Thesis (doctoral)--University of Edinburgh, 1987.

As relações entre literatura e música constituem o objeto de pesquisa desta tese, dadas por meio da leitura de Sagarana, em especial: O burrinho pedrês, Sarapalha, Corpo fechado e A hora e vez de Augusto Matraga. O conceito de musicalidade incorpora as virtualidades sonoras da língua, as cantigas populares e as técnicas e formas eruditas da música, tais como contraponto e sinfonismo. / The subject of this thesis is the relation between literature and music, through the reading of Sagarana, in special: Burrinho pedrês, Sarapalha, Corpo fechado and A hora e vez de Augusto Matraga. The musical concept includes the sonorous potentialities of the language, popular songs and the techniques and erudite forms of music, such as counterpoint and sinfonism.

The purposes of this study were to explore the love values reflected in Mandarin popular songs in Taiwan and related values among Taiwanese senior high students. The researcher adopted content analysis and questionnaire survey as the major research methods for the research. A total of 1081 pieces of lyric of popular songs which have been voted as the top 10 of each week in the CASHBOX Magazine from May, 1998 to May, 2003 were located to conduct the content analysis. The questionnaire, based upon the literature review and the results of the lyric content analyses, were filled out by 854 senior high schools students in Kaohsiung city and Kaohsiung county. The statistic measures of descriptive statistics, t-test, chi-squre test and cross tabulation analysis were used for the data analyses. The study concluded in the following findings: 1. Love values of Mandarin popular songs from May, 1998 to May, 2003: (1)Love is still the most important topic in popular songs. (2)Most popular songs usually present a situation of frustration or crisis during the love. (3)Most lyrics often reflect the negative side of love. 2. Love values of Taiwanese senior high school students (1)Most senior high students still hold more positive attitudes toward love. (2)The experiences of being boyfriend or girlfriend, whether to be in love presently and being crazy about popular songs or not, all three did make difference among the various aspects of love values of senior students. (3)Gender, school location and regularly listening to popular songs or not make no difference in students¡¦ love values. 3. The difference between the love vlues of lyrics and those of senior high school students. The results were that there existed a lot of differences between lyrics and senior high school students. Most lyrics offen reflect negative love values, but most senior high school students have opposite views toward love. According to the research results mentioned above, the researcher found that the love values of lyrics of popular songs were different from those of senior high school students. At the same time, the lyrics did not completely reflect the love world held by the adolescent. Therefore, due to the fact that the content analysis of lyrics was not the only measure adopted to project the love values of the adolescent, it would not be the sufficient instrument in exploring fully the loves values of senior high students in Taiwan.

Submitted by Camila Do Carmo Custodio null (camcust2014@hotmail.com) on 2017-01-18T17:26:28Z No. of bitstreams: 1 DISSERTAÇÃO Camila VERSÃO FINAL DIGITAL.pdf: 1453290 bytes, checksum: 2507240c4307dd2b8873f3ca5f34693a (MD5) / Approved for entry into archive by LUIZA DE MENEZES ROMANETTO (luizamenezes@reitoria.unesp.br) on 2017-01-19T19:35:40Z (GMT) No. of bitstreams: 1 custodio_cc_me_assis.pdf: 1453290 bytes, checksum: 2507240c4307dd2b8873f3ca5f34693a (MD5) / Made available in DSpace on 2017-01-19T19:35:40Z (GMT). No. of bitstreams: 1 custodio_cc_me_assis.pdf: 1453290 bytes, checksum: 2507240c4307dd2b8873f3ca5f34693a (MD5) Previous issue date: 2016-11-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Esta pesquisa foi desenvolvida com o objetivo de propor estratégias de leitura, utilizando a canção popular com temática feminina, buscando compreender em que medida a música pode contribuir para a formação da competência de leitura dos alunos do ensino fundamental. Isto, de modo que possam ir além do simples caminho da leitura de decodificação, ou seja, a “leitura das linhas”, chegando à leitura reflexiva, crítica, a que está “por trás das linhas”. Além disto, visou-se trabalhar a linguagem conotativa, por meio das figuras de linguagem, da intertextualidade e da interdiscursividade, contextualizar e polemizar as concepções apresentadas sobre a temática do feminino. Para tanto, a proposta foi de um trabalho na perspectiva dialógica da leitura, tomando como teóricos os autores Cosson (2006), Kleiman (2007, 2011b), Leffa (1996, 1999), Marcuschi (2008). O estudo levou em consideração o aspecto literário dos textos utilizados, por concebê-los como poemas