Tesis
Poéticas nacionalistas na música brasileira de concerto : proposições de Camargo Guarnieri e Cláudio Santoro
Fecha
2017-12-13Registro en:
VIEIRA, Adinil Carlos da Silva. Poéticas nacionalistas na música brasileira de concerto: proposições de Camargo Guarnieri e Cláudio Santoro. 2017. 94 f. Dissertação (Mestrado em Estudos de Cultura Contemporânea) - Universidade Federal de Mato Grosso, Faculdade de Comunicação e Artes, Cuiabá, 2017.
Autor
Palhares, Taís Helena
http://lattes.cnpq.br/2765912623076079
Palhares, Taís Helena
847.262.456-00
http://lattes.cnpq.br/2765912623076079
Soares, Teresinha Rodrigues Prada
058.228.658-10
http://lattes.cnpq.br/5500175848640333
847.262.456-00
Campos, Nilceia da Silveira Protásio
058.228.658-10
http://lattes.cnpq.br/9035006977831813
Institución
Resumen
From the examination of historical data, and paying attention to the different poetic lines
of two composers who are part of the framework of Brazilian nationalist composers,
Camargo Guarnieri and Cláudio Santoro, try this research highlight the particularities and
nuances of Brazilian nationalist music, so that refute the idea of a nationalism with a
single and cohesive version. For this, studies on aesthetics, history, and mainly music
were used. We also cite some of the major Brazilian composers who were in evidence in
the first half of the twentieth century, as well as musical critics, punctuating questions
about nationalist ideology in concert music. Considering the trajectories of Cláudio
Santoro and Guarnieri, especially the nationalist music developed by them, we found
some proposals for development of a national music, and we pay attention to the outcomes
of the same. The particularities of these proposals as well as their outcome is thus the
focus of this research. Taking into account two works for solo piano, Dansa Negra
(Guarnieri) and Dansa Brasileira nº 02 (Santoro), this research found that the endings of
the stylistic paths of both Guarnieri and Santoro gradually distance themselves from the
main objective of nationalism, that is , to make the composers speak the national musical
language as their mother tongue, to reflect the aspirations of a people, and to be
assimilated by it.