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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

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