musicados. As letras das canções abordadas são do cantor Zé Ramalho: “Mulheres”, “Mulher nova bonita e carinhosa, faz o homem gemer sem sentir dor” e “Entre a serpente e a estrela”. Foram propostas práticas de leitura do gênero letra de canção popular, propiciando um debate sobre a imagem da mulher. Para isso, foi apresentado o desenvolvimento de uma sequência didática (SD) direcionada ao ensino fundamental, de acordo com a fundamentação teórica proposta por Cosson (2006), composta por quatro etapas: motivação, introdução, leitura e interpretação. / This research was developed with the objective of proposing reading strategies using the popular song with female thematic, trying to understand to what extent music can contribute to the formation of reading skills of elementary school students. This, so that they can go beyond simple decoding reading, that is, "read the lines", reaching the reflective reading, criticism, that is "behind the lines". In addition, it aimed to work connotative language, through the language of figures, intertextuality and interdiscursivity, contextualize and polemize conceptions presented on the feminine theme. Therefore, the proposal was a work in dialogical perspective of reading, taking as the theoretical authors Cosson (2006), Kleiman (2007, 2011b), Leffa (1996, 1999), Marcuschi (2008). The study took into account the literary aspect of the texts used by conceiving them as poems set to music. The lyrics of the addressed songs are of the singer Zé Ramalho: "Women", "Beautiful and caring young woman, makes the man moan without pain" and "Between the serpent and the star.” The proposal was reading practices of lyric popular song gender, leading a debate on the image of woman. For this, it was presented the development of a didactic sequence (SD) directed to elementary education, according to the theoretical framework proposed by Cosson (2006), that consists of four stages: motivation, introduction, reading and interpretation.

As relações entre literatura e música constituem o objeto de pesquisa desta tese, dadas por meio da leitura de Sagarana, em especial: O burrinho pedrês, Sarapalha, Corpo fechado e A hora e vez de Augusto Matraga. O conceito de musicalidade incorpora as virtualidades sonoras da língua, as cantigas populares e as técnicas e formas eruditas da música, tais como contraponto e sinfonismo. / The subject of this thesis is the relation between literature and music, through the reading of Sagarana, in special: Burrinho pedrês, Sarapalha, Corpo fechado and A hora e vez de Augusto Matraga. The musical concept includes the sonorous potentialities of the language, popular songs and the techniques and erudite forms of music, such as counterpoint and sinfonism.

Thesis (PhD)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: The study explores the post-2000 popular song genre (expressed in Shona) in order to analyze its rhetorical potential in its appropriation as a medium for the construction and contestation of meanings concerning land, history and selected (political, social and religious) identities. The goal is to discover how the turbulent post-2000 period in Zimbabwe is narrativized through the lyrics of popular songs. The rationale to focus on popular songs in the context of this period was my observation of the uniquely high level of appropriation of the popular song in the Zimbabwean public sphere by political parties and the ordinary people to communicate various discourses (of their interest). The period surpasses by far the pre-2000 era in its rate of output of songs. Old songs were revived and new ones composed while new musical genres emerged and existing ones thrived. I also noted in previous researches gaps in both theoretical and coverage of the analyses of popular songs in Zimbabwe. There is little in terms of linguistically-rooted approaches while analyses are largely limited to politically-inspired songs. I therefore, besides the politically-oriented songs, also explore socially and religiously-oriented songs. I adopt a multi-perspective approach combining APPRAISAL, genre, “small stories/voices” and the “rediscovery of the ordinary” frameworks to study the rhetorical property and capacity (to communicate) of the popular song. I employ the APPRAISAL theory to deal with the songs’ language of evaluation in terms of the authorial stances and ideological positions singers adopt. I utilize the genre theory in making a typology of the various popular song texts on the basis of their communicative properties (which determine their rhetorical purposes). I employ the remaining theories to classify the songs into three clusters (‘grand narrative songs’; ‘small stories/voices songs’ and ‘songs of ordinary life’) based the sources of their ideological concerns. In pursuit of the connection between the songs’ language and its communicative effects, I note in chapters two, four, five and six, the high