A composição de música popular cantada: a construção de sonoridades e a montagem dos álbuns no pós-década de 1960

Abstract

This work puts forward theoretical grounds for an investigation into some musical composition techniques to sung popular music introduced and consolidated since the 1960's.It is believed that technological advances in the period enabled sung popular music artists to begin to explore new compositional approaches by physically editing recorded tapes.Transposing concepts of verbal discourse introduced by Mikhail Bakhtin into music, we advance the understanding of a recorded album as a complex genre of musical discourse organized in a moment form.Assuming each phonogram to be a self-contained 'moment'as suggested by Stockhausen -, we primarily study the weaving of contrasting sonorities by using Didier Guigue's analytical framework for the music of the 20th century as reference.In this context, we also discuss the rhythmic interplay so characteristic of popular music in the Americas, which arises from the clash between the asymmetrical patterns inherited by the African music tradition and the symmetrical measures of Europe-based music of the eighteenth and nineteenth century.In conclusion, the proposed tools are applied to the analysis of the editing of Milton Nascimento's album Minas.

Cite this work

No public copy is stored for this record, so only the metadata is cited.

Stored only when both papers are in the corpus — 4 citations exist upstream.

Papers that cite the same references — the relational fallback while embeddings are still backfilling.