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The article approaches Bossa Nova as an experience of resignification at the existential and religious level, focusing primarily on the song Chega de saudade (No more blues), by Tom Jobim and Vinicius de Moraes. Opinions and testimonies are listed, in order to attest to the centrality of this song for Bossa Nova and Brazilian Popular Music. Chega de saudade catalyzes aspirations, like a horizon of happiness. The constitution and main features of the Bossanovista movement are discussed, as well as the album Chega de saudade, by João Gilberto. The musical elements of the song (harmony, rhythm, melody, timbre, interpretation, lyrics, etc.) are treated in their dimension of meaning, as an aesthetic-religious experience. Finally, the national and international repercussion of the Bossanovista movement is approached. [ABSTRACT FROM AUTHOR]

Rap is part of an Afro-Diasporic musical tradition, responsible for organizing social struggles, cultural identities and diverse knowledge. Religion, as part of the everyday experience, of affirmation and (re)invention of peripheral communities, provides a set of elements, images and symbols that permeate different narratives of rhythm and black poetry. In this context, rap and religion are presented as complex discourses of the subjects' social, subjective and aesthetic life; through these elements the human being is thought of, his social condition problematized and his religiosity put in perspective. Through a group called Síntese, from São José dos Campos/SP, this article aims to reflect aspects of religion as a fundamental part of a complex philosophical knowledge articulated by rap. [ABSTRACT FROM AUTHOR]