Villa-Lobos before Paris, or: how delicious my French was

Detalhes bibliográficos
Autor(a) principal: de Tarso Salles, Paulo
Data de Publicação: 2023
Outros Autores: Arcanjo Junior, Loque
Tipo de documento: Artigo
Idioma: por
Título da fonte: ArtCultura (Online)
Texto Completo: https://seer.ufu.br/index.php/artcultura/article/view/71191
Resumo: This article intends to rediscuss Paulo Guérios’s hypothesis, for whom a) Villa- Lobos started to build himself as a Brazilian composer after his first visit to Paris; b) the eventual nationalist works of Villa- Lobos, before Paris, were only “temporary projects” and his main objective was “to demonstrate to others and to himself that he was an artist”. Based on documentation obtained from periodicals and data offered by Guérios himself, a different interpretation of those data is proposed, which points out the composer as a musician who experienced popular culture as a young man from the outskirts, resorting to the “anthropophagic” assimilation of European culture to obtain sufficient support that made it possible for him to go to Paris, where, after the recognition of his poetics, he was able to give space to the musical representation of Brazilian culture, of which he became a kind of “ambassador”.
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spelling Villa-Lobos before Paris, or: how delicious my French wasVilla-Lobos antes de Paris, ou: como era gostoso o meu francêsVilla-LobosSemana de Arte ModernamodernismoVilla-LobosWeek of Modern ArtmodernismThis article intends to rediscuss Paulo Guérios’s hypothesis, for whom a) Villa- Lobos started to build himself as a Brazilian composer after his first visit to Paris; b) the eventual nationalist works of Villa- Lobos, before Paris, were only “temporary projects” and his main objective was “to demonstrate to others and to himself that he was an artist”. Based on documentation obtained from periodicals and data offered by Guérios himself, a different interpretation of those data is proposed, which points out the composer as a musician who experienced popular culture as a young man from the outskirts, resorting to the “anthropophagic” assimilation of European culture to obtain sufficient support that made it possible for him to go to Paris, where, after the recognition of his poetics, he was able to give space to the musical representation of Brazilian culture, of which he became a kind of “ambassador”.Este artigo pretende rediscutir a hipótese de Paulo Guérios, para quem a) Villa-Lobos passou a se construir como compositor brasileiro após sua primeira visita a Paris; b) as eventuais obras nacionalistas de Villa-Lobos, antes disso, foram apenas “projetos temporários” e seu principal objetivo era “demonstrar aos outros e a si próprio que era um artista”. A partir de documentação obtida em jornais de época e dados oferecidos pelo próprio Guérios, é proposta uma interpretação distinta desses dados que aponta o compositor como um músico que vivenciou a cultura popular como um jovem periférico, recorrendo à assimilação “antropofágica” da cultura europeia para obter apoios suficientes que possibilitaram sua ida a Paris, onde, após o reconhecimento de sua poética, pôde dar vazão à representação musical da cultura brasileira, da qual se tornou uma espécie de “embaixador”.Universidade Federal de Uberlândia2023-06-30info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://seer.ufu.br/index.php/artcultura/article/view/7119110.14393/artc-v25-n46-2023-71191ArtCultura; Vol. 25 No. 46 (2023): ArtCultura; 138-156ArtCultura; Vol. 25 Núm. 46 (2023): ArtCultura; 138-156ArtCultura; v. 25 n. 46 (2023): ArtCultura; 138-1562178-3845reponame:ArtCultura (Online)instname:Universidade Federal de Uberlândia (UFU)instacron:UFUporhttps://seer.ufu.br/index.php/artcultura/article/view/71191/37079de Tarso Salles, PauloArcanjo Junior, Loqueinfo:eu-repo/semantics/openAccess2023-12-01T18:58:25Zoai:ojs.www.seer.ufu.br:article/71191Revistahttp://www.seer.ufu.br/index.php/artcultura/indexPUBhttps://seer.ufu.br/index.php/artcultura/oaiakparanhos@uol.com.br||2178-38452178-3845opendoar:2023-12-01T18:58:25ArtCultura (Online) - Universidade Federal de Uberlândia (UFU)false
dc.title.none.fl_str_mv Villa-Lobos before Paris, or: how delicious my French was
Villa-Lobos antes de Paris, ou: como era gostoso o meu francês
title Villa-Lobos before Paris, or: how delicious my French was
spellingShingle Villa-Lobos before Paris, or: how delicious my French was
de Tarso Salles, Paulo
Villa-Lobos
Semana de Arte Moderna
modernismo
Villa-Lobos
Week of Modern Art
modernism
title_short Villa-Lobos before Paris, or: how delicious my French was
title_full Villa-Lobos before Paris, or: how delicious my French was
title_fullStr Villa-Lobos before Paris, or: how delicious my French was
title_full_unstemmed Villa-Lobos before Paris, or: how delicious my French was
title_sort Villa-Lobos before Paris, or: how delicious my French was
author de Tarso Salles, Paulo
author_facet de Tarso Salles, Paulo
Arcanjo Junior, Loque
author_role author
author2 Arcanjo Junior, Loque
author2_role author
dc.contributor.author.fl_str_mv de Tarso Salles, Paulo
Arcanjo Junior, Loque
dc.subject.por.fl_str_mv Villa-Lobos
Semana de Arte Moderna
modernismo
Villa-Lobos
Week of Modern Art
modernism
topic Villa-Lobos
Semana de Arte Moderna
modernismo
Villa-Lobos
Week of Modern Art
modernism
description This article intends to rediscuss Paulo Guérios’s hypothesis, for whom a) Villa- Lobos started to build himself as a Brazilian composer after his first visit to Paris; b) the eventual nationalist works of Villa- Lobos, before Paris, were only “temporary projects” and his main objective was “to demonstrate to others and to himself that he was an artist”. Based on documentation obtained from periodicals and data offered by Guérios himself, a different interpretation of those data is proposed, which points out the composer as a musician who experienced popular culture as a young man from the outskirts, resorting to the “anthropophagic” assimilation of European culture to obtain sufficient support that made it possible for him to go to Paris, where, after the recognition of his poetics, he was able to give space to the musical representation of Brazilian culture, of which he became a kind of “ambassador”.
publishDate 2023
dc.date.none.fl_str_mv 2023-06-30
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
format article
status_str publishedVersion
dc.identifier.uri.fl_str_mv https://seer.ufu.br/index.php/artcultura/article/view/71191
10.14393/artc-v25-n46-2023-71191
url https://seer.ufu.br/index.php/artcultura/article/view/71191
identifier_str_mv 10.14393/artc-v25-n46-2023-71191
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://seer.ufu.br/index.php/artcultura/article/view/71191/37079
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 Uberlândia
publisher.none.fl_str_mv Universidade Federal de Uberlândia
dc.source.none.fl_str_mv ArtCultura; Vol. 25 No. 46 (2023): ArtCultura; 138-156
ArtCultura; Vol. 25 Núm. 46 (2023): ArtCultura; 138-156
ArtCultura; v. 25 n. 46 (2023): ArtCultura; 138-156
2178-3845
reponame:ArtCultura (Online)
instname:Universidade Federal de Uberlândia (UFU)
instacron:UFU
instname_str Universidade Federal de Uberlândia (UFU)
instacron_str UFU
institution UFU
reponame_str ArtCultura (Online)
collection ArtCultura (Online)
repository.name.fl_str_mv ArtCultura (Online) - Universidade Federal de Uberlândia (UFU)
repository.mail.fl_str_mv akparanhos@uol.com.br||
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