Search

History of the Record Radio of São Paulo through the musical repertoire performed live at its auditorium. The period covered in this study was determined by the chronology of the primary sources, and comprises the founding of Record in 1928 until 1965, the last date present in printed and manuscript scores of 3,216 arrangements and original compositions used by the orchestra of the radio. This musical repertoire, composed of songs with orchestral arrangements, is part of the so-called "golden era of radio". This study presents a reference section containing entries on arrangers, musicians, singers and instrumental ensembles; and includes a reflection on the concept of arrangement, genre, instrumentation and orchestration. [ABSTRACT FROM AUTHOR]

This article discusses the partnership between Tom Jobim and Claus Ogerman, in the period between 1963 and 1980, contextualized in three lines of work identified in the career of the Brazilian composer. It discusses the concept of arrangement based on the "ontology of the musical work", as proposed by Treitler (1993), and offers an analysis of the songs "Wave" and "If everyone were like you", based on the original manuscripts of the composer and the arranger as well as sound recordings of the time, demonstrating the different ways in which the arranger can shape a work, from the literal transcription of the composer's idea until the complete reelaboration of a musical work in its formal, melodic and harmonic aspects. The arrangement constitutes a process that circumscribes a musical idea, even though circumstantially, in a sound utterance. and thus integrates the musical work as a whole in a process that, at the same time, reveals and transfigures the work's identity. [ABSTRACT FROM AUTHOR]

This article presents a systematic survey of orchestral arrangers of Brazilian popular music who have served the National Radio of Rio de Janeiro, in the period between the 1930s and 1930 and 1960. Emphasizes the actions of five arrangers - Radamés Gnattali, Lyrio Panicali, Gustavo de Carvalho, César Guerra-Peixe and Lindolfo Gomes Gaya - and presents information on some others, in a total of 59 arrangers and conductors who acted in 31 radio programs. The remaining documentation has allowed to distinguish the arrangers who had employment with the National Radio as wess as their role played and the value of the remuneration. The survey addressed 20,000 musical manuscripts belonging to National Radio Collection which are currently held by the Fundação Museu da Imagem e do Som do Rio de Janeiro at Lapa headquarters and National Radio headquarters, in addition to institutional records (catalogue cards and dossiers), database of sound files, music recordings and programs. [ABSTRACT FROM AUTHOR]

This article examines the Symphony of Rio de Janeiro (1954) as a musical composition historically situated between the early career of Antonio Carlos Jobim and Billy Blanco, on one side, and the emergence of the bossa nova movement, on the other. As the product of a collective compositional effort, the Symphony was recorded with orchestra arrangement by Radamés Gnattali. As a pleasant experience of two young composers both searching for an individual musical language and compositional style, embodies a wealth of meanings. The musical analysis is based on an methodology that employs aural strategies and technical tools in its interpretation. The Symphony revealed to be modern for its time, anticipating the bossa nova in its harmonic and melodic devices, as well as in its poetic themes. [ABSTRACT FROM AUTHOR]

Rogério Duprat was a composer who widely acted in many trends of Brazilian music. He composed erudite songs, besides making arrangements for Brazilian popular songs, sound tracks and advertising jingles. This article is a draft of Duprat's work and his performance as the most important musical arranger from the Tropicália movement, having as main objective, from the analysis of "Acrilírico", of Caetano Veloso and Duprat himself, detect in his arrangements the use of compositional tools, both traditional and vanguard. [ABSTRACT FROM AUTHOR]

This paper presents a study about the genre choro, under a perspective based on the Theory Generative of Tonal Music (Lerdahl & Jackendoff, 1983). The focus is on a group of six proprieties, which define the archetypical pattern of this theory. The study aims at demonstrating that, due to its peculiarities, the choro candidates as one exemplar of this pattern. As the central methodology are the elaboration and the subsequent analysis (according to parameters estabilished by the six proprieties) of the metrical, grouping, time-span, and prolongational structures of a segment of a representative choro (Proezas de Solon, by Pixinguinha and Benedito Lacerda). As a result of the study we can observe a strong conformation of the analized piece to the pattern proposed by the Generative Theory. [ABSTRACT FROM AUTHOR]

