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Doctoral Thesis
DOI
10.11606/T.27.2018.tde-25072018-154131
Document
Author
Full name
Carlos Fernando Elías Llanos
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2018
Supervisor
Committee
Castro, Marcos Camara de (President)
Amorim, Humberto
Antunes, Gilson Uehara Gimenes
Gloeden, Edelton
Reily, Suzel Ana
Title in Portuguese
Nem erudito, nem popular: por uma identidade transitiva do violão brasileiro
Keywords in Portuguese
Cânone do \"violão brasileiro\"
Etnomusicologia do violão
Violão e Identidade nacional
Abstract in Portuguese
A pesquisa apresenta o violão enquanto instrumento musical chave de leituras sociais, e sua performance enquanto dado etnográfico. Foram feitos questionamentos em torno da dimensão ideológica do assim chamado "violão brasileiro": a construção do(s) seu(s) discurso(s) e as relações de poder que implicam pensar em sua historiografia. Numa abordagem qualitativa, a tese baseia suas aproximações nas análises de teorias etnomusicológicas sobre os instrumentos musicais, numa amostra de teses e dissertações brasileiras focadas no violão, e entrevistas em profundidade com intérpretes, compositores, professores, luthiers, pesquisadores e jornalistas. Como resultado, nessa sistematização de atores, acepções e apropriações que o termo "violão brasileiro" suporta, apresenta-se categorias e modelos analíticos para compreender essa teia de instâncias sociais oriundas de uma "memória dos cordófonos dedilhados", memória esta reconhecida posteriormente no violão e que batizamos de "identidade transitiva".
Title in English
Neither classical, nor popular: for a "transitive identity" of the "Brazilian guitar"
Keywords in English
Canon of the "Brazilian guitar"
Ethnomusicology of the guitar
Guitar and National Identity
Abstract in English
The research presents the guitar as musical instrument and key reading in social aspects, and its performance as ethnographic data. Questions were raised about the ideological dimension of the so-called "Brazilian guitar": the construction of its discourse (s) and the power relations that imply thinking about its historiography. From a qualitative approach, the thesis bases its approaches in the analysis of ethnomusicological theories on musical instruments, in a sample of Brazilian theses and dissertations focusing on the guitar, and in-depth interviews with performers, composers, teachers, luthiers, researchers and journalists. As a result, in this systematization of actors, meanings and appropriations supported by the term "Brazilian guitar", categories and analytical models are presented to understand this assemblage of social instances originating from a "memory of the strumming cordophones", a memory later recognized in the guitar and which we call "transitive identity".
 
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Publishing Date
2018-07-25
 
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