Polifonia de vozes e produção de sentidos na imprensa: um estudo sobre os discursos da crítica musical brasileira acerca da influência do jazz na MPB (1962-1970)

Abstract

This dissertation analyzes the discourses about jazz in the Brazilian music criticism, between the 60s and 70s. Centrally, the work seeks to understand, through the discourses of the musical critic, which place jazz occupied in the scenario of symbolic disputes and attempts to define the Brazilian Popular Music (MPB). For this purpose, the research identifies, firstly, how the references of musicality, the style and cultural expression of jazz were read by Brazilian music critics. From this, the work investigates how these writers interpreted and judged the influence of jazz in MPB and, finally, intents to show how the journalists tried to sustain and authorize their positions about this influence. The corpus of this dissertation was constituted by the survey, contextualization and comparative analysis of the production of Tárik de Souza and José Ramos Tinhorão, two of the main musical critics of the period. Because it is a bibliographical research with document analysis, it was made a mapping of the content that was published by Tinhorão and Tárik in vehicles of great national circulation as the Jornal do Brasil. The content of magazines like Revista Civilização Brasileira, Veja, Rock, A História e a Glória and other media was privileged, too. This work makes a qualitative analysis of the sources using bakhtinian concepts, such as polyphony and dialogism. The purpose is to look at the idiosyncrasies in each author's statements and their discursive interrelationships. Understanding the criticism as a field that produces meanings and values about artistic production, it‘s used the concept of habitus in Bourdieu. The analysis brings the understanding that these critics were based on divergent nationalist precepts when they discussed about the influence of jazz in Brazilian music, but both were focused in the ―authenticity‖ of MPB. Thereby, it is understood that the discourse of these critics was based between the ―tradition‖ and ―modernity‖, in an attempt to overcome external influences and stabilize the identity principles of Brazilian popular music. These disputes tried, not only to legitimize different interpretations of jazz, but also to establish a normative and regulatory condition for the usage of this genre in Brazilian music.