Entre o Erudito e o Popular: as tramas, os dramas e as aventuras progressivas de uma banda classe média em BH
This research focuses on the musical activity of a rock band considered, by the press and the fans, a representative of the progressive genre. Searching in newspapers, magazines and internet forums for opinions about the two albums of the group: Martelo (Cartoon, 1999) and Bigorna (Cartoon, 2002), w...
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| Format: | master thesis |
| Status: | Published version |
| Publication Date: | 2007 |
| Country: | Brasil |
| Institution: | Universidade Federal de Minas Gerais (UFMG) |
| Repository: | Repositório Institucional da UFMG |
| Language: | Portuguese |
| OAI Identifier: | oai:repositorio.ufmg.br:1843/GMMA-7YKHCL |
| Online Access: | http://hdl.handle.net/1843/GMMA-7YKHCL |
| Access Level: | Open access |
| Keyword: | Produção musical Rock Partitura Rock Progressivo |
| Summary: | This research focuses on the musical activity of a rock band considered, by the press and the fans, a representative of the progressive genre. Searching in newspapers, magazines and internet forums for opinions about the two albums of the group: Martelo (Cartoon, 1999) and Bigorna (Cartoon, 2002), we ascertained a collective perception of a difference between them. Some fans prefer Martelo and others prefer Bigorna. The musicians, on the other hand, try to establish a relation of evolution between the two albums. Considering this multiple perceptions, our goal is to reconstruct the musicalproduction processes involved, which are deeply connected with the use of the music scores and the recording studio. This reflects two different pictures of social interaction between the musicians, who play different parts in the group. The consequent change in the musical discourse results in an unfa miliarity of the audience, which sees itself in the condition to renegotiate the musics meanings. This is a local phenomenon related to the mainstream of pop music and musical hits. However, we dont assume an exact reproduction of the mainstreams structures. We see the marginal context as a resignified and possible adaptation among many others and therefore, unique. The same observations are made when it comes to the progressive genre, in relation to which the groups music creates movements of attraction and repulsion that lead to the discussion of both pop music and the notion of music genre. |
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