A importância de Arlindo Cruz nas transformações do samba a partir da década de 1980
Autor(a) principal: | |
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Data de Publicação: | 2021 |
Tipo de documento: | Artigo de conferência |
Idioma: | por |
Título da fonte: | Repositório Institucional da UFS |
Texto Completo: | http://ri.ufs.br/jspui/handle/riufs/16494 http://dx.doi.org/10.29380/2021.15.12.09 |
Resumo: | Samba played in “backyards” is a tradition present in Brazilian culture since at least the beginning of the 20th century, as the literature reveals (LOPES, 1992; SANDRONI, 2001; VIANNA, 2004). This practice “survived” in the favelas of Rio de Janeiro and remained outside the phonographic industry until the “discovery” of Beth Carvalho and the music producer Rildo Hora in the 1970s, which gave rise to several transmutations in samba, which this work intends to discuss, especially those from Rio de Janeiro singer Arlindo Cruz. From a transdisciplinary perspective, anchored especially in authors such as Stuart Hall (2005), Hobsbawn (1997) and Tagg (1999), the objective is to reflect on the following questions: what are the characteristics of this new language? How do they dialogue with your historical time? In other words, it is intended to investigate, analyze and interpret sound aspects - lyrics, melody, harmony, rhythm and expression - and extra-sound - signs and signs manifested in the speeches, costumes and lifestyles of musicians - from hypothesis that such practices are hybrid constructions resulting from globalization, where different cultures break borders and interrelate creating new “subcultures”. This process is characteristic of what Hall (2005) calls “cultural identity in post-modernity”. |
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Meneses, João Luís dos Santos2022-10-07T23:34:34Z2022-10-07T23:34:34Z2021-091982-3657http://ri.ufs.br/jspui/handle/riufs/16494Autorização para publicação no Repositório Institucional da Universidade Federal de Sergipe (RIUFS) concedida pelo(s) editor(es).http://dx.doi.org/10.29380/2021.15.12.09Samba played in “backyards” is a tradition present in Brazilian culture since at least the beginning of the 20th century, as the literature reveals (LOPES, 1992; SANDRONI, 2001; VIANNA, 2004). This practice “survived” in the favelas of Rio de Janeiro and remained outside the phonographic industry until the “discovery” of Beth Carvalho and the music producer Rildo Hora in the 1970s, which gave rise to several transmutations in samba, which this work intends to discuss, especially those from Rio de Janeiro singer Arlindo Cruz. From a transdisciplinary perspective, anchored especially in authors such as Stuart Hall (2005), Hobsbawn (1997) and Tagg (1999), the objective is to reflect on the following questions: what are the characteristics of this new language? How do they dialogue with your historical time? In other words, it is intended to investigate, analyze and interpret sound aspects - lyrics, melody, harmony, rhythm and expression - and extra-sound - signs and signs manifested in the speeches, costumes and lifestyles of musicians - from hypothesis that such practices are hybrid constructions resulting from globalization, where different cultures break borders and interrelate creating new “subcultures”. This process is characteristic of what Hall (2005) calls “cultural identity in post-modernity”.O samba tocado nos “fundos de quintal” é uma tradição presente na cultura brasileira desde pelo menos o início do século XX, como revela a literatura (LOPES, 1992; SANDRONI, 2001; VIANNA, 2004). Tal prática “sobreviveu” nas favelas cariocas e permaneceu alheia à indústria fonográfica até a “descoberta” de Beth Carvalho e do produtor musical Rildo Hora na década de 1970, o que originou diversas transmutações no samba, sobre as quais este trabalho pretende discutir, especialmente aquelas provenientes do cantor carioca Arlindo Cruz. Sob a perspectiva transdisciplinar, ancorada