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BRAZIL
South
America
BRAZIL
Brazilia – Oscar Niemeyer, 1956-1960
NATIONAL CONGRESS
Brazil – Oscar Niemeyer, 1956-1960
MUSIC
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Samba
Bossa Nova
MPB
Tropicalismo – rock, political
Tropicalia (tropicalismo + psychedelia)
Earlier forms – choros (instrumental)
Classical
SAMBA
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Very general term
Roots in Carnival
1st recording 1917
1st “school” 1930s
Percussion
Cavaquinho – a small guitar-like inst
• The cavaquinho is
a small string
instrument of the
European guitar
family with four
wires or gut strings.
• It is also called
machimbo, machim,
machete (in the
Portuguese Atlantic
islands and Brazil),
manchete or
marchete, braguinha
or braguinho, and
cavaco.
LISTENING EXAMPLE:
Vai Mesmo (Go, Then)
from Brazil Roots Samba CD
The CUÍCA
• A very distinctive percussion instrument!
- a friction drum
LISTENING EXAMPLE:
Peso No Balanca (Weight in the
Balance)
from Brazil Roots Samba CD
Other percussion
• snare drum (caixa)
• repinique
• surdo
Bateria
• 300-400 together!
• Carnival Bateria
Many types, more mellow
• Foundation for even lighter style,
BOSSA NOVA
• BOSSA NOVA introduced to the world by
film Black Orpheus
BOSSA NOVA
• João Gilberto, Astrud Gilberto
• “The Girl from Ipanema" ("Garota de
Ipanema")
• a well known bossa nova song
• a worldwide hit in the mid-1960s
• written in 1962, with music by Antonio
Carlos Jobim and Portuguese lyrics by
Vinicius de Moraes (who also wrote the
play and screenplay for Black Orpheus).
BOSSA NOVA
• Example bossa nova song: “Off-Key” or
"Slightly Out of Tune," in Portuguese as
"Desafinado," composed by Antonio
Carlos Jobim with lyrics by Newton
Mendonça, 1959
BOSSA NOVA & “saudade”
• If not totally sentimental, lyrics have a
special kind of melancholy
• Example from the film, Black Orpheus:
“Sadness has no end; happiness does.”
“Calice”
• a political turn in Brazilian popular music
• 1964 military coup
• Chico Buarque
– exiled briefly for
controversial play,
returns in 1970
– Voted ‘Brazil’s musician of the century’ in
1999 magazine poll; not as famous in the US
“Calice” - Chico Buarque
Lyrics (in Portuguese)
Pai, afasta de mim esse cálice
De vinho tinto de sangue.
Como beber dessa bebida
amarga
Tragar a dor, engolir a labuta.
Mesmo calada a boca, resta o
peito
Silêncio na cidade não se
escuta.
De que me vale ser filho da
santa
Melhor seria ser filho da outra
Outra realidade menos morta
Tanta mentira, tanta força bruta.
youtube
Father, take away from me this goblet
of wine tinted red with blood.
How can I drink from this bitter drink
Inhale the pain, swallow the drudgery.
Even if the mouth is shut, the heart still
remains
Silence isn't heard in the city.
What good is it to be son of the saint
(female)
It would be better to be son of the
other (this breaks the rhyme scheme,
the most obvious rhyme here being
with "son-of-a-bitch")
Another reality less dead
So many lies, so much brute force.
Caetano Veloso
• Political lyrics (jailed in
late 1960s)
• actively internationalist
in musical style
• Surrealist lyrics
LISTENING EXAMPLES:
“Alegria, Alegria,” 1967
- simple major chords
“O Estrangiero” 1989
- ‘intellectual autobiography’
Gilberto Gil
• Jailed and exiled in the
60s & 70s
• Minister of Culture,
2002
• Tropicalia Gilberto Gil
1972
• roots music, too
“So quero um xodo”
(forro)
Lula
• Luiz Inácio Lula da Silva
• Current president of Brazil
• Elected in 2002 &
re-elected in 2006
• born to a poor, illiterate peasant family in 1945
• worked in metals industry & was active the union
• Goals are to reduce poverty & hunger
• Brazil no longer a debtor nation – now lends
money
Heitor Villa-Lobos (1887-1959)
• composed Bachianas
Brazileiras (No. 5 is most
famous; 1938/45)
• conflict & resolution of
“Brazilian or European?”
identity question
• early years: acclaimed
in France, rejected at
home
• later: too conservative
for Europe, hero at home
Villa-Lobos: Bachianas Brasileiras
• Bach’s music is part of a “universal
folkloric source”
• Villa-Lobos: Bachianas Brasileiras –
tributes to Bach in a Brazilian Style
• 9 suites composed 1930-1945
• Most famous: No. 5
– Two movements: aria & dance (martelo)
Villa-Lobos: Chôros No. 10
• Choro – urban folk music, ("cry" in
Portuguese)
• “native” music
• Collage – similar to European music at the
time (composed in Paris)
• 1926
• Big orchestral work reflecting many
contemporary European influences
Choro
Choro ("cry" in Portuguese),
traditionally called chorinho ("little
cry"), is a Brazilian popular music
style. 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).
Forró
a generic term now used to represent
the accordion-driven sound of Brazil's
northeastern Ceará and Pernambuco
states source
Brazil Summary (1)
• Samba – broad term for a style
– Percussive style associated with Carnival
– Song style
• Samba roots in poor lower class
• Becomes national culture
• Sophisticated, trained composers work in
samba and Bossa Nova
Brazil Summary (2)
• Political uses of music
– Nationalism (Vargas, govt sponsorship of
samba schools)
– Brazilian cultural identity (Villa-Lobos)
– Protest (example: “Calice” by Chico Buarque)
– Reconciliation of class, race and regional
issues (example: Gilberto Gil, once jailed and
exiled, now a cabinet minister)