Papers by Hudson C N Lima
Revista Orfeu , 2024
Está pesquisa analisa a interseção entre música e condições sociais no Brasil nos séculos XIX e X... more Está pesquisa analisa a interseção entre música e condições sociais no Brasil nos séculos XIX e XX, enfocando músicos escravizados e/ou afrodescendentes. Utilizando a Hemeroteca Digital Brasileira, para fundamentar as hipóteses propostas, foram consultados os periódicos digitalizados disponíveis entre os anos de 1850 e 1909. Utilizou-se no mecanismo de busca os termos “músico escravo” e “músico mestiço”. Analisamos os discursos encontrados nesses periódicos buscando acrescentar informações para o campo musicológico sobre a atividades de músicos escravizados entre e no pós-abolição no Brasil. Investigamos narrativas que revelam a participação desses músicos em eventos comunitários e religiosos, destacando suas contribuições artísticas. Ao conectar essas histórias a trajetórias contemporâneas, a pesquisa evidencia uma continuidade nas lutas enfrentadas pelos músicos afrodescendentes, sublinhando sua resiliência. A observação da mobilidade social revela a habilidade desses músicos em transpor barreiras sociais, repre-sentando uma expressão contemporânea de resistência. Estabelecendo uma ponte entre passado e presente, o estudo destaca repetições nas narrativas, ressaltando a constância nas lutas por reconhecimento e equidade. O artigo enfatiza a resiliência das comunidades de músicos escravizados e seus descendentes, destacando não apenas sua função artística, mas também sua capacidade de desafiar normas sociais e contribuir para a reconfigu-ração das narrativas históricas sobre práticas musicais no Brasil.
Revista Orfeu , 2024
Esta pesquisa analisa a interseção en- tre música e condições sociais no Brasil nos séculos XIX e... more Esta pesquisa analisa a interseção en- tre música e condições sociais no Brasil nos séculos XIX e XX, enfocando músicos escra- vizados e/ou afrodescendentes. Utilizando a Hemeroteca Digital Brasileira, para funda- mentar as hipóteses propostas, foram consul- tados os periódicos digitalizados disponíveis entre os anos de 1850 e 1909. Utilizou-se no mecanismo de busca os termos “músi- co escravo” e “músico mestiço”. Analisamos os discursos encontrados nesses periódicos buscando acrescentar informações para o campo musicológico sobre a atividades de músicos escravizados entre e no pós-abolição no Brasil. Investigamos narrativas que revelam a participação desses músicos em eventos comunitários e religiosos, destacando suas contribuições artísticas. Ao conectar essas histórias a trajetórias contemporâneas, a pes- quisa evidencia uma continuidade nas lutas enfrentadas pelos músicos afrodescendentes, sublinhando sua resiliência. A observação da mobilidade social revela a habilidade desses músicos em transpor barreiras sociais, repre- sentando uma expressão contemporânea de resistência. Estabelecendo uma ponte entre passado e presente, o estudo destaca repeti- ções nas narrativas, ressaltando a constância nas lutas por reconhecimento e equidade. O artigo enfatiza a resiliência das comunidades de músicos escravizados e seus descendentes, destacando não apenas sua função artísti- ca, mas também sua capacidade de desafiar normas sociais e contribuir para a reconfigu- ração das narrativas históricas sobre práticas musicais no Brasil.
Abstract
Among huge socio-political changes that af fected Brazil in the transition bet ween the... more Abstract
Among huge socio-political changes that af fected Brazil in the transition bet ween the 19th and the 20th centur y, such as the abolition of slaver y and the adoption of a republican system, the city of Rio de Janeiro witnessed the emergence of new cultural forms related to the new social actors in the public scene. This paper focuses on one of these forms, the early 20th-century Carnival ranchos and their music, as examples of interrelations between cultural indexes associated with distinct social segments in a period of relative loosening of daily conduct codes. This is referenced upon the conceptual work of authors such as Mikhail Bakhtin, Rober to DaMatta, and Carlo Ginzburg – and moreover the latter’s notion of cultu- ral circularity—as well as upon a critical analysis of journalistic, phonographic and score sources, in an attempt to illuminate the musical processes which make the ranchos mediators among distinct cultures within the city.