level of intertextuality the post-2000 popular song has assumed. I argue that the unique intertextuality can be explained in relation to the high demands being placed on the language of the song texts by composers and singers in a context in which the state and opposition are pitted in an intense competition for the “power to mean”. The state appropriates the popular song to demonize and delegitimate the opposition at the same time legitimating its hegemony, based on patriotic discourses derived from chimurenga (nationalist) grand narrative values. On the other hand, the opposition manipulates the popular song to legitimate its struggle for change through counter-state discourses exposing Zanu-PF’s political vices and debasing its power. The ordinary people also appropriate the popular song in their struggle to resolve issues of personal concern in their attempt to give meaning to their lives. It is therefore the study’s main thesis that the popular song in post-2000 Zimbabwe narrativizes the period in unique ways as illustrated through the manipulation of its rhetorical potential to construct meanings concerning land, history and identities. / AFRIKAANSE OPSOMMING: Die studie het die populêreliedjiegenre (in Shona uitgedruk) ná 2000 verken om die retoriese potensiaal by die aanwending as ʼn medium vir die konstruksie en omstredenheid van betekenisse rakende grond, geskiedenis en geselekteerde (politieke, maatskaplike en godsdienstige) identiteite te ontleed. Die doel was om vas te stel hoe die turbulente tydperk ná 2000 in Zimbabwe deur die lirieke van populêre liedjies aangebied word. Die rasionaal om op populêre liedjies teen die agtergrond van hierdie tydperk te fokus was my waarneming van die buitengewoon hoë vlak van aanwending van die populêre liedjie in die Zimbabwiese openbare sfeer deur politieke partye en gewone mense om verskillende diskoerse (tot eie voordeel) te kommunikeer. Die tydperk oortref verreweg die tydperk voor 2000 wat betref die spoed waarteen liedjies verskyn. Ou liedjies is opgediep en nuwes is gekomponeer terwyl nuwe musiekgenres na vore gekom en bestaandes floreer het. Ek het ook leemtes in vorige navorsing opgemerk, beide ten opsigte van die teoretiese ontledings van populêre liedjies in Zimbabwe en die dekking daarvan. Daar bestaan min inligting ten opsigte van linguisties-begronde benaderings terwyl ontledings hoofsaaklik beperk is tot polities-geïnspireerde liedjies. Ek het dus, afgesien van die polities-georiënteerde liedjies, ook liedjies wat sosiaal en godsdienstig geïnspireer is, ondersoek. Ek het ʼn multiperspektiefbenadering ingeneem en raamwerke met betrekking tot WAARDEBEPALING, genre, “klein stories/stemme” en die “herontdekking van die gewone” gekombineer om die retoriese eienskap en kapasiteit (om te kommunikeer) van die populêre liedjie te bestudeer. Ek het die teorie van WAARDEBEPALING aangewend ten einde aan die liedjies se evalueringstaal ten opsigte van die standpunte wat die skrywers inneem en ideologiese posisies van die sangers aandag te gee. Ek het die genreteorie gebruik om ʼn tipologie van die verskillende populêre liedjietekste op grond van hulle kommunikatiewe eienskappe (wat hulle retoriese doelwitte bepaal) op te stel. Ek het die oorblywende teorieë gebruik om die liedjies in drie groepe te klassifiseer (‘meesternarratief-liedjies’, ‘liedjies oor klein stories/stemme’ en ‘liedjies oor die gewone lewe’) gebaseer op die bronne van hulle ideologiese besorgdhede. In ʼn soeke na die skakeling tussen die taal van die liedjies en die kommunikatiewe effekte daarvan, wys ek in hoofstukke twee, vier, vyf en ses op die hoë vlak van intertekstualiteit wat die populêre liedjie ná 2000 aangeneem het. Ek voer aan dat die unieke intertekstualiteit verklaar kan word in verhouding met die hoë eise wat deur komponiste en sangers aan die taal van die liedjies se tekste gestel word in ʼn konteks waarin die staat en opposisie in konflik verkeer in ʼn intense wedywering om die “mag om te beteken”. Die staat eien hulle die populêre liedjie toe ten einde die opposisie te demoniseer en te delegitimeer en terselfdertyd sy hegemonie te legitimeer, gebaseer op patriotiese diskoerse afgelei van chimurenga (nasionalistiese) waardes van die meesternarratief. Aan die ander kant, die opposisie manipuleer die populêre liedjie om sy stryd om verandering te legitimeer deur diskoerse te weerlê en so Zanu-PF se politieke gebreke aan die kaak te stel en sy mag te verminder. Jan Alleman en sy maat eien hulle ook die populêre liedjie toe in hulle stryd om kwessies van persoonlike kommer uit die weg te ruim in hulle poging om betekenis aan hulle lewens te gee. Dit is dus hierdie studie se hoofhipotese dat die populêre liedjie in Zimbabwe ná 2000 die tydperk op unieke wyses beskryf soos geïllustreer deur die manipulasie van die retoriese potensiaal daarvan om betekenisse rakende grond, geskiedenis en identiteite te konstrueer.

