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
A publicação Música Popular em Revista em sua obra adota e está licenciada com uma Licença Creative Commons Atribuição 4.0 Internacional.
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.
Copyright (c) 2026 Paulo José de Siqueira Tiné https://creativecommons.org/licenses/by/4.0/
The soap opera and the songs of Caetano Veloso and Chico Buarque
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.
Copyright (c) 2026 Tiago Irigaray de Bem https://creativecommons.org/licenses/by/4.0
The The tradition and the contemporary in the voices of Clementina de Jesus and Sandra de Sá
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.
Copyright (c) 2020 Marilda de Santana Silva https://creativecommons.org/licenses/by/4.0
A musical view on the song “Filhos de Gandhy” from Gilberto Gil’s performance at USP in 1973
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.
Copyright (c) 2020 Música Popular em Revista https://creativecommons.org/licenses/by/4.0
The cultural heritage of São Bento do Sul and its role in earning the title 'Music City'.
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.
Copyright (c) 2026 Jonatan Gomes dos Santos; Raquel Alvarenga Sena Venera https://creativecommons.org/licenses/by/4.0/
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.
Copyright (c) 2025 Flávio Rodrigues https://creativecommons.org/licenses/by/4.0/
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.
Copyright (c) 2025 Jefferson De Amorim https://creativecommons.org/licenses/by/4.0
Challenges and potentialities of a “native researcher”
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.
Copyright (c) 2025 Leonardo Bomfim https://creativecommons.org/licenses/by/4.0
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.
Copyright (c) 2025 Ana Lidia Domínguez Ruiz https://creativecommons.org/licenses/by/4.0
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”.
Copyright (c) 2025 Igor de Bruyn Ferraz https://creativecommons.org/licenses/by/4.0/
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.
Copyright (c) 2025 Anna Maria Greco Carvalho https://creativecommons.org/licenses/by/4.0
Black female musicalities in brazilian Rap
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.
Decoloniality and peripheral Black Music
Copyright (c) 2025 Sandra Mara Pereira dos Santos https://creativecommons.org/licenses/by/4.0/
Studio audio art, editable music and discursivity
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.
Copyright (c) 2022 Esdras Garcia Pereira, Leandro Barsalini https://creativecommons.org/licenses/by/4.0
Multiple theoretical and methodological approaches in popular music studies
Presentation text of articles on the theme Theory and research methods.
Theoretical and methodological approaches
Copyright (c) 2021 José Roberto Zan https://creativecommons.org/licenses/by/4.0
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.
Copyright (c) 2022 Martha Tupinambá de Ulhôa, Rafael dos Santos https://creativecommons.org/licenses/by/4.0
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.
Copyright (c) 2021 Juliana Soares da Costa Silva https://creativecommons.org/licenses/by/4.0
The confluence between Chilean rappers and multinational record labels during the decade of 1990
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.
Copyright (c) 2021 Nelson Rodríguez Vega https://creativecommons.org/licenses/by/4.0
The didactic of musical improvisation in primary and secondary schools
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.
Copyright (c) 2021 Luiz Santos Lima https://creativecommons.org/licenses/by/4.0
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.
Copyright (c) 2021 Daniel Lovisi https://creativecommons.org/licenses/by/4.0
The (im)probable meeting between Mulato Calado and Delegado Chico Palha
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.
Copyright (c) 2021 Humberto Junqueira https://creativecommons.org/licenses/by/4.0
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.
Copyright (c) 2021 Renan Moretti Bertho https://creativecommons.org/licenses/by/4.0
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.
Copyright (c) 2021 Victor Fernandes Albergaria, Sérgio Paulo Ribeiro de Freitas https://creativecommons.org/licenses/by/4.0
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.
Copyright (c) 2021 Ricardo Ribeiro Lira da Silva https://creativecommons.org/licenses/by/4.0
Between samba steps and dictatorial beat
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.
Copyright (c) 2021 Adalberto Paranhos https://creativecommons.org/licenses/by/4.0
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.
Copyright (c) 2021 Gabriel Sampaio Souza Lima Rezende https://creativecommons.org/licenses/by/4.0
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.
Copyright (c) 2021 Thiago Brisolla, Eliane Tokeshi https://creativecommons.org/licenses/by/4.0
Improvisation, Identity and Systems from outside
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.
Copyright (c) 2021 Frederico Lyra de Carvalho https://creativecommons.org/licenses/by/4.0
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.
Copyright (c) 2021 Flávia Guia Carnevali, José Geraldo Vinci de Moraes https://creativecommons.org/licenses/by/4.0
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.
Copyright (c) 2021 Renan Branco Ruiz https://creativecommons.org/licenses/by/4.0
Phonographic discs as a historical source
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.
Copyright (c) 2021 Sandor Buys https://creativecommons.org/licenses/by/4.0