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| Author(s): |
Fernando de Oliveira Magre
Total Authors: 1
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| Document type: | Doctoral Thesis |
| Press: | Campinas, SP. |
| Institution: | Universidade Estadual de Campinas (UNICAMP). Instituto de Artes |
| Defense date: | 2022-07-22 |
| Examining board members: |
Denise Hortencia Lopes Garcia;
Silvia Maria Pires Cabrera Berg;
Alexandre Remuzzi Ficagna;
Angelo José Fernandes;
Cinthia Pinheiro Alireti
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| Advisor: | Denise Hortencia Lopes Garcia |
| Abstract | |
This work brings together a set of works by Brazilian composers under the denomination of music theater. It aims to elucidate the presence of this repertoire amongst contemporary Brazilian concert music, to identify its characteristics and trace its historical paths. We started the work by presenting the theoretical framework that guides our approach. We use the concepts of Anthropophagy, Cultural Transfers and Hybridism to reflect on the origins of music theater in Brazil not as an imitation of external practices, but rather as a result of processes of creative reception and resemantization. In order to delimit our research object, we present the historical events that culminated in the emergence of music theater in Europe, taking John Cage's presence in Darmstadt and his reception as central factors. Next, we mapped the main spaces where music theater germinated in Brazil, describing some of its most important agents, works and events. To carry out the analyses, we developed an analytical model that would meet the specifics of the repertoire both in its musical and theatrical dimensions. This model comprises three major levels related to the syntactic and semantic dimension and the presence of music within music theater. Finally, we present analyzes of 6 works by Brazilian composers of different styles, aiming to demonstrate the diversity of the repertoire. With this research, we verify that music theater was not a punctual experience in Brazilian music. On the contrary, it permeates the production of composers of the most varied lines, remaining alive in the repertoire since its invention in the early 1960s. Its absence in reference historiographical works does not reflect its inexistence, but rather reveals the process of erasure to which it was submitted in the course of time, eclipsed by practices and musical genres considered more legitimate. In this sense, this work proposes to highlight the practice of music theater in Brazil, its agents, routes, and ramifications (AU) | |
| FAPESP's process: | 18/04308-3 - Music-theater in Brazil: agents, routes and unfoldings |
| Grantee: | Fernando de Oliveira Magre |
| Support Opportunities: | Scholarships in Brazil - Doctorate |