The incorporation of the drums on Brazilian music happened in the same period when samba was consolidated as genre of popular music. With the presence of drums, some rhythm patterns were developed as a way to adapt or replace the characteristic set of percussion instruments. Thus, the collective character of execution in instruments considered typical of samba - as cuíca and tamborim - was replaced by individual execution on drumset. From the analysis of musical examples, it is possible to point out some implications of this reduction process of percussion in certain styles of urban samba carioca (made in Rio de Janeiro), and identify in Brazilian popular music some resonances of modernizing ideologies adopted by the national intelligentsia. It seems to have added extra-musical symbolic representations related to the notion of modernization and in many cases adapting patterns considered more "refined" for the samba playing, through orchestrations that valued the presence of brass and strings at the expense of the percussion set. [ABSTRACT FROM AUTHOR]

A study that discusses the places of memory in the works phonograph "Minas" and "Geraes", Milton Nascimento, launched in 1975 and 1976, respectively, seen by critics of the season as the most representative of the "movement" Clube da Esquina. Such works have engendered an environment in which Brazil was experiencing a time of severe political repression, a situation in which Milton and his partners realize the opportunity in "Minas" sing in, in their roots in the countryside, and "Geraes", sing out, by incorporating elements of its musicality of Latin America. "Minas" and "Geraes" has the meaning of being "places without gaps" - where there is no "desbunde", on the contrary, an exposition of resistance within the body, passion, feelings, faith and memory. [ABSTRACT FROM AUTHOR]

Copyright of F@ro: Revista Teórica del Departamento de Ciencias de la Comunicación y de la Información is the property of Universidad de Playa Ancha de Ciencias de la Educacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article discusses a research about social memory of the 50's, known as the "Golden Years", which focused specifically on: the launching of the Beetle, Volkswagen's first model made in the country, the first World Cup won by Brazil, the advent of Bossa Nova, and the Competitions of Miss Brazil. The theoretical background consists of a psychosocial perspective on memory involving the joint of psychological, sociological and historical contributions. Data collection was performed by administering a questionnaire to 450 residents of Rio de Janeiro, distributed among three age groups: elderly, adults and youth. In data analysis the frequencies of responses produced by the three groups of participants for each question were compared. Results demonstrate important differences between the memories of the distinct generational groups, which are satisfactorily explained by theoretical principles about the social construction of memory. [ABSTRACT FROM AUTHOR]

This essay derives from an oral history project on Brazilian Black women singers whose careers are not exclusively confined to samba and other musical genres usually identified with blackness in the Brazilian imaginary. The interviews challenge the widespread notion that Black musicians should concentrate on samba, and demonstrate features of the lifepaths and struggles shared by a number of successful women singers who succeeded, despite the obstacles they encountered, in creating a new field for themselves and for their artistic peers. [ABSTRACT FROM AUTHOR]

An essay is presented that explores the history of the Brazilian style of choro music in the U.S. Emphasis is given to an analysis of the improvisational dynamics and aesthetics of the music. Topics discussed include choro's stylistic connection to jazz, the adoption of the style by jazz musicians, and the role of melody in choro.

The article explores how the Latin American musicians Naná Vasconcelos, Dinho Nascimento and Ramiro Musotto have impacted the role of the berimbau musical instrument in Brazilian popular music. Emphasis is given to the development of the berimbau as a solo and lead instrument. Topics discussed include the adaptation of the capoeira tradition into a contemporary jazz style, innovative performance techniques, connections between North American blues and the berimbau, and the exotic appeal of the instrument outside of Brazil.

