O rock alternativo em Goiânia e processos identitários

• Ano de defesa: 2016
• Autor(a) principal: Rocha, Pedro Henrique Bernardi
• Orientador(a): Clímaco, Magda de Miranda
• Banca de defesa: Clímaco, Magda de Miranda, Albernaz, Fernanda, Alencar, Maria Amélia Garcia de, Borges, Maria Helena Jaime
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Goiás
• Programa de Pós-Graduação: Programa de Pós-graduação em Musica (EMAC)
• Departamento: Escola de Música e Artes Cênicas - EMAC (RG)
• País: Brasil
• Palavras-chave em Português: Rock alternativo; Goiânia; Representações culturais; Processos identitários
• Palavras-chave em Inglês: Alternative rock; Cultural representations; Processes of identity
• Área do conhecimento CNPq: ARTES::MUSICA
• Link de acesso: http://repositorio.bc.ufg.br/tede/handle/tede/6931

This work had as its objective the investigation of processes of style and performance in the most current alternative rock from Goiânia (the last five years) from a case study related to the music of three selected bands from the city, considering their aesthetic choices, artistic positioning and, after all, their practices, aiming for processes of identity implicated with this musical genre in the city. The methodological trajectory which made possible to reach the predicted goal, seeking methods and theories that privileged the symbolic, which gives support to the representational, consisted of analysis and interpretation of music scores, transcriptions and musical performances, always related to analysis and interpretation also from CDs, DVDs, the observation of photographies and live shows, lyrics, data collected in the study of the social, historical and cultural scenarios in focus and through oral reports collected in interviews granted by the social actors implicated with the object of study. Through those processes it was possible to verify the evidence of an alternative rock from Goiânia, more specifically related to the stoner rock variation, showing voluminous sound density, very close stylistically to American/English rock, ideologically distanced form national variations in its relation with the cultural industry and with the cultivation of elements from the national and local culture. By interacting with a traditional scenario from Goiânia, implicated as well with representational disputes between tradition and modernity, the alternative rock from the city has showed meaningful traces of a positioning of resistance before the hegemony of representations related to country music, to the relation of this music with residues from the past oligarchical culture from Goiás and with the most radical mechanisms of the cultural industry. It has revealed processes of identity, therefore, one of the vectors of an identity of Goiânia in constant construction.