O VIOLÃO MICROTONAL SMETAKIANO E SEU PAPEL SOCIAL SIMBÓLICO JUNTO AO CAMPO DE CRIAÇÃO DE VANGUARDA NA ESCOLA DE MÚSICA DA UFBA DA DÉCADA DE 1970

Abstract

The research presented here investigates the Smetakian Microtonal Guitar in its symbolic social role in the relationship with the field of avant-garde creation at the UFBA School of Music in the 1970s. Conceived by the Swiss instrumentalist, composer, writer and instrument creator Walter Smetak , and the subject of rare studies until then, the instrument was initially intended to serve experimental practices of an improvisational nature in the workshops he directed at the institution in that decade. It integrates a larger set of initiatives such as the invention of new in-struments, adoption of microtonality, adoption of oral methodology or dilution of the traditional composer-performer frontier, placing itself at the epicenter of the most relevant avant-garde initiatives for experimental music produced in Bahia. The practical musical part of this re-search investigated the instrument in its concept, ergonomic-sound properties and associated creational methods, carrying out rehearsals, workshops, shows and media production, with im-provisational performance practices of creation in real time at its core. Actions that allowed us to glimpse the practical instrumental conditions to which Smetak and groups were subject, re-vealing the implications of the mathematical operation originating from his conception in the practices and in the sound distinction he represented. The sociological analysis part supported its methodology on precepts present in the praxiology proposed by sociologist Pierre Bourdieu, using as tools the interpretation of the concepts of field, habitus, capital, symbolic power and distinction, according to the same author, from the concept of art with -temporary according to sociologist Nathalie Heininch, and avant-garde theory according to sociologist Peter Burger. It was such an analysis that allowed us to reveal how the distinction represented by it, in its concep-tion, associated performance practices, and cultural symbolism, acted in the relations of force and exercise of symbolic power in the context of the struggle for the monopoly of determining the hierarchy of values within such field, making its double role evident, as a symbolic asset and an instrument of power, of the field and of criticism through the review of its ideals.