Mosaico nordestino o Brasil de dentro na música de Antonio José Madureira

• Ano de defesa: 2024
• Autor(a) principal: Andrade, Francisco Luiz Jeannine
• 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 brasileira; Música armorial - Etnomusicologia histórica; Viola Brasileira; Compositor Antonio Madureira; Ariano Suassuna; Historical ethnomusicology; Northeastern Mosaic; Armorial Music; Brazilian Music; CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::MUSICA
• Link de acesso: https://repositorio.ufpb.br/jspui/handle/123456789/36145

This thesis presents the results of a research project that reflected on the aesthetic construction of armorial music and its articulation with the idea of the Northeast and Brazil in the field of popular cultures, created within the scope of the Armorial Movement, an important artistic movement of the 1970s led by the writer-teacher from Paraiba Ariano Suassuna. Through the lens of historical ethnomusicology, the study examined the musical meaning of the term Armorial, its symbolism and creative appropriation for aesthetic construction, in a broad, complex and violent context of a civil-military dictatorship. The study analysed the meaning of the phases of the movement, its field of research-action of cultural voices, popular romanceiro and the connections with Brazil from within, the modernism led by Mário de Andrade and Guerra-Peixe in the field of music, indicating the problematic of the categorization of popular erudite. The objective of this thesis was to understand and interpret the musical production of the Brazilian composer from Rio Grande do Norte, Antonio Madureira, known as Zoca, his trajectory before and during the movement, and to identify in the dialogical relationship that weaves his perception of Brazil and the Northeast: the creation of reality and the reality of the creation of his field of activity. In this journey, the meaning of armorial music expands in the cultural experience of the composer and researcher in Chapada do Araripe, and is presented as a dimension of belonging and rooting, in the present day, through works such as those of Vila da Música, Crato CE, through the Camerata de Violões Agio Moreira, and through the work of the Orquestra Armorial do Cariri, led by Francisco Di Freitas. In this way, the methodological procedure articulated archival, artistic, bibliographical, documentary research, interviews, and sampling of sound and audiovisual materials, reflecting on the meaning of its aesthetics for Brazilian music, opening space to think about the field of performance and musical education. From this research, it was possible to identify in his work, his didactic character, his minimalism, his search for the elementary as a preponderant factor for creation, evidencing, an idea of Brazil from within, of varied contexts, of a Northeastern Mosaic.