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Copyright of Revista Foco (Interdisciplinary Studies Journal) is the property of Revista Foco 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.)

The rise of the far-right in contemporary Brazil has led to a sociopolitical reality characterized by human rights violations and threats to democracy in the country. Amid this conjuncture, Brazilian Popular Music, historically marked by a tendency to be a constitutive discourse—that is, to “indicar maneiras de pensar e viver” in Brazilian society (to cite Nelson Barros da Costa)—becomes an important instrument of protest. The present article examines how Afro-Brazilian singer and songwriter Chico César’s O amor é um ato revolucionário (2019) can be considered a protest album against Brazil’s ongoing sociopolitical situation, thus contributing to the continuing status of Brazilian lyric-musical discourse as constitutive in the twenty-first century. [ABSTRACT FROM AUTHOR]

Book Reviews

A social and historical reconstruction based on music observes the contemporary arrangement of Brazilian rap, its role in current social movements, and how its productions inform social and political relations in Brazil. Uma reconstrução social e histórica a partir da música observa-se o arranjo contemporâneo do rap brasileiro, sua implicação nos movimentos sociais atuais, e como suas produções informam sobre as relações sociais e políticas no Brasil. [ABSTRACT FROM AUTHOR]

Review of Jonas Soares Lana's book "Rogério Duprat, arranjos de canção e a sonoplastia tropicalista", (Rio de Janeiro: 7Letras, 2022. 284p. ISBN: 978-65-5905-352-0). [ABSTRACT FROM AUTHOR]

Hybrid voice pedagogy is increasingly well-known, but it typically applies to North American styles, genres, and techniques, such as jazz, pop, and musical theater. In this case study, the author describes their own hybrid voice pedagogy with Latin American styles and genres, using five examples from the most popular Brazilian genres: bossa nova, MPB, samba-canção, sertanejo and baião. This eight-year study was developed in a voice program that focuses on a variety of Latin-American genres and applies a cross-training pedagogy for the hybrid singer, to prepare students to sing popular genres in various professional situations. The concepts of "hybrid singer," "Latin-American cultural hybridity," and "Brazilian cultural anthropophagy," the latter from 1920s literature, and the Tropicália movement of the 1960s, are used here as the theoretical basis both technically and stylistically. The conclusion is that the voice teacher who specializes in hybrid singing must be prepared to teach the singer how to change the vocal tract and make adaptations, so the voice will have adequate style, with stamina and vocal health. [ABSTRACT FROM AUTHOR]

Using Pierre Bourdieu and Peter Berger as theoretical references, this paper analyzes the song "Guerra Santa" by Gilberto Gil, proposing an approximation between the fields of studies of religion and Brazilian popular music. At the same time, the analysis shows how religion operates based on the logic of market competition. The article highlights Gilberto Gil's contribution of reading and interpreting religious, social, and cultural phenomena of his time, while encouraging understanding and tolerance toward other cultures. [ABSTRACT FROM AUTHOR]

This article aims to trace, articulate and interpretate the representations of hiv/aids in Brazilian pop rock music of the 1980s and 1990s, primary moment of the aids and hiv epidemic. Through a multidisciplinary perspective that leads us to the interpretation of the processes of meaning in the many layers of the composition and its performance, we analyze a selected repertoire of songs launched between 1983 and 1998. We intend to draw an interpretative perspective that frames hiv/aids in the Brazilian culture, facing its meanings in the first decades of the epidemic. As a result, we observe the recurrence of signs of hiv/aids in Brazilian music and the quality of its representations, besides remarking the possible synchronous relations between culture and epidemic. [ABSTRACT FROM AUTHOR]

The article focuses on the racial ambiguity and sonic blackness in Gal Costa's early career, highlighting how her experimental vocal styles and musical influences from American blues, soul, and psychedelia set her apart from the nationalist tone of Brazilian Popular Music (MPB) during the military dictatorship. It argues that Costa's performances, which combined black diasporic elements, allowed her to assert a racial consciousness that challenged Brazil's myth of racial democracy.

This text is a hermeneutic exercise about one of the paradigmatic works of Vinicius de Moraes, Orfeu da Conceição. This plays opens a partnership between the poet and the composer Antonio Carlos Jobim, which was fruitful and unique for Brazilian arts. Orfeu da Conceição is also paradigmatic because it is the first work to bring black actors to the stages of the Municipal Theater of Rio de Janeiro. Orfeu da Conceição led to one of the films that most contributed, positively or negatively, to the international image of Brazil in the second half of the 20th century, the award-winning Orpheus Negro, by Marcel Camus. The text will notice how many of the ideas and representations of the favela were already visible in the Brazilian popular repertoire prior to the composition of the play. The idea, in general, is to observe how, in addition to its poetic-musical quality, Orfeu da Conceição can also serve as a reflection on how we represent and see favelas in the urban context, both in 1956 and today.

