A linguagem musical popular do mestre Jackson Nunes e das maestrinas Adriana Portela e Elem Silva na configuração da práxis sonora do Samba-reggae

Abstract

This thesis was the result of a research on the popular musical language developed by popular masters in their interaction with samba-reggae in music-pedagogical processes. Thus, its general objective was to explore the popular musical language employed by master Jackson Nunes and conductors Adriana Portela and Elem Silva, with the aim of understanding how it shapes and defines the sound praxis in Samba-reggae. Its specific objectives were: a) To describe Sambareggae in its artistic, social, political, and educational dimensions and its approximations with the pedagogy of the oppressed and sound praxis; b) To discuss the conception of popular musical language both verbal (metaphors and onomatopoeias) and gestural (visual gesture and sound gesture); c) To identify the verbal and gestural popular musical language present in the sound praxis of popular masters Jackson Nunes, Adriana Portela, and Elem Silva, analyzing the use of metaphors, onomatopoeias, sound and visual gestures in the pedagogical mediation of musical events. Ultimately, this research addressed the following problem question: How does the popular musical language of the masters configure the sound praxis in Samba-reggae? For this, the methodology had a qualitative approach with a basic nature and descriptive objective, using a case study as the procedure. Data were collected through interviews and analyzed through content analysis. The theoretical foundation involved reviewing concepts inherent to Paulo Freire's progressive liberating pedagogy (2009; 2005; 2001; 2001a), Samuel Araújo's concept of sound praxis (2013), and conceptions of musical language. These conceptions, in association with the cultural movement of Samba-reggae, originated the idea of popular musical language as the expression of tacit knowledge built on creative intuition, which is presented in sound praxis in verbal and gestural forms. The study led to the final considerations that the popular musical language of the samba-reggae masters is an Afro-descendant production, whose learning in sound praxis occurs empirically through musical making mediated by corporeality.