Shan’ge 山歌 is a collection of popular songs in Wu dialect by the late Ming scholar Feng Menglong 冯梦龙 (1574-1646). Due to a lack of detailed literary analysis of the songs, and a lack of appreciation of these songs from the perspective of rhetorical aesthetics, I aim to provide a close reading of the siqing (私情) songs in Shan’ge. With the intention to offer a fresh perspective into the depiction of emotions and sentimental feelings, as well as the various ways of presenting the people’s perception of love and sexual desire in these songs, I endeavor to both enrich the understanding of Shan’ge and call critical attention to the subject mater of siqing. In my thesis, I argue that these Siqing songs are strong spokesmen and representatives of genuineness promoted by Feng Menglong in the preface of Shan’ge. I will examine how genuineness was promoted by the late Ming scholars and particularly, how Feng Menglong views genuineness and how he utilizes genuineness in the songs as a means to promote vernacular literature. The representative siqing songs will be categorized and explored in three sections, with the purpose of answering the following questions: How could Feng’s promotion of these popular songs be situated in the late Ming discourse of genuineness? How does Shan’ge vividly create a world that not only celebrates true and romantic love but also allows the display of the vent of irresistible desire, and the rustic expression of sex? How are carriers of genuine qing explicitly portrayed in these songs through their ingenious conversations and tricks in love affairs? And lastly, how do the songs in different ways showcase a vivid and dynamic picture of a sexually liberate and joy-oriented late Ming Suzhou?

nÃo hà / Anseios por fazer do Brasil uma naÃÃo impulsionaram a formaÃÃo de setores mÃdios intelectualizados capazes de conduzir o ideal formativo humano necessÃrio ao chamado projeto civilizatÃrio brasileiro no sÃculo XIX. A historiografia brasileira registra, para o perÃodo, diversos casos e aÃÃes de intelectuais e grupos, que coadunam bem com o que se pode chamar de exercÃcio intelectual como atitude polÃtica. Mas, hà casos em que o exercÃcio intelectual configurava-se tambÃm como atitude eminentemente educativa, dado que o ideal de nacionalidade perseguido era impresso pelos cÃdigos civilizatÃrios somente alcanÃÃveis pelos processos formativos, sendo estes a imprensa ou a escola. Notemos que o perÃodo do qual tratamos, aqui delimitado a partir de fins da RegÃncia, registra diversas forÃas que se contrapunham. Dentre aquelas pautadas nas novas ideias cujos matizes se encontravam na IlustraÃÃo, ressaltamos a vertente romÃntica fortemente influenciada pelo Espiritualismo EclÃtico, corrente filosÃfica francesa estabelecida por Victor Cousin. Intelectuais romÃnticos brasileiros, advogando a defesa das ideias cousinianas puderam estabelecer um debate com o tradicionalismo alegando a necessidade de construÃÃo da PÃtria, a partir da instituiÃÃo de sua educaÃÃo, sua cultura, incluindo-se aà a literatura, notadamente a poesia, e, principalmente, de sua histÃria. Pode-se dizer, portanto, que alguns desses intelectuais delegaram a si mesmos uma missÃo social e pedagÃgica porque, no referido projeto de pÃtria, tinham nÃtida a compreensÃo da necessidade de forja do novo homem com uma nova mentalidade, desenredada da mentalidade colonialista. Desenvolveram, portanto, a figura do intelectual educador bem caracterizado como escritor de missÃo. Diversos foram os intelectuais e suas defesas, porÃm, sabe-se que o ideal de educaÃÃo romÃntica, pautada no Espiritualismo EclÃtico, fez parte da tÃnica e dos desejos de todos que se lanÃaram nessa missÃo. O poeta e folclorista Juvenal Galeno, com sua literatura, em forma de canÃÃes populares, està muito bem caracterizado como o intelectual que compartilhou dessa mentalidade e que, portanto, fez da literatura sua missÃo educadora. / Anxieties for making Brazil a nation have boosted the formation of intellectualized middle sectors capable of conducting the human formative ideal necessary for the so - called Brazilian civilizational project in the nineteenth century. The Brazilian histori ography records, for the period, several cases and actions of intellectuals and groups, which go well with what can be called an intellectual exercise as a political attitude. But there are cases in which the intellectual exercise was also an eminently edu cational attitude, given that the ideal of nationality pursued was imprinted by the civilizational codes only achievable by the formative processes, being these the press or the school. It should be noted that the period we are dealing with, here delimited from the ends of the Regency, registers several opposing