music of brazil
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Music of Brazil 1
Music of Brazil
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Roberto Carlos is the singer with the top selling
albums in Brazil.
The music of Brazil encompasses various regional music styles
influenced by African, European and Amerindian forms. After 500years of history, Brazilian music developed some unique and original
styles such as samba, zouk-lambada, lambada, zouk, choro, bossa
nova, frevo, forró, maracatu, MPB, funk carioca, RAP, sertanejo,
Brazilian rock, pagode, tropicalia, axé, brega, and others. Samba has
become the best known form of Brazilian music worldwide, especially
because of the country's carnival, although bossa nova, which had
Antônio Carlos Jobim as one of its most acclaimed composers and
performers, have received much attention abroad since the 1950s,
when the song "Desafinado", interpreted by João Gilberto, was first
released. Instrumental music is also largely practiced in Brazil, withstyles ranging from classical to popular and jazz influenced forms,
featuring composers like Heitor Villa-Lobos, Pixinguinha and Hermeto
Pascoal. The country also has a growing community of
modern/experimental composition, including electroacoustic music.
Art music
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Origins
Jongo, a dance and musical genre of African
origin, c. 1822
Brazilian dance-song lundu, c. 1835
The first registration of musical activity in Brazil comes from the
activities of two Jesuit priests in 1549. Ten years later, they had
already founded settlements for indigenous people (the Reduções),
with a musical-educational structure.
One century later, the Reduções of the southern Brazil, which were
founded by Spaniard Jesuits, had a strong cultural development, where
some music schools were founded. Some of the reports of that time
show the fascination of the indigenous people for European music.[1]
The Indians also took part in the music, with both the construction of
musical instruments and practice of vocal and instrumental
performance. The musical standards were, naturally, from the
European culture, and the purpose of the musicalization for the
indigenous people was mostly for Catechism, with negligible original
creative contribution by themselves. Later, the remaining Indians who
survived the massacres and epidemics went to the more remote regions
of Brazil, escaping from contact with the European settlers, and their
part in the national musical life diminished, eventually almost
completely disappearing.[citation needed ]
The 18th-century school
Ouro Preto, in Minas Gerais: one of the most
important musical centers in the Brazil during the
18th century
In the 18th century, there was intense musical activity in all the more
developed regions of Brazil, with their moderately stable institutional
and educational structures. The previously few private orchestras
became more common and the churches presented a great variety of
music.
In the first half of this century, the most outstanding works were
composed by Luís Álvares Pinto, Caetano de Mello de Jesus and
Antônio José da Silva ("the Jew"), who became successful in Lisbon
writing librettos for comedies, which were performed also in Brazil
with music by António Teixeira.
In the second part of the 18th century, there was a great flourishing in
Minas Gerais, mostly in the regions of Vila Rica (currently Ouro
Preto), Mariana and Arraial do Tejuco (currently Diamantina), where
the mining of gold and diamonds for the Portuguese metropolis
attracted a sizable population. At this time, the first outstanding
Brazilian composers were revealed, most of them mulattoes. The
musical pieces were mostly sacred music. Some of the noteworthy
composers of this period were Lobo de Mesquita, Manoel Dias de
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Oliveira, Francisco Gomes da Rocha, Marcos Coelho Neto and Marcos Coelho Neto Filho. All of them were very
active, but in many cases few pieces have survived until the present day. Some of the most famous pieces of this
period are the Magnificat by Manuel Dias de Oliveira and the Our Lady's Antiphon by Lobo de Mesquita. In the city
of Arraial do Tejuco, nowadays Diamantina, there were ten conductors in activity. In Ouro Preto about 250
musicians were active, and in all of the territory of Minas Gerais almost a thousand musicians were active. [2]
With the impoverishment of the mines at the end of the century, the focus of the musical activity changed to othercenters, specially Rio de Janeiro and São Paulo, where André da Silva Gomes, a composer of Portuguese origin,
released a great number of works and dynamized the musical life of the city.
The Classical period
José Maurício Nunes Garcia.
A crucial factor for the changes in the musical life was the arrival of
the Portuguese household in Rio de Janeiro in 1808. Until then, Rio de
Janeiro was musically similar to other cultural centers of Brazil, and
was even less important than Minas Gerais, but the presence of the
household radically changed this situation.
The king John VI of Portugal brought with him to Brazil the great
musical library from the House of Bragança, one of the best of Europe
at that time, and ordered the arrival of musicians from Lisbon and the
castrati from Italy, re-ordering the Royal Chapel. Later, John VI
ordered the construction of a sumptuous theater, called the Royal
Theater of São João. The secular music had the presence of Marcos
Portugal, who was designated as the official composer of the
household, and of Sigismund von Neukomm, who contributed with his
own work and brought the works of the Austrian composers Wolfgang
Amadeus Mozart and Joseph Haydn. The works of these composersstrongly influenced the Brazilian music of this time.
