Transformações da sensibilidade musical contemporânea

Carvalho, José Jorge de

doi:10.1590/S0104-71831999000200004

Resumos

Este ensaio visa propor uma reflexão sobre as mudanças na sensibilidade musical no mundo ocidental neste fim de século. As profundas transformações na tecnologia da produção musical ocorridas nas últimas décadas provocaram uma alteração dramática do lugar que a música ocupa na sociedade e também para o indivíduo. Interpreto o impacto dessas mudanças através de quatro elementos de análise profundamente interrelacionados: a tecnologia de gravação e reprodução, a execução musical, a recepção do produto musical e as subculturas musicais que condicionam as opções de uma vasta gama de consumidores de música, jovens e velhos. Na tentativa de construir uma sensibilidade musical deveras pluralista, procurei ilustrar esses argumentos com exemplos musicais retirados dos estilos mais diversos: eruditos, tradicionais, populares, massificados, folclóricos, ritualizados, etc. Dialogo também com teorias da música e da cultura contemporânea que cobrem um amplo eixo da Musicologia e da Etnomusicologia, de Béla Bártok, Adorno e Benjamin a John Blacking, Jacques Attali, Jean Baudrillard, Simon Frith, Lawrence Kramer, entre outros.

mediações na música; musicalidade; performance; sensibilidade musical

This essay develops a series of reflections about the changes in the musical sensibility in the Western world today. The profound changes in the technology of musical production which occurred in the last decades provoked a substantial shift in the place of music in society and for the individual. I try to interpret the impact of these changes on the basis of four elements of analysis deeply interrelated: technological innovations in recording and reproduction, musical performance, reception of the musical product, and musical subcultures which shape the choices of a vast sector of musical consumers, young and old. In an attempt to set the basis for a truly pluralist musical sensibility I seek to illustrate these new dilemmas with musical examples coming from the most varied and different styles: erudite, popular, traditional, folk, mass-media-oriented, ritualized, etc. Dialogues are established with various theoreticians of music and of contemporary culture, from Adorno, Béla Bártok, Walter Benjamin, to John Blacking, Jacques Attali, Jean Baudrillard, Simon Frith, and Lawrence Kramer,among others.

