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O Som do Silêncio: A influência do movimento folk revival americano na canção de protesto portuguesa da década de 1960 e 1970
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Portugal teve, entre 1960 e 1970, uma contracultura que ameaçava o regime em vigor e a sua estabilidade. Esta contracultura fazia-se representar culturalmente por músicos como Zeca Afonso, José Mário Branco, entre outros. Os EUA não estavam cingidos a um governo ditatorial, mas a população via em causa os direitos civis e humanos que, por sua vez, utilizavam a contracultura e as suas representações culturais para se fazerem ouvir, com artistas como Bob Dylan e Joan Baez. Esta utilização da música como meio de protesto, em épocas em que a população se sente pouco ouvida, é um cenário comum em todo o mundo. Para esta dissertação, questionámos a possibilidade de uma influência musical norte-americana na música portuguesa de protesto que se fazia no mesmo período. A globalização do mundo deixou cada vez mais próximo a cultura de outros países com a de Portugal, e certos aspetos musicais, como a simplicidade musical e a figura do músico desprovido de glamour acompanhado apenas por uma guitarra acústica, foram provenientes desta globalização mundial, tal como da modernização da cultura portuguesa. A diferente comercialização dos géneros e diferente cultura da indústria da música em cada país, a estrutura musical das canções e a exploração de outros géneros são aspetos que exploramos nesta dissertação de forma a comparar estes dois movimentos musicais, que nos levam a perceber que podem ter mais em comum do que inicialmente parece, mas que não invalida certas diferenças culturais e musicais.
Portugal had, between 1960 and 1970, a counterculture that threatened the regime in place and its stability, a counterculture that was culturally represented by musicians such as Zeca Afonso, José Mário Branco, among others. The USA was not bound by a dictatorial government, but the population saw civil and human rights at stake, which also worked with a counterculture and its cultural representations to make themselves heard, with artists such as Bob Dylan and Joan Baez. This use of music as a means of protest at times when the population feels neglected is a common scenario throughout the world. For this dissertation, we question the possibility of an American musical influence on Portuguese protest music that was made in the same period. The globalization of the world has brought the culture of other countries closer and closer to that of Portugal, and certain musical aspects such as musical simplicity and the figure of the musician devoid of glamor accompanied with only an acoustic guitar, are a result of this world globalization, and of the modernization of Portuguese culture. The different commercialization of genres and the different culture of the music industry in each country, the musical structure of the songs and the exploration of other genres are aspects that we explore in this dissertation in order to compare these two musical movements, which lead us to realize that they may have more in common than it initially seems, but that doesn't invalidate certain cultural and musical differences.
Portugal had, between 1960 and 1970, a counterculture that threatened the regime in place and its stability, a counterculture that was culturally represented by musicians such as Zeca Afonso, José Mário Branco, among others. The USA was not bound by a dictatorial government, but the population saw civil and human rights at stake, which also worked with a counterculture and its cultural representations to make themselves heard, with artists such as Bob Dylan and Joan Baez. This use of music as a means of protest at times when the population feels neglected is a common scenario throughout the world. For this dissertation, we question the possibility of an American musical influence on Portuguese protest music that was made in the same period. The globalization of the world has brought the culture of other countries closer and closer to that of Portugal, and certain musical aspects such as musical simplicity and the figure of the musician devoid of glamor accompanied with only an acoustic guitar, are a result of this world globalization, and of the modernization of Portuguese culture. The different commercialization of genres and the different culture of the music industry in each country, the musical structure of the songs and the exploration of other genres are aspects that we explore in this dissertation in order to compare these two musical movements, which lead us to realize that they may have more in common than it initially seems, but that doesn't invalidate certain cultural and musical differences.
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Palavras-chave
Canção de intervenção Folk revival americano Zeca Afonso Bob Dylan Americanização Intervention song American folk revival Americanization