especialmente em autores como Stuart Hall (2005), Hobsbawn (1997) e Tagg (1999), objetiva-se refletir sobre as seguintes perguntas: quais são as características dessa nova linguagem? Como elas dialogam com o seu tempo histórico? Em outras palavras, pretende-se investigar, analisar e interpretar aspectos sonoros – letra, melodia, harmonia, ritmo e expressão - e extra-sonoros - signos e sinais manifestados nos discursos, na idumentária e nos estilos de vida dos músicos - a partir da hipótese de que tais práticas são construções híbridas decorrentes da mundialização, onde as culturas distintas rompem fronteiras e se inter-relacionam criando novas “subculturas”. Tal processo é característico do que Hall (2005) chama de “identidade cultural na pós-modernidade”.São CristóvãoporGrupo de Pesquisa CNPq/UFS Educação e Contemporaneidade (EDUCON)Anais do XV Colóquio Internacional Educação e ContemporaneidadeSambaPagodeIdentidade culturalMusicologiaCultural identityMusicologyA importância de Arlindo Cruz nas transformações do samba a partir da década de 1980The importance of Arlindo Cruz in the transformations of samba since the 1980sinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/conferenceObjectreponame:Repositório Institucional da UFSinstname:Universidade Federal de Sergipe (UFS)instacron:UFSinfo:eu-repo/semantics/openAccessTEXTImportanciaArlindoCruzTransformacoesSamba.pdf.txtImportanciaArlindoCruzTransformacoesSamba.pdf.txtExtracted texttext/plain42604https://ri.ufs.br/jspui/bitstream/riufs/16494/3/ImportanciaArlindoCruzTransformacoesSamba.pdf.txt882b92aea57e1a76b8cce2c4cc4d825eMD53THUMBNAILImportanciaArlindoCruzTransformacoesSamba.pdf.jpgImportanciaArlindoCruzTransformacoesSamba.pdf.jpgGenerated Thumbnailimage/jpeg1506https://ri.ufs.br/jspui/bitstream/riufs/16494/4/ImportanciaArlindoCruzTransformacoesSamba.pdf.jpg1e1f8f9e1f59c96e46ecc7388a66acf4MD54LICENSElicense.txtlicense.txttext/plain; charset=utf-81475https://ri.ufs.br/jspui/bitstream/riufs/16494/1/license.txt098cbbf65c2c15e1fb2e49c5d306a44cMD51ORIGINALImportanciaArlindoCruzTransformacoesSamba.pdfImportanciaArlindoCruzTransformacoesSamba.pdfapplication/pdf1940913https://ri.ufs.br/jspui/bitstream/riufs/16494/2/ImportanciaArlindoCruzTransformacoesSamba.pdf7f872286b26c618511a8b5617d95380eMD52riufs/164942022-10-07 20:34:34.797oai:ufs.br:riufs/16494TElDRU7Dh0EgREUgRElTVFJJQlVJw4fDg08gTsODTy1FWENMVVNJVkEKCkNvbSBhIGFwcmVzZW50YcOnw6NvIGRlc3RhIGxpY2Vuw6dhLCB2b2PDqiAobyBhdXRvcihlcykgb3UgbyB0aXR1bGFyIGRvcyBkaXJlaXRvcyBkZSBhdXRvcikgY29uY2VkZSDDoCBVbml2ZXJzaWRhZGUgRmVkZXJhbCBkZSBTZXJnaXBlIG8gZGlyZWl0byBuw6NvLWV4Y2x1c2l2byBkZSByZXByb2R1emlyIHNldSB0cmFiYWxobyBubyBmb3JtYXRvIGVsZXRyw7RuaWNvLCBpbmNsdWluZG8gb3MgZm9ybWF0b3Mgw6F1ZGlvIG91IHbDrWRlby4KClZvY8OqIGNvbmNvcmRhIHF1ZSBhIFVuaXZlcnNpZGFkZSBGZWRlcmFsIGRlIFNlcmdpcGUgcG9kZSwgc2VtIGFsdGVyYXIgbyBjb250ZcO6ZG8sIHRyYW5zcG9yIHNldSB0cmFiYWxobyBwYXJhIHF1YWxxdWVyIG1laW8gb3UgZm9ybWF0byBwYXJhIGZpbnMgZGUgcHJlc2VydmHDp8Ojby4KClZvY8OqIHRhbWLDqW0gY29uY29yZGEgcXVlIGEgVW5pdmVyc2lkYWRlIEZlZGVyYWwgZGUgU2VyZ2lwZSBwb2RlIG1hbnRlciBtYWlzIGRlIHVtYSBjw7NwaWEgZGUgc2V1IHRyYWJhbGhvIHBhcmEgZmlucyBkZSBzZWd1cmFuw6dhLCBiYWNrLXVwIGUgcHJlc2VydmHDp8Ojby4KClZvY8OqIGRlY2xhcmEgcXVlIHNldSB0cmFiYWxobyDDqSBvcmlnaW5hbCBlIHF1ZSB2b2PDqiB0ZW0gbyBwb2RlciBkZSBjb25jZWRlciBvcyBkaXJlaXRvcyBjb250aWRvcyBuZXN0YSBsaWNlbsOnYS4gVm9jw6ogdGFtYsOpbSBkZWNsYXJhIHF1ZSBvIGRlcMOzc2l0bywgcXVlIHNlamEgZGUgc2V1IGNvbmhlY2ltZW50bywgbsOjbyBpbmZyaW5nZSBkaXJlaXRvcyBhdXRvcmFpcyBkZSBuaW5ndcOpbS4KCkNhc28gbyB0cmFiYWxobyBjb250ZW5oYSBtYXRlcmlhbCBxdWUgdm9jw6ogbsOjbyBwb3NzdWkgYSB0aXR1bGFyaWRhZGUgZG9zIGRpcmVpdG9zIGF1dG9yYWlzLCB2b2PDqiBkZWNsYXJhIHF1ZSBvYnRldmUgYSBwZXJtaXNzw6NvIGlycmVzdHJpdGEgZG8gZGV0ZW50b3IgZG9zIGRpcmVpdG9zIGF1dG9yYWlzIHBhcmEgY29uY2VkZXIgw6AgVW5pdmVyc2lkYWRlIEZlZGVyYWwgZGUgU2VyZ2lwZSBvcyBkaXJlaXRvcyBhcHJlc2VudGFkb3MgbmVzdGEgbGljZW7Dp2EsIGUgcXVlIGVzc2UgbWF0ZXJpYWwgZGUgcHJvcHJpZWRhZGUgZGUgdGVyY2Vpcm9zIGVzdMOhIGNsYXJhbWVudGUgaWRlbnRpZmljYWRvIGUgcmVjb25oZWNpZG8gbm8gdGV4dG8gb3Ugbm8gY29udGXDumRvLgoKQSBVbml2ZXJzaWRhZGUgRmVkZXJhbCBkZSBTZXJnaXBlIHNlIGNvbXByb21ldGUgYSBpZGVudGlmaWNhciBjbGFyYW1lbnRlIG8gc2V1IG5vbWUocykgb3UgbyhzKSBub21lKHMpIGRvKHMpIApkZXRlbnRvcihlcykgZG9zIGRpcmVpdG9zIGF1dG9yYWlzIGRvIHRyYWJhbGhvLCBlIG7Do28gZmFyw6EgcXVhbHF1ZXIgYWx0ZXJhw6fDo28sIGFsw6ltIGRhcXVlbGFzIGNvbmNlZGlkYXMgcG9yIGVzdGEgbGljZW7Dp2EuIAo=Repositório InstitucionalPUBhttps://ri.ufs.br/oai/requestrepositorio@academico.ufs.bropendoar:2022-10-07T23:34:34Repositório Institucional da UFS - Universidade Federal de Sergipe (UFS)false |