mediations in music; musicality; musical sensibility; performance

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¹
ADORNO, T. In search of Wagner London: Verso, 1991.
²
ATTALI, J. Noise: the political economy of music. Minneapolis: University of Minnesota Press, 1985.
³
BARTOK, B. The relation of folk song to the development of the art music of our time. In: SUCHOF, B. (Ed.). Essays Lincoln: University of Nebraska Press, 1992.
⁴
BAUDRILLARD, J. Simulacra and simulation Ann Arbor: University of Michigan Press, 1994.
⁵
BÉHAGUE, G. (Org.). Performance practice: ethnomusicological perspectives. London: Greenwood Press, 1984.
⁶
BENJAMIN, W. Charles Baudelaire: un poéte lyrique à l’apogée du capitalisme. Paris: Petite Bibliothéque Payot, 1982.
⁷
BENJAMIN, W. A obra de arte na era de sua reprodutibilidade técnica. In: BENJAMIN, W. Magia e técnica, arte e política: ensaios sobre literatura e história da cultura. São Paulo: Brasiliense, 1985. p. 165-196.
⁸
BERENDT, J.-E. The third ear: on listening to the world. New York: Henry Holt and Company, 1992.
⁹
BLACKING, J. How musical is man? London: Faber and Faber, 1976.
¹⁰
BLACKING, J. Music, culture, and experience Chicago: University of Chicago Press, 1995.
¹¹
BOURDIEU, P. La distinction: critique sociale du jugement. Paris: Édition de Minuit, 1979.
¹²
BUCK-MORSS, S. Dialectics of seeing: Walter Benjamin and the Arcades Project. Cambridge: MIT Press, 1989.
¹³
CARVALHO, J. J. Aesthetics of opacity and transparence. Myth, music and ritual in the Xangô cult and in the Western art tradition. Latin American Music Review, v. 14, n. 2, p. 202-231, 1993.
¹⁴
CARVALHO, J. J. Black music of all colors. The construction of black ethnicity in ritual and popular genres of Afro-Brazilian music. In: BÉHAGUE, G. (org). Music and black ethnicity in the Caribbean and South America Miami: North-South Center; University of Florida, 1994a. p. 187-206.
¹⁵
CARVALHO, J. J. The multiplicity of black identities in Brazilian popular music Brasília: UnB, 1994b. (Série Antropologia, n. 163).
¹⁶
CARVALHO, J. J. Centralidades rituales y desplazamientos simbólicos. Configuraciones de la sensibilidad musical contemporánea. In: ACTAS DEL CONSEJO IBEROAMERICANO DE MÚSICA. Madrid: Edición Consejo Iberoamericano de la Música; Ministerio de Cultura, 1995.
¹⁷
CARVALHO, J. J. Hacia una etnografía de la sensibilidad musical contemporánea. Cuadernos de Música Iberoamericana, Madrid, v. 1, p. 253-271, 1996.
¹⁸
CARVALHO, J. J.; SEGATO, R. Shango cult in Recife, Brazil Caracas: FUNDEF/CONAC/OAS, 1992.
¹⁹
CARVALHO, J. J.; SEGATO, R. Sistemas abertos e territórios fechados: para uma nova compreensão das interfaces entre música e identidades sociais. Brasília: UnB, 1994. (Série Antropologia, n. 164).
²⁰
CASTLES, J. Tjungaringanyi: aboriginal rock. In: HOWARD, P. (Org.). From pop to punk to postmodernism Sydney: Allen & Unwin, 1992.
²¹
CHOPYAK, J. Hearing and seeing in the electronic age: Preliminary comparisons between Malaysia and California. The World of Music, v. 39, n. 2, p. 27-39, 1997.
²²
CHOW, R. Listening otherwise, music miniaturized: a different type of question about revolution. In: DURING, S. (Org.). The cultural studies reader London: Routledge, 1993. p. 382-399.
²³
CRUCES, F. Niveles de coherencia musical. La aportación de la música a la construción de mundos. Antropología, Madrid, n. 15-16, p. 33-57, 1998.
²⁴
DERRIDA, J. Assinatura acontecimento contexto. In: DERRIDA, J. Margens da filosofia Lisboa: Rés, 1978.
²⁵
DURING, J. Hearing and understanding in the Islamic gnosis. The World of Music, v. 39, n. 2, p. 127-137, 1997.
²⁶
ERLMAN, V. The politics and aesthetics of transnational musics. The World of Music, v. 35, n. 2, p. 3-15, 1993.
²⁷
FRITH, S. Performing rites: on the value of popular music. Cambridge: Harvard University Press, 1996.
²⁸
GAROFALO, R. (Org.). Rocking the boat: mass music and mass movements. Boston: South End Press, 1992.
²⁹
GAROFALO, R. Whose world, what beat: The transnational music industry, identity, and cultural imperialism. The World of Music, v. 39, n. 2, p. 16-32, 1993.
³⁰
GEERTZ, C. A interpretação das culturas Rio de Janeiro: Guanabara Koogan, 1989.
³¹
GROSSBERG, L. Bringing it all back home: essays on cultural studies. Durham: Duke University Press, 1997.
³²
GUMBRECHT, H. U. “É apenas um jogo”: história da mídia, esporte e público. In: GUMBRECHT, H. U. Corpo e forma Rio de Janeiro: Editora da UERJ, 1998. p.115-135.
³³
HERNDON, M.; BRUNYATE, R. (Org.). Form in performance: hard-core ethnography. Austin: Office of the College of Fine Arts, 1975.
³⁴
HOWARD, K. John Blacking: An Interview conducted and edited by Keith Howard. Ethnomusicology, v. 35, n. 1, p. 55-76, 1991.
³⁵
JACKSON, M. Things as they are: new directions in phenomenological anthropology. Bloomington: Indiana University Press, 1996.
³⁶
KRAMER, L. Music and poetry: the nineteenth century and after. Berkeley: University of California Press, 1984.
³⁷
KRAMER, L. Classical music and postmodern knowledge Berkeley: University of California Press, 1995.
³⁸
LOZA, S. Techno music and sonic communities: When modern markets and postmodern pleasures collide. Journal of Popular Music Studies, v. 8, p. 27-41, 1996.
³⁹
MAFFESOLI, M. Le temps des tribus: le declin de l’individualisme dans les societés de masse. Paris: Méridiens Klincksieck, 1988.
⁴⁰
MALM, K. Music on the move: Traditions and mass media. Ethnomusicology, v. 37, n. 3, p. 339-352, 1993.
⁴¹
MARTÍ, J. When music becomes noise: Sound and music that people in Barcelona hear but don’t want to listen to. World of Music, v. 39, n. 2, p. 9-17, 1997.
⁴²
McCLARY, S. Club cultures: music, media, and subculture capital. Hanover: Wesleyan University Press, 1991.
⁴³
MITCHELL, T. World music and the popular music industry: An Australian view. Ethnomusicology, v. 37, n. 3, p. 309-338, 1993.
⁴⁴
MOWITT, J. The sound of music in the era of its electronic reproducibility. In: LEPPERT, R.; MACCLARY, S. (Org.). Music and society: the politics of composition, performance and reception. Cambridge: Cambridge University Press, 1991.
⁴⁵
MYERS, H. Field technology. In: MYERS, H. (Org.). Ethnomusicology: an introduction. New York: Norton, 1992.
⁴⁶
NETTL, B. The Western impact on world music: change, adaptation and survival. New York: Schirmer Books, 1985.
⁴⁷
ROSE, T. Black noise. rap music and black culture in contemporary America Hanover: Wesleyan University Press, 1994.
⁴⁸
SCHULTZ, A. Making music together Haia: Martinus Nijhoff, 1964. (Collected Papers v. 2).
⁴⁹
SCHWARZ, D. Listening subjects: music, psychoanalysis, culture. Durham: Duke University Press, 1997.
⁵⁰
SEGATO, R. Identidades políticas/alteridades históricas. Una crítica a las certezas del pluralismo global. In: ANUÁRIO ANTROPOLÓGICO/97. Rio de Janeiro: Tempo Brasileiro, 1999.
⁵¹
SHEPHERD, J. Music as social text Cambridge: Polity Press, 1991.
⁵²
SILVA, J. M. Na periferia do sucesso: um estudo sobre as condições de produção e significação da cultura musical brega. Dissertação (Mestrado em Comunicação)–Universidade de Brasília, Brasília, 1992.
⁵³
SIMPSON, A. Xuxa: the mega-marketing of gender, race, and modernity. Philadelphia: Temple University Press, 1993.
⁵⁴
SMALL, C. Musicking: the meanings of performance and listening. Hanover: Wesleyan University Press, 1998.
⁵⁵
STEINER, G. No castelo do Barba Azul São Paulo: Companhia das Letras, 1991.
⁵⁶
STERNE, J. Sounds like the mall of America: Programmed music and the architectonics of commercial space. Ethnomusicology, v. 41, n. 1, p. 22-50, 1997.
⁵⁷
STOLLER, P. The taste of ethnographic things: the senses in anthropology. Philadelphia: University of Pennsylvania Press, 1989.
⁵⁸
TURNER, V. The anthropology of performance New York: PAJ Publications, 1988.
⁵⁹
VIANNA, L. Uma antropologia na terra de Marlboro: a pragmática da ilusão na cultura de massa. Dissertação (Mestrado em Antropologia)–Universidade de Brasília, Brasília, 1993.