José Maurício Nunes Garcia, the first of the great Brazilian composers,
emerged at this time. With a large culture for his origin – he was poor
and mulatto – he was one of the founders of the Irmandade de Santa Cecília, in Rio de Janeiro, teacher and
kapellmeister of the Royal Chapel during the presence of John VI in Brazil. Nunes Garcia was the most prolific
Brazilian composer of this time. He also composed the first opera written in Brazil, Le Due Gemelle (The Two
Twins), with text in Italian, but the music is now lost.
Other important composers of this period are Gabriel Fernandes da Trindade, who composed the only Brazilian
chamber music from the 19th century which has survived to the present times,
[3]
and João de Deus de Castro Lobo,who lived in the cities of Mariana and Ouro Preto, which were decadent at this time.
This period, however, was brief. In 1821, John VI went back to Lisbon, taking with him the household, and the
cultural life in Rio de Janeiro became empty. And, despite the love of Peter I of Brazil for the music – he was also
author of some musical pieces like the Brazilian Independence Anthem – the difficult financial situation didn't allow
many luxuries. The conflagration of the Royal Theater in 1824 was another symbol of decadence, which reached the
most critical point when Peter I renounced the throne, going back to Portugal.
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The Romantic period
Antônio Carlos Gomes
The only composer who had a relevant work in this period was
Francisco Manuel da Silva, disciple of Nunes Garcia, who succeeded
him as kapellmeister. Despite of his few resources, he founded the
Musical Conservatory of Rio de Janeiro. He was the author of the
Brazilian National Anthem's melody. His work reflected the musicaltransition for the Romanticism, when the interest of the national
composers was focused in the opera. The most outstanding Brazilian
composer of this period was Antônio Carlos Gomes, who composed
Italian-styled operas with national themes, such as Il Guarany (based
on José de Alencar's novel O Guarani) and Lo Schiavo. These operas
were very successful in European theaters, like the Teatro alla Scala, in
Milan. Other important composer of this time is Elias Álvares Lobo,
who wrote the opera A Noite de São João, the first Brazilian opera with
text in Portuguese.
The opera in Brazil was very popular until the middle of the 20th
century, and many opera houses were built at this time, like Teatro Amazonas in Manaus, Municipal Theater of Rio
de Janeiro, Municipal Theater of São Paulo do Rio, and many others.
At the end of the 19th century, the greatest composers for the symphonic music were revealed. One of the most
outstanding name of this period was Leopoldo Miguez, who followed the wagnerian style and Henrique Oswald,
who incorporated elements of the French Impressionism.
Nationalism
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Heitor Villa-Lobos.
In the beginning of the 20th century, there was a movement for
creating an authentically Brazilian music, with less influences of the
European culture. In this sense, the folklore was the major font of
inspiration for the composers. Some composers like Brasílio Itiberê da
Cunha, Luciano Gallet and Alexandre Levy, despite having a European
formation, included some typically Brazilian elements in their works.This trend reached the highest point with Alberto Nepomuceno, who
used largely the rhythms and melodies from the Brazilian folklore.
An important event, later, was the Modern Art Week, in 1922, which
had a large impact on concepts of national art. In this event the
composer Heitor Villa-Lobos, regarded as the most outstanding name
of the Brazilian nationalism, was revealed.
Villa-Lobos did researches about the musical folklore of Brazil, and
mixed elements both from classical and popular music. He explored
many musical genres such as concertos, symphonies, ballets, operas
and other symphonic, vocal and chamber music. Some of his
masterworks are the ballet Uirapuru, their choros and the popular
symphonic series Bachianas Brasileiras.
Some other composers of this time are Oscar Lorenzo Fernández,
Francisco Mignone, Camargo Guarnieri and Osvaldo Lacerda.
The avant-garde movement
As a reaction against the nationalist school, who was identified as "servile" to the centralizing politics of Getúlio
Vargas, in 1939 the Movimento Música Viva (Living Music Movement) appeared, led by Hans Joachim Koellreutter
and by Egídio de Castro e Silva, defending the adoption of an international style, derived from the dodecaphonism of
Arnold Schoenberg. This group was integrated by composers like Cláudio Santoro, César Guerra-Peixe, Eunice
Catunda and Edino Krieger. Koellreutter adopted revolutionary methodes, in respect to the individuality of each
student and giving to the students the freedom of creativity before the knowledge of the traditional rules for
composition. The movement edited a magazine and presented a series of radio programs showing their fundaments
and works of contemporary music. Later, Guerra-Peixe and Santoro followed an independent way, centered in the
regional music. Other composers, who used freely the previous styles were Marlos Nobre, Almeida Prado, and
Armando Albuquerque, who created their own styles.
After 1960, the Brazilian avant-garde movement received a new wave, focusing on serial music, microtonal music,
concrete music and electronic music, employing a completely new language. This movement was called Música
Nova (New Music) and was led by Gilberto Mendes and Willy Corrêa de Oliveira.
Contemporary
Nowadays, Brazilian music follows the guidelines of both experimentalism and traditional music. Some of the
contemporary Brazilian composers are Amaral Vieira, Sílvio Ferraz, Flo Menezes, Marcos Balter, Alexandre
Lunsqui, Rodolfo Caesar, Felipe Lara, Edson Zampronha, Jorge Antunes, Roberto Victorio and João MacDowell.
