Appropriation in Reverse; or What Happens When Popular Music Goes Dodecaphonic
Bibliographic Data
| ID | 3979972 |
|---|---|
| Authors | Fabio Akcelrud Durão (0000-0002-0098-6362, corresponding author), Fabio Akcelrud Durão Fabio Akcelrud Durão, José Adriano Fenerick (0000-0002-1538-4313), José Adriano Fenerick José Adriano Fenerick |
| Year | 2009 |
| Volume | 30 |
| Issue | 1 |
| Pages | 56-68 |
| Publication date | 2009-01-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Latin American Music Review (JOURNAL) |
| Journal identifiers | ISSN: 0163-0350 • E-ISSN: 1536-0199 |
| Publisher | Project MUSE (PUBLISHER • US) |
| DOI | 10.1353/lat.0.0030 |
| OpenAlex | W1491925256 |
| Language | EN |
| Citations received | 1 |
| References cited | 1 |
This paper investigates the presuppositions, functioning, and implications of Arrigo Barnabé's appropriation of advanced compositional techniques from the tradition of erudite music in popular song. In order to fully appreciate Barnabé's project, the text devotes some pages to comments on the history and social situation of post-1964 Brazilian popular music, which are then followed by an analysis of "Acapulco Drive-in" from Barnabé's LP Clara Crocodilo . The song is interpreted on three levels, those of the beat (polyrhythm X pulse), the work on the 12-tone row, and voice performance (lyrics and intonation). The conclusion points to the contradictoriness of limits: a kind of music that can either be experienced as an elaborate, highly critical construct, or a reified artifact, dissolved as atmosphere
Aesthetics · Appropriation · Art · Linguistics · Literature · Lyrics · Popular music · Presupposition · Brazilian cultural history and politics · History · Literature, Culture, and Criticism · Philosophy · Political and Social Dynamics in Chile and Latin America
| Unique citing works | 1 |
|---|---|
| Citations per year | 0,06 |
| Citation span | 2009 - 2009 (1) |
| Citation velocity | historical |
| Highly cited | No |