forces. Among those based on the new ideas whose nuances were in the Illustration, we emphasize the romantic side strongly influenced by the Eclectic Spiritualism, French philosophical current estab lished by Victor Cousin. Brazilian romantic intellectuals, advocating the defense of Cousin's ideas, were able to establish a debate with traditionalism, alleging the need to construct the homeland, from the institution of its education, its culture, inclu ding literature, notably poetry, and, above all, , Of its history. It can be said, therefore, that some of these intellectuals delegated to themselves a social and pedagogical mission because in the said project of country they had a clear understanding of the forging of the new man with a new mentality, unraveled from the colonialist mentality. They developed, therefore, the figure of the intellectual educator well characterized like writer of mission. Many were the intellectuals and their defenses, howeve r, it is known that the ideal of romantic education, based on Eclectic Spiritualism, was part of the tonic and desires of all who launched this mission. The poet and folklorist Juvenal Galeno, with his literature, in the form of popular songs, is very well characterized as the intellectual who shared this mentality and who, therefore, made of literature its educative mission.

ANDRADE FILHO, João Batista. Juvenal Galeno e suas canções populares: reflexo do propósito educacional romântico sob os auspícios do espiritualismo eclético (1836 – 1889). 2016. 220f. - Tese (Doutorado) – Universidade Federal do Ceará, Programa de Pós-graduação em Educação Brasileira, Fortaleza (CE), 2016. / Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-01-26T11:16:30Z No. of bitstreams: 1 2016_tese_jbandradefilho.pdf: 7823619 bytes, checksum: 89aec16a4acda87a4f523f4c7740215a (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-01-30T12:36:17Z (GMT) No. of bitstreams: 1 2016_tese_jbandradefilho.pdf: 7823619 bytes, checksum: 89aec16a4acda87a4f523f4c7740215a (MD5) / Made available in DSpace on 2017-01-30T12:36:17Z (GMT). No. of bitstreams: 1 2016_tese_jbandradefilho.pdf: 7823619 bytes, checksum: 89aec16a4acda87a4f523f4c7740215a (MD5) Previous issue date: 2016 / Anxieties for making Brazil a nation have boosted the formation of intellectualized middle sectors capable of conducting the human formative ideal necessary for the so - called Brazilian civilizational project in the nineteenth century. The Brazilian histori ography records, for the period, several cases and actions of intellectuals and groups, which go well with what can be called an intellectual exercise as a political attitude. But there are cases in which the intellectual exercise was also an eminently edu cational attitude, given that the ideal of nationality pursued was imprinted by the civilizational codes only achievable by the formative processes, being these the press or the school. It should be noted that the period we are dealing with, here delimited from the ends of the Regency, registers several opposing forces. Among those based on the new ideas whose nuances were in the Illustration, we emphasize the romantic side strongly influenced by the Eclectic Spiritualism, French philosophical current estab lished by Victor Cousin. Brazilian romantic intellectuals, advocating the defense of Cousin's ideas, were able to establish a debate with traditionalism, alleging the need to construct the homeland, from the institution of its education, its culture, inclu ding literature, notably poetry, and, above all, , Of its history. It can be said, therefore, that some of these intellectuals delegated to themselves a social and pedagogical mission because in the said project of country they had a clear understanding of the forging of the new man with a new mentality, unraveled from the colonialist mentality. They developed, therefore, the figure of the intellectual educator well characterized like writer of mission. Many were the intellectuals and their defenses, howeve r, it is known that the ideal of romantic education, based on Eclectic Spiritualism, was part of the tonic and desires of all who launched this mission. The poet and folklorist Juvenal Galeno, with his literature, in the form of popular songs, is very well characterized as the intellectual who shared this mentality and who, therefore, made of literature its educative mission. / Anseios por fazer do Brasil uma nação impulsionaram a formação de setores médios intelectualizados capazes de conduzir o ideal formativo humano necessário ao chamado projeto civilizatório brasileiro no século XIX. A historiografia brasileira registra, para o período, diversos casos e ações de intelectuais e grupos, que coadunam bem com o que se pode chamar