"Truce um triângulo no matulão [...] xote, maracatu e baião": a musicalidade de Luiz Gonzaga na construção da "identidade" nordestina
Autor(a) principal: | |
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Data de Publicação: | 2009 |
Tipo de documento: | Dissertação |
Idioma: | por |
Título da fonte: | Biblioteca Digital de Teses e Dissertações da PUC_SP |
Texto Completo: | https://tede2.pucsp.br/handle/handle/13192 |
Resumo: | The discussion about the Northeast and the political division of the country regionalization take part in the pathways institutors of history dynamics as a debate that goes beyond all discourses and power circles present in academic, politic, artistic, and literary points of view. This context has provided the structural elements of what can be called the invention or reinvention of spatial identities, place, the northeast region, and subject, the northeastern people. This dissertation discusses the musical production and the artistic trajectory of Luis Gonzaga, precisely with his invention of the baião and other genres that are appropriated by the accordionist, which served as structural discourses of the referred identity markers of a northeastern identity. The analysis of the songs (lyrics and rhythms) and the performance of the author served as discursive tactics for the construction of a northeastern imaginary. The baião and other genres played by a stage performance organization, called musical trio, forged a type of music which embedded itself naturally in the processes of identity negotiability with its audience. The discursive translation of northeast and northeastern people was also engendered through images and symbols retrieved from garments of regional traditions (the bandits and the cowboys) and reassigned meaning by the artist within a socially urban context.The musicality of Gonzaga was constructed in an intersection between the northeastern backwoods (backlands) and the urban centers (the civilized lands). His production of sounds, themes, and acoustic culture combined were linked to the northeastern regionalism. Gonzaga s music had the capacity to express a sense of northeastern identity (northeasternity or nordestinidade) which reverberated and found resonance in its audience (listeners/receivers). The analysis of the songs was systematically organized seeking to observe the themes that demonstrated and corroborated with the identity landmarks in regards to the northeastern territoriality. It should be noted that the use of such themes was genuinely related to social experiences lived and Gonzaga s musicality so that the themes presented in his repertoire were: drought, suffering, homesickness/nostalgia, baião, backwoods/backlands (countryside), aboio (the cry of the Brazilian cowboy), and cowboy among others. It is a dissertation examined within the perspective of Cultural History, approaching in its theoretical aspects the conceptual categories of identity, traditions, acoustic culture, social imaginary, performance, rural/urban, territory, images, cultural resistance and preservation, national-popular, hybridization, and other rhythms referenced in consonance with the ways of living, the symbolic values, customs and musical artistry. Finally, this work was constructed in a relationship of history with music and its forms of interpretation |
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Matos, Maria Izilda Santos dehttp://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4282723J6Moraes, Jonas Rodrigues de2016-04-27T19:32:43Z2014-05-232009-10-16Moraes, Jonas Rodrigues de. "Truce um triângulo no matulão [...] xote, maracatu e baião": a musicalidade de Luiz Gonzaga na construção da "identidade" nordestina. 2009. 223 f. Dissertação (Mestrado em História) - Pontifícia Universidade Católica de São Paulo, São Paulo, 2009.https://tede2.pucsp.br/handle/handle/13192The discussion about the Northeast and the political division of the country regionalization take part in the pathways institutors of history dynamics as a debate that goes beyond all discourses and power circles present in academic, politic, artistic, and literary points of view. This context has provided the structural elements of what can be called the invention or reinvention of spatial identities, place, the northeast region, and subject, the northeastern people. This dissertation discusses the musical production and the artistic trajectory of Luis Gonzaga, precisely with his invention of the baião and other genres that