A obra vocal de estércio Marquez Cunha: especificidades da música e memória musical no cenário goianiense
Carregando...
Data
2012-06-20
Autores
Título da Revista
ISSN da Revista
Título de Volume
Editor
Universidade Federal de Goiás
Resumo
This study aimed to verify how the construction of the specifics of music in the
classical dimension of goianiense society, as well as the possible interactions of this
construction with other cultural dimensions, from analysis and interpretation of a case study:
three works selected vocal repertoire from goiano composer Estércio Marquez Cunha,
members of the CD "Lento Acalanto" 1999. The crossing of the concrete object with the four
basic processes of music - creating, receiving, production and circulation - with emphasis on
the first two, based on the conception that elects, by a bias, the "autonomy of the work" and,
secondly, "work as symbolic structure”, two “constructions" that were the basis of the
different times that the Western Society instituted in its historical trajectory, gave greater
scope for research, allowing the focus on" form "and, concomitantly, the symbolic
implications of this "form" the social fabric. The systematization of this initiative required the
achievement of interdisciplinary work in three stages, starting with the conceptual approach of
the specifics of the music, its basic processes and processes-historical paradigm, followed by
the case study on the composer Estércio Marquez Cunha, and his work interaction with the
goianiense music scene and finally the musical analysis of selected works. Achieving these
steps and retro-analysis of the entire process allow us to affirm that the specifics of music
could be observed in part from this case study. Estércio Cunha's work is really restricted to
the field of classical music production in Goiânia. There has met the specific circumstances
related to creative processes and reception, has circulated, above all, from the composer's
connection with academic institutions, especially the Escola de Música e Artes Cênicas from
UFG, which has circulated social representations. In this context, based on these
representations, has become a force in terms of symbolic capital, capable of showing works
and practices that incorporate the habitus that circulates in this specific field of music
production. On the other hand, has established itself as economic capital, and has not shown a
meaningful dialogue with other fields of music production. The analysis and interpretations
that were the basis of the basic processes focused approach proved efficient when crossing
formalist analysis and symbolic.
Descrição
Palavras-chave
Citação
CARVALHO, Leonardo Victtor de. A obra vocal de estércio Marquez Cunha: especificidades da música e memória musical no cenário goianiense. 2012. 219 f. Dissertação (Mestrado em Música) - Universidade Federal de Goiás, Goiânia, 2012.