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Defense of the Doctoral Thesis | Lucas André Wink

19.12.2023 | 2h30pm | Academic Acts Room | Central and Rectorate building of University of Aveiro 
 
 
 
On December 19th, 2023, at 2:30 p.m., the exams for the Doctoral Program in Music, by Lucas André Wink, with the theme "Música sem Música? Som, escuta e dinâmicas coletivas de participação: um estudo etnográfico sobre os bombos".

  

The jury for the PhD Thesis of Lucas André Wink
  • Prof. Dr. Maria do Rosário Pestana, Assistant Professor at the University of Aveiro (advisor)
  • Prof. Dr. Fernando José Mendes Gonçalves, Full Professor at the University of Aveiro
  • Prof. Dr. Julio César Mendívil Trelles, Professor at the Universität Wien
  • Prof. Dr. Paula Maria Guerra Tavares, Assistant Professor at the Faculty of Letters of the University of Porto
  • Prof. Dr. Ema Cláudia Ribeiro Pires, Assistant Professor at the University of Évora
  • Prof. Dr. Jorge Manuel de Mansilha Castro Ribeiro, Assistant Professor at the University of Aveiro
 
"MÚSICA SEM MÚSICA? Som, escuta e dinâmicas coletivas de participação: um estudo etnográfico sobre os bombos"
 
This thesis focuses on Bombos, a collective practice that mobilizes hundreds of individuals with bombos, caixas, diatonic accordions, bagpipes, and/or fife in Portugal. Situated within the domain of Ethnomusicology but in dialogue with the postulates of Sound Studies and literature on the social life of musical instruments, it proposes an understanding of Bombos in the relationship they establish with musicians, audience members, performance facilitators, performative environments, technologies, and values that enable participants to cultivate instrumental activities in group. 
Several participatory methods were employed to gather data and construct knowledge. Specifically, I conducted fieldwork with Grupo de Bombos São Sebastião de Darque, based in Darque, Viana do Castelo; with Grupo de Bombos “Os Figueiras na Rua”, based in Rubiães, Paredes de Coura; and in Paul, Covilhã. The thesis is built upon the interplay of various discursive modes, ranging from my experiences as an apprentice and in playing the caixa, to co-authored writing and sound ethnography. 
The research highlighted the contrast between the decrease of these ensembles in historical sources and their vigorous presence in traditional Festas celebrated annually across the country. Seeking to transcend a music-centered inquiry, it broadens the understanding of Bombos by analyzing collective instrumental acts; the dialogue between repertoire, learning, and performative realization with equipment and acoustic spaces; the affectivity of sound and the perception of listening among participants; as well as the tensions and relaxations dynamics that sustain relational networks of participation in the field.