Brazil has a large number of internationally recognized orchestras and performers, despite the relatively low support
of the government. The most famous Brazilian orchestra is probably the São Paulo State Symphony Orchestra,
currently under the French conductor Yan Pascal Tortelier. Other Brazilian orchestras worthy of note are the SãoPaulo University Symphony, the Orquestra Sinfônica Brasileira and the Petrobras Sinfônica, supported by the
Brazilian state oil company Petrobras.
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There are also regular operas scheduled every year in cities such as São Paulo and Rio de Janeiro. The state of São
Paulo also hosts the Winter Festival in the city of Campos do Jordão.
Some of the most famous Brazilian conductors are Roberto Minczuk, John Neschling and Isaac Karabtchevsky. The
instrumentalists include, among others: Roberto Szidon, Antonio Meneses, Cussy de Almeida, Gilberto Tinetti,
Arnaldo Cohen, Nelson Freire, Eudóxia de Barros, Guiomar Novaes and Magda Tagliaferro. And some of the most
famous Brazilian singers were, historically, Zola Amaro, Constantina Araújo and Bidu Sayão; living singers includeEliane Coelho, Kismara Pessatti, Maria Lúcia Godoy, Sebastião Teixeira, and others.
In the 1980s, a wave of Brazilian heavy metal bands gained public attention. The most commercially successful of
these was Sepultura, founded in São Paulo in 1983, preceded by Dorsal Atlantica and followed by Sarcofago.
The intrusion of alien elements into Brazil’s cultural system is not a destructive process. The return of a democratic
government allowed for freedom of expression. The Brazilian music industry opened up to international styles and
this has allowed for both foreign and local genres to co-exist and identify people. Each different style relates to the
people socially, politically, and economically. “Brazil is a regionally divided country with a rich cultural and musical
diversity among states. As such, musicians in the country choose to define their local heritage differently depending
on where they come from.” This shows how globalization has not robbed Brazil of its identity but instead given it the
ability to represent its people both in Brazil and the rest of the world.
Indigenous and folk music
The native peoples of the Brazilian rainforest play instruments including whistles, flutes, horns, drums and rattles.
Much of the area's folk music imitates the sounds of the Amazon Rainforest. When the Portuguese arrived in Brazil,
the first natives they met played an array of reed flutes and other wind and percussion instruments. The Jesuit
missionaries introduced songs which used the Tupi language with Christian lyrics, an attempt to convert the people
to Christianity,[4] and also introduced Gregorian chant and the flute, bow, and the clavichord.
Drum known as Ilú used in Xambá religion in
Pernambuco
The earliest music in what is now Brazil must have been that of the
native peoples of the area. Little is known about their music, since nowritten records exist of this era. With the arrival of Europeans,
Brazilian culture began to take shape as a synthesis of native musical
styles with Portuguese music and African music.
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Capoeira music
Three berimbau players
The Afro-Brazilian sport of capoeira is never played without its own
music, which is usually considered to be a call-and-response type of
folk music. The main instruments of capoeira music include the
berimbau, the atabaque and the pandeiro. Capoeira songs may be
improvised on the spot, or they may be popular songs written by older,and ancient mestres (teachers), and often include accounts of the
history of capoeira, or the doings of great mestres.
Maracatu
Maracatu.
This type of music is played primarily in the Recife and Olinda regionsduring Carnaval. It is an Afro-Brazilian tradition. The music serves as
the backdrop for parade groups that evolved out of ceremonies
conducted during colonial times in honour of the Kings of Congo, who
were African slaves occupying symbolic leadership positions among
the slave population. The music is played on large alfaia drums, large
metal gonguê bells, snare drums and shakers. An important variant is
found in and around Fortaleza, Ceará (called maracatu cearense),
which is different from the Recife/Olinda tradition in many respects:
triangles are used instead of gonguês, surdos or zabumbas instead of
alfaias. Also, important female characters are performed by cross-dressed male performers, and all African andAfrobrazilian personages are performed using blackface makeup.
Afoxé
Afoxê is a kind of religious music, part of the Candomblé tradition. In 1949, a group called Filhos de Gandhi began
playing afoxé during carnaval parades in Salvador; their name translates as Sons of Gandhi, associating black
Brazilian activism with Mahatma Gandhi's Indian independence movement. The Filhos de Gandhi's 1949 appearance
was also revolutionary because, until then, the Carnaval parades in Salvador were meant only for light-skinned
people.
Repente
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Repentista.
Northeastern Brazil is known for a distinctive form of literature called
literatura de cordel, which are a type of ballads that include elements
incorporated into music as "repentismo", an improvised lyrical contest
on themes suggested by the audience.
Similar to Repentismo, appears among the Caipira culture a musical
form derived from Viola Caipira, which is called Cururu.
Eastern Amazônia
Eastern Amazônia has long been dominated by carimbó music, which
is centered around Belém. In the 1960s, carimbo was electrified and, in
the next decade, DJs added elements from reggae, salsa and merengue. This new form became known as lambada
and soon moved to Bahia, Salvador by the mid-1980s. Bahian lambada was synthesizer-based and light pop music.
