Viola de dez cordas: entre a tradição e a contemporaneidade
Autor(a) principal: | |
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Data de Publicação: | 2013 |
Tipo de documento: | Dissertação |
Idioma: | por |
Título da fonte: | Repositório Institucional da UFMG |
Texto Completo: | http://hdl.handle.net/1843/AAGS-9G3H4H |
Resumo: | The primary aim of this research was, try to understand, based on a critical analisys of the ten strings viola, how and where was made the caipira tradition of this instrument. For which meanings and re-meanings it passed until it gain the nickname viola caipira and how are the index and icons that compose this caipira tradition of the viola, so musical so extra-musical. Furthermore, we also try to understand how this tradition is figure out and how it is presented nowadays. After that, the next aim was discuss how the notions of tradition and contemporarity act on ten strings viola in relationship with its execution, reception, learning or transmition in a way to trans-form, or not, its image that is, until that, intimately connected with the country world. Furthermore, was try to evaluate if, and in how level, this new scene, which seems full of dualisms, in one moment, antagonistic in other, complementary, influence and built the viola players performance in different generations, nowadays. To achieve this objectives, were made questionaries with some people which were related with the world of ten string viola, professionals, amateurs or its admirers. For a better construction of our argument, were also made interviews with some of the most important names of actual imagem of ten strings viola. These datas were confronted among them, with the literature and with the opinion of the author of this paper, which is a viola player too. |
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Viola de dez cordas: entre a tradição e a contemporaneidadeViola caipiratradiçãocontemporaneidadeviola de dez cordasViola caipiraMusicaThe primary aim of this research was, try to understand, based on a critical analisys of the ten strings viola, how and where was made the caipira tradition of this instrument. For which meanings and re-meanings it passed until it gain the nickname viola caipira and how are the index and icons that compose this caipira tradition of the viola, so musical so extra-musical. Furthermore, we also try to understand how this tradition is figure out and how it is presented nowadays. After that, the next aim was discuss how the notions of tradition and contemporarity act on ten strings viola in relationship with its execution, reception, learning or transmition in a way to trans-form, or not, its image that is, until that, intimately connected with the country world. Furthermore, was try to evaluate if, and in how level, this new scene, which seems full of dualisms, in one moment, antagonistic in other, complementary, influence and built the viola players performance in different generations, nowadays. To achieve this objectives, were made questionaries with some people which were related with the world of ten string viola, professionals, amateurs or its admirers. For a better construction of our argument, were also made interviews with some of the most important names of actual imagem of ten strings viola. These datas were confronted among them, with the literature and with the opinion of the author of this paper, which is a viola player too.O presente trabalho tem por objetivo, primeiramente, procurar compreender, através de uma análise crítica da história da viola de dez cordas, como se formou e onde se iniciou a tradição caipira do instrumento. Por quais significações e ressignificações que a viola de dez cordas passou até ser compreendida como viola caipira e quais são os índices e ícones que compõem essa tradição caipira do instrumento, sejam eles musicais ou extra-musicais. Além disso, procurou-se compreender, também, como essa tradição é entendida e como ela se apresenta, nos dias atuais. Após isso, o próximo objetivo foi discutir como as noções de tradição e contemporaneidade agem sobre a viola com relação aos níveis de execução, recepção, aprendizado ou transmissão de modo a trans-formar, ou não, a sua imagem até então, intimamente relacionada ao mundo caipira. Além disso, procurou-se avaliar se, e até que ponto, esse novo cenário, que parece pletórico de dualismos, hora antagônicos, hora complementares, influencia e molda a performance dos violeiros de diferentes gerações, nos dias atuais. Para a obtenção dos objetivos, foram realizados questionários normatizados com pessoas afeitas ao mundo da viola nos dias de hoje, sejam eles profissionais, amadores ou aficcionados pelo instrumento. Para um melhor embasamento da discussão do trabalho, também foram colhidos depoimentos