A afro-brasilidade na música para canto e piano no Ciclo Beiramar, op. 21, de Marlos Nobre

dc.contributorMargarida Maria Borghoff
dc.contributorPaulo Sérgio Malheiros dos Santos
dc.contributorLuciana Monteiro de Castro Silva Dutra
dc.contributorRosangela Pereira de Tugny
dc.creatorRobson Lopes
dc.date.accessioned2019-08-09T19:47:32Z
dc.date.accessioned2022-10-04T00:23:50Z
dc.date.available2019-08-09T19:47:32Z
dc.date.available2022-10-04T00:23:50Z
dc.date.created2019-08-09T19:47:32Z
dc.date.issued2010-07-15
dc.identifierhttp://hdl.handle.net/1843/AAGS-8G9NVA
dc.identifier.urihttp://repositorioslatinoamericanos.uchile.cl/handle/2250/3833735
dc.description.abstractThis thesis consists of a study on afro-Brazilian chamber music, which focuses on the analysis of the piece Beiramar, Op. 21, by Marlos Nobre, composed in 1966 and inspired by black songs and beliefs from Bahia. We approach the complexity of the representation of black cultures in the scope of classical music, by taking into account the historical processes of appropriation and re-signification they have undergone. History, culture and diversity are elements which determine the way not only an individual but also a piece of music belongs to the culture that produces it. Our literary and musical analyses furnish instruments for a renewed interpretation both of Marlos Nobre's work and of other afro-Brazilian chamber music pieces
dc.publisherUniversidade Federal de Minas Gerais
dc.publisherUFMG
dc.rightsAcesso Aberto
dc.subjectCultura afro-brasileira
dc.subjectMarlos Nobre
dc.subjectCanção brasileira
dc.subjectAtlântico Negro
dc.subjectBeiramar
dc.titleA afro-brasilidade na música para canto e piano no Ciclo Beiramar, op. 21, de Marlos Nobre
dc.typeDissertação de Mestrado


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