Navegando por Assunto "Brega"

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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)
Canção para inglês ver: gêneros, identidades e relações de poder no carimbó e no brega
(Universidade Federal do Pará, 2015-02-27) SILVA JUNIOR, Antonio Carlos Fausto da; LIMA, Regina Lúcia Alves de; http://lattes.cnpq.br/8158415442871989
This Master’s Thesis is entitled Songs for the sake of the show: genres, identities and power relations in carimbó and brega, and it aims to analyze the meanings on cultural identities portrayed in carimbó and brega, two music genres promoted to the global market as authentic productions from the Pará state, northern Brazil. Our starting point for this work is the notion of communicative nature (MARTÍN-BARBERO, 2001) and the traits of communication process (FRANÇA. 2001) presented both by the carimbó and the brega. These notions help identify discursive strategies (CERTEAU, 2012) activated in the communication configuration of these music genres (JANOTTI JÚNIOR, 2006), so we are able to discuss meanings on cultural identities (HALL, 2011) based on these strategies. For that purpose, we use a) discourse analysis, and b) iconography and iconology, two research methods from the field of History of Art that provide the tools to work the discursive characteristics of the carimbó and the brega. The communication configuration of both genres is crossed by asymmetric relations of corporative, cultural and political power and foreshadows discursive strategies for the domestication of meanings on identities. These domesticated meanings, in their turn, are preferred in detriment of cultural hybridizations capable to stand as threat to the visibility of artists, producers, businessmen and politicians in a global market used to the consumption of regionalisms (HALL, 2011).