FON-FON 1900-1930: por um esboço da recepção dos aparelhos tecnológico-musicais
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2021-09-22
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Universidade Estadual Paulista (Unesp)
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Transformações acontecem ao seu tempo e modo com o desenrolar dos processos históricos. A tese que aqui será abordada, de que de que as tecnologias musicais difundidas e comercializadas na capital do Brasil, no início do século XX, tenham contribuído para a transformação da escuta, se constrói, de maneira geral, nos relatos que poderemos observar e analisar, através dos textos e propagandas sobre as tecnologias musicais, veiculados pela revista Fon-Fon, uma das revistas ilustradas mais populares de sua época. A partir desse ponto, duas linhas de pensamento se constroem: a primeira, voltada para os aspectos macro da recepção desses aparelhos, observando as mudanças marcadas pela assimilação da modernidade que se estabelecia no tecido social; e a segunda, voltada para os aspectos micro dessa recepção, da natureza dos sons engendrados por essas máquinas. Disso se segue a justificativa desta dissertação, que é a de fornecer discussões e reflexões sobre uma parte da história da gravação e reprodução, visto que, em tempos atuais, temos um estreitamento intenso entre tecnologias musicais, indivíduos e sociedade.
Transformations happen in their own time and way with the development of historical processes. The thesis that will be defended here, that the musical technologies disseminated and marketed in the capital of Brazil, in the beginning of the 20th century, have contributed to the transformation of listening, is conceived, in general, in the reports that we will be able to observe and analyze, through texts and advertisements about musical technologies, published by Fon-Fon magazine, one of the most popular illustrated magazines of its time. From this point onwards, two lines of thought are built: the first, focused on the macro aspects of reception of these devices, observing the changes marked by the assimilation of modernity that was established in society, and the second, focused on the micro aspects of this reception, of the nature of the sounds coming from these machines. From this follows the justification of this dissertation, which is to provide discussions and reflections on a part of the history of recording and reproduction, since, in current times, we have an intense closeness between musical technologies, individuals and society.
Transformations happen in their own time and way with the development of historical processes. The thesis that will be defended here, that the musical technologies disseminated and marketed in the capital of Brazil, in the beginning of the 20th century, have contributed to the transformation of listening, is conceived, in general, in the reports that we will be able to observe and analyze, through texts and advertisements about musical technologies, published by Fon-Fon magazine, one of the most popular illustrated magazines of its time. From this point onwards, two lines of thought are built: the first, focused on the macro aspects of reception of these devices, observing the changes marked by the assimilation of modernity that was established in society, and the second, focused on the micro aspects of this reception, of the nature of the sounds coming from these machines. From this follows the justification of this dissertation, which is to provide discussions and reflections on a part of the history of recording and reproduction, since, in current times, we have an intense closeness between musical technologies, individuals and society.
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Belle Époque, Recepção, Fonógrafo, Gramofone, Vitrola, Reception, Phonograph, Gramophone, Victrola