dc.title.pt_BR.fl_str_mv |
A importância de Arlindo Cruz nas transformações do samba a partir da década de 1980 |
dc.title.alternative.por.fl_str_mv |
The importance of Arlindo Cruz in the transformations of samba since the 1980s |
title |
A importância de Arlindo Cruz nas transformações do samba a partir da década de 1980 |
spellingShingle |
A importância de Arlindo Cruz nas transformações do samba a partir da década de 1980 Meneses, João Luís dos Santos Samba Pagode Identidade cultural Musicologia Cultural identity Musicology |
title_short |
A importância de Arlindo Cruz nas transformações do samba a partir da década de 1980 |
title_full |
A importância de Arlindo Cruz nas transformações do samba a partir da década de 1980 |
title_fullStr |
A importância de Arlindo Cruz nas transformações do samba a partir da década de 1980 |
title_full_unstemmed |
A importância de Arlindo Cruz nas transformações do samba a partir da década de 1980 |
title_sort |
A importância de Arlindo Cruz nas transformações do samba a partir da década de 1980 |
author |
Meneses, João Luís dos Santos |
author_facet |
Meneses, João Luís dos Santos |
author_role |
author |
dc.contributor.author.fl_str_mv |
Meneses, João Luís dos Santos |
dc.subject.por.fl_str_mv |
Samba Pagode Identidade cultural Musicologia Cultural identity Musicology |
topic |
Samba Pagode Identidade cultural Musicologia Cultural identity Musicology |
description |
Samba played in “backyards” is a tradition present in Brazilian culture since at least the beginning of the 20th century, as the literature reveals (LOPES, 1992; SANDRONI, 2001; VIANNA, 2004). This practice “survived” in the favelas of Rio de Janeiro and remained outside the phonographic industry until the “discovery” of Beth Carvalho and the music producer Rildo Hora in the 1970s, which gave rise to several transmutations in samba, which this work intends to discuss, especially those from Rio de Janeiro singer Arlindo Cruz. From a transdisciplinary perspective, anchored especially in authors such as Stuart Hall (2005), Hobsbawn (1997) and Tagg (1999), the objective is to reflect on the following questions: what are the characteristics of this new language? How do they dialogue with your historical time? In other words, it is intended to investigate, analyze and interpret sound aspects - lyrics, melody, harmony, rhythm and expression - and extra-sound - signs and signs manifested in the speeches, costumes and lifestyles of musicians - from hypothesis that such practices are hybrid constructions resulting from globalization, where different cultures break borders and interrelate creating new “subcultures”. This process is characteristic of what Hall (2005) calls “cultural identity in post-modernity”. |
publishDate |
2021 |
dc.date.issued.fl_str_mv |
2021-09 |
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2022-10-07T23:34:34Z |
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2022-10-07T23:34:34Z |
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Autorização para publicação no Repositório Institucional da Universidade Federal de Sergipe (RIUFS) concedida pelo(s) editor(es). |
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http://dx.doi.org/10.29380/2021.15.12.09 |
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1982-3657 Autorização para publicação no Repositório Institucional da Universidade Federal de Sergipe (RIUFS) concedida pelo(s) editor(es). |
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