de exercício intelectual como atitude política. Mas, há casos em que o exercício intelectual configurava-se também como atitude eminentemente educativa, dado que o ideal de nacionalidade perseguido era impresso pelos códigos civilizatórios somente alcançáveis pelos processos formativos, sendo estes a imprensa ou a escola. Notemos que o período do qual tratamos, aqui delimitado a partir de fins da Regência, registra diversas forças que se contrapunham. Dentre aquelas pautadas nas novas ideias cujos matizes se encontravam na Ilustração, ressaltamos a vertente romântica fortemente influenciada pelo Espiritualismo Eclético, corrente filosófica francesa estabelecida por Victor Cousin. Intelectuais românticos brasileiros, advogando a defesa das ideias cousinianas puderam estabelecer um debate com o tradicionalismo alegando a necessidade de construção da Pátria, a partir da instituição de sua educação, sua cultura, incluindo-se aí a literatura, notadamente a poesia, e, principalmente, de sua história. Pode-se dizer, portanto, que alguns desses intelectuais delegaram a si mesmos uma missão social e pedagógica porque, no referido projeto de pátria, tinham nítida a compreensão da necessidade de forja do novo homem com uma nova mentalidade, desenredada da mentalidade colonialista. Desenvolveram, portanto, a figura do intelectual educador bem caracterizado como escritor de missão. Diversos foram os intelectuais e suas defesas, porém, sabe-se que o ideal de educação romântica, pautada no Espiritualismo Eclético, fez parte da tônica e dos desejos de todos que se lançaram nessa missão. O poeta e folclorista Juvenal Galeno, com sua literatura, em forma de canções populares, está muito bem caracterizado como o intelectual que compartilhou dessa mentalidade e que, portanto, fez da literatura sua missão educadora.

Orientador: Antonio Rafael Carvalho dos Santos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-05T21:36:10Z (GMT). No. of bitstreams: 1 Nunes_ThaisdosGuimaraesAlvim_M.pdf: 5274120 bytes, checksum: 7c7ffdd1dc9e019641ebaacb9918e4e9 (MD5) Previous issue date: 2005 / Resumo: A expressão Clube da Esquina tem sido utilizada para se referir a um grupo de compositores, sobretudo cancionistas, na sua maioria mineiros, e instrumentistas que produziram um vasto repertório musical, principalmente na década de 1970 no Brasil. Tendo Milton Nascimento como personagem centralizadora, o grupo reúne dentre outros, Wagner Tiso, Márcio Borges, Lô Borges, Beto Guedes, Femando Brant, Ronaldo Bastos e Toninho Horta. Lig~dos por afinidades musicais e poéticas, tiveram a cidade de Belo Horizonte-MG como local de formação inicial, encontros e fomentação da criatividade. Apoiando-se no contexto de transformações que permitiram marcar épocas, grupos, lugares e/ou personagens no cenário musical brasileiro do século XX, propôs-se um estudo sobre o Clube da Esquina. Por mais que a sua produção venha sendo identificada, pela crítica, como um movimento musical, dizer que ela é identificável por apresentar uma sonoridade particular parece mais coerente. O objetivo desta pesquisa é promover uma reflexão estética acerca desta sonoridade, entendendo-a como resultante da combinação de elementos composicionais, de arranjo e interpretativos (características individuais dos instrumentistas, gravação e outros). Para isto, foi escolhido o disco Clube da ESlIuina, de 1972 (com suas 21 canções), como material sonoro por entender que ele é um dos trabalhos que melhor sintetiza as características específicas do grupo / Abstract: The expression Clube da Esquina has been used to refer to a group of composers, mostly from the State of Minas Gerais, and performers who produced a large musical repertory during the seventies in Brazil. With Milton Nascimento as the central character, the group includes Wagner Tiso , among others. Bound by an poetical an musical affinity, they had the city of Belo Horizonte as a point of departure for they meetings, formation and creative production. This study about the Clube da Esquina is based in the context of transformations that made it possible to make history and to mark groups, places and/or people in the Brazilian musical scenery during the twentieth century. Althought it has been considered a movement, it seems more adequate to say that the its production has a distinctive sonority. The purpose of this work is to promote an aesthetical reflection about that sonority, understanding that it is a combination of composing, arranging and performing elements. For that purpose the Album Clube da Esquina, released in 1972 (with 21 songs) has been chosen as a source, considering that it is the first work to sinthesize the specific musical characteristics ofthe grou / Mestrado / Mestre em Música