|Support type:||Scholarships in Brazil - Doctorate|
|Effective date (Start):||December 01, 2012|
|Effective date (End):||January 31, 2017|
|Field of knowledge:||Humanities - Sociology|
|Principal Investigator:||Marcelo Siqueira Ridenti|
|Grantee:||Sheyla Castro Diniz|
|Home Institution:||Instituto de Filosofia e Ciências Humanas (IFCH). Universidade Estadual de Campinas (UNICAMP). Campinas , SP, Brazil|
In the passage of the 1960s and 1970s, the term "desbunde" came to encompass a countercultural generation of artists set in a time known as "post-tropicalia" (1969-1974). This season, marked by more violent activity of AI-5, it was also characterized by an intense economic investment by the State, which made possible, among other things, the restructuring of the music industry. Several musicians, whose coordinates entered in this historical context pointed to weakening the perspective of a social revolution, assumed hippies or "alternative" postures. Their songs, sometimes endowed with traits deeply depressed, hung for themes that extolled the expansion of subjectivities and the pursuit of individual/artist for aesthetic, existencial, sexual and politics freedom. This project highlights a portion of this production, focusing on musicians and composers that had participated of the Tropicalismo, some considered "marginals" and the bands Novos Baianos and Secos & Molhados. Such names, by incorporating rock and experimentalism in their repertoires, not left to dialogue with the complex idea of MPB established in 1960s. However, the distance that they demonstrated in relation to engagement typical of many songs of that decade led, to the emergence of new problems to the debates around said acronym, which helped reframe. Based on this cut, throws up the hypothesis that the post-MPB tropicalista, adept "desbunde" and the counterculture, contributed to the emptying of a "national-popular ideology", also contributing to the transformation of "structures of feeling "as concept of Raymond Williams.