A escritura poético-cancionista de Torquato Neto

Abstract

This research seeks to rekindle the labyrinth trail and raise the discussion about Torquato Neto's poetic writing, especially with regard to his creative venture around the Brazilian popular song. In addition, it intends to contribute to theoretical and critical studies of literary productions, their relationships with other aesthetic, media and cultural systems, as well as their decoding processes and their resonances in different spaces, apprehending the modes of interaction between these languages. The research is justified, academically, due to the representativeness and relevance of Torquato Neto's work, as a representative of the mixture of experimentalism and marginality, of behavioral change and artistic-cultural renewal. This research has as main objective to analyze the aspects of poetic writing in Torquato Neto's songs in the midst of possible semiotic relations. In addition to this one, others were elaborated that seek to investigate the poetic-song writing of Torquato Neto; research the compositional process of poem-songs by Torquato Neto; and describe the poetic and/or melodic aspects present in the songs developed by Torquato Neto. To contemplate these objectives, we resorted to authors who revolved around the intermediations with counterculture thinking, such as Theodore Rosask (1972), Carlos Alberto Pereira (1992), Christopher Dunn (2009), Celso Favaretto (2017), as well as to authors who thought of Tropicália and what stylistically represented this movement, such as Celso Favaretto (2000), Pedro Duarte (2018), Caetano Veloso (1997), Carlos Calado (2010). Then followed the journey around authors who dealt directly with the poetic and songwriting work of Torquato Neto, such as Paulo Andrade (2002), Feliciano Bezerra (2004), as well as theorists more directly related to poetic making, such as Iuri Lotman (1978), Erza Pound (1997), Alfredo Bosi (2000), Décio Pignatari (1996) and, finally, an elucidation of the song phenomenon based on the ideas and methods of analysis proposed by the essayist Luiz Tatit (2002). The research started from the premise that songs are composed through constant semiotic relations between lyrics and melody. In hybridization, the verbal and musical components complete and reinforce the meanings proposed by the compositions, meeting the main objective of this investigation, supported by the adopted analysis method.