Registros sonoros etnográficos de manifestações culturais populares do Nordeste do Brasil subsidiados pelo IPHAN no Século XXI

• Ano de defesa: 2023
• Autor(a) principal: Sonoda, André Vieira
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal da Paraíba; Brasil; Música; Programa de Pós-Graduação em Música; UFPB
• Palavras-chave em Português: Música - Etnografia; Registros fonográficos; Manifestações culturais; Brasil - Região Nordeste - Século XXI; Políticas públicas culturais; IPHAN; Music - Ethnography; Phonographic records; Cultural manifestations; Brazil - Northeast Region - 21st Century; Cultural public policies; CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::MUSICA
• Link de acesso: https://repositorio.ufpb.br/jspui/handle/123456789/27509

Since the political ascension of Getúlio Vargas to power, in 1930, and during most of the 20th century, government investment in mechanisms to protect the Brazilian cultural heritage was mainly based on the registration of a material heritage with Eurocentric characteristics, strongly related to the culture of the ruling class. However, at the end of the 20th Century, a new paradigm redirected government intentions, promoting a gradual approach to contemporary mechanisms for recording and safeguarding intangible cultural heritage. The latter, more connected to the popular classes, as well as better representative of the ethos and sociocultural aspects of the Brazilian people. Materialized in the work of the Instituto do Patrimônio Histórico e Artístico Nacional (IPHAN), this new political context favoured the increase in the activity of ethnographic sound recordings on popular cultural manifestations in the Brazilian Northeast in the 21st Century. However, despite the relevance of these phonographic documents for the Nation, no scientific approach to them, in the terms implemented here, seems to have been instituted up to the present moment. Conducted between 2018 and 2022, this research used bibliographic, documental, acoustic and statistical analyses to assess the characteristics, tendencies and gaps of these ethnographic sound recordings subsidised by IPHAN in the 21st Century. For this, three analytical dimensions were adopted: physics of sound and auditory acoustics; audio engineering and, finally, ethnographic ethnomusicological parameters. Dimensions that proved to be essential for understanding the object of study, as well as for the production of unpublished and relevant information for ethnomusicology and areas in which ethnographic work represents a fundamental procedure. As results, four points were considered main. First, the apprehension of the characteristics, tendencies and gaps of the evaluated sound recordings. These aspects reveal important sociocultural contexts related to twenty-six cultural manifestations in the Northeast of Brazil, which, within the scope of this research, ascended to the status of main objects of analysis. Secondly, the realization of the need for reflections on ethnographic practices in ethnomusicology. Aspects, including, considered important in all areas of knowledge in which ethnographic work, with emphasis on phonographic records, represents an indispensable procedure. Thirdly, the need for adjustments in government policies to safeguard Brazilian intangible heritage, in the sense of establishing guidelines for the practice of ethnographic sound recordings, anchored in epistemic-philosophical constructs and conceptions of ethnomusicology, anthropology and Brazilian cultural manifestations, as well as legal mechanisms more suited to the contemporary requirements of safeguarding and disseminating the national cultural heritage. Finally, the viability of using statistical analyses to identify quantitative data capable of subsidizing relevant qualitative analyses for ethnomusicology was verified. As conclusions, three points were considered relevant. First, the need for conceptual improvements in the field of ethnomusicology, both in relation to the practice of sound recordings and post-production processes of ethnographic materials and in relation to gender hierarchies, power relations, in addition to contemporary religious and cultural discrimination. The latter, attacking the rights and freedoms of cultural manifestations, especially in the case of Indigenous and Afro-Brazilian cultures. Secondly, the need for improvements in cultural public policies, both within the scope of mechanisms for safeguarding, protecting and disseminating the national cultural heritage and in terms of official technical-operational guidelines, instituted by IPHAN, which can better regulate ethnographic recording activities and post-production stages of these materials according to ethnomusicological, anthropological and ethnic precepts typical of Brazilian cultural expressions, especially those qualified as national intangible heritage. It was concluded that the use of statistical analysis in ethnomusicological research can reveal important data, favouring essential qualitative analyses. Although subsidies of this type can approach logics often considered inadequate for the purposes of the human sciences, they seem capable of elucidating aspects and sociocultural contexts that are difficult to identify by purely qualitative methodological options. Finally, the interpretations instituted here allowed the foundation of the thesis that the sound recordings of cultural manifestations in the Northeast of Brazil subsidized by IPHAN in the 21st Century reveal the needs for epistemic-conceptual, practical-operational and normative improvements both in public policies to safeguard the national intangible heritage and in ethnomusicology, as well as in field ethnographic processes that include phonographic records. It is hoped, therefore, that this initiative favours changes in the terms indicated here.