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Master's Dissertation
DOI
https://doi.org/10.11606/D.8.2020.tde-09092020-190245
Document
Author
Full name
Paula Costa Nunes de Carvalho
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2019
Supervisor
Committee
Pinheiro Filho, Fernando Antonio (President)
Fernandes, Dmitri Cerboncini
Jackson, Luiz Carlos
Santos, Daniela Vieira dos
Title in Portuguese
A encruzilhada do rap: produção de rap em São Paulo entre 1987 e 1998 e seus projetos de viabilidade artística
Keywords in Portuguese
Indústria cultural
Música popular
Rap nacional
Samples
Sociologia da cultura
Abstract in Portuguese
Esta dissertação de mestrado busca entender a inserção do rap no campo da música popular brasileira a partir da análise do caso paulista, entre os anos de 1987 e 1998. Para compreender este processo, o trabalho remonta um histórico de festas realizadas por pessoas negras na cidade de São Paulo, especialmente a partir do final dos anos 1950. A partir do fim da década de 1960, surgem na cidade diversas equipes de bailes black, elemento que seria crucial para o surgimento do rap, pois seria à sonoridade dessas festas que o rap se remeteria, através do uso de samples (recortes curtos de trechos de outras músicas), num resgate de memórias coletivas negras. A pesquisa também buscou recompor uma morfologia, através do levantamento de mais de 180 discos de rap lançados neste período e suas respectivas gravadoras, para entender como funcionava a dinâmica do gênero desde o seu surgimento: a partir de concursos nestes bailes black, alguns grupos seriam escolhidos para gravar as primeiras músicas em coletâneas, e os mais bem sucedidos conseguiriam gravar discos solo. A partir desse primeiro momento, surgem grupos mais destacados na cena do rap paulista os Racionais MC's e o Sampa Crew, espécie de pólos opostos quando constrastados. De um lado, o rap paulista se consagraria no pólo intelectualizado por sua postura fechada, de confronto e de contestação. De outro, acataria sugestões de produtores musicais para deixar a sua sonoridade mais comercial, rumo à entrada em grandes gravadoras. Seria absorvido, também, como uma novidade para o público jovem, através do circuito entre a publicidade, a produção de videoclipes e o canal de TV MTV. Por fim, a pesquisa analisa a polêmica do rap como um suposto "fim da canção" a partir da objetivação dos agentes (intelectuais, jornalistas e artistas) que a suscitaram e do confronto de teses como a da "linha evolutiva da música popular brasileira" com a própria história que o rap resgata.
Title in English
The crossroads of rap: rap production in São Paulo between 1987 and 1998 and its projects of artistic viability
Keywords in English
Brazilian rap
Cultural industry
Popular music
Sample
Sociology of culture
Abstract in English
This dissertation seeks to understand the insertion of rap in the field of Brazilian popular music analyzing the case of rap in São Paulo, between the years of 1987 and 1998. To understand this process, the work goes back to retrace a history of parties held by black people in the city of São Paulo, especially from the late 1950s. From the end of the 1960s, several black music teams emerged in the city, an element that would be crucial for the emergence of rap, because it would be to the sound of these parties that rap would refer, through the use of samples (short clippings of excerpts from other songs), claiming black collective memories. The research also sought to recompose a morphology, through the survey of more than 180 rap records released in this period in São Paulo, to understand how the dynamics of the genre worked since its emergence: from contests in these black music parties, some groups would be chosen to record the first songs in collections, and the most successful would be able to record solo records. From that first moment on, more prominent groups appeared in the São Paulo rap scene - Racionais MC's and Sampa Crew, a kind of opposite poles when contrasted. On the one hand, São Paulo's rap would be consecrated in the intellectual pole for its closed, confrontational and contestative posture. On the other hand, it would accept suggestions from music producers to make the music sound more commercial, towards the entrance in major record companies. It would also be absorbed as a novelty for the young public, through the circuit between advertising, music videos and MTV channel. Finally, the research analyzes the polemic of rap as a supposed "end of the Brazilian tradition in popular music" from the objectification of the agents (intellectuals, journalists and artists) who raised it and the confrontation of theses such as that of the "evolutionary line of Brazilian popular music" with the very history that rap rescues.
 
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Publishing Date
2020-09-09
 
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