The article considers the impact of Brazilian composer and musician Benedicto Lacerda on the history of choro music in Brazil. The author reflects on the history of choro flute playing and the influence of North American music on the commercialization and professionalization of Brazilian popular music. Emphasis is given to aspects of Lacerda's style such as vibrato, flutter tonguing, and the role of swing. Other topics include comparisons and collaborations with the musician Pixinguinha, Lacerda's influence on flutist Altamiro Carrilho, and the vibrato of flutist Dante Santoro.

The article explores African rhythms in Brazilian popular music through an examination of how the tresillo style is incorporated into tango brasileiro and maxixe music. The author reflects on the cross-fertilization and recombination of Afro-Atlantic musical innovation. Emphasis is given to topics such as the role of the guitar as a rhythmic instrument and accompaniment, the origins of the West African lundu dance, the music of Brazilian composer Heitor Villa-Lobos, and the development of choro music.

This article explores the social and musical impact of the Brazilian multi-instrumentalist, composer, and bandleader Hermeto Pascoal, as well as the historical, political, and economic conditions of his cultural production. The author focuses on the 1981-93 period when the composer led a quintet of musicians which formed a community revolving around his home in the neighborhood of Jabour, in the outer suburbs of the city of Rio de Janeiro. The professional career and 'Universal' musical system of Hermeto Pascoal are related to various important artistic movements and musical genres and styles, demonstrating the innovative role played by Hermeto Pascoal in the history of popular music in Brazil. [ABSTRACT FROM AUTHOR]

The purpose of this article is to demonstrate, through the life of Catulo da Paixão Cearense, the ideas about music making mostly discussed at the turn of the 19th to the 20th century in Rio de Janeiro. Catulo, a poet who shared with other musicians a project for artistic recognition, intended to modernize the art of the modinha. Conceptions on music making, specially on poetic-music making of songs, are the main topics of this article, resulted not only from Catulo's own words, but also from the practices of individuals of a wide social group that included artists, musicians, writers, journalists and intellectuals. It discusses issues such as national identity, social identity of the artists, and a new cultural industry which was developing in the capital of Brazil. Each actor established different meanings for music making. [ABSTRACT FROM AUTHOR]

In this article I analyze the process of the legitimization of samba in Rio de Janeiro during the period between 1910 and 1930. During this time of the institutionalization of a popular artistic field, the actions of specific agents competed to symbolically demarcate what would later be considered a musical genre. Among these actions, I call attention specifically to the work of two diverse groups of intellectuals whose efforts were of great importance for the recognition and the introduction of samba in the cases of musical reproduction and appreciation in high culture. I seek also to understand the tensions which developed between certain agents linked to the nascent musical genre with respect to the advancement of the process of commodification of artistic production. As such I aim to illuminate one of the possible "levers" that contributed to the shaping of the Brazilian national popular ideology in the arts. [ABSTRACT FROM AUTHOR]

The article is a schematic cultural-historical analysis of a major genre of regional popular music in Brazil, baião (the precursor to today's forró). Using Gramscian terminology appropriate to a discussion of hegemony and resistance, I argue that the early proponents of baião had to wage a cultural war of maneuver to challenge the existing hegemony of the Rio de Janeiro culture industry and to gain new respect for the northeastern Brazilian people and their culture. After success in this initial endeavor, subsequent generations of musicians have carried on a war of position to maintain baião's, and later forró's, prominence on the national stage. The article also analyzes certain common themes in forró (e.g., saudade, or nostalgia, for the home region and a critical view of the urban Southeast) as tactics that have contributed to forró's continuing relevance to Northeasterners and to its successful struggles of maneuver and position. [ABSTRACT FROM AUTHOR]