Datas de Publicação

Publicação nesta coleção
Out 1999

Este trabalho está licenciado com uma Licença Creative Commons - Atribuição-NãoComercial 3.0 Não Adaptada.

[1] ¹
ADORNO, T. In search of Wagner London: Verso, 1991.

[2] ²
ATTALI, J. Noise: the political economy of music. Minneapolis: University of Minnesota Press, 1985.

[3] ³
BARTOK, B. The relation of folk song to the development of the art music of our time. In: SUCHOF, B. (Ed.). Essays Lincoln: University of Nebraska Press, 1992.

[4] ⁴
BAUDRILLARD, J. Simulacra and simulation Ann Arbor: University of Michigan Press, 1994.

[5] ⁵
BÉHAGUE, G. (Org.). Performance practice: ethnomusicological perspectives. London: Greenwood Press, 1984.

[6] ⁶
BENJAMIN, W. Charles Baudelaire: un poéte lyrique à l’apogée du capitalisme. Paris: Petite Bibliothéque Payot, 1982.

[7] ⁷
BENJAMIN, W. A obra de arte na era de sua reprodutibilidade técnica. In: BENJAMIN, W. Magia e técnica, arte e política: ensaios sobre literatura e história da cultura. São Paulo: Brasiliense, 1985. p. 165-196.

[8] ⁸
BERENDT, J.-E. The third ear: on listening to the world. New York: Henry Holt and Company, 1992.

[9] ⁹
BLACKING, J. How musical is man? London: Faber and Faber, 1976.

