Studio audio art, editable music and discursivity: propositions to think about the sound of a record
The article aims to present possible methodological paths for the analysis of recorded popular music, taking into account its trans-disciplinary character. Beginning from the notion of “studio audio art”, proposed by Turino (2008), and from the concept of “montage music”, created by Molina (2017), t...
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| Main Authors: | , |
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| Format: | Online |
| Language: | Portuguese |
| Published: |
Universidade Estadual de Campinas
2022
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| Subjects: | |
| Online Access: | https://econtents.sbu.unicamp.br/inpec/index.php/muspop/article/view/15958 |
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| Summary: | The article aims to present possible methodological paths for the analysis of recorded popular music, taking into account its trans-disciplinary character. Beginning from the notion of “studio audio art”, proposed by Turino (2008), and from the concept of “montage music”, created by Molina (2017), thinking about possible theoretical and methodological approximations between these authors. In addition, we derived from a certain notion of historical materialism and a discursive understanding of musical materiality (MARX, 2011; ALTHUSSER, 1970; ORLANDI, 2001). Thus, we consider the material and historical production conditions of a phonogram as necessary interferences to produce the sonic meaning. Lastly, we will suggest paths that can be adopted in analyzes that propose to delineate the sonorities of a phonogram in a broad and multifaceted sense, exemplifying such an analytical proposal from the album Minas (1975), by Milton Nascimento, herein understood as a work arising from Clube da Esquina. |
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| ISSN: | 2316-7858 |
