musical representation of native american in films

The use of wild native american, noble native american topics and authentic indian music in the soundtrack

Authors

  • Juliano de Oliveira Universidade de São Paulo. Escola de Comunicações e Artes.
  • Rodolfo Coelho de Souza Universidade de São Paulo

DOI:

https://doi.org/10.11606/issn.2447-7117.rt.2018.151142

Keywords:

Soundtrack, Musical topics, Musical estereotypes, Indian music

Abstract

This article tries to demonstrate the forms of representation of Native American through music in the cinema during the 20th century, starting from the first collections used for musical accompaniment during the silent cinema until the original music composed for films of years 1930 to 1990. For such, We will extend the concept of musical topical, as formulated by Ratner, Agawu, and Hatten, to the scope of film music in order to understand the development of Wild Native American and Noble Native American topicals as well as experiences of inclusion of authentic Indian music on soundtracks of movies.

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Author Biographies

  • Juliano de Oliveira, Universidade de São Paulo. Escola de Comunicações e Artes.

    Juliano de Oliveira holds a Bachelor's Degree in Music from ECA / USP, Campus Ribeirão Preto, master's degree (2012) in Musicology and Doctor (2017) in Theory and Analysis by ECA / USP, Campus São Paulo. He is the author of the book "The Meaning in Music of Cinema", launched in 2019 by Paco Editorial. He is a member of the Music and Media Studies Center (MusiMid) since 2011. He has experience in the field of arts, with an emphasis on music, working mainly on the following topics: theory and analysis, significance in film music, composition of music track for video and theater, electroacoustic music and music technology. He produced, between February 2011 and August 2013, together with Prof. Dr. Marcos Câmara de Castro, the "Clássicos em Pauta" program, broadcast four times a week, Tuesday and Thursday at 10:40 a.m. and 3:20 p.m., at Rádio USP de Ribeirão Preto. Since 2015 he has been a pianist and professor of theory with the choir of the Symphonic Orchestra of Ribeirão Preto.

  • Rodolfo Coelho de Souza, Universidade de São Paulo

    Rodolfo Coelho de Souza is Professor of the Music Department of the University of São Paulo, linked to the Faculty of Philosophy of Literature of Ribeirão Preto. He acts as doctoral advisor in the Post-Graduation in Music of the School of Communications and Arts of USP. From 2000 to 2005 he was Professor of the Department of Arts at UFPR. He graduated in Engineering from the Polytechnic School of the University of São Paulo (1976), Master in Musicology at ECA-USP (1994) and PhD in Music Composition at the University of Texas at Austin (2000). In 2009 she conducted postdoctoral research at the University of Texas at Austin with E. Antokoletz and R. Pinkston. In 2006 he became Associated Professor. In 2018 he became Full Professor. He works in the areas of Music Composition, Music Technology and Analytical Musicology. He was the coordinator of Lacomus - Laboratory of Musical Computation at UFPR (2001-2004) and currently is coordinator of LATEAM - Laboratory of Theory and Musical Analysis of DM-FFCLRP-USP. He was editor of the Journal Musica Theorica of TeMA - Brazilian Association of Theory and Music Analysis and is currently president of TeMA for the 2019-20 biennium. His musical compositions include: The Book of Sounds (2010) for orchestra and electronic sounds, Concerto for Computer and Orchestra (2000) and Tristes Tropiques (1991). She is a Research Productivity Fellow at CNPq PQ2.

References

AGAWU, Kofi. Playing with Signs: A Semiotic Interpretation of Classic Music. Princeton, NJ: Princeton University Press, 1991.
______. Music as Discourse. New York: Oxford University Press, 2009.
GORBMAN, Claudia. Scoring the Indian: Music in the Liberal Western. In: BORN, Georgina; HESMONDHALGH, David. Western Music and Its Others: Difference, Representation, and Appropriation in Music. Berkeley, Los Angeles, London: University of California Press, 2000.
HATTEN, Robert S. Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation. Bloomington: Indiana University Press, 1994.
______. Four Semiotic Approaches to Musical Meaning: Markedness, Topics, Tropes, and Gesture. In: Muzikološki zbornik / Musicological Annual 41, pp. 5-30. Ljubljana: Department of Musicology, 2005.
______. The Troping of Topics in Mozart‘s Instrumental Works. In: MIRKA, Danuta (ed). The Oxford handbook of topic theory. New York: Oxford University Press, 2014.
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__________________. Music and the Western: Notes From the Frontier. New York: Routledge, 2012.
MIRKA, Danuta (ed). The Oxford handbook of topic theory. New York: Oxford University Press, 2014.
OLIVEIRA, Juliano. A significação na música de cinema. Tese. São Paulo: ECA-USP, 2017.
______. Juliano. A significação na música de cinema. São Paulo: Paco editorial, 2018.
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RATNER, Leonard G. Classic Music: Expression, Form, and Style. New York: Schrimer, 1980.
Revista da Tulha Volume 4 Número 2 JUL-DEZ 2018

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Published

2018-12-28

Issue

Vol. 4 No. 2 (2018)

Section

Article

License

Copyright (c) 2018 JULIANO DE OLIVEIRA, RODOLFO COELHO DE SOUZA

Creative Commons License

This work is licensed under a Creative Commons Attribution 4.0 International License.

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Creative Commons License

This work is licensed under a Creative Commons Attribution 4.0 International License.

How to Cite

Oliveira, J. de, & Souza, R. C. de. (2018). musical representation of native american in films: The use of wild native american, noble native american topics and authentic indian music in the soundtrack. Revista Da Tulha, 4(2), 77-96. https://doi.org/10.11606/issn.2447-7117.rt.2018.151142