Música Discurso Poder

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Música Discurso Poder COLECÇÃO HESPÉRIDES LITERATURA MÚSICA 26 DISCURSO PODER Maria do Rosário Gir ão Santos Elisa Maria Lessa COORDENAÇÃO K_hesperides26_MúsicaDiscursoPoderv1.indd 1 12/07/26 10:58 MÚSICA DISCURSO PODER Musica Discurso Poder.indb 1 17-07-2012 09:03:27 Musica Discurso Poder.indb 2 17-07-2012 09:03:29 MÚSICA DISCURSO PODER COORDENAÇÃO Maria do Rosário Girão Santos Elisa Maria Lessa Musica Discurso Poder.indb 3 17-07-2012 09:03:29 Comissão Científi ca Ana Gabriela Vilela Pereira de Macedo Elisa Maria Maia da Silva Lessa Eunice Maria Silva Ribeiro Maria do Rosário Girão Ribeiro dos Santos Maria Eduarda Bicudo Azeredo Keating Mário Vieira de Carvalho Paula Alexandra Varanda Ribeiro Guimarães Comissão Organizadora Diogo André Barbosa Martins Elisa Maria Maia da Silva Lessa Maria do Rosário Girão Ribeiro dos Santos Marta Nunes da Costa Paula Alexandra Varanda Ribeiro Guimarães Sílvia Lima Gonçalves Araújo Musica Discurso Poder.indb 4 17-07-2012 09:03:30 ÍNDICE 9 Prefácio 15 Música e política: o “caso” de Fernando Lopes -Graça (1906 -1994) Mário Vieira de Carvalho 43 Música: poder e discursos como produtores de subalternidade António Pinho Vargas 57 Música e expressão ideológica: a obra Buchenwald para piano solo de Eurico Tomás de Lima (1908 -1989) Elisa Maria Maia da Silva Lessa 67 Entre a apologia do poder real e as aspirações da burguesia: manifestações musicais em torno do nascimento de D. Maria Teresa, Princesa da Beira (1793) Cristina Fernandes 83 Musica est scientia divina: escolástica, retórica e apologética nos tratados de teoria musical em fi nais do Antigo Regime. A Escola de Canto de Orgaõ de Caetano de Mello de Jesus (Baía, 1759) Mariana Portas de Freitas 105 Música e civilização: a ideia de progresso no discurso do periódico musical Amphion (1884-1887) Luís Miguel Santos Musica Discurso Poder.indb 5 17-07-2012 09:03:30 121 A música em representações literárias do tráfi co negreiro Ana Ribeiro 135 O jazz na literatura moçambicana da negritude Maria do Carmo Pinheiro e Silva Cardoso Mendes 147 Movements of resistance in Edward Kamau Brathwaite´s Jazz Poetry Gisele Giandoni Wolkoff 157 “A música agora é o jazz”: O jazz como palco de resistência em Portugal, entre 1971 e 1973 Pedro Cravinho 173 Oppositional Discourses on Fado Music: a Love-Hate Relationship Ricardo X. Fonseca 185 Female fronted metal: um pseudogénero musical para a marginalização da mulher artista? Inês Rôlo Martins 201 Music as the Colonizing Other in Iain Banks’s Canal Dreams Katarzyna Pisarska 221 How the Pagans Became ‘Convinced’ about Christianity: Four Conclusions on the Relationship between Music and the Missions in Early Colonialism Christian Storch 235 Uma Questão Sensual e Uma Questão Moral Telmo Rodrigues 243 Understanding a Musical Work: The Dialogue between Listening and Textual Analysis Sara Ellen Eckerson Musica Discurso Poder.indb 6 17-07-2012 09:03:30 251 Discurso(s) do corpo, da letra e da música: a violência segundo Alanis Morissette Diogo Martins 271 Emancipation of the listening-body – Music, power and the body in twentieth-century Polish culture Artur Szarecki 287 O “mulatismo musical”: processos de canonização na historiografi a musical brasileira Diósnio Machado Neto 309 A força da estrutura: música, linguagem e o poder da expressão Ângelo Martingo 317 Lisztomania – O poder atrativo de Franz Liszt Joana Gama 331 Republicanismo e a atividade musical amadora em Portugal na segunda década do século XX – O caso da Tuna Souselense Rui Filipe Duarte Marques 345 Guerra Colonial: pautas identitárias no canto e contracanto português Luciana Moreira Silva e Mónica da Silva 359 Mercado musical actual: creando listas de éxitos Asunción Belda Castilla e Irene González Cueto 369 Milagre dos peixes em tempos de “milagre econômico”: o Clube da Esquina e a resistência político -cultural à ditadura militar brasileira Sheyla Castro Diniz Musica Discurso Poder.indb 7 17-07-2012 09:03:30 381 O poder invisível da música do cinema: Por uma análise mais interdisciplinar Marta Noronha e Sousa 399 O preconceito antioperático no classicismo inglês Jorge Bastos da Silva 415 “Ear and heart with a rapture of dark delight”: Music and wagnerian motives in the poetry of A. C. Swinburne Paula Alexandra Varanda Ribeiro Guimarães 431 À l’ombre de Richard Wagner : Baudelaire, Nietzsche, Proust et Gracq Maria do Rosário Girão Ribeiro dos Santos Musica Discurso Poder.indb 8 17-07-2012 09:03:30 PREFÁCIO NUNCA TANTO COMO HOJE EM DIA A ‘PALAVRA DE ORDEM’ SE TORNOU INTERDIS- 9 CIPLINARIDADE OU, mais bem dito, transdisciplinaridade. Com efeito, as ‘disciplinas’ ofi cialmente instituídas que, ao longo dos PREFÁCIO tempos, haviam reivindicado redutos e métodos inexpugnáveis foram Maria do Rosário Girão gradualmente anuindo a uma contaminação salutar e imbricação salvífi ca Ribeiro dos Santos e Elisa Maria Maia (mercê da exploração denodada de ‘zonas de porosidade’, passíveis de da Silva Lessa alargamento dos respetivos horizontes epistemológicos). A literatura enveredou pelo comparativismo, ao pedir de empréstimo à pintura a magia