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Responde agora a uma nova sedução. Possíveis rastos de António Aragão na criação de Herbert Vianna
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Advisor(s)
Abstract(s)
Esta análise tem como objeto três
obras experimentais de António Aragão e a can ção “Navegar impreciso”, do compositor Herbert
Vianna, de cujos versos extraímos o título deste
artigo. Coube-nos avistar uma rica dialogia entre
alguns versos do poeta português e a expressão
musical do compositor brasileiro, cujo foco está no
disco Severino (1994), que não teve boa aceitação
da crítica quando lançado, mas hoje é considerado
um dos mais importantes trabalhos da banda lide rada pelo nordestino. A partir do título da música,
percebemos uma polifonia (BAKHTIN, 2010), a unir
Fernando Pessoa, Aragão, Vianna e Caetano Velo so. Guiada pela pergunta “De que modo é possível
identificar analogias entre a poesia de Aragão e a
música de Herbert Vianna?”, propomos uma análi se em quatro tópicos: primeiro, evidenciar o experi mentalismo que perpassa nossos objetos; depois,
a inclinação vanguardista, que enfeixa a insepa rabilidade entre palavra e imagem; em seguida,
apontamos a Análise Discursiva de Imaginários
(MACHADO, 2012), objetivando entender como o
exercício criativo de Aragão e Vianna abre espaço
para o novo, dialoga com diversas temporalidades
e destaca questões sociais; e por fim, concluímos
haver novas estesias a partir dos inventivos am bientes, afirmativas do valor do experimentalismo,
creditando ao leitor/ouvinte o livre engendrar de
suas próprias sinestesias.
This analysis focuses on three experi mental works conducted by António Aragão and the song “Navegar Impreciso”, composed by Herbert Vianna, from whose verses we extract the title of this article. It is possible to emphasize a rich dia log between some verses of the Portuguese poet and the musical expression of the Brazilian com poser on the album Severino (1994). The album, which did not receive positive reviews from the critics, is now considered one of the most impor tant works of the band led by the northeastern. From the title of the song, we observe a polyph ony (BAKHTIN, 2010), uniting Fernando Pessoa, Aragão, Vianna and Caetano Veloso. Dealing with the question “How is it possible to identify analo gies between the poetry of Aragão and the music of Herbert Vianna?”, we propose an analysis divid ed into four main topics: first, we will discuss the experimentalism that permeates our objects; then, the avant-garde inclination, which bundles the in separability between word and image; then, we will point out the Discursive Analysis of the Imaginary (MACHADO, 2012), aiming to understand how the creative exercise of both artists opens space for innovation, dialoguing with different temporalities and highlighting social issues; finally, we conclude that there are new aesthesias from inventive en vironments, crediting the reader/listener with the free engendering of their synesthesias.
This analysis focuses on three experi mental works conducted by António Aragão and the song “Navegar Impreciso”, composed by Herbert Vianna, from whose verses we extract the title of this article. It is possible to emphasize a rich dia log between some verses of the Portuguese poet and the musical expression of the Brazilian com poser on the album Severino (1994). The album, which did not receive positive reviews from the critics, is now considered one of the most impor tant works of the band led by the northeastern. From the title of the song, we observe a polyph ony (BAKHTIN, 2010), uniting Fernando Pessoa, Aragão, Vianna and Caetano Veloso. Dealing with the question “How is it possible to identify analo gies between the poetry of Aragão and the music of Herbert Vianna?”, we propose an analysis divid ed into four main topics: first, we will discuss the experimentalism that permeates our objects; then, the avant-garde inclination, which bundles the in separability between word and image; then, we will point out the Discursive Analysis of the Imaginary (MACHADO, 2012), aiming to understand how the creative exercise of both artists opens space for innovation, dialoguing with different temporalities and highlighting social issues; finally, we conclude that there are new aesthesias from inventive en vironments, crediting the reader/listener with the free engendering of their synesthesias.
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Keywords
Navegar impreciso António Aragão Herbert Vianna Poesia experimental Experimental poetry Song . Faculdade de Artes e Humanidades
Citation
Publisher
UMa-CIERL/CMF/IA