French record producers discovered the music there, and brought it back with them to France passing by Portugal,
where a Bolivian group called Los Kjarkas saw their own composition launch an international dance craze. Soon,
lambada had spread throughout the world and the term soon became meaninglessly attached to multiple varieties of unrelated Brazilian music, leading to purist scorn from Belém and also Bahia.
Another form of regional folk music, bumba-meu-boi, was popularized by the Carnival celebrations of Parintins and
is now a major part of the Brazilian national scene.
Popular music
Choro
Choro guitar.
Choro (literally "cry" in Portuguese, but in context a more appropriate
translation would be "lament"), traditionally called chorinho ("littlecry" or "little lament"). Instrumental, its origins are in 19th century Rio
de Janeiro. Originally choro was played by a trio of flute, guitar and
cavaquinho (a small chordophone with four strings). The young pianist
Ernesto Nazareth published his first choro ( Não Caio Noutra) in 1878
at the age of 14.[5] Nazareth's choros are often listed as polkas;[6] he
also composed waltzes, schottisches, milongas and Brazilian Tangos.
(He resisted the popular term maxixe to represent Brazilian tango.)[7]
Chiquinha Gonzaga was another important composer of choros and
started shortly after Nazareth. Chiquinha Gonzaga composed her first success, the polka-choro "Atraente", in 1877.
In the beginning, the success of choro came from informal groups of friends which played in parties, pubs (botecos),streets, home balls (forrobodós), and also the musical scores published by print houses. [8] By the 1910s, much of the
Brazilian first phonograph records are choros. The mainstream success of this style of music (By the 1930s) came
from the early days of radio, when bands performed live on the air. By the 1950s and 1960s it was replaced by
samba and Bossa Nova and other styles of Brazilian popular music, but was still alive in amateur circles called
"rodas de choro" (informal choro gatherings in residences and botecos). However, in the late 1970s there was a
successful effort to revitalize the genre carried out by some famous artists: Pixinguinha, Waldir Azevedo and Jacob
do Bandolim.
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Samba
Beth Carvalho.
In 1929, prompted by the opening of the first radio station in Rio de
Janeiro, the so-called radio era began spreading songs – especially the
novelty Samba in its current format – to larger masses. This period was
dominated by few male interpreters – notably Almirante, Braguinha,
Mário Reis, Sílvio Caldas, Francisco Alves and singer/composer NoelRosa and even fewer chanteuses such as Aracy de Almeida and sisters
Aurora Miranda and Carmen Miranda, who eventually came to
Hollywood becoming a movie star.[9]
Popular music included instruments like cuicas, tambourines, frying
pans ('played' with a metal stick), flutes and guitars. Noteworthy
Samba composers at this early stage included said Noel Rosa plus Lamartine Babo and, around World War II time,
Ary Barroso.
MPB (Música Popular Brasileira)
Gilberto Gil.
MPB's early stage (from World War II to the mid-60s) was populated by male
singers such as Orlando Silva, Nelson Gonçalves, Jamelão, Agostinho dos
Santos, Anísio Silva, Ataulfo Alves, Carlos Galhardo, Ciro Monteiro, Ismael
Silva, João Dias, Jorge Goulart, Miltinho, Jorge Veiga and Francisco Egídio
and female singers started to mushroom: Nora Ney, Dolores Duran, Ângela
Maria, Emilinha Borba, Marlene[10], Dalva de Oliveira, Maysa Matarazzo,
sisters Linda Batista and Dircinha Batista, among others.[citation needed ]
MPB's second stage – after the split Bossa Nova (1959) / Jovem Guarda
(1965) / Tropicalismo and Malandragem (both 1967) –
refers to mainstreamBrazilian pop music. Well-known MPB artists include, among many others,
singers such as Elis Regina, Nara Leão, Maria Bethânia, Mônica da Silva,
Simone, Chico Buarque, Caetano Veloso, Roberto Carlos, Jorge Benjor,
Milton Nascimento, Gilberto Gil, João Bosco, Ivan Lins, Djavan.
Bossa nova
The first bossa nova records by João Gilberto, in the last years of the 50s, quickly became huge hits in Brazil.
Antonio Carlos Jobim and other composers helped further develop this fusion of jazz harmonies and a smoother,
often slower, samba beat, which developed at the beach neighborhoods of Ipanema and, later, the Copacabana
nightclubs. Bossa nova was introduced to the rest of the world by American jazz musicians in the early 1960s, and
song "The Girl from Ipanema" remains probably the best known Brazilian musical export, eventually becoming a
kind of jazz standard.
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Northeastern Music
Statue of Luiz Gonzaga.
North eastern music is a generic term for any popular music from the
large region of Northeastern Brazil, including both coastal and inland
areas. Rhythms are slow and plodding, and are derived from
accordions and guitars instead of percussion instruments like in the rest
of Brazil — in this region, African rhythms and Portuguese melodiescombined to form maracatu and dance music called baião has become
popular. Most influentially, however, the area around the state of
Pernambuco, the home of forró, frevo and maracatu.