Keywords: ranchos, music, cultural circularity
Resumo: A pesquisa em andamento propõe o método etnográfico para investigar a produção de uma te... more Resumo: A pesquisa em andamento propõe o método etnográfico para investigar a produção de uma temporada de espetáculos destinados à difusão da música de concerto e fundamentar a abertura de possíveis questões sobre a prática, sua aplicação e a relação entre os músicos de orquestra, mantenedores e a plateia. Um dos objetivos será fazer um levantamento bibliográfico que cite as práticas da música de concerto sob a luz da Antropologia e da Etnomusicologia, assim como, na qualidade de pesquisador nativo, documentar o exercício das comissões artísticas e do público frequentador dos espaços nos quais essas manifestações são exercidas. Através do contato direto com os praticantes, a pesquisa observa uma temporada de concertos e a escuta do público ouvinte, além dos membros da orquestra, incluindo mantenedores; utiliza como ferramentas para a investigação em campo os conceitos de "Mundos Artísticos" e "Tipos Sociais" de Howard S. Becker (1977), os conceitos de “lugar” e “espaço” de Michel de Certeau (1984), e as contribuições de Pierre Bourdieu (1989) em As Formas de Capital e o conceito de biopoder de Michael Foucault (1970) em História da Sexualidade - vol. I.
Palavras-chave: orquestra; sinfônica; etnografia.
Abstract:
The Hierarchy as a Method: Equity in the Production of Concert Music, an
Ethnographic... more Abstract:
The Hierarchy as a Method: Equity in the Production of Concert Music, an
Ethnographic Account
The research uses the ethnographic method to investigate the production of
classical concert music season intended to its diffusion and open possible questions about the
practice, its implementation and the relationship among the orchestra musicians, supporters
and the audience. In addition of the main purpose a bibliographic survey maps the concert Keywords: Ethnography; Symphonic Music; Work Relationships; Equity.
music practices from the perspective of Anthropology and Ethnomusicology, as well as
through the native researcher, collects and records the activities of artistic commissions and
the target audience at the spaces in which these artistic manifestations are performed. During
the record in the field, that includes the direct contact with members of several symphony
orchestras of Rio de Janeiro city, the research looks to the speeches linked to the symphonic
world, the listening of target audience, including its supporters. Some concepts are used in
order to collaborate for field research such as: the concepts of "Art Worlds" and "Social
Types" by Howard S. Becker (1977), the notions of "place" and "space" by Michel de Certeau
(1984), the contributions of Pierre Bourdieu (1989) in "The Forms of Capital" and the Michel
Foucault’s biopower concept (1970) from his book "History of Sexuality vol. I ". This article
aims to show the theoretical and methodological path followed during the investigation about
the representations of concert music and its dissemination through the experience of
professionals that work in public and private institutions, on what this experience could open
the possibility of a discussion among several spaces of interaction, including the virtual space.
The professional researcher trajectory acquires relevance to a reflective thought on the
partially achieved results.
Thesis Chapters by Hudson C N Lima
ABSTRACT
The research uses the ethnographic method to investigate the production of classical con... more ABSTRACT
The research uses the ethnographic method to investigate the production of classical concert music season intended to its diffusion and open possible questions about the practice, its implementation and the relationship among the orchestra musicians, supporters and the audience. In addition of the main purpose a bibliographic survey maps the concert music practices from the perspective of Anthropology and Ethnomusicology, as well as through the native researcher, collects and records the activities of artistic commissions and the target audience at the spaces in which these artistic manifestations are performed. During the record in the field, that includes the direct contact with members of several symphony orchestras of Rio de Janeiro city, the research looks to the speeches linked to the symphonic world, the listening of target audience, including its supporters. Some concepts are used in order to collaborate for field research such as: the concepts of "Art Worlds" and "Social Types" by Howard S. Becker (1977), the notions of "place" and "space" by Michel de Certeau (1984), the contributions of Pierre Bourdieu (1989) in "The Forms of Capital" and the Michel Foucault’s biopower concept (1970) from his book "History of Sexuality vol. I ". This article aims to show the theoretical and methodological path followed during the investigation about the representations of concert music and its dissemination through the experience of professionals that work in public and private institutions, on what this experience could open the possibility of a discussion among several spaces of interaction, including the virtual space. The professional researcher trajectory acquires relevance to a reflective thought on the partially achieved results.
