Música Popular em Revista
type: channel
description: Scope: Música Popular em Revista (MPR) is a continuous publication journal, online, of free circulation, supported by the Graduate Programs in Music of the Institute of Arts of UNICAMP and the Center for Letters and Arts of UNIRIO. MPR publishes original articles by scholars from different disciplines in the Humanities, such as Musicology, Ethnomusicology, History, Sociology, Anthropology, Philosophy, Linguistics, Literature and Communication. In addition to articles, the journal accepts other types of contributions such as reviews, interviews, commented transcriptions, scores and translations whose contents are compatible with its thematic. Qualis / CAPES: A2 Field of knowledge:Linguística, Letras e Artes Foundation year: 2012 E-ISSN: 2316-7858 Short title: Mus. Pop. em Rev. Email: musicapopularemrevista@gmail.com Unit: IA Editor responsável: Cacá Machado DOI Prefix: 10.20396
publisher: Universidade Estadual de Campinas
language: pt-BR
publication name: Música Popular em Revista
issn: 2316-7858
copyright: A publicação Música Popular em Revista em sua obra adota e está licenciada com uma Licença Creative Commons Atribuição 4.0 Internacional.
items: Trans
items: The soap opera and the songs of Caetano Veloso and Chico Buarque
items: The The tradition and the contemporary in the voices of Clementina de Jesus and Sandra de Sá
items: A musical view on the song “Filhos de Gandhy” from Gilberto Gil’s performance at USP in 1973
items: The cultural heritage of São Bento do Sul and its role in earning the title 'Music City'.
items: The score of the wor
items: Musical transcription
items: Challenges and potentialities of a “native researcher”
items: Review
items: Estácio's Paradigm (or paradox)?
items: Black female musicalities in brazilian Rap
items: Studio audio art, editable music and discursivity
items: Multiple theoretical and methodological approaches in popular music studies
items: Editorial
items: "A Banda" by Chico Buarque
items: The confluence between Chilean rappers and multinational record labels during the decade of 1990
items: The didactic of musical improvisation in primary and secondary schools
items: “Paixão e Fé”
items: The (im)probable meeting between Mulato Calado and Delegado Chico Palha
items: The flute and the camera
items: Gilberto here and now
items: Critical theory of music revisited
items: Between samba steps and dictatorial beat
items: Origin and reflection
items: Popular Strings Cordel
items: Improvisation, Identity and Systems from outside
items: Eneida, Love and Fantasy
items: The vanguarda paulista instrumental
items: Phonographic discs as a historical source

Trans
type: item
description: The present work aims to present possibilities for the use of musical notation in popular music, as well as reflection on these processes in cases of chord transliteration, improvisation analysis, critical editing processes based on transcription, and musical recreation or transcreation. Drawing on the theoretical framework of transdisciplinarity (NICOLESCU, 1999), we explore authors who follow the presented possibilities: A. Schoenberg, C. Almada, and F. Menezes for critical discussion of chord transliteration cases; N. Cook and P. Ewell for improvisation analysis in transcription cases; and C. Figueiredo and P. Menezes for critical editing. The transcreations are based on the idea of the Brazilian poet Haroldo de Campos but based on F. Pereira (2011). Examples from Gilberto Gil and Djavan were used for chord transliteration; Hermeto Pascoal and Radamés Gnattali’s arrangements for transcription cases; and A. Schoenberg, Fructuoso Vianna, and J.S. Bach for transcreation. The final reflection extends beyond the presented cases and includes authors who support the arguments. In this sense, the cases aim to illuminate topics rather than merely serve as examples for a deeper understanding of the discussed works. Based on the conducted research, the results point to the need for future studies in the field of musical reception cognition.
subject: Dossiê
  topic: section
subject: Music Writing
  topic: keywords
subject: Musical transcription
  topic: keywords
subject: Popular music
  topic: keywords
subject: Music creation
  topic: keywords
subject: Critical editing
  topic: keywords
subject: Musical Analysis
  topic: disciplines
subject: Musical Arrangement
  topic: disciplines
subject: Musical composition
  topic: disciplines
creator: Paulo José de Siqueira Tiné
rights: Copyright (c) 2026 Paulo José de Siqueira Tiné https://creativecommons.org/licenses/by/4.0/
date: 2026-04-25
publication date: 2026-04-25
starting page: e026002
ending page: e026002
doi: 10.20396/muspop.11i00.19689

The soap opera and the songs of Caetano Veloso and Chico Buarque
type: item
description: Brazilian soap operas as they are today emerged in the late 1960s and early 1970s, in an attempt to adapt the Latin American soap opera model to the specific reality of Brazil. In this process, the “Globo standard” for soap operas was coined. With huge ratings and covering the entire extension of a continent-sized country that is Brazil, all regions, all social classes the Brazilian soap opera helps to build a national identity that is based on social inclusion through consumption. Currently, musicians who appear on the soundtracks of soap operas have their work immensely projected due to this reach. In the beginning of the Brazilian soap opera, however, the opposite happened: renowned artists, such as Caetano Veloso and Chico Buarque, were invited to participate in the soundtrack of Véu de Noiva (1969) to boost the then-incipient Brazilian soap opera. They only participated as composers, however, their names gave prestige to the soap opera. The rise of the soap opera took place during the leaden years of the military dictatorship, which applied censorship to soap operas. The voices of Caetano Veloso and Chico Buarque will only be heard in the soundtracks of the late 1970s, in the context of the Amnesty Law. Since then, both have appeared recurrently on soundtracks, with great emphasis on Caetano, whose work has been featured in soap operas for 46 years and has perpetuating him as a popular artist. Currently, commercial pressures and media changes put pressure on Brazilian soap operas, however, their pattern seems to remain as it was in the beginning.
subject: Artigos
  topic: section
subject: Soap opera
  topic: keywords
subject: Caetano Veloso
  topic: keywords
subject: Chico Buarque
  topic: keywords
subject: National Identity
  topic: keywords
subject: Brazil
  topic: keywords
subject: Literature
  topic: disciplines
subject: song
  topic: disciplines
subject: Music and media
  topic: disciplines
subject: Brazilian Popular Music
  topic: disciplines
creator: Tiago Irigaray de Bem
rights: Copyright (c) 2026 Tiago Irigaray de Bem https://creativecommons.org/licenses/by/4.0
date: 2026-03-13
publication date: 2026-03-13
doi: 10.20396/muspop.v11i00.18608