This paper examines the mechanisms of Brazilian culture, which determine processes of identity construction. Starting from the transcription and musical analysis of the introduction to the arrangement of Brigas Nunca Mais (Tom Jobim and Vinicius de Moraes, 1959), composed for solo guitar by Lula Galvão (2017), biographical aspects, aesthetic and idiomatic choices made by the guitarist were analysed aiming the elucidation of technical and concrete procedures in the characterization of a 'Brazilian identity' through its musical repertoire. Our hypothesis points to the understanding of the main musical resources used by Galvão in his arrangement, such as: the use of the 2nd minor, rearmonizations, static basses, passages of free character and idiomatic procedures in the use of the instrument such as bell towers, choices of harmonic routings and voicing, as being directly related to the fluidity of a non-essentialist concept of 'identity' and its recognition in the context of Brazilian popular music. [ABSTRACT FROM AUTHOR]

This work aims to analyze the stylistic trajectory of choro music in Brazil focusing on the seven-string guitar. After a brief digression on genre and style, this article discusses the technical changes of the seven-string guitar. Considered the greatest exponents of the seven-string guitar in choro music, Dino Sete Cordas and Raphael Rabello have contributed to organological and stylistic innovations of the instrument in the second half of the 20th century. These innovations are analyzed through the idiomatic relationship between the seven-string guitar as a soloist and accompanist, based on analytical tools constructed by choro musicians. In the face of the new trends of the 21st century, this research corroborates the assumption that traditional and nontraditional styles coexist peacefully in choro music. [ABSTRACT FROM AUTHOR]

Brazil is recognized as a musical country, with a diverse collection of musical resources served by many digital repositories and music libraries. Historically, those systems are supported by cataloging schemes that are insufficient because they follow standards more focused on the catalog record than on the structure of cataloged works. On the other hand, it is perceived the popularization of multi-entity bibliographic conceptual models, such as IFLA LRM, which seem to be an interesting solution because they (i) have a better capacity to represent the internal architecture of musical objects; (ii) support the creation of cataloging codes and international standards that enable interoperability between collections; and (iii) can be adapted through extension mechanisms. The purpose of this paper is to present an experiment of extending the IFLA LRM in the context of a Brazilian popular music digital library application in order to identify its power of expressivity for attending this specific domain. Instead of making direct use of the entities, attributes and relationships of IFLA LRM, the adopted method was to map concepts of a specific conceptual model (adherent to the digital library in question) that represents aspects of Brazilian popular music on IFLA LRM elements. The resulting extended model demonstrated to be aligned with users' information needs and proved the efficiency of IFLA LRM to adapt to specific domains. In addition, the strategy of extending IFLA LRM from a specific model seemed appropriate for dealing with its level of generality. [ABSTRACT FROM AUTHOR]

Copyright of ERAS: European Review of Artistic Studies is the property of European Review of Artistic Studies 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.)

Copyright of Informacao & Sociedade: Estudos is the property of Universidade Federal de Campina Grande, Centro de Humanidades 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 examines the trajectory of José Luiz Rodrigues Calazans, AKA Jararaca, – one of the pioneers in the constitution of the sertanejo musical gender – as an element of connection between different cultural scenes, both nationally and internationally. Reflects also on the characteristics of the artist´s political engagement and the meaning of his affiliation to the Communist Party of Brazil (PCB).

In this paper we wish to analyze meaning-making processes which take place around the construction of a well-known figure of Afro-Brazilian religions: the Pombagira. In order to do so, we present three Brazilian Popular Music songs which are frequently mentioned in Umbanda centers, starting from a dialogical and polyphonic view of language (BAKHTIN, 2011). We observe that the images configured by the lyrics of the songs produce a place that disqualifies the figure of the Pombagira, especially because it inscribes depreciative senses that, denouncing their non-hegemony, confirm the hegemony of another, since language produces relations and not attributes. [ABSTRACT FROM AUTHOR]

Copyright of Investigación Bibliotecológica is the property of UNAM, Centro Universitario de Investigaciones Bibliotecologicas 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.)

