| Nome: | Descrição: | Tamanho: | Formato: | |
|---|---|---|---|---|
| 1.5 MB | Adobe PDF |
Autores
Orientador(es)
Resumo(s)
Esta tese visa fornecer uma resposta à nossa pergunta inicial: “o rock alternativo é
‘engolido ou engole’ a música popular convencional”? Esta expressão, que surge numa
canção da banda que dá pelo nome de Bush, evoca uma questão relevante: a da tensão
existente entre o gosto musical predominante num determinado momento e as vozes
minoritárias que permanecem em margens estéticas, e que podem, por fim, ecoar ou
mesmo influenciar o centro cultural. Para cumprir esse objectivo analítico, focamos a
nossa abordagem na banda de rock americana Soundgarden.
O capítulo um identifica o nosso principal solo teórico – os estudos da cultura -
reflectindo sobre a relação entre cultura e vida quotidiana através das contribuições
teóricas fornecidas por Raymond Williams, Theodor Adorno e Theodore Roszak. O
capítulo dois esclarece o nosso método hipotético-dedutivo. O capítulo 3 descreve a
evolução diacrónica dos Soundgarden, o aparecimento da sua estética original e o modo
como foram capazes de preservar sua autenticidade original, ao mesmo tempo
que atingiam públicos muito vastos.
This thesis aims to provide an answer to our starting question, whether “alternative rock is swallowed up or swallows mainstream popular music”? This expression that comes up in a band that goes by the name of Bush, summons a relevant issue: the existing tension between the prevalent musical taste at a certain point in time, and those of minority voices that linger in aesthetic margins, and that eventually may echo or even influence the cultural center. In order to fulfill this analytical purpose, we have focused our approach on the American rock band Soundgarden. Chapter one identifies our main theoretical soil – studies of culture – and ponders on the relationship between culture and daily life within the theoretical contributions provided by Raymond Williams, Theodor Adorno, and Theodore Roszak. Chapter two clarifies our hypothetical-deductive method. Chpater three describes Soundgarden’s diachronic evolution, the emergence of their original aesthetic, and the way they were able to preserve their original authenticity while, at the same time, were reaching wide audiences.
This thesis aims to provide an answer to our starting question, whether “alternative rock is swallowed up or swallows mainstream popular music”? This expression that comes up in a band that goes by the name of Bush, summons a relevant issue: the existing tension between the prevalent musical taste at a certain point in time, and those of minority voices that linger in aesthetic margins, and that eventually may echo or even influence the cultural center. In order to fulfill this analytical purpose, we have focused our approach on the American rock band Soundgarden. Chapter one identifies our main theoretical soil – studies of culture – and ponders on the relationship between culture and daily life within the theoretical contributions provided by Raymond Williams, Theodor Adorno, and Theodore Roszak. Chapter two clarifies our hypothetical-deductive method. Chpater three describes Soundgarden’s diachronic evolution, the emergence of their original aesthetic, and the way they were able to preserve their original authenticity while, at the same time, were reaching wide audiences.
Descrição
Palavras-chave
Alternativo Grunge Hegemonia Soundgarden Alternative Rock Hegemony