masterThesis
(Re)cantos de saudade da terra natal: a construção sonora do nordeste na obra de Luiz Gonzaga (1941-1968)
Fecha
2022-05-31Registro en:
SOUZA, Paulo Higor Duarte de. (Re)cantos de saudade da terra natal: a construção sonora do nordeste na obra de Luiz Gonzaga (1941-1968). 2022. 123f. Dissertação (Mestrado em História) - Centro de Ciências Humanas, Letras e Artes, Universidade Federal do Rio Grande do Norte, Natal, 2022.
Autor
Souza, Paulo Higor Duarte de
Resumen
The present paper proposes to discuss how a certain regime of audibility linked to the
northeastern region was organized from the instrumentalization of a sound archive
linked to this region in the work of the accordion player from Pernambuco, Luiz
Gonzaga (1912-1989). To do so, we will concentrate the analysis on the artist's
performance on the radio, more specifically on the program "No Mundo do Baião"
(1950-1951), starring him and his main songwriting partners - Humberto Teixeira
(1915-1979) and Zé Dantas (1921-1962) - on Rádio Nacional. Starting from this
documentation and clipping, we seek to show how the construction of given spatialities
is linked to a symbolic apprehension and composition of space, which in the case in
question involves the articulation of elements, sound marks and fundamental sounds
attributed to the Northeast and that confer on the region a pretended aesthetic, cultural
and formal purity. A deeper analysis of Luiz Gonzaga's work will allow us to understand
the historical conditions of possibility for the emergence of the baião and the other
rhythms influenced by Gonzaga in the enunciation of a Northeastern soundscape
through the mechanisms of radio production in Rio de Janeiro in the 1950s. In this
sense, this paper will seek to narrate the process of composition of this spatiality in
Gonzaga's work through the articulation of formal and aesthetic elements and the
"sound archive" that tried to fix to the region its alleged authenticity and purity, with the
material conditions of production, reception and circulation of music in the large
centers of Brazil in the exposed cut, as well as the trajectory of the artist himself, his
paths and mishaps until his consecration as an "artist from the brazillian Northeast".