are appropriated by the accordionist, which served as structural discourses of the referred identity markers of a northeastern identity. The analysis of the songs (lyrics and rhythms) and the performance of the author served as discursive tactics for the construction of a northeastern imaginary. The baião and other genres played by a stage performance organization, called musical trio, forged a type of music which embedded itself naturally in the processes of identity negotiability with its audience. The discursive translation of northeast and northeastern people was also engendered through images and symbols retrieved from garments of regional traditions (the bandits and the cowboys) and reassigned meaning by the artist within a socially urban context.The musicality of Gonzaga was constructed in an intersection between the northeastern backwoods (backlands) and the urban centers (the civilized lands). His production of sounds, themes, and acoustic culture combined were linked to the northeastern regionalism. Gonzaga s music had the capacity to express a sense of northeastern identity (northeasternity or nordestinidade) which reverberated and found resonance in its audience (listeners/receivers). The analysis of the songs was systematically organized seeking to observe the themes that demonstrated and corroborated with the identity landmarks in regards to the northeastern territoriality. It should be noted that the use of such themes was genuinely related to social experiences lived and Gonzaga s musicality so that the themes presented in his repertoire were: drought, suffering, homesickness/nostalgia, baião, backwoods/backlands (countryside), aboio (the cry of the Brazilian cowboy), and cowboy among others. It is a dissertation examined within the perspective of Cultural History, approaching in its theoretical aspects the conceptual categories of identity, traditions, acoustic culture, social imaginary, performance, rural/urban, territory, images, cultural resistance and preservation, national-popular, hybridization, and other rhythms referenced in consonance with the ways of living, the symbolic values, customs and musical artistry. Finally, this work was constructed in a relationship of history with music and its forms of interpretationAs discussões sobre o Nordeste e a política de regionalização do país fazem parte dos percursos instituidores das dinâmicas da história, configurando-se enquanto debates que perpassam por todos os discursos e esferas de poder, tanto do ponto de vista acadêmico, político e artístico como do ponto de vista literário. Esse contexto forneceu elementos estruturantes do que se pode chamar de invenção ou reinvenção de identidades, a espacial, a de lugar, a da região Nordeste e a de nordestino. O presente trabalho discorre sobre a produção musical e a trajetória artística de Luiz Gonzaga, precisamente sobre a invenção do baião e os outros gêneros apropriados pelo sanfoneiro, os quais serviram como discursos fundantes dos referidos marcadores identitários. Verifica-se que as músicas (letras e ritmos) e a performance do autor serviram como táticas discursivas para a construção de um imaginário de Nordeste. O baião e outros gêneros tocados pelo trio musical organização performática de palco forjaram uma prática de música que entrou nos processos de negociação identitária com o seu público/ouvinte. A tradução discursiva de Nordeste e de nordestino foi engendrada também por imagens e símbolos a partir de uma indumentária retirada das tradições regionais (cangaceiros e vaqueiros) e ressignificada pelo artista dentro de um contexto social urbano. A musicalidade de Gonzaga foi construída no entrelugar sertão nordestino/ terras civilizadas. Sua produção de sons, temáticas e de cultura acústica, artisticamente combinados, foi vinculada ao regionalismo nordestino. A sonoridade gonzagueana teve a capacidade de expressar um sentimento de nordestinidade que reverberou e encontrou ressonância em seus ouvintes/receptores. As análises das músicas foram sistematizadas procurando-se observar os temas que demonstraram e corroboraram os marcos identitários nos aspectos da territorialidade nordestina. Deve-se salientar que o emprego de tais temáticas se relacionou com experiências sociais vividas e a musicalidade de Gonzaga; assim, os temas que se apresentaram em seu repertório foram: seca, sofrimento, saudade, baião, sertão, aboio, vaqueiros, entre outros. Trata-se de uma dissertação desenvolvida na perspectiva da História