Loading...
Publication
A canção como arma: José Afonso, Sérgio Godinho e José Mário Branco, entre Cantigas do Maio (1971) e FMI (1981)
| Name: | Description: | Size: | Format: | |
|---|---|---|---|---|
| 2.07 MB | Adobe PDF |
Advisor(s)
Abstract(s)
Esta dissertação tem como propósito estabelecer plataformas, comparatistas e outras que
surjam como identicamente legítimas, entre as obras lírico-musicais de José Afonso, José
Mário Branco e Sérgio Godinho, no âmbito da sua intenção interventiva, nas áreas política
e social, e tendo como objecto-base essas suas produções artísticas entre dois momentos que
se consideraram charneira, no âmbito e pressuposições deste estudo: a gravação do disco
Cantigas do Maio, de José Afonso, em 1971 (com edição nesse mesmo ano) e da canção
FMI (escrita em 1979, gravada em 1981, ao vivo, e editada em 1982).
O cerne da investigação, após uma prévia incidência sobre os conceitos fundamentais da
canção enquanto opus político, procurará entender de que forma, a par de outros papéis
(sociais, estéticos, funcionais) inerentes à forma “canção”, esta alcança envolver-se
directamente nos processos que espelha, isto é, que analisa e crítica, descortinar os
mecanismos que potenciam o nexo causal entre a intencionalidade da canção e a sua
recepção, mormente ao nível da eficácia da transmissão da mensagem acima do ruído
metafórico e das assimetrias culturais, ou outras, verificadas entre a criação e a fruição.
Buscar-se-á, pois, responder tão só a uma pergunta basilar: até onde alcança a canção
política, no movimento (mental, físico, pessoal, social) que se desenha entre o que sonha e
o que faz?
This paper aims to establish different platforms, either comparative or others that appear as similarly legitimate, between the lyrical and musical works of José Afonso, José Mário Branco and Sérgio Godinho, within the reach of its intervention intents, both political and social. The base source material upon which this analysis will be carried out is their artistic creations between two pivotal moments for the scope and reach of this investigation: the recording of the album Cantigas de Maio, by José Afonso, in 1971 (released that same year) and of the song FMI (written in 1979, recorded in 1981 and released in 1982). The focus of the investigation, following an initial incidence on the fundamental concepts of the song as a political opus, will be to understand the way in which the “song” format, alongside its other roles (social, aesthetic, functional) achieves a direct involvement in the processes it mirrors, namely the analysis and the critique. The intent is to fathom the mechanisms that potentiate the causality between the song and its reception, especially in what regards the efficacy of the message above the metaphorical noise and the cultural asymmetries which can occur between its creation and its fruition. Thus, the aim of the work will be to answer a basilar question: how far does the political song reach within the (mental, physical, personal and social) movement it conjures, considering what it dreams of and what it ultimately achieves
This paper aims to establish different platforms, either comparative or others that appear as similarly legitimate, between the lyrical and musical works of José Afonso, José Mário Branco and Sérgio Godinho, within the reach of its intervention intents, both political and social. The base source material upon which this analysis will be carried out is their artistic creations between two pivotal moments for the scope and reach of this investigation: the recording of the album Cantigas de Maio, by José Afonso, in 1971 (released that same year) and of the song FMI (written in 1979, recorded in 1981 and released in 1982). The focus of the investigation, following an initial incidence on the fundamental concepts of the song as a political opus, will be to understand the way in which the “song” format, alongside its other roles (social, aesthetic, functional) achieves a direct involvement in the processes it mirrors, namely the analysis and the critique. The intent is to fathom the mechanisms that potentiate the causality between the song and its reception, especially in what regards the efficacy of the message above the metaphorical noise and the cultural asymmetries which can occur between its creation and its fruition. Thus, the aim of the work will be to answer a basilar question: how far does the political song reach within the (mental, physical, personal and social) movement it conjures, considering what it dreams of and what it ultimately achieves
Description
Keywords
Comparatismo Canto Poemas Canção Música Política Modelos de intervenção Comparatism Chant Poem Song Music Politics Protest intervention
Citation
Anacleto, Joaquim de Sousa Rodrigues - A canção como arma [Em linha]: José Afonso, Sérgio Godinho e José Mário Branco, entre Cantigas do Maio (1971) e FMI (1981). [S.l.]: [s.n.], 2021. 218 p.