Conference Presentations by Hudson C N Lima
Drafts by Hudson C N Lima
Hudson Lima, 2019
A formação do músico de concerto voltado à performance costuma envolver dispositivos complexos, p... more A formação do músico de concerto voltado à performance costuma envolver dispositivos complexos, pois compreende uma carreira de abdicações e escolhas difíceis caso o artista queira voltar-se ao mercado de trabalho e adquirir relações sociais e habilidades que possam inseri-lo nas instituições que estão dedicadas à difusão da música de concerto. Estamos hoje observando uma experiência formadora que se modificou radicalmente nas últimas três décadas, mas que conserva em seu âmbito práticas seculares, o que traz inevitavelmente conflitos novos uma vez que tradição e modificações contemporâneas estabelecem um determinado grau de rivalidade que fica exposto nos diálogos internos entre os músicos e produtores artísticos das instituições. Focalizar hoje as instituições sinfônicas é também lançar um olhar para a educação musical e os conservatórios envolvidos na qualificação dos performers e, consequentemente, colocar em relevo questões pertinentes a essa formação. Apesar de alguns esforços que obtiveram êxito, podemos afirmar que ainda não é uma prática comum elaborar análises detalhadas sobre os ensaios e concertos das orquestras sinfônicas no Brasil. Muitas vezes essas análises voltam-se às figuras em destaque como maestros, solistas, críticos e compositores, deixando em segundo plano os diversos mecanismos que envolvem a elaboração da performance, bem como o trabalho propriamente dito de todos os agentes responsáveis pela cena. A construção de um espetáculo musical envolve diversos agentes que, intencionalmente ou não, acabam obscurecidos pela atividade fim, o concerto e seus protagonistas. Lançar luz às diversas atividades exercidas até o resultado apresentado no palco é estabelecer um conjunto de dados e categorizações que podem ser elucidativos para refletirmos sobre a formação do músico e suas atividades profissionais e de que modo a educação pode contribuir para a melhoria do ambiente de trabalho. Hoje destacamos que a formação deveria abranger não apenas exigências técnico mecânicas mas também uma consciência ampla das necessidades do artista em estabelecer com seus pares e com o público da música de concerto uma experiência que os levassem a um pensamento reflexivo sobre as diversas funções sociais que abrangem os trabalhadores envolvidos com as produções artísticas, e isso traz a necessidade de elaboração de pesquisas com temáticas delicadas que muitas vezes são evitadas na busca de manter uma preservação canônica das atividades.
Concert music and freedom practices, 2019
The performance-oriented musician's training usually involves complex devices since it comprises ... more The performance-oriented musician's training usually involves complex devices since it comprises a career of abdications and difficult choices if the artist wants to return to the job market and acquire social relations and skills that can insert him in the institutions that are dedicated to the diffusion of concert music. We are now witnessing a formative experience that has radically changed over the last three decades but which retains secular practices within it, which inevitably brings new conflicts once contemporary tradition and modifications establish a certain degree of rivalry that is exposed in the internal dialogues among the musicians and artistic producers of the institutions. Focusing today on the symphonic institutions is also to take a look at the musical education and the conservatories involved in the qualification of the performers and consequently put in relief issues pertinent to this formation. This essay aims to raise questions about the professionalization of concert music.
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Papers by Hudson C N Lima
Among huge socio-political changes that af fected Brazil in the transition bet ween the 19th and the 20th centur y, such as the abolition of slaver y and the adoption of a republican system, the city of Rio de Janeiro witnessed the emergence of new cultural forms related to the new social actors in the public scene. This paper focuses on one of these forms, the early 20th-century Carnival ranchos and their music, as examples of interrelations between cultural indexes associated with distinct social segments in a period of relative loosening of daily conduct codes. This is referenced upon the conceptual work of authors such as Mikhail Bakhtin, Rober to DaMatta, and Carlo Ginzburg – and moreover the latter’s notion of cultu- ral circularity—as well as upon a critical analysis of journalistic, phonographic and score sources, in an attempt to illuminate the musical processes which make the ranchos mediators among distinct cultures within the city.
Keywords: ranchos, music, cultural circularity
Palavras-chave: orquestra; sinfônica; etnografia.
The Hierarchy as a Method: Equity in the Production of Concert Music, an
Ethnographic Account
The research uses the ethnographic method to investigate the production of
classical concert music season intended to its diffusion and open possible questions about the
practice, its implementation and the relationship among the orchestra musicians, supporters
and the audience. In addition of the main purpose a bibliographic survey maps the concert Keywords: Ethnography; Symphonic Music; Work Relationships; Equity.
music practices from the perspective of Anthropology and Ethnomusicology, as well as
through the native researcher, collects and records the activities of artistic commissions and
the target audience at the spaces in which these artistic manifestations are performed. During
the record in the field, that includes the direct contact with members of several symphony
orchestras of Rio de Janeiro city, the research looks to the speeches linked to the symphonic
world, the listening of target audience, including its supporters. Some concepts are used in
order to collaborate for field research such as: the concepts of "Art Worlds" and "Social
Types" by Howard S. Becker (1977), the notions of "place" and "space" by Michel de Certeau
(1984), the contributions of Pierre Bourdieu (1989) in "The Forms of Capital" and the Michel
Foucault’s biopower concept (1970) from his book "History of Sexuality vol. I ". This article
aims to show the theoretical and methodological path followed during the investigation about
the representations of concert music and its dissemination through the experience of
professionals that work in public and private institutions, on what this experience could open
the possibility of a discussion among several spaces of interaction, including the virtual space.
The professional researcher trajectory acquires relevance to a reflective thought on the
partially achieved results.
