Abstract
This article takes as its starting point a case study of Tuna Souselense, a musical group founded in 1910, the year of the implantation of the Republic in Portugal. This study comprised two complementary perspectives: a diachronic view, based on archival research and a synchronic one, sustained in fieldwork. The project’s implementation revealed a musical organization in which predominates a family-type organization, scarcely opened to the action of external researchers. Furthermore, an inexistent split between musicians and audience marks the activity carried out by this group. Nevertheless, this separation is staged in public events. These features raised challenges that could only be overcome through participant observation as a conductor and an instrumentalist, which allowed me to establish dialogical interactions with musicians and other community’s elements. How to study a musical field with such characteristics? How to understand the meanings attributed by these people to the act of making music together? What is its impact on the construction of individual and collective identities? These are the questions that guide my analysis.
Highlights
Palavras-chave: Tuna; práticas musicais locais; observação participante; comunidades de prática; música e identidade. This articlederives from an on-going research project within the framework of the Doctoral Program in Music, at the University of Aveiro, Portugal, under the scientific supervision of Maria do Rosário Pestana
The word tuna is used to refer to quite distinct musical groups.Within the scope of my research, this concept refers to a musical group wherein plucked string instruments like mandolin, mandola, mandocello, guitar and bass guitar are prevalent
This paper focuses on the Tuna Souselense’s activity at the present, and relies on fieldwork carried out between 2012 and 2014, comprising documentary research in regional periodicals, archives from several institutions and particular spoils, participant and non-participant observation and interviews with instrumentalists, singers and conductors of this musical group
Summary
This articlederives from an on-going research project within the framework of the Doctoral Program in Music, at the University of Aveiro, Portugal, under the scientific supervision of Maria do Rosário Pestana. This paper focuses on the Tuna Souselense’s activity at the present, and relies on fieldwork carried out between 2012 and 2014, comprising documentary research in regional periodicals, archives from several institutions and particular spoils, participant and non-participant observation and interviews with instrumentalists, singers and conductors of this musical group.
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