What the hands don’t dare to touch: critical review of the ‘musical premises’ from the book ‘feitiço decente’ by Carlos Sandroni
DOI:
https://doi.org/10.11606/issn.2447-7117.rt.2021.182067Keywords:
Popular Music, Samba, Syncopation, Claves, TimelinesAbstract
This article proposes a critical analysis of some concepts and ideas presented by Carlos Sandroni in his book: Feitiço Decente (2001), mainly in the chapter: musical premises. From a polemic posture it is intended to deepen in the discussion about some musicological misunderstandings in the conceptualisation and observations of musical elements, in especial the rhythmic aspects, used in brazilian and african popular music: such as syncopation, claves and timelines, and additive and divisive metrics, brought by the author. Through a chosen bibliography, it is possible to observe that some authors, which have similar views about this subject as Sandroni, let it show the ideological premises in their analytical posture, such as: overvaluation of individual perception; appeal to difference and alterity; and the refusal to use traditional analytic tools in their research about popular music. The intention of this work is to demonstrate how some ideological premises of certain new musicology can blur the vision of some non hegemonic music expressionsDownloads
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Copyright (c) 2021 Ricardo Augusto Brandão
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This work is licensed under a Creative Commons Attribution 4.0 International License.