Southern music
Southern music (Portuguese: Música gaúcha) is a general term used
for the music originally from the Rio Grande do Sul state, in Southern
Brazil. Some of the most famous musicians of this genre are Renato
Borghetti, Yamandu Costa, Jayme Caetano Braun and Luiz Marenco,among others.
Music of Salvador: Late 60s to mid-70s
In the latter part of the 1960s, a group of black Bahians began dressing as Native Americans during the Salvadoran
Carnaval, identifying with their shared struggles through history. These groups included Comanches do Pelô and
Apaches de Tororó and were known for a forceful and powerful style of percussion, and frequent violent encounters
with the police. Starting in 1974, a group of black Bahians called Ilê Aiyê became prominent, identifying with the
Yoruba people and Igbo people of West Africa. Along with a policy of loosening restrictions by the Brazilian
government, Ilê Aiyê's sound and message spread to groups like Grupo Cultural do Olodum, who established
community centers and other philanthropic efforts.
Frevo
Frevo is a style of music from Olinda and Recife. Frevo bands always play during the Carnival.
Forró
The core of a classic forró band is a trio consisting of zabumba, a triangle and an accordion. Forró is eminently
danceable, and became one of the foundations for the lambada in the 1980s. Luiz Gonzaga was the preeminent early
forró musician who popularized the genre in Rio de Janeiro and São Paulo in the 1940s with songs like "Asa
Branca".
Samba-reggae
The band Olodum, from Pelourinho, are generally credited with the mid-1980s invention of samba-reggae, a fusion
of Jamaican reggae with samba. Olodum retained the politically charged lyrics of bands like Ilê Aiyê.
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Sambass
Sambass is a fusion of samba and Drum & Bass. The most famous sambass musicians are DJ Marky and DJ Patife
whose hit Sambassim might be the most known sambass track.
Funk Carioca and rap
Funk Carioca is a type of dance music from Rio de Janeiro, derived from and superficially similar to Miami Bass. InRio it is most often simply known as Funk, although it is very different musically from what Funk means in most
other places and contexts. Funk Carioca, like other types of hip-hop lifts heavily from samples such as international
rips or from previous funk music. Many popular funk songs sampled music from the movie Rocky.[11]
Funk as well as rap was introduced to Brazil in a systematic way in the 1980s. These types of music were heavily
supported in big cities by people — usually teenagers — of lower socioeconomic status. Many funk artists have openly
associated themselves with black movements and often in the lyrics of their songs, comment on race relations and
openly express black pride.[]
In São Paulo and other places in the south of Brazil, in more urban areas, rap is more prevalent than funk. The lower
class, mostly nonwhite rappers are referred to as "Rapeiros". They dress similarly to American rappers that they haveseen on television.[12] Early Brazilian rap was based upon rhyming speeches delivered over dance bases sampled
from funk albums, with occasional scratches. São Paulo has gained a strong, underground Brazilian rap scene since
it's emergence in the late 1980s with many independent labels forming for young rappers to establish themselves
on.[13]
In the 1990s in Rio de Janeiro, funk as well as rap were reported by the press to have been adopted by the drug lords
of the city as a way to market their drugs at dance hall events. Some crime groups were known to subsidize funk
parties to recruit young kids into the drug dealing business. These events were often called baile funk (which can
mean a funk dance party) and were sometimes notorious for their blatant sexuality and violence. However, while
some funk and rap music was used to send messages out about slums and drugs, others were used mostly to deliver
socio-political messages about local, regional, or national issues they are affected by. In fact, some groups adhered towhat they called rap consciência (socially conscious rap) and opposed hip-hop which some considered too alienated
and consumerist. Despite these differences, both types of music continue to thrive in Brazil today. [11][]
Brazilian rock
Rita Lee.
The musical style known in Brazil as "Brazilian rock n' roll" dates back
to a Portuguese-version cover of "Rock Around the Clock" in 1954. In
the 1960s, young singers like Roberto Carlos and the Jovem Guarda
movement were very popular. The 60s also saw the rise of bands such
as the "tropicalistas" Os Mutantes and the experimental (mixing
progressive rock, jazz and Música Popular Brasileira) Som Imaginário.
The 1970s saw the emergence of many progressive rock and/or hard
rock bands such as O Terço, A Bolha, A Barca do Sol, Som Nosso de
Cada Dia, Vímana and Bacamarte, some of which attained some recognition internationally; Rita Lee, in her solo
career after Os Mutantes, championed the glam-rock aesthetics in Brazil; Casa das Máquinas and Patrulha do Espaço
were more bona-fide hard rock bands, and the likes of (Raul Seixas, Secos e Molhados, Novos Baianos and A Cor do
Som) mixed the genre with traditional Brazilian music. In the late 1970s, the Brazilian punk rock scene kicked off
mainly in São Paulo and in Brasília, booming in the 80s, with Inocentes, Cólera, Ratos de Porão, Garotos Podres,
etc.
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Titãs.
