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Procedimentos transfonográficos e abordagem conceitual no disco Araçá azul, de Caetano Veloso
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Resumo(s)
This article examines Caetano Veloso's album Araca azul (1973), focusing on the use of transphonographic procedures and the conceptual approach that characterizes the work. The first album recorded in Brazil after his London exile, it stands out due to the influence of concrete poetry and the composer's willingness to conceive it as a gesture of artistic self-liberation. Veloso entered the studio without any prepared material, rejected the presence of a music producer, and emphasized the recording apparatus as an integral tool in the compositional process. Considering these factors, the article explores the hypothesis of classifying Araca azul as a concept album, addressing the origins and specificities of this format. Additionally, it analyzes and classifies the tracks "Sugar Cane Fields Forever" and "Eu quero essa mulher assim mesmo/De cara" using Serge Lacasse's (2018) model of transphonographic relations, which was developed from Gérard Genette's (1982) theories in the field of intertextual analysis.
Descrição
UID/00693/2025
https://doi.org/10.54499/UID/00693/2025
Palavras-chave
Araca azul Caetano Veloso; Concret poetry; Popular music;