This study aims at investigating to what extent improvisation and oral tradition allowed for the consolidation of ragtime and choro into musical genres which became popular in the turning of the nineteenth century. The choice was concentrated on the formal similarities existing between both kinds of music and in the paths taken by both of them in their process of consolidation. As far as the concepts of territorialization and de-territorialization coined by Gilles Deleuze and Félix Guattari, and incorporated in musical improvisation by Rogério Costa, it was possible to verify the type of improvisation used in these two genres. Historically, it re-states D. Bailey's idea that improvisation is always present in the creation of new notational systems, genres and musical styles, even if it leaves the scene during the transmutation processes. This article derives from the first author's Master of Arts dissertation (IA-UNESP, Brazil). [ABSTRACT FROM AUTHOR]

Review of literature about Brazilian musician Guerra-Peixe and his career as an arranger of radio orchestras. It aims at understanding how classical composers such as Guerra-Peixe found in the popular sphere a way of living. It also presents some lesser known biographical data on the composer. [ABSTRACT FROM AUTHOR]

Analytical and comparative study about Segura ele and Um a zero, two choros by Brazilian composer and instrumentalist Pixinguinha, who embarked to Paris in 1922, on the historical trip with his choro group Oito Batutas (Eight Smarties), where he met American jazz musicians. It shows traits of ragtime in Segura ele departing from the recordings of the works in the CD Pixinguinha 100 anos, which includes performances by the composer on both the saxophone and flute. A comparison among formal, harmonic, rhythmic, motivic, instrumentation and iconographic elements reveal that Pixinguinha's choro style was influenced by the US popular music genre in several levels. [ABSTRACT FROM AUTHOR]

Through analysis of some phases and styles in Brazilian popular music that emerged between the 1950s and 80s, this article seeks to identify some alienating biases in the lyrics of songs written in the styles mentioned. The study assumes the concept of alienation found in Marx, translated as a phenomenon involving the alienation of man from his reality, as well as the development of a cultural industry as defined by Adorno. The analysis of lyrics was also part of the Cinema in the University Extension Project of Continuing Education Alumni and Graduates of Vale do Teles Pires Campus. The article points to the need for more observation on the part of society and especially by educators, with regard to alienating traits and/or those intended exclusively for mass consumption, which music production can often assume, keeping in mind a critical analysis of this scenario in order to construct a cultural citizenship. [ABSTRACT FROM AUTHOR]

The article presents a survey of the history of Rio de Janeiro bailes funk and their music in their relations with African North-American music. The survey also covers the emergence of African North-American pride in Brazilian popular music. It cites Brazilian artists who flirted with African American soul or funk including Antonio Adolfo e a Brazuca, Antonio Marcos, Azymuth, Caetano Veloso, Cláudia Telles, Djavan, Dudu França, Ed Lincoln, Eduardo Araújo.

Panoramic study on the history of Brazilian instrumental group UAKTI, ranging from the musical background of its mentor, composer, luthier and multi-instrumentalist Marco Antônio Guimarães until the construction and use of the new acoustical musical instruments that lead to the aesthetics and continued production in Brazil and abroad for over three decades. [ABSTRACT FROM AUTHOR]

Analysis of the improvisation procedures of Brazilian instrumentalists Pixinguinha in 1 x 0 (One to zero; 1947) and K-Ximbinho in Velhos Companheiros (Old pals; 1981). A comparison of differences and similarities in their approaches reveals a preference for horizontal or vertical stylistic models. [ABSTRACT FROM AUTHOR]

Review of literature about Brazilian musician Guerra-Peixe and his career as an arranger of radio orchestras. It aims at understanding how classical composers such as Guerra-Peixe found in the popular sphere a way of living. It also presents some lesser known biographical data on the composer. [ABSTRACT FROM AUTHOR]

Discussion about concepts such as hybridism, musicality, friction and fusion of musicalities, and the topics of the Brazilian musicality. It aims at reflecting on the question of the change and transformation in musical genres, as much as that of the permanence of musical elements and figurations that, in its turn, carry socio-cultural and historical connections that are somehow experienced by musicians and audiences. Focusing on questions of the Brazilian music, this article presents the search for musical traces called topics ("brejeiro" [maliciously smart ], "época-de-ouro" [good times], and "nordestina" [northeasterly Brazilian]) as a tool to face the problem of the transformations in the world of music. [ABSTRACT FROM AUTHOR]