de nomes reconhecidos atualmente como de grande importância para a construção da imagem da viola de dez cordas. Esses dados foram confrontados entre si, com a literatura e com a opinião do autor do trabalho, este, também, um profissional das dez cordas.Universidade Federal de Minas GeraisUFMGFlavio Terrigno BarbeitasEduardo Campolina Viana LoureiroGlaura LucasRenato Teixeira Almeida2019-08-10T15:55:29Z2019-08-10T15:55:29Z2013-10-31info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesisapplication/pdfhttp://hdl.handle.net/1843/AAGS-9G3H4Hinfo:eu-repo/semantics/openAccessporreponame:Repositório Institucional da UFMGinstname:Universidade Federal de Minas Gerais (UFMG)instacron:UFMG2019-11-14T10:16:15Zoai:repositorio.ufmg.br:1843/AAGS-9G3H4HRepositório InstitucionalPUBhttps://repositorio.ufmg.br/oairepositorio@ufmg.bropendoar:2019-11-14T10:16:15Repositório Institucional da UFMG - Universidade Federal de Minas Gerais (UFMG)false |
dc.title.none.fl_str_mv |
Viola de dez cordas: entre a tradição e a contemporaneidade |
title |
Viola de dez cordas: entre a tradição e a contemporaneidade |
spellingShingle |
Viola de dez cordas: entre a tradição e a contemporaneidade Renato Teixeira Almeida Viola caipira tradição contemporaneidade viola de dez cordas Viola caipira Musica |
title_short |
Viola de dez cordas: entre a tradição e a contemporaneidade |
title_full |
Viola de dez cordas: entre a tradição e a contemporaneidade |
title_fullStr |
Viola de dez cordas: entre a tradição e a contemporaneidade |
title_full_unstemmed |
Viola de dez cordas: entre a tradição e a contemporaneidade |
title_sort |
Viola de dez cordas: entre a tradição e a contemporaneidade |
author |
Renato Teixeira Almeida |
author_facet |
Renato Teixeira Almeida |
author_role |
author |
dc.contributor.none.fl_str_mv |
Flavio Terrigno Barbeitas Eduardo Campolina Viana Loureiro Glaura Lucas |
dc.contributor.author.fl_str_mv |
Renato Teixeira Almeida |
dc.subject.por.fl_str_mv |
Viola caipira tradição contemporaneidade viola de dez cordas Viola caipira Musica |
topic |
Viola caipira tradição contemporaneidade viola de dez cordas Viola caipira Musica |
description |
The primary aim of this research was, try to understand, based on a critical analisys of the ten strings viola, how and where was made the caipira tradition of this instrument. For which meanings and re-meanings it passed until it gain the nickname viola caipira and how are the index and icons that compose this caipira tradition of the viola, so musical so extra-musical. Furthermore, we also try to understand how this tradition is figure out and how it is presented nowadays. After that, the next aim was discuss how the notions of tradition and contemporarity act on ten strings viola in relationship with its execution, reception, learning or transmition in a way to trans-form, or not, its image that is, until that, intimately connected with the country world. Furthermore, was try to evaluate if, and in how level, this new scene, which seems full of dualisms, in one moment, antagonistic in other, complementary, influence and built the viola players performance in different generations, nowadays. To achieve this objectives, were made questionaries with some people which were related with the world of ten string viola, professionals, amateurs or its admirers. For a better construction of our argument, were also made interviews with some of the most important names of actual imagem of ten strings viola. These datas were confronted among them, with the literature and with the opinion of the author of this paper, which is a viola player too. |
publishDate |
2013 |
dc.date.none.fl_str_mv |
2013-10-31 2019-08-10T15:55:29Z 2019-08-10T15:55:29Z |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/masterThesis |
format |
masterThesis |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
http://hdl.handle.net/1843/AAGS-9G3H4H |
url |
http://hdl.handle.net/1843/AAGS-9G3H4H |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.rights.driver.fl_str_mv |
info:eu-repo/semantics/openAccess |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Universidade Federal de Minas Gerais UFMG |
publisher.none.fl_str_mv |
Universidade Federal de Minas Gerais UFMG |
dc.source.none.fl_str_mv |
reponame:Repositório Institucional da UFMG instname:Universidade Federal de Minas Gerais (UFMG) instacron:UFMG |
instname_str |
Universidade Federal de Minas Gerais (UFMG) |
instacron_str |
UFMG |
institution |
UFMG |
reponame_str |
Repositório Institucional da UFMG |
collection |
Repositório Institucional da UFMG |
repository.name.fl_str_mv |
Repositório Institucional da UFMG - Universidade Federal de Minas Gerais (UFMG) |
repository.mail.fl_str_mv |
repositorio@ufmg.br |
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1816829762424799232 |