A abordagem que temos adoptado na pesquisa, desta vez, foi usar a psicologia social como um ingrediente do processo de análise e reconstruço das interseces entre o aspeto musical do militar e o aspeto institucional da entidade a qual se atribui o musico militar. Desta vez, o aspeto institucional de os militares musicos, é um aspeto intangvel, de que temos que trabalhar para entender, porque na realidade, este tamanho requiremento na instituiço poliédica emilitar (EB) fez todos os rostos – colocar os sujeitos diante do poder, envolver os tais aos outros com eles e fazer com que o poder transite e os sujeitos na instituicao mudam com o passagem do tempo, corroborando as representacoes e identidades em lugares to tneis e disciplinarios como o EB.
In fact, it is only in the last two decades that the study of the role of military music has begun to emerge as an independent field of inquiry. Most of the research to date has mainly focused on military bands as cultural spaces that serve as sites of dissent and disobedience in societies undergoing democratization.
The Brazilian military band tradition derives from the small unit bands of Portuguese colonial Brazil, which later developed into services such as military corps and the National Guard. This development led to the formation of a musical structure that is still in place today, with specialized instruments and unique uniforms.
As a result of this legacy, the Brazilian musical world has some of the most distinctive aspects of the broader militar culture in Latin America, especially in terms of its role as a means of expressing individual and collective identities and as a tool for constructing a sense of belonging in an era of growing fragmentation.
In Chile, the military is highly dependent on the use of traditional music in the form of bandas and other chorales. For example, the Ser musico militar Army NCO School, the Arturo Prat Naval School and the Bernardo O’Higgins Military Academy all have their own musical groups. The country also has a mounted band, the 1st Cavalry Regiment Jose Gervasio Artigas’ Blandengues, which follows the Argentine practice of mounting bands and wearing full dress uniforms.
In Cameroon, the Yaounde based Music Band Company of the Armed Forces follows French precedent for its musical style. The group was founded in 1959, a year before Cameroon gained independence, as a brass band. Since then it has expanded into a military section and now employs brass, woodwind and percussion instruments. It is led by Captain Florent Essimbi, a former French military musician. The group performs in formal settings such as parades and concerts, and is an important element of the armed forces’ public image. In addition, the group has a significant presence on television and radio. It has also made several recordings. In an attempt to break with traditions, it has incorporated some modern music into its repertoire. In general, however, it has retained the symphonies and other classical pieces that are traditional in the armed forces’ musical repertoire.
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