A palo seco: neobarroco e musicalidade nas obras de João Cabral de Melo Neto e Belchior

Abstract

Both poetry and song have a sound universe, a field of perceptions, representations, affections, criticisms, traditions and ruptures. The sound perspective is based on the word as a minimal sound component, a word that is present in poetry and song. Thus, as suggested by the title, the thesis seeks to investigate musicality in the work of poet João Cabral de Melo Neto and songwriter Antônio Carlos Belchior, both Brazilians born in the northeast region of the country. João Cabral de Melo Neto, a poet from Pernambuco, has a very specific relationship with music itself and with the musical consequences of the poem. A theme dear to the poet, music and musicality do not go unnoticed in his work and in our focus they gain a prominent place. Antônio Carlos Belchior, in turn, develops his compositional system based on the poetic content of his lyrics, tensioning the symbiosis of song (lyrics and melody). The research is of the qualitative type, revisiting the theoretical and bibliographical framework, at the same time, in which it carries out the analysis of poems and songs, an analysis that starts from the source of these complex poetic-musical rivers and investigates both the traditional complex of the meter of the verse, the rhyme, the stanzas, as well as the dialogical complexes that each work has, poetry and song, with social, aesthetic and cultural structures. In the elaboration of the discussion, some theoretical pillars were erected, such as the perception of literature and music as transdisciplinary and interdependent knowledge; Comparative Literature as a set of tools that help in dealing with a hybrid object, between literature and music; and Baroque and Neo-Baroque as structures for understanding the arts of João Cabral and Belchior. The research points to a change in the interpretation of Cabral's anti-musicality, suggesting a path from tonality to atonality based on a reflective, critical and theoretical analysis that divides his work into two rivers, into two dictions, one tonal and the other atonal. Belchior's musicality follows similar critical paths. With a proposal for rational art, the Belchior songbook (goliard robot) conducts its musicality through a critical dialogue between tradition and artistic rupture (musical and poetic). To approach Belchior's musicality, we followed the paths of his rational work in dialogue with the neo-baroque to understand the “terrestrial” bodies that orbit in his song universe, they are painters, poets and composers who appear in constant dialogue.