The The tradition and the contemporary in the voices of Clementina de Jesus and Sandra de Sá
type: item
description: The article is based on Brazilian popular music representation of black female voice in its aesthetic, historical, identity and intersectional aspects. The voice – being an instrument of communication and perpetuation of traditions and knowledge – has a fundamental importance in the continuity and permanence of cultures within society. Using the concepts of the tradition and the contemporary, I illustrate two black voices of BBM – “Brazilian black music”, the “partideira” (partisan) Clementina de Jesus and the soul woman Sandra de Sá. In Clementina ancestry can be understood as a category of relation, connection, inclusion, diversity, unity and enchantment (OLIVEIRA, 2007), that updates the tradition from her experience, her life wisdom, her ethics and her shared sensitivity; it’s the permanence of the past in the present, the resistance which the capital seeks to overwhelm, what is alive in the present (SILVA, 2016, p. 83). Sandra de Sá, heiress of the 1970’s black music, and from the funk parties in Rio de Janeiro’s periphery, became a commercial phenomenon in the mid 1980’s. Her black singing makes its peripheral ballasts explicit. The two singers were sanctioned by male, white producers, who have sometimes suffocated their singular and unique voices.
subject: Artigos
  topic: section
subject: Clementina de Jesus
  topic: keywords
subject: Sandra de Sá
  topic: keywords
subject: Brazilian Black Music
  topic: keywords
subject: Black singers
  topic: keywords
subject: Popular music
  topic: disciplines
creator: Marilda de Santana Silva
rights: Copyright (c) 2020 Marilda de Santana Silva https://creativecommons.org/licenses/by/4.0
date: 2020-12-16
publication date: 2020-12-16
starting page: e020004
ending page: e020004
doi: 10.20396/muspop.v7i..13696

A musical view on the song “Filhos de Gandhy” from Gilberto Gil’s performance at USP in 1973
type: item
description: This article aims to show and contextualize some performance aspects of the song Filhos de Gandhy by Gilberto Gil, in the concert played by the artist in 26th, May of 1973 at the Escola Politécnica da USP – a legendary concert, controversial, and with significant political content that gradually has been rediscovered. The choice of this tune is somehow related to our affection with the afoxé Filhos de Gandhy itself, and also to the possibility of doing an analysis of the “happening” performed by Gilberto Gil during this concert – where he incorporates, as we can say, an “entity” that tells “causos” (stories), and narrates in details the history of this afoxé. This work investigates the artist performance and its developments proposed by Gil in his guitar, that condenses rhythmic elements from ijexá’s drums, by playing a groove while he sings a melody that interacts all the time with that base. This kind of performance had already become iconic then, since Gil had performed it in many concerts at that time.
subject: Artigos
  topic: section
subject: Filhos de Gandhy
  topic: keywords
subject: Ijexá
  topic: keywords
subject: Gil live at USP-1973
  topic: keywords
subject: Gilberto Gil
  topic: keywords
subject: Performance
  topic: keywords
subject: Music - Popular Music
  topic: disciplines
creator: Marco Gérard
creator: Tassio da Rosa Ramos
creator: Almir Côrtes
rights: Copyright (c) 2020 Música Popular em Revista https://creativecommons.org/licenses/by/4.0
date: 2020-11-02
publication date: 2020-11-02
starting page: e020002
ending page: e020002
doi: 10.20396/muspop.v7i..13354

The cultural heritage of São Bento do Sul and its role in earning the title 'Music City'.
type: item
description: This article aims to list and discuss the discursive aspects that support São Bento do Sul’s epithet, SC, “City of music”. These are silent manifestations – monuments, signs, buildings – as well as cultural practices such as musical events, bands, and ensembles that support, or are supported by, these discourses. To this end, the article draws on studies of memory, identity and cultural heritage, with specific emphasis on aspects of memory and identity (Candau, 2011) and representations of cities through their symbols (Jeudy, 2005). The objective, therefore, is to discuss the city’s epithet and the ways in which it is upheld by elements of the municipality’s collective memory, as well as to identify how these discursive forms manifest in the city’s urban daily life. Through the bibliographical research, the official narratives of the city’s history are problematized, and through field research, signs and lived spaces in the city are presented that both reinforce and are, in turn, shaped by the discourse of the epithet “City of Music”. Collective memory, music, and heritage discourse are interrelated, in a city that builds its own narrative based on musical traditions. We also seek to investigate the devices used by the present-day city to maintain the discourse surrounding its epithet.
subject: Artigos
  topic: section
subject: Heritage
  topic: keywords
subject: Music
  topic: keywords
subject: Memory
  topic: keywords
subject: Identity and difference
  topic: keywords
subject: Cultural history
  topic: disciplines
creator: Jonatan Gomes dos Santos
creator: Raquel Alvarenga Sena Venera
rights: Copyright (c) 2026 Jonatan Gomes dos Santos; Raquel Alvarenga Sena Venera https://creativecommons.org/licenses/by/4.0/
date: 2026-01-20
publication date: 2026-01-20
starting page: e025008
ending page: e025008
doi: 10.20396/muspop.v10i00.18521