In this article, we aimed to understand some of the techniques employed by Toninho Horta in the role of accompanying guitarist, notably in his performance on the album "Sem Você" (Omagatoki, 1995). Through analysis of two versions of the song "Ela é Carioca" that appear on the album, we investigated four elements present in the two performances, namely: 1) reharmonization; 2) alteration of musical form; 3) rhythmic grooves on guitar; 4) technical-instrumental issues-solving strategies. In the reflection undertaken, the fourth item was highlighted as characteristic of Horta's execution which may indicate new perspectives on the idiomatic resources of the guitar. [ABSTRACT FROM AUTHOR]

This experience report aims to demonstrate how heterogeneous classes, in relation to formal knowledge of music, have managed to bring knowledge levels closer together through a repertory extracted from Brazilian popular music. The Carmen Miranda Centennial Project made the students of the 6th year of the 2009 school year of Campus Engenho Novo II of Pedro II College in Rio de Janeiro, evolve in the soprano recorder technique, in traditional musical reading and writing, in knowledge of formal concepts of music, experiencing the pleasure of playing together, having their individual learning rhythms respected, as well as their previous knowledge. The text reports the development stages of the project that had as final production a performance about Carmen Miranda for the school community. [ABSTRACT FROM AUTHOR]

This work is an account of the experience of the show Pixinguinha Para Crianças, which intends to present to children the life and work of this master and the musical genre that consecrated him and that he contributed to stablish: choro. We approach the strategies used in the elaboration of an artistic performance that, although different from the school focus, contains didactic elements of musical education and history of Brazilian popular music. [ABSTRACT FROM AUTHOR]

Copyright of Brazilian English Language Teaching Journal is the property of Brazilian English Language Teaching Journal 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.)

Having as motto the Chico Buarque’s song, Tem mais samba, released in 1964, this paper proposes a reflection on the state of culture that year, especially in regards to popular music, and its repercussion in periodicals of resistance against the military dictatorship, focusing on the Revista Civizilização Brasileira. Published between 1965 and 1968 in Brazil, this magazine is considered the first to be released with the explicit goal of resisting the Military Coup of 1964.

RESUMO: Este artigo analisa o modo como questões ligadas ao analfabetismo, escola, educação e experiência foram tratadas em canções compostas por sambistas brasileiros que se autodenominavam “malandros”. Dialogando com a história social inglesa, particularmente com os trabalhos de E. P. Thompson, considera que este cancioneiro constitui fonte histórica que permite o acesso a formas de pensar e sentir dos grupos populares quanto à escola e à educação, especialmente entre os anos 1930 e 1950, período em que esses sambas alcançaram sucesso por meio do rádio. Conclui que essas composições, mesmo tematizando sujeitos ou situações singulares, foram exercícios sonoros de crítica social e educação política, com a constância de certas tópicas: denúncia das desigualdades educacionais e escolares e do preconceito contra o analfabeto, conflito entre cultura letrada e cultura popular e, por fim, uma postura anti-intelectualista que desdenhava dos saberes escolares vistos como pouco úteis diante das urgências da vida cotidiana.

During a 2013 post-doctoral grant funded by the São Paulo Research Foundation-FAPESP to conduct research on North American jazz education, Almir Côrtes spent several hours a week at his host institution, San Francisco State University, with Hafez Modirzadeh, Professor of Jazz and Creative Music Studies. Together, they discussed and compared improvisation pedagogies between their two institutions. The following is a summary of several months of discourse, with Modirzadeh’s critical cross-cultural positions on jazz lending to Côrtes’s own research on the teaching of musical improvisation in Brazil. Among points discussed are some of the parallels and problems of institutionalizing historical contexts of practice, and popular music in particular. What follows are their own interactive perspectives – referencing causes for the current state of teaching methods, proposing potentialities for future ones that lay ahead – always with the knowledge that through consistent dialogue, shared boundaries expand.

Copyright of Revista FAMECOS - Mídia, Cultura e Tecnologia is the property of EDIPUCRS - Editora Universitaria da PUCRS 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.)