The real commercial boom of Brazilian rock was in the 1980s, with
many bands and artists like Blitz, Gang 90, Barão Vermelho, Legião
Urbana, Engenheiros do Hawaii, Titãs, Kid Abelha, Paralamas do
Sucesso, and many others, and festivals like Rock in Rio and
Hollywood Rock. The late 1980s and early 1990s also witnessed the
beginnings of an electronica-inspired scene, with a lot more limitedcommercial potential but achieving some critical acclaim: Suba, Loop
B, Harry[10], etc.
Fernanda Takai, singer Pato Fu.
In the 90s, the meteoric rise of Mamonas Assassinas, which sold
more than 3 million copies of its only CD (a record, by Brazilian
standards) came to a tragic end when the band's plane crashed,
killing all five members of the band, the pilot and the co-pilot.
Other commercially successful bands included Jota Quest,Raimundos and Skank, while Chico Science & Nação Zumbi and
the whole Mangue Beat movement received much critical
attention and accolades, but very little commercial success –
success that declined after the death of one of its founders, Chico
Science. It was also in the 90s that the first seeds of what would
grow into being the Brazilian indie scene were planted, with the
creation of indie festivals such as Abril Pro Rock and, later in the decade, Porão do Rock. The band Pato Fu was
considered by Time magazine one of the ten best bands in the world outside the United States. [14] It is also known to
re-record hits Brazilian and international versions of toy instruments.
Female singer Pitty is also very popular. The indie scene has been growing exponentially since the early 2000s, with
more and more festivals taking place all around the country. However, due to several factors including but not
limited to the worldwide collapse of the music industry, all the agitation in the indie scene has so far failed in
translating into international success, but in Brazil they developed a real, substantial cultural movement. That scene
is still much of a ghetto, with bands capturing the attention of international critics, but many playing again in Brazil
when they become popular in the exterior, due to the lack of financial and material support which would allow for
careers to be developed. One notable exception is CSS, an alternative electro rock outfit that has launched a
successful international career, performing in festivals and venues in North America, Europe, Asia and Australia.
Other unique example of success through independent music scene that made to the mainstream is the band Móveis
Coloniais de Acaju. The band has its own style, somewhere between rock and folk, and is recognized as the most
important independent band in Brazil. The record company Trama [15] tries to support some bands with structure
and exposure, and can be credited with early support to CSS and later to Móveis Coloniais de Acaju.
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Music of Brazil 13
Brazilian heavy metal and subgenres
Sepultura.
Brazilian metal originated in the mid 80s with three prominent scenes:
Belo Horizonte, São Paulo and Rio de Janeiro. The most famous
Brazilian metal bands are Sepultura, Angra, Krisiun, Rebaelliun,
Nephasth, Dr. Sin, Shaaman, Violator and the singer Andre Matos.
Sepultura is considered an influential thrash metal band, influencingthe development of death metal.
Famous bands of the 1980s include Korzus, Sarcófago,
Overdose,[16][17] Dorsal Atlântica, Viper, MX, PUS, Mutilator,
Chakal, Vulcano and Attomica.[18] Bands from the 1990s include
Andralls, Mental Hor, Symbols, The Mist, Scars, Distraught, Torture
Squad, Eterna and Silent Cry. Bands from the 2000s include It's All Red, Eyes of Shiva, Tuatha de Danann,
Claustrofobia, Apokalyptic Raids and Wizards.
Brazilian folk/folk-rockThe new Brazilian folk scene is not to be mistaken with folkloric Brazilian music. In recent years mainstream
Brazilian artists have emerged playing a blend of classic Americana artists such as Bob Dylan and John ny Cash
alongside clear influences by Brazilian troubadours such as Chico Buarque and Caetano Veloso. The first to break
into the mainstream was internet phenomenon Mallu Magalhães, who played covers of her favourite artists in
English and her own songs in both English and Portuguese (as well as other languages). Magalhães only released her
first album in 2008, though by then she was already widely recognised as the voice of this sudden new Brazilian folk
scene. Her ex-boyfriend Hélio Flanders is the lead singer of another Brazilian folk group called Vanguart. Though
Vanguart had an album released before Mallu Magalhães, it was her emergence that consolidated them both and
others as a fully recognised mainstream scene, topping charts and being featured in prime time television and
advertising. Other acts emerged after the market was opened up to folk. Writing in English is more and morecommon among Brazilian rock and folk artists. This has been highly criticised by purists, though it has helped to
promote Brazilian artists in other countries (CSS is a perfect example). The new Brazilian folk scene has just come
to the public's attention and it continues to thrive.
Brazilian psychedelic-rock
Brazil has a long tradition of psychedelic music since artists like Os Mutantes, Secos e Molhados and other rock
bands from the late 60`s. Nowadays, there exists a revival of this psychedelic / vintage inspired music represented by
artists like Júpiter Maçã, Violeta de Outono, Chico Science & Nação Zumbi, Mundo Livre SA, Cidadão Instigado,
Otto, China, Kassin, Pata de Elefante, Orquestra Abstrata, among others.
