs, while the cultural representation of a time. And how this work may prove to contribute socially, academically and in didactic and knowledge linked to the thematic ordering here. We concluded this research in order to bring up the debate about the possible return of disk cover, and their designs, generating, especially in the music industry, the reflection on the design and making of same. / Esta pesquisa trata da formula??o de conjunto de t?cnicas anal?ticas para avalia??o das capas de discos de vinil de dois dos mais importantes per?odos da m?sica brasileira, a Bossa Nova e a Tropic?lia. A motiva??o deste trabalho origina-se da ideia geral de que estes movimentos s?o capazes de indicar o papel relevante da m?sica para a sociedade brasileira e o perfil cultural desta na??o, entre 1958 a 1968. Est?mulo maior, contudo, encontrou-se, especificamente, na: (i) paix?o da autora por esses dois estilos musicais; (ii) desejo pessoal de somar mais um trabalho acad?mico a essa sempre atual tem?tica, isto ?, an?lise gr?fica de discos para com-preens?o de dado tempo de uma civiliza??o; (iii) necessidade acad?mica de definir procedi-mentos e t?cnicas de an?lise gr?fica para capas de discos de vinil, elep?s ? fundamentadas no Desenho industrial ?,que fossem al?m de um mero simples, ?gostei?, ?legal?, ?bacana?. Co-mo objetivos espec?ficos, delimitamos: tra?ar um panorama referente ?s linguagens gr?fico-visuais usadas por ?capistas?, isto ?, aqueles tip?grafos, artistas, designers que projetaram, desenharam e ilustraram graficamente esse produto industrial fascinante. Procurou-se contex-tualizar os estilos musicais bossa-novista e tropicalista e suas respectivas produ??es para as capas de discos da Bossa Nova e da Tropic?lia, compreendendo a concep??o da imagem, a partir da adequa??o na contextualiza??o temporal, demonstrando a import?ncia do uso ade-quado da linguagem visual numa obra fonogr?fica em termos de efeitos que busca gerar; con-tribuir, social e academicamente, diversas vertentes do conhecimento. Para isto tratamos de aspectos anteriores e posteriores ? personaliza??o das capas de discos ? como era e como passou a ser a rela??o das produ??es capistas com a preocupa??o no uso da imagem. Procu-ramos demonstrar a marca cultural e est?tica deixadas por esses per?odos musicais via projetos capistas; buscamos refer?ncias bibliogr?ficas, videogr?ficas, websites, etc., al?m de dados que fundamentassem esta disserta??o, atrav?s da colabora??o (via entrevista semiestruturada: formul?rios aplicados a uma amostra de vinte entrevistados, dentre eles, radialistas, m?sicos, professores de m?sica e pesquisadores musicais, na cidade de Feira de Santana-BA) e an?lises gr?ficas dos desenhos das capas de discos, bossa-novistas e tropicalistas, atrav?s de m?todos de alguns te?ricos, um m?todo pr?prio e m?todos dos sujeitos da pesquisa, sobretudo tratando de aspectos referentes aos fatores projetuais, tipos de desenhos, ideogramas e t?cnicas lingu?s-ticas adequadas. Explicitamos o quanto a arte de desenhar e contemplar a capa de disco sofreu transforma??es, do surgimento do LP ? Era do MP3, mencionando as perdas e ganhos dos desenhos capistas, enquanto representa??o cultural de um tempo. E o quanto este trabalho pode vir a contribuir acad?mica e socialmente, na did?tica e ordena??o de conhecimentos li-gados ? tem?tica aqui posta. Conclu?mos esta pesquisa de modo a trazer ? tona o debate sobre a poss?vel volta da capa de disco, e de seus desenhos, gerando, sobretudo ? ind?stria fonogr?-fica, a reflex?o sobre a projeta??o e feitura da mesma.

Made available in DSpace on 2014-12-17T15:25:16Z (GMT). No. of bitstreams: 1 EnzioGSA_DISSERT.pdf: 2340735 bytes, checksum: 3e76cf2c6a9fa044f4fc67e9e62cdd17 (MD5) Previous issue date: 2011-11-22 / Tropicalia concerns the attempt of understanding of Brazil and a national identity characterized by the transience of time and space, rhizomatic action, perpetual laceration of cultural boundaries and at the same time act synchronously to instances such as policy and the social. A word created by artist H?lio Oiticica and registered by him on the National Register of Trademarks and Patents, was later used to a name the eponymous song by Caetano Veloso and also in this fertile cultural impulse at the turn of the sixties to the seventies on last century, who had the intention to make creating new spaces and simultaneously rethink the spatial cuts of Brazilian culture, encouraging them to be much more than a myth of a paradise within a lush new look of a tropical truth. / Tropic?lia diz respeito ? tentativa de compreens?o do Brasil e de uma identidade nacional caracterizada pela transitoriedade de tempos e espa?os, de a??o rizom?tica, de um perp?tuo esgar?amento de fronteiras culturais e que ao mesmo instante age de forma sincr?nica a inst?ncias como a da pol?tica e ao do social. A palavra criada pelo artista pl?stico H?lio Oiticica e por ele registrada no registro nacional de marcas e patentes a posteriori, foi usada para nomear a can??o hom?nima de Caetano Veloso e tamb?m a esse f?rtil impulso cultural na virada da d?cada de sessenta para os anos setenta, que teve a pretens?o de formular novos espa?os de cria??o e simultaneamente repensar os recortes espaciais da cultura brasileira, instigando-os a serem bem mais que um mito de um para?so verdejante dentro de uma nova mirada de uma verdade tropical.