Abstract
This paper investigates the presuppositions, functioning, and implications of Arrigo Barnabe's appropriation of advanced compositional techniques from the tradition of erudite music in popular song. In order to fully appreciate Barnabe's project, the text devotes some pages to comments on the history and social situation of post-1964 Brazilian popular music, which are then followed by an analysis of Acapulco Drive-in from Barnabe's LP Clara Crocodilo . The song is interpreted on three levels, those of the beat (polyrhythm X pulse), the work on the 12-tone row, and voice performance (lyrics and intonation). The conclusion points to the contradictoriness of limits: a kind of music that can either be experienced as an elaborate, highly critical construct, or a reified artifact, dissolved as atmosphere.
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