“Abrir as janelas e deixar o Brasil entrar”: o regional e universal nos álbuns Orquestra popular de câmara e Danças, jogos e canções
This paper aims to analyze two Orquestra Popular de Câmara’s albums: “Orquestra popular de câmara” (1998) and “Danças, jogos e canções” (2003)”, considering that these phonograms have a strong relation with the independent record label Núcleo Contemporâneo, whose founders are also members of the orc...
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| Format: | Online |
| Language: | Portuguese |
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Universidade Estadual de Campinas
2020
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| Subjects: | |
| Online Access: | https://econtents.sbu.unicamp.br/inpec/index.php/muspop/article/view/13776 |
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| Summary: | This paper aims to analyze two Orquestra Popular de Câmara’s albums: “Orquestra popular de câmara” (1998) and “Danças, jogos e canções” (2003)”, considering that these phonograms have a strong relation with the independent record label Núcleo Contemporâneo, whose founders are also members of the orchestra. Accordingly, the hypothesis of this work suggest that Núcleo Contemporâneo consolidated itself, in administrative terms, because of decentralized and autonomous production strategies; aesthetically, the record label was influenced by the phenomenon of World Music, which demonstrate interested in “Other” through conciliation between different cultures. We choose a qualitative research method, considering the journalistic critic about the albums and data collected in interviews with some musicians. As a result, our objective is demonstrate how these phonograms are responsible for inaugurate a aesthetic thread and a autonoms production mode in the context of phonographic industry in the 1990’s second half and the early 2000, but that still drive the record label until today. |
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| ISSN: | 2316-7858 |
