Teses em Artes (Doutorado) - PPGARTES/ICA

URI Permanente para esta coleçãohttps://repositorio.ufpa.br/handle/2011/11380

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Agora exibindo 1 - 5 de 5

Acesso aberto (Open Access)
O brega cibermórfico de Wanderley Andrade: pontos de inflexão no mercado musical contemporâneo
(Universidade Federal do Pará, 2023-01-30) SAGICA, Frank de Lima.; CHADA, Sonia Maria Moraes; http://lattes.cnpq.br/1004865944722134
This thesis proposes to investigate how the production, circulation and consumption of music developed during and after facing the pandemic caused by the SARS-CoV-2 virus, having as an ethnographic cut the singer Wanderley Andrade, approaching his production with an interpretative look , its adaptability and its articulations on the main digital platforms, which were profitable tools for the artist to maintain himself in the period of social isolation imposed as a way of containing the contagion and proliferation of COVID-19. I propose to focus on the point of inflection that demarcated the significant changes in the marketing and positional meaning of digital stops in the years 2020/2021 , focusing on the emergence and application of emergency public notices and cultural festivals created by the Government of the State of Pará, which were: Lei Aldir Blanc, Te Quieta em Casa and Minha Banda na Cultura . For this, an interview was conducted with the music artist, composer, researcher, music producer and director of the music department of the State Secretariat of Culture of Pará (SECULT) – Allan Carvalho. All of these measures were essential for the survival of many professionals, including not only artists, but also other music professionals, such as roadies, illuminators, sound technicians, DJs, among others. Through the transformations promoted by technological advances, this thesis proposed a new conceptual-analytical model, defined by me as neopersona cybermorphic , used for a better theoretical framework on the phenomenon of the new identity profile that transits in cyberspace, which has affective individuality , virtual nomadism and identity metamorphosis , particularities that support the construction of a mentality that constantly metamorphoses, as a result of technological advances in constant flux, a representative pattern of contemporary societies. It can be inferred that brega, in addition to its grounded conception as a rhythm, also comprises a series of conflicts, social and power relations; opposition to the dominant classes; of adaptations that were made in contrast to the new musical trends that emerged throughout history. In this sense, Wanderley Andrade is the perfect stereotype of this cybermorphic mutation, evidenced throughout his journey as a tacky artist, whether in the eclecticism of his musical repertoire, in his peculiar clothing or in the fusion of local and global aesthetics. This intellectual proposition also intends to launch material that can serve as a bibliographic base for future research that may relate to aspects related to a supposed cybernetic post-modernity. Virtual ethnography was used as a methodological tool, given the difficulty in collecting data in person, as a result of the isolation measures of the pandemic period. The use of new technologies and media, the adaptability of the music market, as well as the analysis of the everyday particularities of a society in transition are themes dear to this study, with ethnomusicology as an elementary key to elucidate the intermedium in which confluences and disruptions occur , among which: music market, glocalization , tribalism, tradition and technology, themes that can , consequently, bring contributions not only to the theoretical field but also to the cultural scope.
Acesso aberto (Open Access)
Como Estrela és David: um Miguel da cor de breu
(Universidade Federal do Pará, 2020-07-10) PUGET, Dayse Maria Pamplona; CHADA, Sonia Maria Moraes; http://lattes.cnpq.br/1004865944722134
David Miguel dos Santos, a composer from Pará born in the Jurunas neighborhood, in Belém do Pará, on December 29, 1926, and died in this same city, on February 19, 2000, is the object of this research. Investigating the factors that affect your creative process from an ethnomusicological perspective was the general objective of this research. The specific objectives were: to provide contextualized information about this composer, to provide a commented catalogue of his works, to describe his creative process and analyze the sambasplot of this composer. To achieve the proposed objectives, I conducted a bibliographic, discographic, imagery and audiovisual in various collections; launched assumptions of oral history (semi-structured interviews, testimonials and narratives), interpretation and analysis of the collected and recorded data, including: historical, contextual, cognitive, structural, textual and musical, with the theoretical support of authors of Ethnomusicology and Anthropology, among others, Béhague (1992), Blacking (2000), Merriam (1964), Nettl (2005) and Durand (2012). David Miguel, due to the importance of his work, is inserted in the place that is rightfully his: the Popular Music Of Pará.
Acesso aberto (Open Access)
Uma escola a céu aberto: a transmissão de saberes no Instituto Arraial do Pavulagem
(Universidade Federal do Pará, 2023-06-19) FAÇANHA, Tainá Maria Magalhães; CHADA, Sonia Maria Moraes; http://lattes.cnpq.br/1004865944722134
