Popularmusik-Sound Studies-Alltagskultur in Brasilien. A.A.Bispo

Popularmusikforschung
Sound-Studies - Alltagskultur

- Stand der Forschung-

31. Januar

Universität des Staats São Paulo UNESP

Institut der Künste

Auditorium J. Baptista Julião

I
Ehrenvorsitz: Prof. José Mozart de Araújo
Rio de Janeiro

Die Aufnahmen von Popularmusik von 1910-1920 des 20. Jahrhunderts

Prof. Dr. Dulce Martins Lamas

Musikhochschule der Bundesuniversität von Rio de Janeiro

The report is about a rare collection of 468 records made in the beginning of the century in Rio de Janeiro. This collection belongs to the section of registers of authors in the National Library and was transferred to the Centre of Folkloric Research, part of National School of Music, in the fifties, at Luis Heitor Correa de Azevedo’s request. After having consulted the registers of the National Library, the conclusion was drawn that these records must have been made between 1910 and 1916. There is no mention of the composers on about half of the records, however it is our collection which is found in the register of authors’ rights. This collection throws light on difficult questions of authors’ rights which refer to Brazilian music everywhere (for ex. Cabocla di Caxangá). Besides these valses and polkas, shottische and mazurkas, one notices the spreading of popular pieces like „lundus“, „maxixes“, „tangos“, „sertaneja“ songs and specially „choros“. Recordings of Ernesto Nazareth’s work can be considered as historical land-marks in Brazilian popular music. The assertion of the characteristic features of Rio de Janeiro in musical art found in erudite music, is confirmed by the author. (Übers. Eleanor Florence Dewey)

Die Raumorganisation der Stadt von Rio de Janeiro aus der Sicht von Komponisten der Popularmusik Brasiliens

João Baptista Ferreira de Mello

Brasilianisches Institut für Geographie und Statistik, Rio de Janeiro

What idea have the people in Rio de Janeiro got of their districts? IOne way of answering this question, would be to use the vast amount of music written about Rio de Janeiro insomuch as it can be a source of information. It is diffic ult to explain why Geographers have not paid more attention to music. The information found in the texts of popular music was investigated according to notions of Centralization, Decentralization, Cohesion, Invasion, Succession, Segregation and Inertia. (EFD)

Die Popularmusik in São Paulo zu Beginn des 20. Jahrhunderts

Alberto Ikeda

Ibero-Amerikanische Fakultät

The town of São Paulo developed in a vertigionous fashion in all sectors at the end of the last century and during the first decades of XX centura. Music of the past of São Paulo had, as yet, been studied very little. In the urban centres in Brazil, such as Recife, Salvador and Rio de Janeiro, different kinds of popular music were developed and, today, are considered as being authentically national (Frevo, Samba, Marcha-Rancho, Choro, Maxixe). One wonders why no characteristic style of popular music arose in São Paulo. A remarkable fact of the increasing importance of popular music in the artistic world of the city, is the way that three erudite composers, renowned in our History, dedicated to it: João de Souza Lima, under the pseudonym Xon-Xon; Francisco Migno, under Chico-Bororó and Luiz Leva under Zil y Vel or Ivo Ivu Leliz. Pedro Angelo Camin (1870-1933) also left many compositions of a popular style. The reason of this activity was due to the comercial necessities of printing and selling the scores. (EFD)

Die „Sprache in der Sprache“: eine semiologische Analyse der Musik „Língua“ von Caetano Veloso

Prof. Severino do Ramo Gomes de Lima

Fakultät Mozarteum von São Paulo

The analysis of this piece demands the use of a scale of critica of a textual, auditive and visual character. One of the important aspects of the text is the Portuguese spoken in Brazil compared with that of Portugal., The author develops and assumes the spoken form of the language. The text of this music cannot be analysed in an unidimentional form, but the metalinguistic aspect must be taken into consideration. The author approaches poetical currents and styles. (EFD)

31. Januar
14:00 Uhr

Präsentation des Films

Der Sound des Alltags

„O Som Nosso de Cada Dia“

Futura Filmes

„Som direto“ Ary Filler und Cléo Santos Lima

Fotografie: Eduardo Pereira

Forschungen: Karin Nielsen

Technische Unterstützung: Taglar Dudus

Schriften: Daniel Brazil

Zusammensetzung: Renato Neiva Moreira

Produktionsleitung: Luiz Antonio Sampaio

Route und Direktion: Mário Kuperman

Kulturministerium

Regierung des Staates São Paulo

Kultursekretariat des Staates São Paulo

Stadt São Paulo

FUNARTE - Nationalstiftung für Kunst

Villa-Lobos Museum, Rio de Janeiro

Internationaler Musikrat/UNESCO

Consociatio Internationalis Musicae Sacrae, CIMS

Staatsuniversität Júlio de Mesquita Filho

Instituto de Artes do Planalto

Universität von São Paulo

Universität von Rio de Janeiro

Universität von Ouro Preto

Bundesuniversität von Rio de Janeiro

Bundesuniversität von Minas Gerais

Bundesuniversität von Goiás

Bundesuniversität von Paraná

Bundesuniversität von Santa Catarina

Bundesuniversität von Rio Grande do Sul

Bundesuniversität von Bahia

Bundesuniversität von Santa Maria, RS

Päpstliche Universität von Paraná

Brasilianische Gesellschaft für Volkskunde

Brasilianische Gesellschaft für Akustik

Gesellschaft Pró-Música Antiga

Brasilianische Gesellschaft für zeitgenössischer Musik

Institut Technologischer Forschung, São Paulo

Brasilianisches Institut für Geographie und Statistik

Bibliothek der Schule für Kommunikation und Künste der Universität São Paulo, ECA

Institut für hymnologische und musikethnologische Studien, Maria Laach

Studienzentrum für Kunstsoziologie der Philosophischen Fakultät der Universität São Paulo

Musikfakultät Carlos Gomes

Museum der Universität São Paulo (Ipiranga-Museum)

Museum für Volkskunde São Paulo

Musikkonservatorium von Niterói

Musikabteilung des Methodistischen Instituts für Hochschulstudien, São Bernardo do Campo

Gesellschaft für Gesang des Mittelsalters, São Paulo

Basilika Unsere Frau von Karmel

Symphonie Orchester der Universität São Paulo

Musikkonservatorium Brooklin Paulista
Chor Camargo Guarnieri, Poços de Caldas
Gregorianischer Chor Pius X, São Paulo