Inquiring appearances, pointing out the evidências: remnants of the caipira culture in the Chitãozinho & Xororó’s hit

Abstract

I start from the romantic-popular song Evidências (Augusto; Vale, 1990) and its translations (Jakobson 2010) by Chitãozinho & Xororó in the albums Caubóis do Asfalto (1990), Elas em Evidências (2015) and as the closing theme of the tour Evidências (2015-2020) in an attempt to investigate the ebbs and flows of the caipira people in what is called country music in the context of the Cultural Industry I use some elements of the theory of language proposed by Henri Meschonnic (2006; 2008; 2015) to elucidate the understanding of the way in which affect and concept in a single piece of word act and transform the ways of seeing, hearing and feeling (MESCHONNIC 2015: 9). Indexes such as nasal tonality, tessitura extension, falsettos, double main melody, some arrogance and affective idealization, present in Caubóis do asphalt (1990), reinvigorate via intertextuality the country people of Paulistânia (Ribeiro, 1995), bringing the rural workers (Corrêa 2014) and sertanejo (Lima 1972) where there was initially pop; in Elas em evidence (2015), there are displacements given, above all, by the addition of different forms of female empowerment by different oralities (Meschonnic 2006) in an important articulation that meets the scope (Jakobson 1996 APUD Pyn 2017) of market interests. As a Tema de encerramento (Paladini 2015), progressive rock emerges as a virtuoso, surpassing the receiver's expectations and shifting the limits of discourse orders.