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Master's Dissertation
DOI
10.11606/D.27.2013.tde-07032014-152528
Document
Author
Full name
André Araújo Lima da Cunha
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2013
Supervisor
Committee
Castro, Marcos Camara de (President)
Hikiji, Rose Satiko Gitirana
Jardim, Gilmar Roberto
Title in Portuguese
Rogério Duprat, o quarto Mutante: a trajetória do compositor vanguardista junto ao grupo de rock brasileiro
Keywords in Portuguese
Contracultura
Música Nova
Mutantes
Rock
Rogério Duprat
Tropicalismo
Abstract in Portuguese
Este trabalho apresenta de maneira analítica, um panorama sobre a atuação do compositor e arranjador Rogério Duprat junto ao grupo Os Mutantes. Sobretudo, imprimindo uma visão prática sobre as atividades do compositor vanguardista através do grupo de rock brasileiro, enquanto possível desdobramento e continuação das proposições estéticas vanguardistas manifestas pelo próprio compositor, desde seu envolvimento com o Movimento de Música Nova do início da década de 1960, transcendendo sua participação no chamado Movimento Tropicalista e o cenário musical brasileiro de fins da mesma década. As observações feitas neste trabalho evidenciam as posições do compositor, pelo abandono das dicotomias erudito x popular, na integração de elementos musicais inusitados na obra do conjunto, diante de seu desejo de diálogo com os valores contraculturais que se apresentaram na época, através da guitarra elétrica e o rock
Keywords in English
Counterculture
Música Nova
Mutantes
Rock
Rogério Duprat
Tropicalismo
Abstract in English
This study presents an analytical overview of the role of composer and arranger Rogério Duprat with the band Os Mutantes. Above all, it prints a practical insight into the activities of the vanguardist composer through the Brazilian rock group, and enables an unfolding and possible continuation of the avant-garde aesthetic propositions expressed by the composer himself, from his involvement with the Música Nova Movement in the early 1960's, transcending his participation in the Tropicália Movement and the Brazilian music scene at the end of the same decade. The notes made in this study show the composer's position by the abandonment of the classical vs. popular dichotomy in the integration of unusual musical elements in the work assembly before his longing to dialogue with countercultural values that were present at the time, through electric guitar and rock.
 
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Publishing Date
2014-03-07
 
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