Singing for the Cities – Pedro Aune’s (EM Villa Lobos) review of “As origens da Canção Urbana”, by José Ramos Tinhorão
Abstract: As origens da canção urbana by José Ramos Tinhorão offers a fascinating exploration of the evolution of song in urban centers, drawing upon a wealth of diverse sources. While it provides valuable insights into the social and economic influences on music, some have critiqued Tinhorão’s work for its somewhat dense language and occasionally ambiguous conclusions.
Keywords: Urban song, History of music, and MPB.
As origens da canção urbana by José Ramos Tinhorão was originally published in Lisbon in 1997 and released in Brazil by Editora 34 in 2011. This historical and musicological work draws on a variety of sources, including official documents, letters, and theatrical texts, in order to identify the social and economic forces that contributed to the consolidation of the song as a characteristic music of urban centers.
José Ramos Tinhorão (1928-2021) was a journalist, critic, collector, and researcher of Brazilian popular music, having collaborated with various media outlets such as Jornal do Brasil, Rede Globo, Veja, and Pasquim. He became known for his controversial positions, which were generally based on the denunciation of foreign influence on Brazilian music. He offered numerous and harsh criticisms of Bossa Nova, Brazilian Popular Music (MPB), and commercial music in general. In his work, Tinhorão dedicated several studies to the history of popular music, adopting a social and critical perspective. The author acknowledges that there is still much to be learned about the genesis of what would be the urban song in general, which the 21 chapters of the book seek to fill.
The initial chapters aim to point out new issues and demands that arose with the establishment of major urban centers, particularly during the Renaissance period. The author suggests that the increased demand for services resulting from rapid population growth in the colonial metropolis may have led to a heightened division and specialization of labor in various sectors. It is possible that this same logic would apply to entertainment services, encouraging a variety of activities related to the practice and teaching of arts. It can be argued that the demand for modes of amusement, the “new novelties,” suited to the pace of city life, would contribute to the consolidation of artistic languages adapted to the urban environment. This would then lead to the emergence of forms of music, theater, and poetry, which would occupy the theaters, halls, and squares of emerging cities.
Furthermore, the author also highlights the class conflicts that help shape artistic practices. On one hand, the aristocracy, which historically held resources, political, economic, and military authority, and determined the social practices understood as “refined.” On the other hand, the bourgeoisie with its rising economic power sought affirmation, mimicking the practices of the aristocracy. Thus, the bourgeoisie would seek to assert their position through the consumption of goods associated with nobility, which in turn sought to distance themselves from this, even using legal means to restrict access to these goods. It can be said that the music practiced in these circles reflected a desire for distinction. At the same time, the popular classes developed their own practices which, while they maintained some dialogue with the habits of the elites, represented what they sought to distance themselves from.
The central chapters of the book describe the historical course of the song. Tinhorão distinguishes urban song as poetry sung by a soloist accompanied by instruments, in opposition to rural music sung in chorus or in verse and chorus. Tinhorão considers the possible historical origins of the term “solo singing.” He suggests that it may have originated from the Latin word “solatium,” which means “consolation.” He also draws attention to the records of a type of singing called “solau,” which, although it evokes some discussion, he points out as singing without accompaniment.
The author argues that the urban song may have roots in the epic chants of antiquity, where music was combined with spoken language in the narration of facts and myths. Later, the song would lend itself to themes of military conquests and heroic deeds, subsequently incorporating the theme of romantic love. It is thought that bards, minstrels, squires, blind men, barbers, and beggars would have carried the tradition of the song that narrated battles, events, love affairs, or jests.
In the last third of the book, Tinhorão debates the influence of foreign fashions on the already established urban society of 18th-century Lisbon. It seems that the new fashions, which were predominantly from France, influenced the habits of the elites, as well as the more popular layers. It is also thought that fashions originating from the colonies also impacted the daily life of the metropolis, carrying the fruits of the cultural and racial melting pot seen in the colonies.
“Triste Lereno” – Domingos Caldas Barbosa | Imagem e som: Canal Fernando Binder
Dances and music resulting from the fusion of cultural elements of the various peoples who, by different and sometimes bloody paths, met in the colonies became fashionable in the metropolis. The Brazilian modinha, with its lyrics, is cited as an example of a prototype of modern urban song, despite its association with erudite music. This is a result of the greater existence of the score registration of “elitist” modinhas compared to its original popular version. The characteristic syncopations of African music mark the new songs that enliven the leisure of the popular layers and gradually begin to echo in the halls of the financial elites.
While the author’s proposal to define “the origin” of urban song may offer coherent analyses and valid perspectives, it may not be achievable since the definitions proposed about what would comprise the said urban song apply to various musical phenomena located at different historical and geographical points. The loaded language and dense digressions, although they contribute to various possibilities, sometimes neglect to address the constitution of musical styles. This may be because it is not possible to lead to a clear conclusion of what would in fact be the origin of the song. The result is a collection of clues for the reader.
Nonetheless, the wealth of sources, combined with a discerning approach and a social and tangible perspective, contribute to making this book a valuable resource for understanding the social evolution of Western urban popular music, thus partially fulfilling the proposed objective. The extensive research work helps to illuminate the pathways of the song through social development and its conflicts. The use of letters and theatrical texts as sources serves to paint pictures of specific moments in past societies in their relationship with music.
Summary of As origens da canção urbana
- Notas à presente edição
- Introdução
- 1. Cidade moderna, necessidades novas
- 2. Todos querem ser iguais
- 3. O tempo das “novas novidades”
- 4. “Grandeza de Lisboa”, anonimato das massas
- 5. A “boa aventura” do “viver do prazer”
- 6. Cantiguinhas de uma “certa ralé”
- 7. Quando os “ínfimos” cantam amores
- 8. Da recitação ao canto solista
- 9. Canto épico, romance amoroso
- 10. Democratização do “cantar romance”
- 11. Romances são cantos, versos são letras
- 12. Canto popular e guitarra (que era viola)
- 13. Música dos barbeiros e dos teatros
- 14. “Verás como canto solo” (Gil Vicente)
- 15. Cantar de solau: uma forma de cantar
- 16. “As cantigas do deserto: “Adeus corte, adeus cidade”
- 17. O tempo das “modas novas”
- 18. As danças negras das ruas
- 19. A sincopa negra nos salões
- 20. Caldas Barbosa e a Viola de Lereno
- 21. Modinha Brasileira: enfim, uma canção popular
Reviewer
Pedro Aune holds a bachelor’s and master’s degree in Music from the Universidade Federal do Rio de Janeiro (UFRJ). He is currently Professor of Music (double bass) at the Escola de Música Villa Lobos. Among other works, he has published Três áreas de trabalho do contrabaixista (1970-2000). ID LATTES: http://cnpq.br/7896625717296232; ID ORCID: https://orcid.org/0009000162315812. E-mail: pedroaune@gmail.com.
To cite this review
TINHORÃO, José Ramos. As origens da canção urbana. São Paulo: Editora 34, 2011. 224p. Review by: AUNE, Pedro. Cantando pelas cidades. Crítica Historiográfica. Natal, v.4, n.17, maio/jun., 2024. Available in <https://www.criticahistoriografica.com.br/en/singing-for-the-cities-pedro-aunes-em-villa-lobos-review-of-as-origens-da-cancao-urbana-by-jose-ramos-tinhorao/>.
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