Mário de Andrade, the Other Way Around: Popular Music and “National Unconsciousness”

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In 1928, in his Ensaio sobre a Música Brasileira, Mário de Andrade lays the grounds for the creation of a nationalist school of music composition, arguing for the incorporation and elaboration of Brazilian popular music –its folklore, or rural music, as opposed to urban popular music– in a classical...

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Autor principal: Carvalho Zimbres, Paula de Queiroz
Formato: Artículo publishedVersion
Lenguaje:Portugués
Publicado: Facultad de Filosofía y Letras, Universidad de Buenos Aires 2016
Acceso en línea:https://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/7515
https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=eloido&d=7515_oai
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language Portugués
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description In 1928, in his Ensaio sobre a Música Brasileira, Mário de Andrade lays the grounds for the creation of a nationalist school of music composition, arguing for the incorporation and elaboration of Brazilian popular music –its folklore, or rural music, as opposed to urban popular music– in a classical setting, aiming at creating a distinctly national “artistic” music. This enterprise would dominate the Brazilian music scene until the 1940s, but eventually lost ground within academic settings with the advent of experimental avant-garde trends after the 1950s, and is generally considered a failed attempt. Nevertheless, I argue in this article that the process that would eventually lead to “national unconsciousness” continued in another field –that of urban popular music itself. In it, composers such as Tom Jobim, Edu Lobo, Egberto Gismonti, Hermeto Pascoal, who had Brazilian popular music as their “vernacular” music, went through the path prescribed by Mário de Andrade, but in the opposite direction –by appropriating elements of Western art music to create a rich, sophisticated and unconsciously national popular music. I use quotations from some of these musicians to demonstrate that it was precisely their spontaneous sense of belonging to Brazil and their vernacular mastery of national musical traditions that allowed them to approach so-called “highbrow” procedures and values without the risk of losing their popular character. This, I argue, was what Mário de Andrade failed to see: that popular music might become “artistic” in its own terms
format Artículo
publishedVersion
author Carvalho Zimbres, Paula de Queiroz
spellingShingle Carvalho Zimbres, Paula de Queiroz
Mário de Andrade, the Other Way Around: Popular Music and “National Unconsciousness”
author_facet Carvalho Zimbres, Paula de Queiroz
author_sort Carvalho Zimbres, Paula de Queiroz
title Mário de Andrade, the Other Way Around: Popular Music and “National Unconsciousness”
title_short Mário de Andrade, the Other Way Around: Popular Music and “National Unconsciousness”
title_full Mário de Andrade, the Other Way Around: Popular Music and “National Unconsciousness”
title_fullStr Mário de Andrade, the Other Way Around: Popular Music and “National Unconsciousness”
title_full_unstemmed Mário de Andrade, the Other Way Around: Popular Music and “National Unconsciousness”
title_sort mário de andrade, the other way around: popular music and “national unconsciousness”
publisher Facultad de Filosofía y Letras, Universidad de Buenos Aires
publishDate 2016
url https://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/7515
https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=eloido&d=7515_oai
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spelling I28-R145-7515_oai2025-11-17 Carvalho Zimbres, Paula de Queiroz 2016-08-01 In 1928, in his Ensaio sobre a Música Brasileira, Mário de Andrade lays the grounds for the creation of a nationalist school of music composition, arguing for the incorporation and elaboration of Brazilian popular music –its folklore, or rural music, as opposed to urban popular music– in a classical setting, aiming at creating a distinctly national “artistic” music. This enterprise would dominate the Brazilian music scene until the 1940s, but eventually lost ground within academic settings with the advent of experimental avant-garde trends after the 1950s, and is generally considered a failed attempt. Nevertheless, I argue in this article that the process that would eventually lead to “national unconsciousness” continued in another field –that of urban popular music itself. In it, composers such as Tom Jobim, Edu Lobo, Egberto Gismonti, Hermeto Pascoal, who had Brazilian popular music as their “vernacular” music, went through the path prescribed by Mário de Andrade, but in the opposite direction –by appropriating elements of Western art music to create a rich, sophisticated and unconsciously national popular music. I use quotations from some of these musicians to demonstrate that it was precisely their spontaneous sense of belonging to Brazil and their vernacular mastery of national musical traditions that allowed them to approach so-called “highbrow” procedures and values without the risk of losing their popular character. This, I argue, was what Mário de Andrade failed to see: that popular music might become “artistic” in its own terms En 1928, en su Ensaio sobre a Música Brasileira, Mário de Andrade sienta las bases para la creación de una escuela nacionalista de composición musical, abogando por la incorporación y la reelaboración de la música popular en registro erudito con el fin de concebir una musica “artística” de carácter nacional. Tal esfuerzo, que dominaría la escena nacional hasta los años cuarenta, perdió presencia en el campo erudito/académico debido el advenimiento de estilos vanguardistas y experimentales desde los años cincuenta. Sin embargo, defiendo en el presente artículo la tesis según la cual el proceso que conduciría a lo que Mário de Andrade solía llamar de “inconsciencia nacional” no se ha concluido sino que se ha trasladado a otro campo, el de la propia música popular urbana. De ahí en adelante, compositores como Tom Jobim, Edu Lobo, Egberto Gismonti y Hermeto Pascoal, que consideraban la música popular como “vernácula”, recorrieron el camiño prescrito por Mário de Andrade, pero en sentido inverso, apropiándose de elementos de la música erudita con vistas a crear una música popular sustanciosa, sofisticada y inconscientemente nacional. En este artículo defiendo la idea de que Mário de Andrade no logró entender que el proceso de hacer erudita a la música popular se podía encontrar en ella misma y no en su sumisión a las normas de la llamada “música artística”. Em 1928, no Ensaio sobre a Música Brasileira, Mário de Andrade estabelece as bases para a criação de uma escola nacionalista de composição musical, ao defender a incorporação e reelaboração da música popular em registro erudito visando à criação de uma música “artística” de caráter nacional. Tal empreitada, que dominaria o cenário nacional até à década de 1940, perdeu espaço no meio erudito/acadêmico com o advento das vertentes vanguardistas e experimentais a partir da década de 1950. Entretanto, defendo neste artigo que o processo que levaria por fim ao que Mário de Andrade designava por “inconsciência nacional” (entendido, de acordo com Naves, como uma “síntese cultural” que reconciliaria os diversos componentes da cultura brasileira) teve continuidade em outro campo, o da própria música popular urbana. Foi aí que criadores como Tom Jobim, Edu Lobo, Egberto Gismonti ou Hermeto Pascoal, partindo dos códigos próprios à música popular, percorreram o caminho prescrito por Mário de Andrade, mas no sentido inverso, apropriando-se de elementos da música erudita para criar uma música popular rica, sofisticada e inconscientemente nacional. Foi isto, defendo, que Mário de Andrade não conseguiu entender: que a música popular poderia vir a se tornar “artística” sem se submeter às normas da música erudita. application/pdf https://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/7515 por Facultad de Filosofía y Letras, Universidad de Buenos Aires https://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/7515/6727 El oído pensante; Vol. 4 No. 2 (2016): Agosto 2016 - Enero 2017 El oído pensante; Vol. 4 Núm. 2 (2016): Agosto 2016 - Enero 2017 El oído pensante; v. 4 n. 2 (2016): Agosto 2016 - Enero 2017 2250-7116 Mário de Andrade, the Other Way Around: Popular Music and “National Unconsciousness” Mário de Andrade al revés: la música popular y la “inconsciencia nacional” Mário de Andrade às avessas: a música popular e a “inconsciência nacional” info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=eloido&d=7515_oai

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