O coro do Brasil: o Madrigal Renascentista e o contexto de seu percurso (1956-1962)
This work aims to analyze the course of Madrigal Renascentista, a choir of Belo Horizonte (Brazil) that was founded in 1956, and how it was directly responsible for beginning a change in perception of choirs in Brazil through its foundation. For a better understanding of conditions favorable to its...
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| Tipo de recurso: | tesis doctoral |
| Estado: | Versión publicada |
| Fecha de publicación: | 2015 |
| País: | Brasil |
| Institución: | Universidade Federal de Minas Gerais (UFMG) |
| Repositorio: | Repositório Institucional da UFMG |
| Idioma: | portugués |
| OAI Identifier: | oai:repositorio.ufmg.br:1843/BUBD-9Z5H22 |
| Acceso en línea: | http://hdl.handle.net/1843/BUBD-9Z5H22 |
| Access Level: | acceso abierto |
| Palabra clave: | Diplomacia cultural Isaac Karabtchevsky Belo Horizonte Madrigal Renascentista Música coral Belo Horizonte (MG) História História Karabtchevsky, Isaac, 1934- |
| Sumario: | This work aims to analyze the course of Madrigal Renascentista, a choir of Belo Horizonte (Brazil) that was founded in 1956, and how it was directly responsible for beginning a change in perception of choirs in Brazil through its foundation. For a better understanding of conditions favorable to its creation, we seek to analyze the soundscape of the city since its foundation in the 1950s, and analyze some important figures who participated in the artistic and historical development of the state capital, Belo Horizonte. As a prominent and well-known choir, the Madrigal performed outside the state and abroad, in the latter case under the patronage and support of the Foreign Ministry of the Brazilian Government. Understanding this situation is an integral part of the work since it seeks to deconstruct the image of the change in the choir as just being perceived as a sponsorship by President Juscelino Kubitschek. Still, we seek to understand, through the construction analysis of the choir's repertoire, how it adjusted to the demanded situations using musical pieces that best respond to specific situations, this being organized mainly through the conductor, Isaac Karabtchevsky. Finally, by analyzing recordings of the choir, we try to comprehend the unparalleled fame attributed during this time period to the group, which was called "o Coro do Brasil". |
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