In this research, I focused my attention on the musical transmission practices in the context of the Arraial do Pavulagem Institute - IAPav. In the formative experiences for preparing the arrastões (street parades), which flow like a river into the streets of Belém, it is possible to highlight the way people interact, transmitting their knowledge and building processes of musical transmission. The general objective of this research consists in investigating the transmission of musical knowledge at the Arraial do Pavulagem Institute, considering its influence on the development of a contemporary musical performance. Specifically, my goals were understanding the musical practice of the Arraial do Pavulagem Institute from life narratives; describing the musical practice of the Arraial do Pavulagem Institute and the ways in which musical transmission is multiplied in the workshops, rehearsals and arrastões; and, finally, discussing the ways of learning and teaching music at the Arraial do Pavulagem Institute, pointing out which influences constitute the "pedagogical" aspects of musical transmission. The thesis is built up from a research conducted in three moments: in 2018 and 2019, with an extensive field research that resulted in a vast collection of audiovisual material; in 2020 and 2021, the field research was carried out virtually from the engagement of the community in the social media of IAPav and in the livestreams of Arraial do Futuro that adapted the street parades to the virtual world due to the social distancing required during the Covid-19 pandemic; and after the face-to-face return, in 2022, of the group's activities, which enabled a very unique experience of return to "normality" and the conducting of interviews that are part of the heart of this work. In this regard, this thesis succinctly made it possible to understand that musical transmission in the Arraial do Pavulagem occurs in a systematic manner in the workshops, primarily through orality. From dimensions linked to the daily experiences inside the Institute, whether in conversations with the masters, in the sharing of experiences with colleagues from the Batalhão da Estrela, or in the coexistence of the articulations of the makers of culture that are formed there, whether in political and/or artistic actions. Still, the transmission happens in the performance itself during the arrastões, in the sound fruition in the shows, and in the experience of the audition of the songs.
Acesso aberto (Open Access)
O Guitarrar Local: uma prática musical para além da Amazônia paraense
(Universidade Federal do Pará, 2023-07-07) CARAVEO, Saulo Christ; CHADA, Sonia Maria Moraes; http://lattes.cnpq.br/1004865944722134
The practice of Guitarrada is investigated here considering the configuration of social, political, cultural structures and its establishment as a founding musical genre of memory and identity in Pará. The broad transformations resulting from the modernization and globalization processes that occurred between the advent of Lambada and the consolidation of Guitarrada, submerged in a capitalist Entertainment Industry, reconfigured spaces and social dynamics, as well as the way of consuming, making and producing music, promoting the historiographic resizing, in memory and in the way in which cultural identities are constituted in the Paraense Amazon. Thus, such sociocultural manifestations that took place in these scenarios had an impact on the creation and dissemination of the Guitarrada genre, which is the result of paradigmatic transformations that represent the identities of this musical genre. Considering culture (HALL, 2011; CANCLINI, 2015), memory (HALBWACHS, 2006; CANDAU, 2012), and music (CARAVEO, 2019a, 2019b; CHADA, 2007; MENDÍVIL 2013, 2015 and 2022; MUKUNA, 2008; NETTL, 2005; SEEGER, 2008; SMALL, 1998) as related systems, I glimpse the thesis that deals with the changes and new musical identities in the Amazon, focusing mainly on the Guitarradas of Pará. The Amazon Region, with its space time multiculturalism of diverse musical practices, needs in-depth musical investigations that point to historical cultural fusion, considering, however, developments, perspectives and particular looks that present new diagnoses in the face of contexts that present themselves indissolubly in the present. Investigating the musical practices of the guitarists in Pará, observing from what perspectives social changes, globally and locally, affected musical production, altering symbolic cultural processes and determining the constitution of identities was the main objective of this proposal. The specific objectives were to describe the ethnographic procedures carried out throughout the research, identifying the broad and particular social transformations that made possible the descriptions and interpretations of musical phenomena that pointed to the guitar playing as a contemporary musical practice in Pará – the Local Guitarrar. To analyze Mestre Vieira's discography and to propose a contextual description that reveals the behavior and directions imposed by the Entertainment Industry and its impact on Mestre Vieira's work throughout his production. Point out aspects inherent to the processes of modernization and globalization that point to similar scenarios and dynamics that share with the constitution of identities and, therefore, under the aspects of musical changes and cultural transformations, point out cases of hand-over. In addition to reviewing the existing literature on the subject and bibliographical studies referring to historical and cultural subjects, under the light of ethnomusicology, an ethnographic description of the current contexts in which the practice of Guitarrada dynamics are made, semi-structured interviews that made possible the foundation of analytical arguments and musical analyzes of Mestre Vieira's phonographic production. The period covered by this research comprises the 1950s, an important post-war period in the world, and 2023, the year of completion of the thesis. Considering the analyzes carried out so far, the thesis was confirmed that Guitarrada, when emancipated from Lambada through Hand-over, configures itself in a modern, independent musical practice, with its own aesthetic identity, which determines musical changes, cultures and new perspectives for memory, culture, politics and music in the Brazilian Amazon.
Acesso aberto (Open Access)
Minha viola é de buriti: uma etnomusicologia aplicada-participativa-engajada sobre a musicalidade no quilombo Mumbuca, no Jalapão (TO)
(Universidade Federal do Pará, 2019-06-25) BONILLA, Marcus Facchin; CHADA, Sonia Maria Moraes; http://lattes.cnpq.br/1004865944722134

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Navegando Teses em Artes (Doutorado) - PPGARTES/ICA por Orientadores "CHADA, Sonia Maria Moraes"