{"title":"“Musique cannibale”: The Evolving Sound of Indigeneity in Heitor Villa-Lobos’s Tres poêmas indigenas","authors":"Chelsea Burns","doi":"10.1093/MTS/MTAA019","DOIUrl":null,"url":null,"abstract":"\n Heitor Villa-Lobos’s Tres poêmas indigenas (1926, published 1929) provide an unusual image of Brazilian indigeneity: in three short songs, he creates a narrative of progress, one that ends with redefining himself and modernist colleague Mário de Andrade as Amerindian. The first two songs set melodies collected in 1557 and 1912, the third a new poem by Andrade (1926). The set begins with a narrow pitch collection, thin textures, and ostinatos and ends with a lied-like approach to text–music relations. In this way, Villa-Lobos creates an evolving image of Amerindian music-making that capitalizes on Indianist fantasies while redefining indigeneity as encompassing even the most modern and urbane Brazilians.","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":null,"pages":null},"PeriodicalIF":1.6000,"publicationDate":"2021-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/MTS/MTAA019","citationCount":"2","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"MUSIC THEORY SPECTRUM","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1093/MTS/MTAA019","RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
引用次数: 2
Abstract
Heitor Villa-Lobos’s Tres poêmas indigenas (1926, published 1929) provide an unusual image of Brazilian indigeneity: in three short songs, he creates a narrative of progress, one that ends with redefining himself and modernist colleague Mário de Andrade as Amerindian. The first two songs set melodies collected in 1557 and 1912, the third a new poem by Andrade (1926). The set begins with a narrow pitch collection, thin textures, and ostinatos and ends with a lied-like approach to text–music relations. In this way, Villa-Lobos creates an evolving image of Amerindian music-making that capitalizes on Indianist fantasies while redefining indigeneity as encompassing even the most modern and urbane Brazilians.
Heitor Villa Lobos的《土著人》(1926年,1929年出版)提供了一个不同寻常的巴西土著形象:在三首短歌中,他创造了一个关于进步的叙事,最后将自己和现代主义同事Mário de Andrade重新定义为美洲印第安人。前两首歌设定了1557年和1912年收集的旋律,第三首是安德拉德(1926)的新诗。这套作品以一个狭窄的音高集合、薄薄的纹理和ostinatos开始,以一种谎言般的文本-音乐关系方式结束。通过这种方式,Villa Lobos创造了一个不断发展的美洲印第安人音乐制作形象,利用了印度人的幻想,同时将土著重新定义为包括最现代、最有礼貌的巴西人。
期刊介绍:
A leading journal in the field and an official publication of the Society for Music Theory, Music Theory Spectrum features articles on a wide range of topics in music theory and analysis, including aesthetics, critical theory and hermeneutics, history of theory, post-tonal theory, linear analysis, rhythm, music cognition, and the analysis of popular musics. The journal welcomes interdisciplinary articles revealing intersections with topics in other fields such as ethnomusicology, mathematics, musicology, philosophy, psychology, and performance. For further information about Music Theory Spectrum, please visit the Society for Music Theory homepage.