Cultural, abordando em seus aspectos teóricos as categorias conceituais de identidade, tradições, cultura acústica, imaginário, performance, campo/cidade, território, imagens, resistência cultural, nacional-popular, hibridação e ritmos, categorias estas abordadas sob a óptica dos modos de vida, dos valores simbólicos, dos costumes e da arte musical. Enfim, este trabalho se constrói numa relação da história com a música e suas formas de interpretaçãoFundação Fordapplication/pdfapplication/ziphttp://tede2.pucsp.br/tede/retrieve/25909/Jonas%20Rodrigues%20de%20Moraes.pdf.jpgporPontifícia Universidade Católica de São PauloPrograma de Estudos Pós-Graduados em HistóriaPUC-SPBRHistóriaMúsica e históriaIdentidade nordestinaGonzaga, Luiz -- 1912-1989 -- Critica e interpretacaoNordestinos -- Brasil -- Identidade socialMusica popular -- Brasil -- Historia e criticaBaiao (Musica)Music and historyNortheastern identityBaiãoCNPQ::CIENCIAS HUMANAS::HISTORIA"Truce um triângulo no matulão [...] xote, maracatu e baião": a musicalidade de Luiz Gonzaga na construção da "identidade" nordestinainfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesisinfo:eu-repo/semantics/openAccessreponame:Biblioteca Digital de Teses e Dissertações da PUC_SPinstname:Pontifícia Universidade Católica de São Paulo (PUC-SP)instacron:PUC_SPTEXTJonas Rodrigues de Moraes.pdf.txtJonas Rodrigues de Moraes.pdf.txtExtracted texttext/plain561299https://repositorio.pucsp.br/xmlui/bitstream/handle/13192/3/Jonas%20Rodrigues%20de%20Moraes.pdf.txte0777b45496e68b2cdaef67fb825bf57MD53ORIGINALJonas Rodrigues de Moraes.pdfapplication/pdf12812808https://repositorio.pucsp.br/xmlui/bitstream/handle/13192/1/Jonas%20Rodrigues%20de%20Moraes.pdff810ff035998b07d3da34bc9fcf2bdc6MD51THUMBNAILJonas Rodrigues de Moraes.pdf.jpgJonas Rodrigues de Moraes.pdf.jpgGenerated Thumbnailimage/jpeg3981https://repositorio.pucsp.br/xmlui/bitstream/handle/13192/2/Jonas%20Rodrigues%20de%20Moraes.pdf.jpg2f208e06168b7a5836a70791562f07d8MD52handle/131922022-04-27 20:30:57.494oai:repositorio.pucsp.br:handle/13192Biblioteca Digital de Teses e Dissertaçõeshttps://sapientia.pucsp.br/https://sapientia.pucsp.br/oai/requestbngkatende@pucsp.br||rapassi@pucsp.bropendoar:2022-04-27T23:30:57Biblioteca Digital de Teses e Dissertações da PUC_SP - Pontifícia Universidade Católica de São Paulo (PUC-SP)false |
dc.title.por.fl_str_mv |
"Truce um triângulo no matulão [...] xote, maracatu e baião": a musicalidade de Luiz Gonzaga na construção da "identidade" nordestina |
title |
"Truce um triângulo no matulão [...] xote, maracatu e baião": a musicalidade de Luiz Gonzaga na construção da "identidade" nordestina |
spellingShingle |
"Truce um triângulo no matulão [...] xote, maracatu e baião": a musicalidade de Luiz Gonzaga na construção da "identidade" nordestina Moraes, Jonas Rodrigues de Música e história Identidade nordestina Gonzaga, Luiz -- 1912-1989 -- Critica e interpretacao Nordestinos -- Brasil -- Identidade social Musica popular -- Brasil -- Historia e critica Baiao (Musica) Music and history Northeastern identity Baião CNPQ::CIENCIAS HUMANAS::HISTORIA |
title_short |
"Truce um triângulo no matulão [...] xote, maracatu e baião": a musicalidade de Luiz Gonzaga na construção da "identidade" nordestina |
title_full |
"Truce um triângulo no matulão [...] xote, maracatu e baião": a musicalidade de Luiz Gonzaga na construção da "identidade" nordestina |
title_fullStr |
"Truce um triângulo no matulão [...] xote, maracatu e baião": a musicalidade de Luiz Gonzaga na construção da "identidade" nordestina |
title_full_unstemmed |
"Truce um triângulo no matulão [...] xote, maracatu e baião": a musicalidade de Luiz Gonzaga na construção da "identidade" nordestina |
title_sort |
"Truce um triângulo no matulão [...] xote, maracatu e baião": a musicalidade de Luiz Gonzaga na construção da "identidade" nordestina |
author |
Moraes, Jonas Rodrigues de |
author_facet |
Moraes, Jonas Rodrigues de |
author_role |
author |
dc.contributor.advisor1.fl_str_mv |
Matos, Maria Izilda Santos de |
dc.contributor.authorLattes.fl_str_mv |
http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4282723J6 |
dc.contributor.author.fl_str_mv |
Moraes, Jonas Rodrigues de |
contributor_str_mv |
Matos, Maria Izilda Santos de |
dc.subject.por.fl_str_mv |
Música e história Identidade nordestina Gonzaga, Luiz -- 1912-1989 -- Critica e interpretacao Nordestinos -- Brasil -- Identidade social Musica popular -- Brasil -- Historia e critica Baiao (Musica) |
topic |