Thesis Chapters by Hudson C N Lima
The research uses the ethnographic method to investigate the production of classical concert music season intended to its diffusion and open possible questions about the practice, its implementation and the relationship among the orchestra musicians, supporters and the audience. In addition of the main purpose a bibliographic survey maps the concert music practices from the perspective of Anthropology and Ethnomusicology, as well as through the native researcher, collects and records the activities of artistic commissions and the target audience at the spaces in which these artistic manifestations are performed. During the record in the field, that includes the direct contact with members of several symphony orchestras of Rio de Janeiro city, the research looks to the speeches linked to the symphonic world, the listening of target audience, including its supporters. Some concepts are used in order to collaborate for field research such as: the concepts of "Art Worlds" and "Social Types" by Howard S. Becker (1977), the notions of "place" and "space" by Michel de Certeau (1984), the contributions of Pierre Bourdieu (1989) in "The Forms of Capital" and the Michel Foucault’s biopower concept (1970) from his book "History of Sexuality vol. I ". This article aims to show the theoretical and methodological path followed during the investigation about the representations of concert music and its dissemination through the experience of professionals that work in public and private institutions, on what this experience could open the possibility of a discussion among several spaces of interaction, including the virtual space. The professional researcher trajectory acquires relevance to a reflective thought on the partially achieved results.
Conference Presentations by Hudson C N Lima
Drafts by Hudson C N Lima
Among huge socio-political changes that af fected Brazil in the transition bet ween the 19th and the 20th centur y, such as the abolition of slaver y and the adoption of a republican system, the city of Rio de Janeiro witnessed the emergence of new cultural forms related to the new social actors in the public scene. This paper focuses on one of these forms, the early 20th-century Carnival ranchos and their music, as examples of interrelations between cultural indexes associated with distinct social segments in a period of relative loosening of daily conduct codes. This is referenced upon the conceptual work of authors such as Mikhail Bakhtin, Rober to DaMatta, and Carlo Ginzburg – and moreover the latter’s notion of cultu- ral circularity—as well as upon a critical analysis of journalistic, phonographic and score sources, in an attempt to illuminate the musical processes which make the ranchos mediators among distinct cultures within the city.
Keywords: ranchos, music, cultural circularity
Palavras-chave: orquestra; sinfônica; etnografia.
The Hierarchy as a Method: Equity in the Production of Concert Music, an
Ethnographic Account
The research uses the ethnographic method to investigate the production of
classical concert music season intended to its diffusion and open possible questions about the
practice, its implementation and the relationship among the orchestra musicians, supporters
and the audience. In addition of the main purpose a bibliographic survey maps the concert Keywords: Ethnography; Symphonic Music; Work Relationships; Equity.
music practices from the perspective of Anthropology and Ethnomusicology, as well as
through the native researcher, collects and records the activities of artistic commissions and
the target audience at the spaces in which these artistic manifestations are performed. During
the record in the field, that includes the direct contact with members of several symphony
orchestras of Rio de Janeiro city, the research looks to the speeches linked to the symphonic
world, the listening of target audience, including its supporters. Some concepts are used in
order to collaborate for field research such as: the concepts of "Art Worlds" and "Social
Types" by Howard S. Becker (1977), the notions of "place" and "space" by Michel de Certeau
(1984), the contributions of Pierre Bourdieu (1989) in "The Forms of Capital" and the Michel
Foucault’s biopower concept (1970) from his book "History of Sexuality vol. I ". This article
aims to show the theoretical and methodological path followed during the investigation about
the representations of concert music and its dissemination through the experience of
professionals that work in public and private institutions, on what this experience could open
the possibility of a discussion among several spaces of interaction, including the virtual space.
The professional researcher trajectory acquires relevance to a reflective thought on the
partially achieved results.
The research uses the ethnographic method to investigate the production of classical concert music season intended to its diffusion and open possible questions about the practice, its implementation and the relationship among the orchestra musicians, supporters and the audience. In addition of the main purpose a bibliographic survey maps the concert music practices from the perspective of Anthropology and Ethnomusicology, as well as through the native researcher, collects and records the activities of artistic commissions and the target audience at the spaces in which these artistic manifestations are performed. During the record in the field, that includes the direct contact with members of several symphony orchestras of Rio de Janeiro city, the research looks to the speeches linked to the symphonic world, the listening of target audience, including its supporters. Some concepts are used in order to collaborate for field research such as: the concepts of "Art Worlds" and "Social Types" by Howard S. Becker (1977), the notions of "place" and "space" by Michel de Certeau (1984), the contributions of Pierre Bourdieu (1989) in "The Forms of Capital" and the Michel Foucault’s biopower concept (1970) from his book "History of Sexuality vol. I ". This article aims to show the theoretical and methodological path followed during the investigation about the representations of concert music and its dissemination through the experience of professionals that work in public and private institutions, on what this experience could open the possibility of a discussion among several spaces of interaction, including the virtual space. The professional researcher trajectory acquires relevance to a reflective thought on the partially achieved results.