[10] ¹⁰
BLACKING, J. Music, culture, and experience Chicago: University of Chicago Press, 1995.

[11] ¹¹
BOURDIEU, P. La distinction: critique sociale du jugement. Paris: Édition de Minuit, 1979.

[12] ¹²
BUCK-MORSS, S. Dialectics of seeing: Walter Benjamin and the Arcades Project. Cambridge: MIT Press, 1989.

[13] ¹³
CARVALHO, J. J. Aesthetics of opacity and transparence. Myth, music and ritual in the Xangô cult and in the Western art tradition. Latin American Music Review, v. 14, n. 2, p. 202-231, 1993.

[14] ¹⁴
CARVALHO, J. J. Black music of all colors. The construction of black ethnicity in ritual and popular genres of Afro-Brazilian music. In: BÉHAGUE, G. (org). Music and black ethnicity in the Caribbean and South America Miami: North-South Center; University of Florida, 1994a. p. 187-206.

[15] ¹⁵
CARVALHO, J. J. The multiplicity of black identities in Brazilian popular music Brasília: UnB, 1994b. (Série Antropologia, n. 163).

[16] ¹⁶
CARVALHO, J. J. Centralidades rituales y desplazamientos simbólicos. Configuraciones de la sensibilidad musical contemporánea. In: ACTAS DEL CONSEJO IBEROAMERICANO DE MÚSICA. Madrid: Edición Consejo Iberoamericano de la Música; Ministerio de Cultura, 1995.

[17] ¹⁷
CARVALHO, J. J. Hacia una etnografía de la sensibilidad musical contemporánea. Cuadernos de Música Iberoamericana, Madrid, v. 1, p. 253-271, 1996.

[18] ¹⁸
CARVALHO, J. J.; SEGATO, R. Shango cult in Recife, Brazil Caracas: FUNDEF/CONAC/OAS, 1992.

[19] ¹⁹
CARVALHO, J. J.; SEGATO, R. Sistemas abertos e territórios fechados: para uma nova compreensão das interfaces entre música e identidades sociais. Brasília: UnB, 1994. (Série Antropologia, n. 164).

[20] ²⁰
CASTLES, J. Tjungaringanyi: aboriginal rock. In: HOWARD, P. (Org.). From pop to punk to postmodernism Sydney: Allen & Unwin, 1992.

[21] ²¹
CHOPYAK, J. Hearing and seeing in the electronic age: Preliminary comparisons between Malaysia and California. The World of Music, v. 39, n. 2, p. 27-39, 1997.

[22] ²²
CHOW, R. Listening otherwise, music miniaturized: a different type of question about revolution. In: DURING, S. (Org.). The cultural studies reader London: Routledge, 1993. p. 382-399.

[23] ²³
CRUCES, F. Niveles de coherencia musical. La aportación de la música a la construción de mundos. Antropología, Madrid, n. 15-16, p. 33-57, 1998.

[24] ²⁴
DERRIDA, J. Assinatura acontecimento contexto. In: DERRIDA, J. Margens da filosofia Lisboa: Rés, 1978.

[25] ²⁵
DURING, J. Hearing and understanding in the Islamic gnosis. The World of Music, v. 39, n. 2, p. 127-137, 1997.

[26] ²⁶
ERLMAN, V. The politics and aesthetics of transnational musics. The World of Music, v. 35, n. 2, p. 3-15, 1993.

[27] ²⁷
FRITH, S. Performing rites: on the value of popular music. Cambridge: Harvard University Press, 1996.

[28] ²⁸
GAROFALO, R. (Org.). Rocking the boat: mass music and mass movements. Boston: South End Press, 1992.

[29] ²⁹
GAROFALO, R. Whose world, what beat: The transnational music industry, identity, and cultural imperialism. The World of Music, v. 39, n. 2, p. 16-32, 1993.

[30] ³⁰
GEERTZ, C. A interpretação das culturas Rio de Janeiro: Guanabara Koogan, 1989.

[31] ³¹
GROSSBERG, L. Bringing it all back home: essays on cultural studies. Durham: Duke University Press, 1997.

[32] ³²
GUMBRECHT, H. U. “É apenas um jogo”: história da mídia, esporte e público. In: GUMBRECHT, H. U. Corpo e forma Rio de Janeiro: Editora da UERJ, 1998. p.115-135.

[33] ³³
HERNDON, M.; BRUNYATE, R. (Org.). Form in performance: hard-core ethnography. Austin: Office of the College of Fine Arts, 1975.