Música e história Identidade nordestina Gonzaga, Luiz -- 1912-1989 -- Critica e interpretacao Nordestinos -- Brasil -- Identidade social Musica popular -- Brasil -- Historia e critica Baiao (Musica) Music and history Northeastern identity Baião CNPQ::CIENCIAS HUMANAS::HISTORIA |
dc.subject.eng.fl_str_mv |
Music and history Northeastern identity Baião |
dc.subject.cnpq.fl_str_mv |
CNPQ::CIENCIAS HUMANAS::HISTORIA |
description |
The discussion about the Northeast and the political division of the country regionalization take part in the pathways institutors of history dynamics as a debate that goes beyond all discourses and power circles present in academic, politic, artistic, and literary points of view. This context has provided the structural elements of what can be called the invention or reinvention of spatial identities, place, the northeast region, and subject, the northeastern people. This dissertation discusses the musical production and the artistic trajectory of Luis Gonzaga, precisely with his invention of the baião and other genres that are appropriated by the accordionist, which served as structural discourses of the referred identity markers of a northeastern identity. The analysis of the songs (lyrics and rhythms) and the performance of the author served as discursive tactics for the construction of a northeastern imaginary. The baião and other genres played by a stage performance organization, called musical trio, forged a type of music which embedded itself naturally in the processes of identity negotiability with its audience. The discursive translation of northeast and northeastern people was also engendered through images and symbols retrieved from garments of regional traditions (the bandits and the cowboys) and reassigned meaning by the artist within a socially urban context.The musicality of Gonzaga was constructed in an intersection between the northeastern backwoods (backlands) and the urban centers (the civilized lands). His production of sounds, themes, and acoustic culture combined were linked to the northeastern regionalism. Gonzaga s music had the capacity to express a sense of northeastern identity (northeasternity or nordestinidade) which reverberated and found resonance in its audience (listeners/receivers). The analysis of the songs was systematically organized seeking to observe the themes that demonstrated and corroborated with the identity landmarks in regards to the northeastern territoriality. It should be noted that the use of such themes was genuinely related to social experiences lived and Gonzaga s musicality so that the themes presented in his repertoire were: drought, suffering, homesickness/nostalgia, baião, backwoods/backlands (countryside), aboio (the cry of the Brazilian cowboy), and cowboy among others. It is a dissertation examined within the perspective of Cultural History, approaching in its theoretical aspects the conceptual categories of identity, traditions, acoustic culture, social imaginary, performance, rural/urban, territory, images, cultural resistance and preservation, national-popular, hybridization, and other rhythms referenced in consonance with the ways of living, the symbolic values, customs and musical artistry. Finally, this work was constructed in a relationship of history with music and its forms of interpretation |
publishDate |
2009 |
dc.date.issued.fl_str_mv |
2009-10-16 |
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2014-05-23 |
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2016-04-27T19:32:43Z |
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Moraes, Jonas Rodrigues de. "Truce um triângulo no matulão [...] xote, maracatu e baião": a musicalidade de Luiz Gonzaga na construção da "identidade" nordestina. 2009. 223 f. Dissertação (Mestrado em História) - Pontifícia Universidade Católica de São Paulo, São Paulo, 2009. |
dc.identifier.uri.fl_str_mv |
https://tede2.pucsp.br/handle/handle/13192 |
identifier_str_mv |
Moraes, Jonas Rodrigues de. "Truce um triângulo no matulão [...] xote, maracatu e baião": a musicalidade de Luiz Gonzaga na construção da "identidade" nordestina. 2009. 223 f. Dissertação (Mestrado em História) - Pontifícia Universidade Católica de São Paulo, São Paulo, 2009. |
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PUC-SP |
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História |
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Pontifícia Universidade Católica de São Paulo |
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