Copyright of Política & Sociedade: Revista de Sociologia Política is the property of Revista Politica & Sociedade 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 presents an analysis of the literature on Brazilian music written in English and developed by Anglo-American researchers. Based on a critical reading of texts published in books dedicated to Brazilian music, it identifies prevalent themes and approaches in such circuits, as well as indicating recurring concepts and trends that underpin the discourses present in such texts. From this overview, interpretations emerge on the country's musicality and on how Brazil is seen by means of the study of their music. Besides a valorization of certain approaches and part of the musical production - popular music and some specific genres - many social, political and cultural conceptions surface in this context in which there is a circulation of ideas about a Brazil written in English. [ABSTRACT FROM AUTHOR]

The article proposes to reflect about forms of agencing of the Brazilian music memoryas way of understanding the social life, from the four books analysis dedicated to the history of MPB. The approach of Chega de Saudade and A noite do meu bem (Ruy Castro), Eu não sou cachorro, não (Paulo Cesar de Araujo) and Cowboys do Asfalto (Gustavo Alonso) seeks to understand how these authors articulate aspects of social memory, entangling a wide range of documentary sources, in particular, interviews by themselves, forming a rich mosaic in that the past - captured through versions and perceptions - is stressed by other narratives, now in present, in a game readjustments and re-inscriptions. Among the invited conceptual operators for this text, we highlight the notions of social memory, the relationship between memory and social identity (Pollack, 1992), collective memory (Le Goff, 2013) and distinctions on the memory indicated by Halbwachs (2006). [ABSTRACT FROM AUTHOR]

The Instituto Nacional da Música (National Music Institute), a cultural venue well-known for the practice and promotion of Brazilian concert music, exceptionally held recitals in the first decades of the 20th century, presenting the works of artists identified with popular urban music. The legitimation of the presence of the "typical song", usually accompanied by the guitar, was due to the involvement of these musicians in the main discussion that fomented culture in that period: the valuing of a "genuinely" Brazilian art. We try, in this article, to highlight the strategies that underlie the diffusion of this repertoire, through the observation of the performance of important intellectuals and the presentations made in the institute's salons by three illustrious artists: Catulo Cearense, Ernesto Nazareth and Olga Praguer Coelho. [ABSTRACT FROM AUTHOR]

Despite the richness of Northeast Brazil's musical culture, popular music from the region has received relatively little public and scholarly attention. This article, based on field research by the authors in 2012 and 2014, examines manifestations of Brazilian musical genres on the island of Fernando de Noronha--a pocket of concentrated musical activity within the Northeast state of Pernambuco. While musicians service the tourist market by offering an eclectic mix of Brazilian genres, several genres closely associated with the Northeast region (Brazilian reggae, maracatu, and forró) have an especially prominent place on the island. Through their engagements with these genres, Fernando de Noronha musicians contribute to the maintenance and extension of Northeast musical culture. [ABSTRACT FROM AUTHOR]

The speeches on the process of human aging in its biological and psychosocial aspects seen in daily life through the Media have shown a sufficiently promising field for development of the net of Social Representations that constitute the characterizations of oldness and aging in Brazil. In this direction, this work aimed to investigate which elements compose the Social Representations of oldness and aging in 132 lyrics of composed and/or recorded popular songs between 1927 and 2006. This set of lyrics was submitted to a Lexical Analysis carried out by ALCESTE software and to a procedure of Content Analysis. In general, the results of these two procedures of analysis conjugate in the perception of oldness and aging as a defined period and a process in which one has been aging or has already aged (loss of beauty and strength). The stability of various themes/categories is distinguished in the analyzed lyrics, indicating a high degree of sharing of the negative references to oldness and aging in the Brazilian popular music, independent of the origin of the songs.

The siege of silence laid by the “Estado Novo” (1937-1945) to practices and discourses that could deviate from established rules led many people to believe, for a long time, in the triumph of a supposed “national unanimity chorus”. Contradicting this standpoint, which extends its reach to the popular music domain, this paper searches to lift part of the curtain that conceals manifestations out of the “contented chorus” tune during this regime in Brazil.

this article proposes a discussion about possible ways to approach Brazilian popular music from a creative process standpoint, rarely considered central in academic research developed in Brazil. Starting from this question, it is initially proposed a discussion about the tripartite model of NATTIEZ (1989) and the main approaches of musical analysis generated by it. In light of this model, a brief panel will be presented on how some Brazilian researches have dealt with the creative processes of popular music. Such perspective will lead us, at the end of the article, to propose an alternative way of analysis, applying it to the works of the Brazilian composer Moacir Santos. It is an immanent approach in which the theoretical concepts extracted from the analysis are applied in the creation of new compositions, adding a practical dimension to the research in creative processes and broadening the sharing of ideas among researchers. [ABSTRACT FROM AUTHOR]