Between rupture and resumption: criticism of the dominant memory of bossa nova

Detalhes bibliográficos
Autor(a) principal: Vargas, Herom
Data de Publicação: 2017
Outros Autores: Bruck, Mozahir Salomão
Tipo de documento: Artigo
Idioma: por
eng
Título da fonte: Matrizes (Online)
Texto Completo: https://www.revistas.usp.br/matrizes/article/view/134705
Resumo: In this article, we propose to problematize the dominant memory of bossa nova which identifies it as a break with the language of samba-canção, bolero and samba – the latter as it was played on the acoustic guitar at the time – as an aesthetic of rupture that established for the Brazilian popular music an original and modern landmark. The new of bossa nova deserves to be rethought, because, when analyzing the genesis of the genre, its musical aspects and language, it is possible to observe that, in part, it has only reconfigured or gave a new plasticity for samba and samba-canção, being faithful and linked to these songs lineages. The concepts about collective memory, from M. Pollak, and culture as memory, from I. Lotman, are the conceptual basis of the argumentation.
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spelling Between rupture and resumption: criticism of the dominant memory of bossa novaEntre ruptura e retomada: crítica à memória dominante da bossa novaBossa novamemorypopular musicBossa novamemóriamúsica popularIn this article, we propose to problematize the dominant memory of bossa nova which identifies it as a break with the language of samba-canção, bolero and samba – the latter as it was played on the acoustic guitar at the time – as an aesthetic of rupture that established for the Brazilian popular music an original and modern landmark. The new of bossa nova deserves to be rethought, because, when analyzing the genesis of the genre, its musical aspects and language, it is possible to observe that, in part, it has only reconfigured or gave a new plasticity for samba and samba-canção, being faithful and linked to these songs lineages. The concepts about collective memory, from M. Pollak, and culture as memory, from I. Lotman, are the conceptual basis of the argumentation.Neste artigo, propomos problematizar a memória dominante da bossa nova que a identifica como um rompimento com as linguagens do samba-canção, do bolero e do samba – este na forma como era tocado ao violão na época – como uma estética de ruptura que estabeleceu para a música popular brasileira um marco original e moderno. O novo da bossa nova merece ser repensado, pois, ao analisar a gênese do gênero e os aspectos musicais e de linguagem, é possível observar que, em parte, ele apenas reconfigurou ou deu nova plasticidade ao samba e ao samba-canção, permanecendo tributária e ligada dessas linhagens da canção. Os conceitos de memória coletiva, de M. Pollak, e de cultura como memória, de I. Lotman, são a base conceitual da argumentação.Universidade de São Paulo. Escola de Comunicações e Artes, Programa de Pós-Graduação em Ciências da Comunicação2017-12-27info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfapplication/pdfhttps://www.revistas.usp.br/matrizes/article/view/13470510.11606/issn.1982-8160.v11i3p221-239MATRIZes; v. 11 n. 3 (2017); 221-239MATRIZes; Vol. 11 No 3 (2017); 221-239MATRIZes; V. 11 N. 3 (2017); 221-239MATRIZes; Vol. 11 No. 3 (2017); 221-239MATRIZes; Vol. 11 Núm. 3 (2017); 221-2391982-81601982-2073reponame:Matrizes (Online)instname:Universidade de São Paulo (USP)instacron:USPporenghttps://www.revistas.usp.br/matrizes/article/view/134705/137314https://www.revistas.usp.br/matrizes/article/view/134705/137311Copyright (c) 2017 Matrizesinfo:eu-repo/semantics/openAccessVargas, HeromBruck, Mozahir Salomão2020-06-04T23:35:51Zoai:revistas.usp.br:article/134705Revistahttps://www.revistas.usp.br/matrizesPUBhttps://www.revistas.usp.br/matrizes/oaimatrizes@usp.br1982-81601982-2073opendoar:2023-01-12T16:39:32.922374Matrizes (Online) - Universidade de São Paulo (USP)false
dc.title.none.fl_str_mv Between rupture and resumption: criticism of the dominant memory of bossa nova
Entre ruptura e retomada: crítica à memória dominante da bossa nova
title Between rupture and resumption: criticism of the dominant memory of bossa nova
spellingShingle Between rupture and resumption: criticism of the dominant memory of bossa nova
Vargas, Herom
Bossa nova
memory
popular music
Bossa nova
memória
música popular
title_short Between rupture and resumption: criticism of the dominant memory of bossa nova
title_full Between rupture and resumption: criticism of the dominant memory of bossa nova
title_fullStr Between rupture and resumption: criticism of the dominant memory of bossa nova
title_full_unstemmed Between rupture and resumption: criticism of the dominant memory of bossa nova
title_sort Between rupture and resumption: criticism of the dominant memory of bossa nova
author Vargas, Herom
author_facet Vargas, Herom
Bruck, Mozahir Salomão
author_role author
author2 Bruck, Mozahir Salomão
author2_role author
dc.contributor.author.fl_str_mv Vargas, Herom
Bruck, Mozahir Salomão
dc.subject.por.fl_str_mv Bossa nova
memory
popular music
Bossa nova
memória
música popular
topic Bossa nova
memory
popular music
Bossa nova
memória
música popular
description In this article, we propose to problematize the dominant memory of bossa nova which identifies it as a break with the language of samba-canção, bolero and samba – the latter as it was played on the acoustic guitar at the time – as an aesthetic of rupture that established for the Brazilian popular music an original and modern landmark. The new of bossa nova deserves to be rethought, because, when analyzing the genesis of the genre, its musical aspects and language, it is possible to observe that, in part, it has only reconfigured or gave a new plasticity for samba and samba-canção, being faithful and linked to these songs lineages. The concepts about collective memory, from M. Pollak, and culture as memory, from I. Lotman, are the conceptual basis of the argumentation.
publishDate 2017
dc.date.none.fl_str_mv 2017-12-27
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://www.revistas.usp.br/matrizes/article/view/134705
10.11606/issn.1982-8160.v11i3p221-239
url https://www.revistas.usp.br/matrizes/article/view/134705
identifier_str_mv 10.11606/issn.1982-8160.v11i3p221-239
dc.language.iso.fl_str_mv por
eng
language por
eng
dc.relation.none.fl_str_mv https://www.revistas.usp.br/matrizes/article/view/134705/137314
https://www.revistas.usp.br/matrizes/article/view/134705/137311
dc.rights.driver.fl_str_mv Copyright (c) 2017 Matrizes
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Copyright (c) 2017 Matrizes
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
application/pdf
dc.publisher.none.fl_str_mv Universidade de São Paulo. Escola de Comunicações e Artes, Programa de Pós-Graduação em Ciências da Comunicação
publisher.none.fl_str_mv Universidade de São Paulo. Escola de Comunicações e Artes, Programa de Pós-Graduação em Ciências da Comunicação
dc.source.none.fl_str_mv MATRIZes; v. 11 n. 3 (2017); 221-239
MATRIZes; Vol. 11 No 3 (2017); 221-239
MATRIZes; V. 11 N. 3 (2017); 221-239
MATRIZes; Vol. 11 No. 3 (2017); 221-239
MATRIZes; Vol. 11 Núm. 3 (2017); 221-239
1982-8160
1982-2073
reponame:Matrizes (Online)
instname:Universidade de São Paulo (USP)
instacron:USP
instname_str Universidade de São Paulo (USP)
instacron_str USP
institution USP
reponame_str Matrizes (Online)
collection Matrizes (Online)
repository.name.fl_str_mv Matrizes (Online) - Universidade de São Paulo (USP)
repository.mail.fl_str_mv matrizes@usp.br
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