The score of the wor
type: item
description: The practice of taiko, Japanese-origin drums, gained popularity from the second half of the 20th century with contemporary taiko ensembles and, in Brazil, represents one of the most widespread activities in the Japanese-Brazilian communities since 2002. This practice brought with it, besides its various symbols of Japaneseness, an oral approach to musical notation known as kuchi shôga, which consists of repeating mnemonic syllables to assimilate the performed music, creating a sound score of its pieces. Additionally, an approach to European notation adapted to this practice was also created. In this article, based on an ethnographic procedure by its author, who undertook a three-year participant observation (2020-2023) with the taiko group Kawasuji Seiryu Daiko, from the city of Atibaia, in the state of São Paulo, the application of these notations in the context of the group will be discussed, pointing out their limitations and potentialities and debating their impacts on the ensemble. From the employed observation, it was possible to understand how the practice of kuchi shôga became not only an element of assimilation but also a differentiator of that musical practice, creating a unique vocabulary constructed dynamically alongside the learning process. It was also possible to see how the application of the adaptation of the European system to taiko overlooks fundamental aspects of this manifestation, such as its performative elements. However, despite evident challenges and limitations, it was possible to understand how these approaches configure quite useful and successful notation in the application of a musical community work.
subject: Artigos
  topic: section
subject: Taiko
  topic: keywords
subject: Kuchi Shoga
  topic: keywords
subject: Mnemonic syllables
  topic: keywords
subject: Musical community
  topic: keywords
subject: Ethnomusicology
  topic: disciplines
creator: Flávio Rodrigues
rights: Copyright (c) 2025 Flávio Rodrigues https://creativecommons.org/licenses/by/4.0/
date: 2025-11-27
publication date: 2025-11-27
starting page: e025007
ending page: e025007
doi: 10.20396/muspop.v10i00.19822

Musical transcription
type: item
description: This article is part of the research I am developing for my professional master's degree in music. Based on semi-structured interviews with bass teachers from the Escola de Música de Brasília and using a consistent literature review, I elucidate the motivations and techniques used by musicians to transcribe music, in addition to discussing the flaws and positive aspects of this technique. It was possible to observe that motivations, as well as techniques, vary as much as the existence of musicians who transcribe, and that, despite being criticized, musical transcription, especially that aimed at musical and interpretative improvement, remains common among professional musicians and music students.
subject: Relatos de experiência
  topic: section
subject: Musical transcription
  topic: keywords
subject: Bass line
  topic: keywords
subject: Forró
  topic: keywords
subject: Music analysis
  topic: keywords
subject: Popular music studies
  topic: disciplines
subject: Performance
  topic: disciplines
subject: Musical analysis
  topic: disciplines
subject: music pedagogy
  topic: disciplines
creator: Jefferson De Amorim
rights: Copyright (c) 2025 Jefferson De Amorim https://creativecommons.org/licenses/by/4.0
date: 2025-11-21
publication date: 2025-11-21
starting page: e025006
ending page: e025006
doi: 10.20396/muspop.v10i00.20010

Challenges and potentialities of a “native researcher”
type: item
description: This article presents theoretical discussions and practical applications of ethnographic experiences raised in the author’s doctoral thesis on the Psicodália festival. While engaged in fieldwork – and moving between the roles of audience, organizer, and researcher – several reflections and questions regarding the position of a “native researcher” emerged, which pointed out the challenges and potentialities around such categorization in the ethnographic space-time. In alignment with those perspectives, the researcher’s subjectivities, identities, and sense of belonging to the festival gained substantial relevance in his academic writing, which at moments bordered on aspects of autoethnography and autoanthropology. It is possible to infer that such ambivalent positioning led to more opportunities to access information and insiders, while it also posed ethical and moral dilemmas. In this paper, the reference period for the ethnography spanned from 2012 to 2017, which encompassed the author’s fieldwork in the event. Although the festival is mainly a musical event, it also can be characterized as multimedia in character, as it hosts theater pieces, performances, short film and documentary exhibitions, workshops, handcrafting and recreation areas. Several renowned artists have already performed in the festival, such as: Os Mutantes, Tom Zé, Elza Soares, Moraes Moreira, Baby do Brasil, Alceu Valença, Yamandu Costa, Hermeto Pascoal, Nação Zumbi, Steppenwolf, Ian Anderson (Jethro Tull), among other independent bands and musical groups of diverse genres including progressive and psychedelic rock, rock’n’roll, blues, jazz, reggae, folk and local music.
subject: Artigos
  topic: section
subject: Ethnography
  topic: keywords
subject: Native researcher
  topic: keywords
subject: Music festivals
  topic: keywords
subject: Psicodália
  topic: keywords
subject: Music
  topic: disciplines
subject: Brazilian Popular Music
  topic: disciplines
subject: Ethnomusicology
  topic: disciplines
subject: Anthropology
  topic: disciplines
subject: Ethnography
  topic: disciplines
creator: Leonardo Bomfim
rights: Copyright (c) 2025 Leonardo Bomfim https://creativecommons.org/licenses/by/4.0
date: 2025-11-07
publication date: 2025-11-07
starting page: e025004
ending page: e025004
doi: 10.20396/muspop.v10i00.17627

Review
type: item
description: The collective book Los surcos de la memoria, coordinated by Eslava himself and published in a co-edition by the Fonoteca Nacional and the Faculty of Music of UNAM, tells the story of these cylinders and, at the same time, uses them as a pretext to narrate an unprecedented passage in the history of phonography in the country. In this regard, it is worth highlighting that one of the first contributions of this work is its methodological value, as it is an exemplary case of systematization in the use of sound documents as a source of information for historical research.
subject: Resenhas
  topic: section
subject: phonography
  topic: keywords
subject: musical history of Mexico
  topic: keywords
subject: Porfirian Mexico
  topic: keywords
subject: Talking machines
  topic: keywords
subject: sound culture
  topic: disciplines
subject: anthropology of sound
  topic: disciplines
creator: Ana Lidia Domínguez Ruiz
rights: Copyright (c) 2025 Ana Lidia Domínguez Ruiz https://creativecommons.org/licenses/by/4.0
date: 2025-11-10
publication date: 2025-11-10
starting page: e025005
ending page: e025005
doi: 10.20396/muspop.v10i00.20929

