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Mémoire de Maîtrise
DOI
10.11606/D.31.2019.tde-16012019-142633
Document
Auteur
Nom complet
Patrícia Anette Schroeder Gonçalves
Adresse Mail
Unité de l'USP
Domain de Connaissance
Date de Soutenance
Editeur
São Paulo, 2018
Directeur
Jury
Silveira Junior, Walter Garcia da (Président)
Alambert Junior, Francisco Cabral
Coelho, Frederico Oliveira
Toledo, Carlos de Almeida
Titre en portugais
Três ensaios sobre a Tropicália de Tom Zé: da 'Era dos Festivais' à 'Era dos Editais'
Mots-clés en portugais
Canção
Indústria Cultural
Interdisciplinaridade
Literatura Comparada
Tom Zé
Tropicalismo
Resumé en portugais
Os três ensaios a seguir procuram tratar, de maneira interdisciplinar, do cancionista Tom Zé e de sua obra em sua relação com a Tropicália e a indústria fonográfica em três tempos: na década de 1960, às voltas de sua premiação no IV Festival da Música Popular Brasileira da TV Record em 1968; na década de 2000, quando efemérides celebram o tropicalismo, Tom Zé retoma sua atividade musical midiática com o selo de David Byrne e também publica Tropicalista Lenta Luta (2003); e na década de 2010, quando o cancionista grava o disco Tropicália Lixo Lógico (2012), um dos projetos contemplados pelo financiamento do edital Natura Musical 2011. Em diálogo com a bibliografia sobre Indústria Cultural, com a Teoria Crítica e com a bibliografia sobre o campo de Canção Comercial-Popular Brasileira, este trabalho procura uma reflexão sobre o arco que compreende, no percurso de Tom Zé como no mercado fonográfico brasileiro, a passagem de uma 'lógica do Festival' para uma possível 'lógica do Edital'; e sobre as figurações da Tropicália nas obras do cancionista, em especial observando as intersecções dessas representações com elementos regionais nordestinos.
Titre en anglais
Three essays about Tom Zé's Tropicália: from the Popular Music Festivals to the current public and private cultural fundings
Mots-clés en anglais
Brazilian Popular Music
Comparative Literature
Cultural Industry
Interdisciplinarity
Tom Ze
Tropicalia
Resumé en anglais
These three essays examine in an interdisciplinary approach composer Tom Ze's music path in three different periods: during the 1960's, when he was rewarded a prize in a television Brazilian Popular Music Festival in 1968; later in the 2000's, when the composer restarted his career putting an end to a long-term period of seclusion after David Byrne's record company Luaka Bop had launched a Tom Ze's song collection in United States; and in the early 2010's when the Brazilian musician recorded an album named Tropicália Lixo Lógico (2012), sponsored by a both public and private funding, in which he has emphasized the importance of his local roots in his work and in Tropicalia genesis itself. By establishing theoretical ties with the literature about Brazilian Cultural and Music Industries, with Critical Theory bibliography and with the study field about Popular Brazilian Song, jointly these essays reflect on the historical arch in Tom Ze's trajectory between the time of the 'great festivals' and the current policies of art financing in Brazil, also discussing how Tom Ze's works represent the Tropicalia movement itself, especially concerning their intersections with elements of Brazil's Northwest region.
 
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Date de Publication
2019-01-16
 
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