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A Carioca Blade Runner, or How Percussionist Marcos Suzano Turned the Brazilian Tambourine into a Drum Kit, and Other Matters of (Politically) Correct Music Making
Moehn profiles percussionist Marcos Suzano and discusses the correct music making. He also highlights an embodied subjectivity operating in and through crisscrossing articulations of gender, class, and race, while distrustful of the concentration or centralization of power. Additionally, he correlat...
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Published in: | Ethnomusicology 2009-04, Vol.53 (2), p.277-307 |
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Main Author: | |
Format: | Article |
Language: | English |
Subjects: | |
Citations: | Items that cite this one |
Online Access: | Get full text |
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Summary: | Moehn profiles percussionist Marcos Suzano and discusses the correct music making. He also highlights an embodied subjectivity operating in and through crisscrossing articulations of gender, class, and race, while distrustful of the concentration or centralization of power. Additionally, he correlates distinct sonic practices and musical materializations to this perspective, thereby revealing some of the "audible entanglements" of Suzano's life and work. Suzano's career bridges the era before the 1990s when analog recording was still the norm in Brazil, and the present period in which digital methods and media for producing and distributing musical sound predominate. He is also someone who was born just before the 1964 right wing coup that resulted in a 21-year period of military rule,who began to find what he refers to as "his sound" in the 1990s when centrist president Fernando Henrique Cardoso presided over extensive economic and political reforms intended to modernize Brazil's government, and who saw the election of Brazil's first socialist president in 2001. |
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ISSN: | 0014-1836 2156-7417 |
DOI: | 10.2307/25653069 |