Estácio's Paradigm (or paradox)?
type: item
description: In this article we address the construction of the “Estácio paradigm”, referring to the guiding timeline of samba, carried out by Carlos Sandroni (, 2012), based on seventeen melodies recorded by Francisco Alves in the late 1920s and early 30s. As we seek to sustain, the paradigm described by Sandroni has some very debatable points – despite its great importance in relation to the subject of the guiding line of samba – from the sample used, from the Western writing for the notation of the different timelines, as well as by the linear evolutionary approach in establishing the constituent stages of what the author named “Estácio's paradigm”. In this case, we bring to the discussion a small sample, little contemplated by the phonographic industry, but particularly significant of partido-alto sambas, whose practice is associated with samba circles in informal environments and in the schools themselves. We believe that, although small, this addition to the repertoire values ​​the samba circles as a space for the maintenance and eventual transformation of sound aspects that permeate the genre. The article is divided into three parts: in the first we expose the rhythmic cycle (or timeline) from authors who noted it in field research; in the second we seek to problematize possible consequences of the graphic characterization of the rhythmic cycle of urban samba and, finally, in the third and largest part, we question the “Estácio paradigm”.
subject: Artigos
  topic: section
subject: Candeia
  topic: keywords
subject: Pagode
  topic: keywords
subject: Samba de partido-alto
  topic: keywords
subject: Timeline pattern
  topic: keywords
subject: Musicology
  topic: disciplines
subject: Etnomusicology
  topic: disciplines
creator: Igor de Bruyn Ferraz
rights: Copyright (c) 2025 Igor de Bruyn Ferraz https://creativecommons.org/licenses/by/4.0/
date: 2025-10-23
publication date: 2025-10-23
starting page: e025003
ending page: e025003
doi: 10.20396/muspop.v10i00.19941

Review
type: item
description: Genre Beyond Borders is a collection that focuses on operetta, presenting it as a transnational genre capable of crossing not only geographical boundaries, but also cultural and social ones. Organized by Sonja Starkmeth, Bruno Bower, and Elisabeth Hoegberg, the book brings together a series of essays by authors from different fields, who explore the international circulation of operetta, its local adaptations, and the transformations the genre has undergone over time. The work offers a reflection on the particularity of operetta as a genre that crosses boundaries and challenges conventions, whether in the cultural identities it constructs, the class and gender issues it addresses, or the musical and dramatic elements it incorporates. It is an important contribution to the formation of the field of operetta studies and essential reading for new researchers interested in the subject.
subject: Resenhas
  topic: section
subject: Operetta
  topic: keywords
subject: Gender relations
  topic: keywords
subject: Musical genre
  topic: keywords
subject: Transnational connections
  topic: keywords
subject: Music history
  topic: disciplines
subject: Theatre studies
  topic: disciplines
creator: Anna Maria Greco Carvalho
rights: Copyright (c) 2025 Anna Maria Greco Carvalho https://creativecommons.org/licenses/by/4.0
date: 2025-10-09
publication date: 2025-10-09
starting page: e025001
ending page: e025001
doi: 10.20396/muspop.v10i00.20079

Black female musicalities in brazilian Rap
type: item
description: This article presents aspects of narratives constructed by black women in Brazilian rap to challenge gendered racism. Rap ​​is the musical genre that is part of Hip-Hop, a cultural movement with an Afro-diasporic origin. This thematic delimitation aims to contribute to the debate about the musical production of black female Hip-Hop artists, especially female rappers and DJs. To achieve this contribution, we highlight the intersection between color/race, gender and social class that exists in Brazilian black female rap and is thematized by black female artists of this musical genre. Therefore, this text demarcates analyses, mainly, of narratives of black female rap singers, taking into account the analytical perspective of intersectionality in the theory of Black feminisms. These analyses derive from research that uses methodological results from fieldwork, carried out in the cities of Maringá (PR) and Sarandi (PR), and theoretical results. This empirical and theoretical research brings reflections and revelations about the singers who, in their compositions, offer criticisms against social oppressions articulated by the holders of hegemonic power and, in addition, create definitions and images of Black women based on their ancestral black knowledge. This allows us to situate these singers as agents in a collective feminine, Black and peripheral action.
subject: Artigos
  topic: section
subject: Female Black Rap
  topic: keywords
subject: Gendered Racism
  topic: keywords
subject: Empowerment
  topic: keywords
subject: Anthropology and sociology of music
  topic: disciplines
subject: Black music and black feminisms
  topic: disciplines
subject: Intersectionalities
  topic: disciplines
subject: Hip-hop and Black Rap
  topic: disciplines
subject: Decoloniality and peripheral Black Music
  topic: disciplines
creator: Sandra Mara Pereira dos Santos
rights: Copyright (c) 2025 Sandra Mara Pereira dos Santos https://creativecommons.org/licenses/by/4.0/
date: 2025-10-09
publication date: 2025-10-09
starting page: e025002
ending page: e025002
doi: 10.20396/muspop.v10i00.18334

Studio audio art, editable music and discursivity
type: item
description: The article aims to present possible methodological paths for the analysis of recorded popular music, taking into account its trans-disciplinary character. Beginning from the notion of “studio audio art”, proposed by Turino (2008), and from the concept of “montage music”, created by Molina (2017), thinking about possible theoretical and methodological approximations between these authors. In addition, we derived from a certain notion of historical materialism and a discursive understanding of musical materiality (MARX, 2011; ALTHUSSER, 1970; ORLANDI, 2001). Thus, we consider the material and historical production conditions of a phonogram as necessary interferences to produce the sonic meaning. Lastly, we will suggest paths that can be adopted in analyzes that propose to delineate the sonorities of a phonogram in a broad and multifaceted sense, exemplifying such an analytical proposal from the album Minas (1975), by Milton Nascimento, herein understood as a work arising from Clube da Esquina.
subject: Artigos
  topic: section
subject: Studio audio art
  topic: keywords
subject: Montage music
  topic: keywords
subject: Popular Music
  topic: keywords
subject: Sonority
  topic: keywords
subject: album Minas (1975)
  topic: keywords
subject: Album Minas (1975)
  topic: keywords
subject: Brazilian Popular Music
  topic: disciplines
creator: Esdras Garcia Pereira
creator: Leandro Barsalini
rights: Copyright (c) 2022 Esdras Garcia Pereira, Leandro Barsalini https://creativecommons.org/licenses/by/4.0
date: 2022-10-12
publication date: 2022-10-12
starting page: e022001
ending page: e022001
doi: 10.20396/muspop.v9i00.15958