Analytical and comparative study about Segura ele and Um a zero, two choros by Brazilian composer and instrumentalist Pixinguinha, who embarked to Paris in 1922, on the historical trip with his choro group Oito Batutas (Eight Smarties), where he met American jazz musicians. It shows traits of ragtime in Segura ele departing from the recordings of the works in the CD Pixinguinha 100 anos, which includes performances by the composer on both the saxophone and flute. A comparison among formal, harmonic, rhythmic, motivic, instrumentation and iconographic elements reveal that Pixinguinha's choro style was influenced by the US popular music genre in several levels. [ABSTRACT FROM AUTHOR]

This study aims at investigating to what extent improvisation and oral tradition allowed for the consolidation of ragtime and choro into musical genres which became popular in the turning of the nineteenth century. The choice was concentrated on the formal similarities existing between both kinds of music and in the paths taken by both of them in their process of consolidation. As far as the concepts of territorialization and de-territorialization coined by Gilles Deleuze and Félix Guattari, and incorporated in musical improvisation by Rogério Costa, it was possible to verify the type of improvisation used in these two genres. Historically, it re-states D. Bailey's idea that improvisation is always present in the creation of new notational systems, genres and musical styles, even if it leaves the scene during the transmutation processes. This article derives from the first author's Master of Arts dissertation (IA-UNESP, Brazil). [ABSTRACT FROM AUTHOR]

Copyright of Recorde: Revista de História do Esporte is the property of Recorde: Revista de Historia do Esporte and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper examines the recent historical trajectory of the idea of citizenship in Brazil through the perspective of Tom Zé, a composer and musician noted for his juxtaposition of avant-garde poetics and popular music. My study begins with his participation in the watershed Tropicália movement of the 1960s, focusing on his critique of consumer society and its implications for popular citizenship. In the early 1970s, the figure of the bourgeois citizen, or senhor cidadão, appears in his work as a caustic critique of those who benefited most from the expansion of capitalism during the period of authoritarian rule. With the re-emergence of civil society and redemocratisation in the 1980s, Tom Zé's work reveals a more affirmative notion of citizenship premised on the discourse of self-represenation among working-class subjects. Finally, this paper discusses Tom Zé's most recent work and its contribution to insurgent forms of citizenship in contemporary Brazil involving historically marginalised and impoverished urban communities within the context of neo-liberal globalisation. [ABSTRACT FROM AUTHOR]

This paper investigates the presuppositions, functioning, and implications of Arrigo Barnabé's appropriation of advanced compositional techniques from the tradition of erudite music in popular song. In order to fully appreciate Barnabé's project, the text devotes some pages to comments on the history and social situation of post-1964 Brazilian popular music, which are then followed by an analysis of "Acapulco Drive-in" from Barnabé's LP Clara Crocodilo. The song is interpreted on three levels, those of the beat (polyrhythm X pulse), the work on the 12-tone row, and voice performance (lyrics and intonation). The conclusion points to the contradictoriness of limits: a kind of music that can either be experienced as an elaborate, highly critical construct or a reified artifact, dissolved as atmosphere. [ABSTRACT FROM AUTHOR]

1922, the famous musical ensemble from Rio de Janeiro, Os Batutas, spent six months in Paris, playing in night clubs and parties. The group was under the direction of Pixinguinha and included Donga, composer of "Pelo Telefone's" music. The trip is a little-known episode in the history of Brazilian popular music, with important consequences for Pixinguinha's career and the future of Brazilian popular music. The article is an anthropological study approaching it as the departure phase toward Pixinguinha's consecration. Theoretically, the article is based on the author's formulations regarding the understanding of popular music as a crucial language of the system of relationships of modern nation-states, with articulated local, regional, national, and global nexuses. Here art, folk, and popular music are considered as universes in communication and sound recording ("phonography") as a constitutive process. The reconstruction of the journey is made through the reading of French newspaper and other texts of the time. [ABSTRACT FROM AUTHOR]

