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Doctoral Thesis
DOI
10.11606/T.8.2018.tde-06092018-125317
Document
Author
Full name
Nora Juliana Perez Gonzalez
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2018
Supervisor
Committee
Moraes, José Geraldo Vinci de (President)
Bessa, Virginia de Almeida
Ikeda, Alberto Tsuyoshi
Pinto, Ivan Vilela
Toni, Flávia Camargo
Title in Portuguese
A indústria fonográfica e a música caipira gravada: uma experiência paulista (1878-1930)
Keywords in Portuguese
Fonografia
História
Música caipira
São Paulo
Abstract in Portuguese
A presente pesquisa investiga o surgimento da música caipira gravada na fonografia brasileira durante a instauração do mercado do disco em São Paulo, entre 1878 e o começo da década de 1930. Observa-se um crescente mercado de música gravada e certo abandono das preferências musicais da cidade por parte das gravadoras ativas durante a fase mecânica do disco. Tal espaço foi preenchido pelos selos internacionais que chegaram no final dos anos 1920 e gravaram música de legítimos caipira paulistas, visando conquistar o mercado do Estado. O sucesso em vendas das primeiras gravações de música caipira paulista relaciona-se com o auge das representações caipiras, provenientes do século XIX, que alimentavam a nascente indústria do entretenimento urbano. Foram também importantes estratégias de propaganda orquestradas inicialmente pela Columbia, vinculando as gravações de músicos caipiras com o folclore, assim como a promoção realizada por intermédio de Cornélio Pires. Ademais, a música caipira gravada ajustou-se à necessidade sentida pelas elites hegemónica, de criar uma identidade cultural paulista que solapasse as tensões e conflitos raciais, culturais e de classe irresolutos durante a Primeira República.
Title in English
The recording industry and recorded caipira music: an experience from São Paulo (1878-1930)
Keywords in English
Caipira music
History
Recording industry
São Paulo
Abstract in English
This research investigates the emergence of caipira music recorded in Brazilian phonography during the establishment of the disc market in São Paulo, between 1878 and the beginning of 1930s. From the arrival of the first phonograph until establishment of international record companies in the city, there was a growing market for recorded music. It seems there was a certain abandonment of musical preferences of the city by active recorders during the mechanical phase of disc. This space was filled by the international record companies arriving in the late 1920s and recorded music of legitimate paulista countrymen, aiming to conquer the Brazilian market. The success in sales of the first recordings was explained by the record companies publicity invested, the self-constructed image of Cornélio Pires defender of folklore paulista and above all, by the heyday of a tradition of country representation from the nineteenth century and kept by the nascent urban entertainment industry. In addition, the recorded caipira music was adjusted to the need, feeling the hegemonic elites, to create a cultural identity of São Paulo that would undermine tensions, racial, cultural and class conflicts unresolved during the First Republic.
 
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Publishing Date
2018-09-06
 
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