Doctor of Philosophy (PhD)
Music and Dramatic Arts
Throughout the first half of the twentieth century, in the wake of the Week of Modern Art in São Paulo in 1922, Brazil grappled with defining its national identity, distinct from European influences. While eminent figures such as Villa-Lobos, Camargo Guarnieri, and Francisco Mignone provided foundational narratives in this quest, the Armorial movement emerged as a unique and emblematic response to these nationalistic aspirations.
Originating from the creative vision of Ariano Suassuna, the Armorial movement, though often perceived as a regional initiative, epitomized a broader endeavor to represent Brazil's diverse cultural tapestry. Central to understanding this movement is the work of Clovis Pereira, particularly his "Suite Macambira", which encapsulates the epistemic heart of the Armorial ethos.
Once the armorial movement can be better understood in light of the sociopolitical contexts of Brazil of its time, this thesis is divided into two parts. Part 1 focuses on questions related to identity and nationalism in both the cultures that influenced Brazil and the country itself, the origins of the armorial movement, and its connection to previous nationalist movements. Part two offers an analysis of Clovis Pereira's "Suite Macambira” through the lenses of José Siqueira’s Brazilian Trimodal System theoretical system aided by the contributions of Aynara Silva and, as a reflective component, I wrote a cello octet influenced by the sonorities of the Armorial movement.
De Oliveira Duarte, Wagner, "IN SEARCH OF THE ARMORIAL AESTHETIC: THE COUNTER-REFORM OF ARIANO SUASSUNA AND THE COMPOSITIONAL TECHNIQUES IN CLOVIS PEREIRA’S SUITE MACAMBIRA" (2024). LSU Doctoral Dissertations. 6349.