The poetics and aesthetic of Gilberto Gil's songs in the media context. Tunings and dissonances between science and art. Articulations among time and space, reason and emotion, intellect and sensitivity, culture and technology in the musical-poetic production of the composer who became the Brazilian Minister of Culture. The popular song as a manifestation of the media culture in the contemporary society. [ABSTRACT FROM AUTHOR]

Against the background of the discussion concerning new formats and the profound transformation in the means of production and circulation of music, this article tries to identify signals of renovation within Brazilian popular music. Enhanced by this transformation, the amount of contemporary musical production is bigger than ever. If, on one hand, it makes good music more difficult to be identified, on the other it makes renovation possible. This context is analyzed through the work of five new singers: Teresa Cristina, Roberta Sá, Céu, Mariana Aydar e Thalma de Freitas. [ABSTRACT FROM AUTHOR]

This article aims to build bridges between three theoretical fields: Organizational Strategy, Social Networks, and Social Identifies. By analyzing the networks of Brazilian musicians (interpreters and composers), we monitor the emergence of new styles, along with the structural changes in the network. Within the period in analysis, from 1958 to 1969, four musical styles emerge and consolidate: Bossa Nova, Jovem Guarda, MPB and Tropicalia. We utilized Social Networks Analysis in order to grasp three dimensions of the field evolution: network evolution, creation of structural holes and transformation of actors' centrality. Internal conflicts in a field generate brokerage opportunities among groups separated by structural holes. These holes might be gradually bridged through incremental transformations in the artists' networks. As the emerging artists' influence increases, there is higher potential for the introduction of a new style and change of the field's classificatory system. [ABSTRACT FROM AUTHOR]

Brazilian music, rich and modern, cannot be integrally fit in typologies. This article detaches the importance of the musical material and the autonomy in the compositional procedures, and considers that the understanding of the work of Egberto Gismonti cannot be restricted to strictly "Brazilian" elements of the "nacional-popular". [ABSTRACT FROM AUTHOR]

Discusses the aspects of popular-music history and socio-political criticism in Brazil. Bossa nova and styles of political association; Festivals of M ü sica Popular Brasileira; Censorship and the strategies of musical dissent; Musical and political transitions.

This article proposes a new perspective of historical analyses of MPB (Brazilian Popular Music), considering not only the political/cultural dimension of popular music, but also the economical/cultural dimension. In this other perspective, information must be collected about the relationship among popular music and culture industry, market and mass media. The article, in this proposal, makes a historical analysis of MPB in the crucial Sixties, especially the styles of bossa nova, protest songs and tropicalismo, as well as the MPB festivals. It concludes that MPB had a key function in the formation of the youth culture market, of course regarding the record industry. Not only was MPB in the Sixties crucial to the political/cultural mobilization of young middle class people in Brazil, but also started the institution of a youth consumer market for culture products made by the new record industry, together with equally new mass media, especially television. [ABSTRACT FROM AUTHOR]

Discusses reasons why Caetano Veloso, a central figure in Brazilian popular music, needs to prove that he is already part of the literary canon. How popular songs in Brazil have enjoyed the status of literature; Veloso's interpretation of Brazilian culture in his book 'Verdade Tropical.'

Discusses controversies relating to the incorporation of the electric guitar into musica popular brasileira (MPB) in the histories of Tropicalia popular culture in Brazil. How the electric guitar symbolized modernization and interaction with international popular culture; Ways in which the nationalist reaction to Tropicalia differ from earlier debates about North American influences in Brazilian music.

Discusses how Tropicalia popular culture in Brazil became subversive for the agents of the military regime. Focus on the Bahian musicians Caetano Veloso and Gilberto Gil, who were arrested and exiled to London, England; How televised music festivals were the most visible sites of cultural struggle in popular music.