Um canto entre quatro paredes: a sensualidade no investimento vocoverbal de Belchior
Abstract
The Brazilian popular music went from the second half of the 40s to the 50s, by a process of “internationalization”, caused by attracting international musical genres such as bolero, the adoption of issues related to love affairs and the exploration of the most bass areas of tessitura (MACHADO, 2011). According to the author, this time, the voice sexualizes, making the author object of desire and seduction. We intend to show who Belchior, in his third and fourth LPs, titled Coração Selvagem e Todos os sentidos (Wild Heart and all the senses), he seems to also invest in “sex” appeal of his voice and the themes that confirm. To achieve this goal, we articulated, based on discourse analysis of the contribution outlined by Maingueneau, the vocal characteristics of Belchior with the lyrics of their songs. We analyzed them in an integrated manner the singing voice and the lyrics of the song “sexy” (Belchior ; Tuca, by Belchior, 1978), comparing them with the recording that Ney Matogrosso (1978) did the same song. Thus, we come to the following results: 1) the vocal sensuality takes part in vocal investment of Belchior showing the timbre sense that his overly nasal voice can denote different appeals in the culture, as lament and sensuality; 2) the controversial position of songwriter turns into investment the vocal conditions he has. We conclude who Belchior invests only in the vocal resources to express the lyrical content of the songs he sings suiting up to the Aesthetics of “required content” of the position in which he takes part, People of Ceara.
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