Multiple theoretical and methodological approaches in popular music studies
type: item
description: Presentation text of articles on the theme Theory and research methods.
subject: Artigos temáticos
  topic: section
subject: Theoretical and methodological approaches
  topic: keywords
subject: Popular Music Studies
  topic: disciplines
creator: José Roberto Zan
rights: Copyright (c) 2021 José Roberto Zan https://creativecommons.org/licenses/by/4.0
date: 2021-12-30
publication date: 2021-12-30
starting page: e021019
ending page: e021019
doi: 10.20396/muspop.v8i00.16046

Editorial
type: item
description: The present issue of Música Popular em Revista includes 15 thematic articles, 1 article and 1 translation with unpublished texts, most of them in Portuguese, some in English and Spanish, under the theme "Theory and research methods". For the second consecutive year, the journal is in the Continuous Publication modality.
subject: Editorial
  topic: section
subject: Popular music - Editorial
  topic: keywords
subject: Theory and method - Editorial
  topic: keywords
subject: Music
  topic: disciplines
creator: Martha Tupinambá de Ulhôa
creator: Rafael Angelo dos Santos
rights: Copyright (c) 2022 Martha Tupinambá de Ulhôa, Rafael dos Santos https://creativecommons.org/licenses/by/4.0
date: 2021-12-30
publication date: 2021-12-30
starting page: e021018
ending page: e021018
doi: 10.20396/muspop.v8i00.16045

"A Banda" by Chico Buarque
type: item
description: This paper presents an analysis of “A Banda”, song by Chico Buarque. The version of the recording used in the analysis is by singer Nara Leão, whose instrumental arrangement is by the composer Geny Marcondes. The purpose is to analyze both the text, the music and, above all, the Marcondes arrangement. These procedures showed that “A Banda” is a simple song and at the same time complex. The text, full of allegories and antitheses, presents a message of hope as well as, covertly, of protest. In addition, the compositional resources used by the arranger provided subsidies for a greater apprehension of the musical discourse, which also, in the past, provided the song to be widely appreciated by the public through record sales.
subject: Artigos temáticos
  topic: section
subject: Chico Buarque
  topic: keywords
subject: Nara Leão
  topic: keywords
subject: Geny Marcondes
  topic: keywords
subject: Wind Band
  topic: keywords
subject: March
  topic: keywords
subject: Music
  topic: disciplines
subject: Brazilian Popular Music
  topic: disciplines
subject: Musical Analysis
  topic: disciplines
subject: interdisciplinary
  topic: disciplines
creator: Juliana Soares da Costa Silva
rights: Copyright (c) 2021 Juliana Soares da Costa Silva https://creativecommons.org/licenses/by/4.0
date: 2021-12-30
publication date: 2021-12-30
starting page: e021011
ending page: e021011
doi: 10.20396/muspop.v8i00.15785

The confluence between Chilean rappers and multinational record labels during the decade of 1990
type: item
description: The article studies the confluence between Chilean rappers and multinational record labels (majors) in the 1990s. This period is distinguished by various changes in the deployment of hip-hop in Chile. The interference of the majors was important because it consolidated a support network also made up by other agents, among the results was that rap/hip-hop achieved a certain social, artistic, cultural and productivity ratification. On the other hand, this operation is commonly neglected at the academic level. It is inferred that the aforementioned encounter does not harmonize, in some way, with the usual counter-hegemonic representation of hip-hop, which has meant a bibliographic gap. Ultimately, this article attempts to show that the link with the cultural industry/market does not necessarily translate into the loss of the social function of music and that, furthermore, there would be alternative ways of exercising cultural resistance that are not limited to making an irremediable social criticism in song lyrics, or the taking of an explicit political position by popular musicians.
subject: Artigos temáticos
  topic: section
subject: Chilean rap/hip hop
  topic: keywords
subject: Decade of 1990
  topic: keywords
subject: Cultural industry
  topic: keywords
subject: Multinational record labels
  topic: keywords
subject: Musicology
  topic: disciplines
subject: Popular Music Studies
  topic: disciplines
subject: History
  topic: disciplines
creator: Nelson Rodríguez Vega
rights: Copyright (c) 2021 Nelson Rodríguez Vega https://creativecommons.org/licenses/by/4.0
date: 2021-12-01
publication date: 2021-12-01
starting page: e021007
ending page: e021007
doi: 10.20396/muspop.v8i00.15799

The didactic of musical improvisation in primary and secondary schools
type: item
description: Studies on musical improvisation have had a notable recent flowering, especially in the Italian context. It could not be otherwise, I believe it can be said, in the land of improvising poets in the octave rhyme and the eighteenth-century part, in spite of the heralded overseas primogeniture, jazz or not. But the aspect that is most relevant here is that this new wave of research could not fail to reverberate in the elective purpose of the theoretical investigation, with the application, or rather, the pedagogical-didactic transposition. In this article I will analyze some already established didactic directions, verifying their connections with theoretical models of creativity in real time that are now challenged by these recent researches. Further operational proposals will follow in the light of the belief that a change in the theoretical paradigm necessarily implies a repositioning of educational and didactic strategies.
subject: Traduções
  topic: section
subject: Improvisation
  topic: keywords
subject: Theory of auditactile musics
  topic: keywords
subject: Pedagogy
  topic: keywords
subject: Audiotactile Musicology
  topic: disciplines
creator: Vincenzo Caporaletti
creator: Luiz Santos Lima
rights: Copyright (c) 2021 Luiz Santos Lima https://creativecommons.org/licenses/by/4.0
date: 2021-12-30
publication date: 2021-12-30
starting page: e021017
ending page: e021017
doi: 10.20396/muspop.v8i00.15944

