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|Title:||Tudo isto é pop : portugalidades musicais contemporâneas entre a 'tradição' e a 'modernidade'|
|Other Titles:||All this is pop: portugalidades contemporary musical between 'tradition' and 'modernity'|
|Keywords:||Portugal; Brasil; Educação multicultural; Identidade cultural; Música popular; Portugal, Brazil, multicultural education, cultural identity; Popular Music|
|Abstract:||This thesis aims to analyze the contemporary portuguese popular music scene from the perspective of the links between traditional forms and modernity frames. It‟ll be achieved through an investigation of the cultural and identity matrices that cross the last decade of portuguese musical production and constitute multiple musical portugalities in the context of the globalization process. My first specific goal is to identify which mattering maps guide the making of the contemporary portuguese pop/rock scene, taking into account some recent processes by which Portugal has been passing through, such as its admission in the European Union, the growing of diasporic flows (many of them as a consequence of the dissolution of the colonial structure) and the reordering of symbolical relations and exchanges that Portugal establishes with several national contexts. My second specific goal is to verify if these circumstances affect the very idea of portuguese music, an unstable and constantly rewrittten discourse in itself: first of all, due to the fact that these portugalities become multiple by the assimilation of musical matrices not usually conceived as a synonymous of portuguese music, and then by the ressignification, especially after the April 25th Revolution, of forms and genres that constitute some kind of a portuguese mediatic heritage and whose relevance has been overlooked due to the uses that the Salazarist dictatorial governmet made of these items. Finally, I‟m interested in exploring the place occupied by the symbolic and cultural exchanges between Portugal and Brazil in this new scenary, far beyond the common sense point of view which presumes that has occurred a simple inversion of cultural power. As a research hypothesis, I propose that the increasing circulation of people in a global scale (whether migrants or tourists) and of information through digital networks makes possible the adoption of a self-reflexive perspective in relation to five decades of portuguese popular music, its history, forms, genres and most expressive names. Therefore, I question if still makes sense to talk about portuguese music as a uniform category, due to the articulation of these national and global musical matrices|
|Appears in Collections:||TEDE sem arquivo|
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