O habitus cortesão bragantino nos trópicos: a formação musical como estratégia de reprodução do poder monárquico no Rio de Janeiro oitocentista

• Ano de defesa: 2018
• Autor(a) principal: Cruvinel, Flavia Maria
• Orientador(a): Pessoa, Jadir de Morais
• Banca de defesa: Pessoa, Jadir de Morais, Resende, Anita Cristina Azevedo, Sousa, Ana Guiomar Rêgo, Albuquerque, Luiz Botelho, Mello, Maria Therezinha Ferraz Negrão de
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• dARK ID: ark:/38995/0013000001wrg
• Idioma: por
• Instituição de defesa: Universidade Federal de Goiás
• Programa de Pós-Graduação: Programa de Pós-graduação em Educação (FE)
• Departamento: Faculdade de Educação - FE (RG)
• País: Brasil
• Palavras-chave em Português: Habitus cortesão bragantino; Campo de produção musical do Rio de Janeiro oitocentista; Formação musical; Música e poder
• Palavras-chave em Inglês: Habitus cortesão bragantino; Field of musical production in 19th century Rio de Janeiro; Musical formation; Music and power
• Área do conhecimento CNPq: CIENCIAS HUMANAS::EDUCACAO
• Link de acesso: http://repositorio.bc.ufg.br/tede/handle/tede/8991

This thesis, as part of the line of research in education, Work and Social Movements, of the graduate program in education at the Federal Univesity of Goiás (UFG), results from the investigation of the uses and functions of music as a strategy of the reproduction of monarchical power in 19th century Rio de Janeiro. The construction of the concept habitus cortesão bragantino was processed from the analysis of the modus operandi in the field of musical production of the members of the house of Bragança and its continuity in the context of Rio de Janeiro. The musical practices linked to the ceremonies and official events of the monarchy and their distinction and consecration rituals; investments in the field of musical production as part of the Brazilian civilization process; the creation of the first Brazilian institutions related to the symbolic construction of the nation were apparent through the Praxiology brought by Pierre Bourdieu. The corpus of the research consisted of various sources such as manuscripts, newspapers and periodicals, musical works scores, as well as literature dealing with Brazilian historical, cultural, and musical formation. As a result of the transfer of the Portuguese court to Rio de Janeiro, it is noted the Formation of the Musical Scene, Formation of the Musical Taste, and Formation of the Professional Work Field of the musicians. The path of construction of this object made possible the recognition of the importance of music in the daily life of the members of the House of Bragança, as well as part of the civilizing project and the fabrication of the Brazilian Empire.