“Paixão e Fé”
type: item
description: The text aims to bring thoughts on the processes of construction of meanings in the song “Paixão e Fé” from a semiotic analysis. Based on the studies of musicologist Philip Tagg (2012), it is intended to highlight the way in which musical codes and the lyrics act together in the development of a multidimensional cultural artifact, the song, whose meaning can be studied from the perspective of the analysis of the complex that involves the work articulated to its historical, social and cultural context. The 1978 phonogram, recorded in the album Clube da Esquina 2, by Milton Nascimento, is compared with other songs belonging to the same historical and musical scene in order to allow the verification of how composers, arrangers and interpreters from the field of Brazilian popular music produced in Minas Gerais mobilized aspects of regional culture in their works, notably Catholic religiosity, in order to represent traces of a cultural identity in the song.
subject: Artigos temáticos
  topic: section
subject: Semiotics
  topic: keywords
subject: Musical analisys
  topic: keywords
subject: Clube da Esquina
  topic: keywords
subject: Brazilian popular music
  topic: keywords
subject: Mineiridade
  topic: keywords
subject: Music and Culture
  topic: disciplines
subject: Musical Analisys
  topic: disciplines
creator: Daniel Menezes Lovisi
rights: Copyright (c) 2021 Daniel Lovisi https://creativecommons.org/licenses/by/4.0
date: 2021-12-30
publication date: 2021-12-30
starting page: e021010
ending page: e021010
doi: 10.20396/muspop.v8i00.15776

The (im)probable meeting between Mulato Calado and Delegado Chico Palha
type: item
description: Music research has been developing and gaining new approaches from contributions from different fields of knowledge. The interdisciplinary perspective, therefore, has constituted itself as a promising alternative in the face of issues that emerge especially in the field of popular music, a privileged area for the investigation of structuring points in our society. In this work, in addition to highlighting the conceptions that forged the set of disciplines dedicated to the study of music (taken, in this sense, as an abstract instance), I also analyze two sambas composed in the first half of the 20th century. The purpose of this analysis is precisely to reveal the social and “concrete” dimension of music research, pointing to the tensions, conflicts and contradictions present in Brazilian culture. The meeting between the “Mulato Calado” and the “Delegado Chico Palha”, between the police and the killer, between a violent man (“heartless”) and the defender of his wife, allows not only to look at some structural aspects from the Brazilian sociocultural framework, but also encourages reflection on new ways of launching this perspective through music research.
subject: Artigos temáticos
  topic: section
subject: Popular Music
  topic: keywords
subject: Methodology
  topic: keywords
subject: Music
  topic: keywords
subject: Interdisciplinarity
  topic: keywords
subject: Arts
  topic: disciplines
subject: Music
  topic: disciplines
subject: Human Sciences
  topic: disciplines
creator: Humberto Junqueira
rights: Copyright (c) 2021 Humberto Junqueira https://creativecommons.org/licenses/by/4.0
date: 2021-12-30
publication date: 2021-12-30
starting page: e021013
ending page: e021013
doi: 10.20396/muspop.v8i00.15807

The flute and the camera
type: item
description: Starting from a reflection about the use of image in ethnomusicology, I present theoretical and methodological approaches on themes that came from my experience as a musician and later became object of academic reflection in my master's dissertation. My initial argument is that functions and uses of the image in ethnomusicological research can be present in different stages: from general illustration of contexts to the conceptualization and problematization of the researcher's position in the field, passing through the processes of reflexivity and data interpretation. I observe how the use of the camera in the research process can guide the functions of insider and outsider, placing the researcher, even if momentarily, in an ethnographic 'no-place'. I also demonstrate how different materialities – especially photos, texts, and passages from the field diary – can connect to compose a descriptive and reflective picture of the investigated performance.
subject: Artigos temáticos
  topic: section
subject: Ethnomusicology
  topic: keywords
subject: Visual anthropology
  topic: keywords
subject: Methodology
  topic: keywords
subject: Ethnography
  topic: keywords
subject: Brazilian choro
  topic: keywords
subject: Ethnomusicology
  topic: disciplines
creator: Renan Moretti Bertho
rights: Copyright (c) 2021 Renan Moretti Bertho https://creativecommons.org/licenses/by/4.0
date: 2021-12-30
publication date: 2021-12-30
starting page: e021016
ending page: e021016
doi: 10.20396/muspop.v8i00.15848

Gilberto here and now
type: item
description: Knowing that popular songs appear at a certain place and time, this article travels to the last decades of the 20th century, gathering stories and meanings which, on the outside, do not separate from the song "Aqui e Agora" (1977) by Gilberto Gil. Firstly, the text goes through interviews, testimonials and documentaries, rereading considerations about the events surrounding the song. Secondly, considering that the title works as part of the program, the article ascertains how the name of the song is heard in its time: "here and now" are two loose words that unite to indicate the space-time of the enunciator? Or do they gain broader meanings? Dealing with issues such as these, the article draws conclusions that, ultimately, point to a link between the inside and the outside of the song, noticing that several are the “hearings” that, at the same time, intertwine from the voice of a character.
subject: Artigos temáticos
  topic: section
subject: Aqui e Agora
  topic: keywords
subject: Gilberto Gil
  topic: keywords
subject: Popular song and historical context
  topic: keywords
subject: Music
  topic: disciplines
creator: Victor Fernandes Albergaria
creator: Sérgio Paulo Ribeiro de Freitas
rights: Copyright (c) 2021 Victor Fernandes Albergaria, Sérgio Paulo Ribeiro de Freitas https://creativecommons.org/licenses/by/4.0
date: 2021-12-30
publication date: 2021-12-30
starting page: e21009
ending page: e21009
doi: 10.20396/muspop.v8i00.15759

