A canção oculta: um estudo sobre a Vanguarda Paulista

• Autor(a) principal: Santos, Anája Souza [UNESP]
• Data de Publicação: 2015
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Repositório Institucional da UNESP
• Texto Completo: http://hdl.handle.net/11449/140256; http://www.athena.biblioteca.unesp.br/exlibris/bd/cathedra/07-06-2016/000866374.pdf
• topic: História; Contracultura; Vanguarda (Estetica) - São Paulo (SP); Música - História; Cultura - Aspectos sociológicos; Indústria musical - Brasil

In the end of the 70's and the mid of the 80's the neighborhood of Vila Madalena and Pinheiros in São Paulo witnessed the emergence of a musical scene which was named by the press at that time, mainly, as Vanguarda Paulista. In this work, we aim to understand in which way a group of (friends) musicians got together in the capital of São Paulo and forged a structure of feelings supported on the habits and values inherited by a countercultural experience which expressed in the commitment to the new, in terms of artistic aesthetics, and in a critical attitude towards the logic of the music industry production. From the focus on the discs Como Essa Mulher (Lira Paulistana, 1984) of Hermelino Neder, Sonora Garoa (1983, RCA) of Passoca and Outros Sons (Voo Livre, 1982) of Eliete Negreiros, we aim to understand how these works are bearer of individual aesthetic projects and so different from each other, but which can be also read as traces of an aesthetic/political project collectively constructed by those musicians who staged Vanguarda Paulista