Sertanejo
Música sertaneja or Sertanejo is a term for Brazilian country music. It originally referred to music originating among
Sertão and musica caipira. (Caipira music appeared in the state of São Paulo, Mato Grosso do Sul, Goiás and some
the regions of Minas Gerais, Paraná, Mato Grosso and Mato Grosso do Sul. Musical rhythm very spread out in the
Southeastern and southern regions of Brazil.) For several years it was a category at the Latin Grammy Awards.
Recently, a variation called "Sertanejo universitário" become popular because of its dancing and catchy lyrics. It is
particularly well known outside Brazil with hits like "Ai Se Eu Te Pego", by Michel Teló.
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Music of Brazil 14
Zouk-Lambada
Zouk-Lambada (also called Lambada-Zouk or Brazilian Zouk) is a group of closely related dance styles based on or
evolved from the lambada dance style and is typically danced to zouk music or other music containing the zouk beat.
The name Brazilian Zouk is used to distinguish the dance from the Caribbean Zouk dance style, which is historically
related to, but very different from the Lambada dance style. The two dominant styles of Zouk-Lambada are the
Porto-Seguro style and the Rio-style. The word Lambazouk is often used to refer exclusively to one or the otherstyle depending on the region you live. The word Lambazouk was originally used to refer to the dance style
developed by Daniel and Leticia Estévez López, although they use the term M-zouk nowadays (for Mallorca-zouk)
The Zouk-Lambada dancing styles are among the most popular non-ballroom dances for couples in Brazil, others
being Forró, Lambada, Samba de gafieira and Salsa.
Record labels
•• Amerioca Records
•• Som Livre
•• Far Out Recordings
•• Malandro Records
•• Mr Bongo Records
References
[1] apud Padre Noel Berthold, in: "Trevisan, Armindo", in A Escultura dos Sete Povos. Brasília: Editora Movimento / Instituto Nacional do
Livro, 1978. (Portuguese)
[2] Mariz, Vasco. História da Música no Brasil. Rio de Janeiro: Nova Fronteira, 2005. 6ª ed. (Portuguese)
[3] Castagna, Paulo. Encarte do CD Gabriel Fernandes da Trindade – Duetos Concertantes. São Paulo: Paulus, 1995. (Portuguese)
[4] Music (http:/ / www.fmpsd. ab. ca/ schools/ df/ Brazil/ mmusic. htm). Fmpsd.ab.ca. Retrieved on 2011-11-23.
[5] Childhood Secrets * (http:/ / web. archive. org/ web/ 20070709135551/ http:/ / www. bn. br/ fbn/ musica/ enzinfa. htm). bn.br
[6] Ernesto Nazareth –
Rei do Choro (http:/
/
www.
chiquinhagonzaga.
com/
nazareth/
). Chiquinhagonzaga.com. Retrieved on 2011-11-23.[9] A nação das cantoras (http:/ / veja. abril. com. br/ 110407/ p_120. shtml). Veja.abril.com.br. Retrieved on 2011-11-23.
[10] http:/ / toolserver.org/ %7Edispenser/ cgi-bin/ dab_solver. py?page=Music_of_Brazil& editintro=Template:Disambiguation_needed/
editintro& client=Template:Dn
[11] Funk Carioca (http:/ / sheepish. org/ itp/ funk/ ). Sheepish.org. Retrieved on 2011-11-23.
[15] http:/ / trama.uol. com. br/ portalv2/ home/ index. jsp
Further reading
• Murphy, John P. (2006). Music in Brazil: Experiencing Music, Expressing Culture. New York: Oxford University
Press. ISBN 0195166833.
External links
• (French) Audio clips: Traditional music of Brazil. (http:/ / www. ville-ge. ch/ meg/ musinfo_ph.
php?what=pays=Brésil& debut=0& bool=AND) Musée d'Ethnographie de Genève. Accessed November 25,
2010.
• BBC Radio 3 Audio (60 minutes): Forro, coco and cowboys. (http:/ / www. bbc. co. uk/ programmes/ b00g3rxj)
Accessed November 25, 2010.
• BBC Radio 3 Audio (60 minutes): Candomble, Samba and Renato Rosa. (http:/ / www. bbc.co. uk/ programmes/
b00hkc14) Accessed November 25, 2010.
• BBC Radio 3 Audio (60 minutes): Rio, the samba and Mart'nalia. (http:/ / www. bbc.co. uk/ programmes/
b00hql07) Accessed November 25, 2010.
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Music of Brazil 15
• BBC Radio 3 Audio (60 minutes): Maracatu, ciranda and Mangue bit. (http:/ / www. bbc. co. uk/ programmes/
b00hgbwv) Accessed November 25, 2010.
• BBC Radio 3 Audio (60 minutes): Coco music, the pifano flute and Sebastian Dias. (http:/ / www. bbc. co. uk/
programmes/ b00gh5yw) Accessed November 25, 2010.
• Brazilian Embassy in London – Music Section (http:/ / www. brazil. org. uk/ culture/ music. html) Brazilian
music links
• All Brazilian Music (http:/ / www. allbrazilianmusic. com/ ) This website features reviews of recent releases and a
comprehensive database containing Brazilian artists' discographies and mini-biographies.