Critical theory of music revisited
type: item
description: The article proposes revisiting certain fundamental problems of Adorno's critical theory of music from the perspective of one of his late works scarcely discussed in the secondary literature: the Introduction to the Sociology of Music (1968). We argue that the book provides a privileged retrospective view of Adorno's musical writings, allowing for the reconsideration of theoretical categories developed in the 1930s and 1940s, related both to the diagnosis of popular music within the culture industry and to the critical potential of avant-garde music and its limits. As we try to claim, such reconsideration allows us to move away from interpretations that attribute to Adorno's theory a prescriptive and rigid character, evidencing instead that his critical theory of music consists primarily in the question of the concrete social conditions of a non-reified and non-regulated relation to music.
subject: Artigos temáticos
  topic: section
subject: Theodor W. Adorno
  topic: keywords
subject: Critical Theory
  topic: keywords
subject: Sociology of music
  topic: keywords
subject: Philosophy of new music
  topic: keywords
subject: Critical Theory
  topic: disciplines
subject: Sociology
  topic: disciplines
subject: Philosophy
  topic: disciplines
creator: Ricardo Ribeiro Lira da Silva
rights: Copyright (c) 2021 Ricardo Ribeiro Lira da Silva https://creativecommons.org/licenses/by/4.0
date: 2021-12-30
publication date: 2021-12-30
starting page: e21014
ending page: e21014
doi: 10.20396/muspop.v8i00.15838

Between samba steps and dictatorial beat
type: item
description: The same song, based on the lyrics and music binomial, allows for different readings associated with various constellations of meaning. It is not an inert object, frozen in time and space, crystallized to the point of being impervious to meaning fluctuations and migrations. According to vocal, instrumental and visual performances that inform and form songs, these can, under certain circumstances, come to mean something their writers had not even imagined, thus configuring a dance of meanings. This also applies to the analysis of specific historical realities. The same object -in this case, the intertwining of "Estado Novo" and popular music- can be understood under different analytical lights, depending, to a great extent, on the theoretical contributions and research methods that we hold on to as anchors in carrying out our research. From this perspective, monological habits are by no means reliable compasses when we seek to account for the dialectical character of political relations and musical artifacts. That is what this text is about, as it walks once more the much trodden ground of the Estado Novo dictatorship to surprise the existence of discursive practices that call into question certain traditional assumptions of the widely disseminated historiography about that period. After all, in addition to collecting silences and/or confining themselves to the role of echo chambers of the "State-uttered word," other voices, discordant or dissonant, also made themselves heard at that time despite the censorship that weighed on them, stifling them.
subject: Artigos temáticos
  topic: section
subject: Dance of meanings
  topic: keywords
subject: Popular music
  topic: keywords
subject: “Estado Novo”
  topic: keywords
subject: Censorship
  topic: keywords
subject: Dissonant voices
  topic: keywords
subject: Brasil history
  topic: disciplines
subject: Mudic
  topic: disciplines
creator: Adalberto Paranhos
rights: Copyright (c) 2021 Adalberto Paranhos https://creativecommons.org/licenses/by/4.0
date: 2021-12-30
publication date: 2021-12-30
starting page: e021008
ending page: e021008
doi: 10.20396/muspop.v8i00.15902

Origin and reflection
type: item
description: This article presents a synthetic view of my experiences with immanent criticism of popular music. Situated within an academic field in consolidation, and within a specific theoretical lineage outlined in it, these experiences are discussed in the light of the theories and works that motivated them. From works elaborated over more than a decade, I have chosen to highlight specific aspects that demonstrate the virtues and limitations of this type of interdisciplinary approach to popular music and, at the same time, explain the theoretical-methodological links which join them together. The theoretical elaboration of these experiences leads to a final reflection on the conditions of criticism itself.
subject: Artigos temáticos
  topic: section
subject: Immanent criticism
  topic: keywords
subject: Popular music
  topic: keywords
subject: Musical analysis
  topic: keywords
subject: Arts
  topic: disciplines
creator: Gabriel Sampaio Souza Lima Rezende
rights: Copyright (c) 2021 Gabriel Sampaio Souza Lima Rezende https://creativecommons.org/licenses/by/4.0
date: 2021-12-30
publication date: 2021-12-30
starting page: e021015
ending page: e021015
doi: 10.20396/muspop.v8i00.15843

Popular Strings Cordel
type: item
description: In 2019, the Cordel das Cordas Populares project taught in collective classes the musical genres that make up the forró to students of bowed strings, in a situation of social vulnerability. Prepared by the author of this article, the material is based upon the artistic and pedagogical works of popular violinists Nicolas Krassik (1969-) and Ricardo Herz (1978-), and its teaching was carried out through storytelling in cordel booklets and dance teaching. This article intends to describe and analyze this interdisciplinary pedagogical experience of musical performance, through a decolonial pedagogical approach, demonstrating the complementarity between the practices of music, storytelling, and dance.
subject: Artigos
  topic: section
subject: Dance
  topic: keywords
subject: Brazilian popular violin
  topic: keywords
subject: Decolonial pedagogy
  topic: keywords
subject: Storytelling
  topic: keywords
subject: Cordel popular literature
  topic: keywords
subject: Arts
  topic: disciplines
subject: Music
  topic: disciplines
subject: Teaching
  topic: disciplines
creator: Thiago Brisolla
creator: Eliane Tokeshi
rights: Copyright (c) 2021 Thiago Brisolla, Eliane Tokeshi https://creativecommons.org/licenses/by/4.0
date: 2021-12-30
publication date: 2021-12-30
starting page: e021012
ending page: e021012
doi: 10.20396/muspop.v8i00.15798

