SILVA, B. S.; http://lattes.cnpq.br/5401414227293297; SILVA, Brenda Soares.
Résumé:
The present dissertation aims to establish the parameters that characterize Natal's rock musical
scene as representative of a group, as well as the process of identification of this group with the
scenario. Understanding music as a practice, that is, as a musicality, the first chapter, aims to
define the rock production as a way of life that combines aesthetic, performance, thematic,
melodic and lyric elements for this we work the notion of musical genre and counterculture.
The second chapter, introduces us into the aesthetic and performatic components. In this way,
we make a brief biographical construction of the bands Fluidos, Modus Vivendi, Cabeças
Errantes, Cantocalismo e Alfândega, and then we try to compose and understand the relations
of identity and representative practices of the PopTyguar rock. In the third chapter we work on
the thematic, melodic and lyric elements, from the analysis of the songs of the period, in order
to work the more specific product of the scene: the music itself. In this chapter we highlight the
possible elements of identification inserted in the musical compositions, in order to visualize
more broadly the musical approach, as well as the 'triggers' that awaken the affinities between
the involved subjects and stimulate them to adhere to the scenario. We use the methodology of
musical analysis developed by Tatit, and discussed by Janotti Júnior, as well as the proposal of
analysis presented by Napolitano, to propose the notion of musical scene; and in the studies
conducted by Dapieve, Chacon, and Friedlander, to understand the characteristics of the
scenario in question.Theoretically we rely on the discussions held by Hall about the concept of
identity. Methodologically we base ourselves, above all, on the Oral History approach.