[34] ³⁴
HOWARD, K. John Blacking: An Interview conducted and edited by Keith Howard. Ethnomusicology, v. 35, n. 1, p. 55-76, 1991.

[35] ³⁵
JACKSON, M. Things as they are: new directions in phenomenological anthropology. Bloomington: Indiana University Press, 1996.

[36] ³⁶
KRAMER, L. Music and poetry: the nineteenth century and after. Berkeley: University of California Press, 1984.

[37] ³⁷
KRAMER, L. Classical music and postmodern knowledge Berkeley: University of California Press, 1995.

[38] ³⁸
LOZA, S. Techno music and sonic communities: When modern markets and postmodern pleasures collide. Journal of Popular Music Studies, v. 8, p. 27-41, 1996.

[39] ³⁹
MAFFESOLI, M. Le temps des tribus: le declin de l’individualisme dans les societés de masse. Paris: Méridiens Klincksieck, 1988.

[40] ⁴⁰
MALM, K. Music on the move: Traditions and mass media. Ethnomusicology, v. 37, n. 3, p. 339-352, 1993.

[41] ⁴¹
MARTÍ, J. When music becomes noise: Sound and music that people in Barcelona hear but don’t want to listen to. World of Music, v. 39, n. 2, p. 9-17, 1997.

[42] ⁴²
McCLARY, S. Club cultures: music, media, and subculture capital. Hanover: Wesleyan University Press, 1991.

[43] ⁴³
MITCHELL, T. World music and the popular music industry: An Australian view. Ethnomusicology, v. 37, n. 3, p. 309-338, 1993.

[44] ⁴⁴
MOWITT, J. The sound of music in the era of its electronic reproducibility. In: LEPPERT, R.; MACCLARY, S. (Org.). Music and society: the politics of composition, performance and reception. Cambridge: Cambridge University Press, 1991.

[45] ⁴⁵
MYERS, H. Field technology. In: MYERS, H. (Org.). Ethnomusicology: an introduction. New York: Norton, 1992.

[46] ⁴⁶
NETTL, B. The Western impact on world music: change, adaptation and survival. New York: Schirmer Books, 1985.

[47] ⁴⁷
ROSE, T. Black noise. rap music and black culture in contemporary America Hanover: Wesleyan University Press, 1994.

[48] ⁴⁸
SCHULTZ, A. Making music together Haia: Martinus Nijhoff, 1964. (Collected Papers v. 2).

[49] ⁴⁹
SCHWARZ, D. Listening subjects: music, psychoanalysis, culture. Durham: Duke University Press, 1997.

[50] ⁵⁰
SEGATO, R. Identidades políticas/alteridades históricas. Una crítica a las certezas del pluralismo global. In: ANUÁRIO ANTROPOLÓGICO/97. Rio de Janeiro: Tempo Brasileiro, 1999.

[51] ⁵¹
SHEPHERD, J. Music as social text Cambridge: Polity Press, 1991.

[52] ⁵²
SILVA, J. M. Na periferia do sucesso: um estudo sobre as condições de produção e significação da cultura musical brega. Dissertação (Mestrado em Comunicação)–Universidade de Brasília, Brasília, 1992.

[53] ⁵³
SIMPSON, A. Xuxa: the mega-marketing of gender, race, and modernity. Philadelphia: Temple University Press, 1993.

[54] ⁵⁴
SMALL, C. Musicking: the meanings of performance and listening. Hanover: Wesleyan University Press, 1998.

[55] ⁵⁵
STEINER, G. No castelo do Barba Azul São Paulo: Companhia das Letras, 1991.

[56] ⁵⁶
STERNE, J. Sounds like the mall of America: Programmed music and the architectonics of commercial space. Ethnomusicology, v. 41, n. 1, p. 22-50, 1997.

[57] ⁵⁷
STOLLER, P. The taste of ethnographic things: the senses in anthropology. Philadelphia: University of Pennsylvania Press, 1989.

[58] ⁵⁸
TURNER, V. The anthropology of performance New York: PAJ Publications, 1988.

[59] ⁵⁹
VIANNA, L. Uma antropologia na terra de Marlboro: a pragmática da ilusão na cultura de massa. Dissertação (Mestrado em Antropologia)–Universidade de Brasília, Brasília, 1993.

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Transformações da sensibilidade musical contemporânea

Resumos

Datas de Publicação