Improvisation, Identity and Systems from outside
type: item
description: In this article we propose to analyse some aspects of the music and musical thought of the musician Steve Coleman through the philosophy of Theodor Adorno. We will deal with Coleman's relationship to tradition and the concept of jazz, the practice of improvisation and the systematicality of his music. These questions will be treated under the prism of the dialectics of identity and non-identity dear to Adorno's Negative Dialectics. The objective is to try to demonstrate some of the contradictions that circumscribe Coleman's work and how it is built through them. We will deal with Coleman's relationship to the jazz tradition, his practice of improvisation and the systematicality of his music.
subject: Artigos temáticos
  topic: section
subject: Steve Coleman
  topic: keywords
subject: Adorno
  topic: keywords
subject: Improvisation
  topic: keywords
subject: Identity
  topic: keywords
subject: Jazz
  topic: keywords
subject: Music
  topic: disciplines
subject: Philosophy
  topic: disciplines
subject: Improvisation
  topic: disciplines
subject: Jazz
  topic: disciplines
creator: Frederico Lyra de Carvalho
rights: Copyright (c) 2021 Frederico Lyra de Carvalho https://creativecommons.org/licenses/by/4.0
date: 2021-12-01
publication date: 2021-12-01
starting page: e021006
ending page: e021006
doi: 10.20396/muspop.v8i00.14303

Eneida, Love and Fantasy
type: item
description: Although several agents took part in the construction of the memory of samba as Brazilian national music in the first half of the last century, the intellectual action of journalists from the daily and specialized press played a central role. However, there are still few studies on the practice and perception of these chroniclers in inventing a historiography of popular music. Eneida de Moraes (1904-1971), the first reporter for the Diário de Notícias, through her chronicles and, above all, in the book História do Carnaval Carioca (“History of Rio Carnival”, 1958), built a historiographical discourse that had in the carnival of Rio de Janeiro, and in a derived manner, the samba as its axis. This text intends to discuss exactly her role in this cultural and intellectual process and as how her discourse sought to value a certain conception of popular culture that had the carioca suburban carnival as a kind of resistance and utopia.
subject: Artigos temáticos
  topic: section
subject: Carioca carnival
  topic: keywords
subject: Eneida
  topic: keywords
subject: Historiography
  topic: keywords
subject: Resistance
  topic: keywords
subject: Popular culture
  topic: keywords
subject: Social History of Culture
  topic: disciplines
creator: Flávia Guia Carnevali
creator: José Geraldo Vinci de Moraes
rights: Copyright (c) 2021 Flávia Guia Carnevali, José Geraldo Vinci de Moraes https://creativecommons.org/licenses/by/4.0
date: 2021-07-26
publication date: 2021-07-26
starting page: e021004
ending page: e021004
doi: 10.20396/muspop.v8i00.15194

The vanguarda paulista instrumental
type: item
description: This article analyzes the formation of Vanguarda Paulista Instrumental (VPI) as a central object of study to reflect and investigate the articulation between Brazilian jazz, popular music and instrumental compositions during the last third of the civil-military dictatorship (1964-1985). In the late 1970s and early 1980s, the Brazilian music market underwent several transformations. During this period, VPI incorporated new sounds into the universe of popular instrumental music and Brazilian jazz. Basing their proposals on the experimentalism of jazz fusion in friction with various notions of “musical Brazilianness”, they found in independent music production the possibility of mediation to include their works in the Brazilian phonographic industry. Bands such as Metalurgia (1981 - 1983), Pé Ante Pé (1979 - 1983), Divina Increnca (1978 - 1981), Pau-Brasil (1978 - current) and Grupo Um (1976-1984), among many others. Vanguarda Paulista Instrumental is formed by the convergence of certain elements and characteristics that circumscribe both the solutions for managing artistic careers and the musical aesthetics of the bands in the same and very specific field of possibilities, as we will see in this text.
subject: Artigos temáticos
  topic: section
subject: Brazilian jazz
  topic: keywords
subject: Lira paulistana
  topic: keywords
subject: Vanguarda paulistana
  topic: keywords
subject: Civil-military dictatorship
  topic: keywords
subject: Instrumental brazilian popular music
  topic: keywords
subject: Música
  topic: disciplines
subject: Música Popular
  topic: disciplines
creator: Renan Branco Ruiz
rights: Copyright (c) 2021 Renan Branco Ruiz https://creativecommons.org/licenses/by/4.0
date: 2021-09-10
publication date: 2021-09-10
starting page: e021005
ending page: e021005
doi: 10.20396/muspop.v8i00.15370

Phonographic discs as a historical source
type: item
description: In order to contribute to the literature on Brazilian music discs released in the early stage of the mechanical phonographic industry (1902-1927), this article analyzes the Apollo discs. They are peculiar because they do not have identification of where they were recorded or pressed; that is probably why they went unnoticed by other researchers and had not been mentioned in the literature so far. Detailed descriptions of the discs are presented, as well as the steps taken to associate the Apollo label with Porto Alegre recording company Casa A Electrica, including comparisons with other labels of this company. Finally, the lack of identification of the manufacturer on the Apollo label is discussed. We conclude that phonographic records can be important historical sources when analyzed in detail and in a comparative way.
subject: Artigos temáticos
  topic: section
subject: Discography
  topic: keywords
subject: Phonographic industry
  topic: keywords
subject: 78rpm discs
  topic: keywords
subject: Casa A Elétrica
  topic: keywords
subject: Casa Edison
  topic: keywords
subject: Brazilian Music History
  topic: disciplines
creator: Sandor Buys
rights: Copyright (c) 2021 Sandor Buys https://creativecommons.org/licenses/by/4.0
date: 2021-06-07
publication date: 2021-06-07
starting page: e021003
ending page: e021003
doi: 10.20396/muspop.v8i00.15209