Three Forms of Experimentation in Brazilian popular music (MPB) in the 1970s

Detalhes bibliográficos
Autor(a) principal: Vargas, Herom
Data de Publicação: 2012
Tipo de documento: Artigo
Idioma: por
Título da fonte: E-Compós
Texto Completo: https://www.e-compos.org.br/e-compos/article/view/800
Resumo: This article aims to analyze aspects and features of the experimental production of composers and bands of Brazilian popular music in the 70’s, a period marked by the military dictatorship and the expansion of media industries linked to the popular song’s field (record companies and TV stations). It starts with the theoretical discussion about experimentalism led by Umberto Eco and from the concept of “critical song”, by Santuza C. Naves, in order to think of the “experimental song”. Three broad lines of the experimentation practiced by these creators will be pointed out: 1) relations between tradition and modernity, as a tropicalista heritage, but held on another level; 2) experimentalism like aesthetic exercise specifically performed within the materiality of the poetic and musical code of the song leading to specific meanings; 3) the creative use of the body and the performance, as elements which produce meanings, being in line with the national understanding of counterculture. Keywords Brazilian popular music. Experimentalism. Counterculture. 70’s.
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spelling Three Forms of Experimentation in Brazilian popular music (MPB) in the 1970sTres formas del experimentalismo en la música popular brasileña de los años 1970Três formas do experimentalismo na MPB da década de 1970Música popular brasileira. Experimentalismo. Contracultura. Anos 1970.This article aims to analyze aspects and features of the experimental production of composers and bands of Brazilian popular music in the 70’s, a period marked by the military dictatorship and the expansion of media industries linked to the popular song’s field (record companies and TV stations). It starts with the theoretical discussion about experimentalism led by Umberto Eco and from the concept of “critical song”, by Santuza C. Naves, in order to think of the “experimental song”. Three broad lines of the experimentation practiced by these creators will be pointed out: 1) relations between tradition and modernity, as a tropicalista heritage, but held on another level; 2) experimentalism like aesthetic exercise specifically performed within the materiality of the poetic and musical code of the song leading to specific meanings; 3) the creative use of the body and the performance, as elements which produce meanings, being in line with the national understanding of counterculture. Keywords Brazilian popular music. Experimentalism. Counterculture. 70’s.En este artículo se pretende analizar los aspectos y características de la producción experimental de los compositores y grupos de música popular brasileña de la década de 1970, un período marcado por la dictadura militar y la expansión de las industrias culturales vinculadas al campo de la canción popular (las compañías discográficas y cadenas de televisión). Se inicia con la discusión teórica de la experimentación realizada por Umberto Eco y el concepto de “canción crítica”, por Santuza C. Naves, para pensar la “canción experimental”. Se señaló tres grandes líneas de experimentación que practican los creadores: 1) la relación entre tradición y modernidad, como herencia del tropicalismo, pero hecha en otro nivel, 2) el experimentalismo como ejercicio estético llevado específicamente en la materialidad del código poético y musical de la canción teniendo en vista determinados significados, 3) el uso creativo del cuerpo y performance como elementos productores de sentido, de acuerdo con la lectura nacional de la contracultura. Palabras clave Música popular brasileña. Experimentalismo. Contracultura. Años 1970.Neste artigo, pretende-se analisar aspectos e características da produção experimental de compositores e grupos da música popular brasileira dos anos 1970, período marcado pela ditadura militar e pela expansão das indústrias midiáticas ligadas ao campo da canção popular (gravadoras e emissoras de TV). Parte-se da discussão teórica sobre experimentalismo feita por Umberto Eco e do conceito de “canção crítica”, de Santuza C. Naves, para pensar a “canção experimental”. Serão apontadas três linhas gerais da experimentação praticada por esses criadores: 1) relação entre tradição e modernidade, como herança tropicalista, mas efetivada em outro patamar; 2) experimentalismo como exercício estético realizado especificamente na materialidade do código poético e