• Brazilian Music at Sounds and Colours (http:/ / www. soundsandcolors. com/ brazilian-music/ ) South American
music magazine with particular focus on Brazil
• Brazil beyond clichés (http:/ / www. cas.podomatic. com) Vast archive of webcasts covering Brazilian music of
all styles, regions and time periods, from vintage sambas to modern blends.
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Article Sources and Contributors 16
Article Sources and ContributorsMusic of Brazil Source: http://en.wikipedia.org/w/index.php?oldid=548832357 Contributors: 2602:306:CEA6:CD10:F829:FDC8:1133:EB8B, 4meter4, Acroterion, Adonis Laerte Mezzano,Advrsd, Affleck, Ahoerstemeier, AlexPlank, Alinefolle, Amaury, Andypandy.UK, Antandrus, Anthony 1024, Apparition11, Aranea Mortem, Arentath8, Asbestos, Astatine-210, AtticusX,Beetstra, Bender235, Binksternet, Bobo192, Bratsche92, CPAScott, Caco de vidro, Capmo, Catgut, Ccalvom, CesarB, Charles Matthews, Chick Bowen, Chris the speller, ChrisCork, Christian75,Circeus, ClaretAsh, Colincbn, Cometstyles, CommonsDelinker, Cosprings, CrazyChemGuy, DBrzozo, DO'Neil, Dancehall, Daniel Callegaro, DarkFalls, Darkwind, David Kernow, David0811,DavidJWeir, Dayvey, Dedachan, Dekimasu, Der Golem, Der Naturfreund, Design, Dewritech, Discospinster, Domaleixo, DougsTech, Download, Dputig07, Dr. Zombieman, Drhoehl, Dunc0029,DutchmanInDisguise, Dyt, Echan1087, EdH, Edgar181, Edmund949, El C, El Chemaniaco, EmanWilm, EoGuy, Ereedsanchez, Evandroevandro, Everyking, Excirial, FF2010, Feen, Felipe
Menegaz, Fisherjs, Frazydmd, Freedomlinux, Frencheigh, Fsolda, Fyaman, GVOLTT, Gaff, Gaius Cornelius, Gilliam, Giulianomsa, GoingBatty, Guilherme Schröter, Gökhan, Hancg001, HenriAbboud, Hephaestos, Heron, Hmains, Humbertoego, Husond, Hyju, I dream of horses, Ideal gas equation, Igordebraga, Imbillmurray, Iridescent, It Is Me Here, J.delanoy, JaGa, Jaburc, JackofOz,Jahiegel, Jameswilson, Jauerback, Jgsodre, Joaosac, John Cardinal, JohnCD, JohnOwens, Jonas Mur, Joseph Solis in Australia, JustAGal, JzG, Kaare, Kakofonous, Kbh3rd, Khazar2, Kikonio80,Kotuku33, LWGillan, Lament, Leandrod, Lemurbaby, Leon666a, Leszek Jańczuk, LibLord, LilHelpa, Limongi, LuizAlvarez, Lulu Margarida, Macaddct1984, Macgreco, Malconfort, Mancunius,Martarius, Martimsaintive, Materialscientist, Mateuszica, Maxtremus, Mddake, MeltBanana, Merbabu, Midgrid, Mindspillage, Mirmeco, Moxy, Mr De Martini, Munci, Musicologa, NawlinWiki,Neelix, Nelioguerson, Nikai, Nmc233, No try, Nono64, Nubiatech, Numbo3, Ocilya42, Oda Mari, Odie5533, Oliveiramatheus, Omdfg, Open2universe, Opinoso, Opku, PSE teh 1nf0, PaulRichter, Philip Trueman, Portamento74, Qatter, Qwfwq, R'n'B, RHaworth, RainbowOfLight, Ray Chason, Redlentil, Renamed user 1253, RenamedUser01302013, Rhobite, Rimshot, Rjwilmsi,RodC, Rodrigogomespaixao, Rodrigostrauss, Rrburke, Ruviaro, Sahmeditor, Sandor Clegane, Shaliya waya, Shanes, Shiftedreality, Shoemaker's Holiday, Shriram, Simeon24601, SiobhanHansa,Skinproject, Slaterino, Sluzzelin, Smokizzy, Smyth, Snowolf, Spangineer, Sparrowroberts, Srice13, Sssoul, Steel, Stnwilliams, Stullkowski, TUF-KAT, Tanet, Teh roflmaoer, Templatenamespace initialisation script, TheKillerAngel, TheSchumanity, TheTito, Thingg, Tide rolls, TimBentley, Tobby72, Tommy2010, Travelbird, Tresiden, Turmalina, Twsx, Ucanlookitup,UtherSRG, Viriditas, Vsmith, WRK, Wasell, Welsh, West.andrew.g, Wik, Woodshed, Woohookitty, Wtshymanski, Wwoods, Zachlipton, ZenerV, Zigger, Zodiiak, 719 anonymous edits
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