里约热内卢奥运会狂欢铜管乐队的政治化:器乐抗议和音乐争鸣

IF 0.1 3区 艺术学 0 MUSIC
Andrew Snyder
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引用次数: 2

摘要

摘要:在巴西举办世界杯和奥运会、经济危机和新法西斯政治的动荡背景下,里约热内卢的铜管乐队运动起源于千禧年之交的街头狂欢节复兴,致力于为街头抗议活动提供音乐支持,将狂欢节的曲目改编为“有争议的音乐曲目”。“在批评对歌词的主要关注时,我考察了工具性抗议,或者声音如何在新自由主义的全球城市的公共空间动员抗议。我认为,公共节日是政治动员的生成力量,理解狂欢节的文化政治需要探索它在季节之外如何产生共鸣。在大型体育赛事中,伴随着经济危机和法西斯政治,起源于千禧年之交街头狂欢节复兴的cariocafanfarras运动,一直致力于动员街头抗议,将狂欢节的曲目改编为“遏制的音乐曲目”。在批评对歌词的主要关注时,我研究了“工具性抗议”,即声音如何在全球化的新自由主义城市的公共空间中动员抗议。我认为,理解狂欢节的文化政策包括探索狂欢节曲目如何在节日期间之外流动。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Politicizing Carnival Brass Bands in Olympic Rio de Janeiro: Instrumental Protest and Musical Repertoires of Contention
abstract:In Brazil's volatile context of hosting the World Cup and Olympics, economic crisis, and neo-fascist politics, a brass band movement in Rio de Janeiro that originated in the street carnival revival at the turn of the millennium has dedicated itself to providing musical support at street protests, adapting carnivalesque repertoires to "musical repertoires of contention." In critiquing the predominant focus on lyrics, I examine instrumental protest, or how sound mobilizes protest in the public spaces of a neoliberal global city. I argue that public festivity is a generative force for political mobilization and that understanding the cultural politics of carnival involves exploring how it resonates beyond the season.resumen:No contexto volátil do Brasil, como sede de megaeventos esportivos, com crise econômica e política fascista, o movimento carioca de fanfarras, originado da revitalização do carnaval de rua na virada do milênio, tem sido orientado para mobilizar protestos de rua, adaptando os repertórios carnavalescos aos "repertórios musicais de contenção". Criticando o foco predominante nas letras, examino "protesto instrumental", ou seja, como o som mobiliza protestos nos espaços públicos de uma cidade neoliberal globalizada. Eu argumento que a compreensão da política cultural do carnaval envolve explorar como os repertrios de carnaval rassoam além do período dedicado à festividade.
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