musical da canção visando determinados significados; 3) uso criativo do corpo e da performance como elementos produtores de sentido, em sintonia com a leitura nacional da contracultura. Palavras-chave Música popular brasileira. Experimentalismo. Contracultura. Anos 1970.ABEC2012-09-28info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfapplication/pdfhttps://www.e-compos.org.br/e-compos/article/view/80010.30962/ec.800E-Compós; Vol. 15 No. 2 (2012)E-Compós; Vol. 15 Núm. 2 (2012)E-Compós; v. 15 n. 2 (2012)1808-2599reponame:E-Compósinstname:Associação Nacional dos Programas de Pós-Graduação em Comunicaçãoinstacron:ANPPCporhttps://www.e-compos.org.br/e-compos/article/view/800/596https://www.e-compos.org.br/e-compos/article/view/800/597Vargas, Herominfo:eu-repo/semantics/openAccess2021-06-11T13:12:24Zoai:ojs.www.e-compos.org.br:article/800Revistahttps://www.e-compos.org.br/e-compos/PUBhttps://www.e-compos.org.br/e-compos/oairevistaecompos@gmail.com1808-25991808-2599opendoar:2021-06-11T13:12:24E-Compós - Associação Nacional dos Programas de Pós-Graduação em Comunicaçãofalse
dc.title.none.fl_str_mv Three Forms of Experimentation in Brazilian popular music (MPB) in the 1970s
Tres formas del experimentalismo en la música popular brasileña de los años 1970
Três formas do experimentalismo na MPB da década de 1970
title Three Forms of Experimentation in Brazilian popular music (MPB) in the 1970s
spellingShingle Three Forms of Experimentation in Brazilian popular music (MPB) in the 1970s
Vargas, Herom
Música popular brasileira. Experimentalismo. Contracultura. Anos 1970.
title_short Three Forms of Experimentation in Brazilian popular music (MPB) in the 1970s
title_full Three Forms of Experimentation in Brazilian popular music (MPB) in the 1970s
title_fullStr Three Forms of Experimentation in Brazilian popular music (MPB) in the 1970s
title_full_unstemmed Three Forms of Experimentation in Brazilian popular music (MPB) in the 1970s
title_sort Three Forms of Experimentation in Brazilian popular music (MPB) in the 1970s
author Vargas, Herom
author_facet Vargas, Herom
author_role author
dc.contributor.author.fl_str_mv Vargas, Herom
dc.subject.por.fl_str_mv Música popular brasileira. Experimentalismo. Contracultura. Anos 1970.
topic Música popular brasileira. Experimentalismo. Contracultura. Anos 1970.
description This article aims to analyze aspects and features of the experimental production of composers and bands of Brazilian popular music in the 70’s, a period marked by the military dictatorship and the expansion of media industries linked to the popular song’s field (record companies and TV stations). It starts with the theoretical discussion about experimentalism led by Umberto Eco and from the concept of “critical song”, by Santuza C. Naves, in order to think of the “experimental song”. Three broad lines of the experimentation practiced by these creators will be pointed out: 1) relations between tradition and modernity, as a tropicalista heritage, but held on another level; 2) experimentalism like aesthetic exercise specifically performed within the materiality of the poetic and musical code of the song leading to specific meanings; 3) the creative use of the body and the performance, as elements which produce meanings, being in line with the national understanding of counterculture. Keywords Brazilian popular music. Experimentalism. Counterculture. 70’s.
publishDate 2012
dc.date.none.fl_str_mv 2012-09-28
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
format article
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dc.identifier.uri.fl_str_mv https://www.e-compos.org.br/e-compos/article/view/800
10.30962/ec.800
url https://www.e-compos.org.br/e-compos/article/view/800
identifier_str_mv 10.30962/ec.800
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://www.e-compos.org.br/e-compos/article/view/800/596
https://www.e-compos.org.br/e-compos/article/view/800/597
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eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
application/pdf
dc.publisher.none.fl_str_mv ABEC
publisher.none.fl_str_mv ABEC
dc.source.none.fl_str_mv E-Compós; Vol. 15 No. 2 (2012)
E-Compós; Vol. 15 Núm. 2 (2012)
E-Compós; v. 15 n. 2 (2012)
1808-2599
reponame:E-Compós
instname:Associação Nacional dos Programas de Pós-Graduação em Comunicação
instacron:ANPPC
instname_str Associação Nacional dos Programas de Pós-Graduação em Comunicação
instacron_str ANPPC
institution ANPPC
reponame_str E-Compós
collection E-Compós
repository.name.fl_str_mv E-Compós - Associação Nacional dos Programas de Pós-Graduação em Comunicação
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