da cor, ao cinema o virtuosismo da imagem e à música o sortilégio do ritmo. E se a psicanálise se sentiu em dívida para com a literatura, esta última não deixou de ser devedora à sociologia, à estética, à fi losofi a e às ciências políticas. A emergência dos “Cultural Studies” mais não fi rmou do que um processo de longo curso, ao reorientar a literatura comparada, ao expandir o cânone literário, ao recuperar a cultura popular, ao deter-se na organização das identidades (sobremaneira das minorias étnicas), ao debruçar-se sobre questões de género (raça e corpo) e ao repensar o sujeito, sempre híbrido, colonial e pós -colonial. Assim sendo, e posto que, na perspetiva de Louis Althusser, somos “culturalmente interpe- lados”, os “Estudos Culturais” procuraram entender como funciona a cultura – preferencialmente no mundo atual, conquanto não rejeitem os paradigmas do passado –, como nos manipulam as forças culturais e a que tipo de ‘sujeitos’ se dirigem as práticas culturais, concebendo os Musica Discurso Poder.indb 9 17-07-2012 09:03:30 ‘produtos culturais’ como sintomas dilucidativos de uma totalidade social sociopoliticamente balizada. Nesta sequência, e partindo da primazia outorgada aos conceitos de classe, raça e género, os “Estudos Culturais” acolheram a crítica de orientação histórica (o novo historicismo), o pós- -colonialismo, unindo os pressupostos da desconstrução às análises da relação entre discurso e poder de Michel Foucault, sobretudo em obras dedicadas à repressão no Ocidente, e a “Queer Theory”, recorrendo ao marginal com o intuito de analisar a construção cultural do centro. Do mesmo modo, a crítica feminista vinculou -se à desconstrução, no sentido de propor um pensamento que tivesse em conta a diferença dos géneros e a inversão da hierarquia, férrea e historicamente visível, masculino -feminino, como posição no discurso. Ainda nesta conjuntura, os ensaios produzidos no âmbito da Musicologia têm realçado o poder da música enquanto arte persuasiva e manipuladora, ou, numa outra linha de pensamento, o modo como a música pode estar ao serviço do poder, da ideologia e da política. Os 10 estudos realizados em diferentes contextos históricos e culturais e base- ados nas teorias de Adorno, Foucault, Baudrillard e Attali, entre outros MÚSICA autores, fi rmam -se em grande parte como estudo de “casos”. DISCURSO PODER A investigação sobre o fenómeno musical nos seus múltiplos aspe- tos, histórico, sociológico, político, estético, interpretativo e antropoló- gico, para mais não citar, resulta numa polifonia que, na sua essência, pertence às Ciências Musicais, mas que exige diferentes abordagens teóricas e metodológicas desaguando numa diversifi cação enriquece- dora de natureza interdisciplinar. Foi este amplo quadro teórico que serviu de tela de fundo ao Colóquio Internacional MÚSICA DISCURSO PODER – organizado pelo Departamento de Estudos Românicos e pelo Departamento de Música do Instituto de Letras e Ciências Humanas da Universidade do Minho e realizado nos dias 17, 18 e 19 de março de 2011 –, cujos contributos, oriundos de variegadas e híbridas áreas do saber, se dão agora ao prelo. Após duas conferências magistrais de caráter abrangente, nas quais se trilharam os sulcos heurísticos e hermenêuticos conducentes ao tratamento de temáticas particulares – “Música e política: o ‘caso’ de Fernando Lopes -Graça (1906 -1994)” pelo Professor Doutor Mário Vieira de Carvalho e “Música: poder e discursos como produtores de subalternidade” pelo Doutor António Pinho Vargas –, os textos Musica Discurso Poder.indb 10 17-07-2012 09:03:30 compilados, da responsabilidade dos seus autores, inscrevem -se numa louvável pluralidade de áreas e subáreas confi guradora da sua riqueza e ineditismo indubitáveis. Nesta ordem de ideias, destacam -se, na musicologia histórica, os trabalhos de Elisa Lessa (sobre a expressão ideológica da música na obra Buchenwald para piano solo de Eurico Tomás de Lima), de Mariana Portas (em torno do tratado de Caetano de Melo de Jesus como apologia musical do Antigo Regime numa época de transição para o Iluminismo), de Cristina Fernandes (subordinado ao tema do protagonismo da burguesia em ascensão na apologia do poder real e nas práticas musicais em voga num Portugal de fi nais de Setecentos) e de Luís Miguel Santos (versando a exploração do discurso sobre música publicado no periódico musical Amphion e a identifi cação das suas bases ideológicas). Por seu turno, são de realçar, na etnomusicologia, os contribu- tos de Pedro Cravinho (que aborda o jazz como meio de resistên- cia no “Estado Novo”) e de Rui Filipe Duarte Marques (que estuda o 11 ‘caso’ da Tuna Souselense na construção de novos posicionamentos socioideológicos). PREFÁCIO Quanto à sociologia da música, urge referir os textos de Christian Maria do Rosário Girão Storch (a respeito do papel da música no trabalho missionário e da Ribeiro dos Santos e Elisa Maria Maia sua função de colonização) e de Diósnio Machado Neto (a propósito da Silva Lessa da formação e das recorrências do fenómeno do “mulatismo musical” na historiografi a brasileira).
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