Aramis Millarch e a criação da Associação dos Pesquisadores em Música Popular Brasileira como instituição da esfera pública - identidade, gosto e consumo na crítica de música brasileira popular em O Estado do Paraná entre 1965 e 1976

Abstract

The objective of this thesis is to analyze the role of Aramis Millarch, a critic of popular Brazilian music in the newspaper O ESTADO DO PARANA, in the creation of the Association of Researchers in Popular Brazilian Music - APMPB - in 1975, as an institution in the public sphere. The APMPB's main function was to defend the tradition of popular Brazilian music in relation to foreign music; secondly, to restore it to its role as a public sphere institution, lost after the promulgation of the AI-5 in 1968. The term public sphere was used by Jürgen Habermas in The Structural Transformation of the Public Sphere (1962), visualizing institutions of society that served as a counterweight to authority. Terry Eagleton, in The Function of Criticism (1981), appropriated the term, relating it specifically to literary criticism, stating that the critical activity of the 20th century must play this role as a counterpoint to the bourgeois state. In this research it was considered that the bourgeois state comprised two institutions: the military government and the recording industry. In the context of the creation of the APMPB, the suggestions sent to the Ministry of Education and Culture, in defense of tradition, aimed at the government's support to restore the balance of production and consumption of popular Brazilian music, in a position of counterpoint in relation to the music industry. The issue of Identity / Tradition-Taste-Consumption was also discussed, categories that emerged from data collection, consulted in 709 editions of the newspaper, between 1965 and 1976, of which 295 were used. It was found that the idea of Tradition in Popular Brazilian music, defended in the newspaper by Millarch and several other experts, was built on the genres Samba-Bossa Nova-MPB (NAPOLITANO, 2007). The defense of tradition in musical criticism arose at various times between 1930 and 1960, which can be seen initially in Mário de Andrade, including Almirante, Lucio Rangel, Ary Vasconcellos, Tinhorão and Millarch; it was found that the criticism emerges as a response to the disruption of balance between Brazilian and foreign music. Regarding taste and consumption, it was observed that Aramis associated MPB to the highest socioeconomic class; however, in the APMPB suggestions there was a possibility that this genre could be extended to the entire population. As MPB had played the role of public sphere in its performance between 1965 and 1968, with its broader return there would be a tendency for this to happen again. As part of the response to this movement, it was found that the government did not interfere in the popular music market in order not to scare off foreign investors from Brazil.