Queerizações da Música Popular de António Variações
DOI:
https://doi.org/10.12797/SI.13.2014.13.42Keywords:
António Variações, queer, music, sexual and gender identitiesAbstract
QUEERING ANTÓNIO VARIAÇÕES’S POPULAR MUSIC
Across the centuries, religious and secular institutions have persisted in governing our bodies and legislating against gender, sexuality and sexual acts considered to deviate from prescribed norms. Music has been scrutinised in comparable ways by religious and secular institutions due to its emotional appeal. Thus, in this article, I will analyse two songs by António Variações, entitled Canção de Engate and Onda Morna that present a subliminal homoerotic theme. I will draw attention on this article to how music is used by Variações to express non‑normative sexualities and desires and how this facilitated expressions of queerness and queer identity.
References
Babuscio, J. (2002), “The Cinema of camp (AKA Camp and the gay sensibility)”, em: Cleto, F. (ed.), Camp: Queer aesthetics and the performing subject. A reader, University of Michigan Press, Detroit, pp. 117‑135.
View in Google Scholar
Brett, P. (1994), “Musicality, essentialism, and the closet”, em: Brett, Wood, P. E., Thomas, G. C. (eds.), Queering the pitch: The new gay and lesbian musicology, Routledge, New York, pp. 9‑26.
View in Google Scholar
Carvalho, E.M. (1983), “António Variações: Quero ser um músico popular”, O País, 380, pp. 10-15.
View in Google Scholar
Connell, J., Gibson, C. (2003), Sounds tracks: Popular music, identity and place, Routledge, London. DOI: https://doi.org/10.4324/9780203448397
View in Google Scholar
Corber, R., Valocchi, S. (2003), “Introduction”, em: Corber, R., Valocchi, S. (eds.), Queer Studies: An interdisciplinary reader, Blackwell, Oxford, pp. 1‑17.
View in Google Scholar
Cusick, S. (1999a), “Gender, musicology and feminism”, em: Cook, N., Everist, M. (eds.), Rethinking music, Oxford University Press, Oxford, pp. 471‑498.
View in Google Scholar
Cusick, S. (1999b), “On musical performances of gender and sex”, em: Barkin, E., Hamessley, L. (eds.), Audible traces: Gender, identity, and music, Carciofoli Verlagshaus, Zurich, pp. 25‑48.
View in Google Scholar
Dibben, N. (2002), “Gender identity and music”, em: Macdonald, R., Hargreaves, D., Miell, D. (ed.), Musical identities, Oxford University Press, Oxford, pp. 117‑133.
View in Google Scholar
Frith, S. (1996), Performing rites: On the values of popular music, Oxford University Press, Oxford.
View in Google Scholar
Foucault, M. (1979), The history of sexuality, vol. 1: An introduction, Allen Lane, London.
View in Google Scholar
Gonzaga, M. (2006), António Variações: Entre Braga e Nova Iorque, Âncora Editora, Lisboa.
View in Google Scholar
Joyce, V.M. (1997), “What’s so queer about composing? Exploring Attali’s concept of composition from a queer perspective”, Popular Music and Society, 21, pp. 35‑59. DOI: https://doi.org/10.1080/03007769708591678
View in Google Scholar
McClary, S. (1991), Feminine endings: Music, gender and sexuality, University of Minnesota Press, Minneapolis.
View in Google Scholar
Downloads
Published
Issue
Section
License
Copyright (c) 2014 Paulo Pires Pepe
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
