Napolitano (Seguindo a canção 23-4), alludes that Brazilian Popular Music (MPB) arrived at the end of 1950’s to a consolidated tradition: it had an important consecrated group of artists it was remarked for the opening to renovation –taking in account the materials, parameters and conventional music styles received from the past generations– and it had a strong presence in the market. 10Ĭhanges in Brazilian Popular Music (Música Popular Brasileira MPB) Buarque, in my opinion, uses a new poetic and critic language in a musical genre already known and spread in Brazil: samba. Paulinho da Viola composed in the 1960’s Sinal Fechado , “a metaphor for that closed dark dictatorship era.” (McGowan and Pessanha, The Brazilian 47) “Sinal Fechado” was recorded by Buarque in the albums Sinal Fechado , and Chico Buarque & Maria Bethânia Ao Vivo .īrazilian historian Marcos Napolitano (“Review on Wander” 262) indicates the “semi-official” historiography of Brazilian music is related to the left nationalism of 1960 that appropriates the samba as a national symbol, as a tentative to turn it the counter-hegemonic center of mass culture. In the 1950’s Zé Keti (José Flores de Jesús), one of the great samba de morro 7 figures denounced the sad poverty in the favelas 8, “the poverty in which the majority of Brazilians seemed doomed to live and lamented the fact that so many died needlessly.” The song named Acender as Velas is a good example: ![]() McGowan and Pessanha (The Brazilian 33) give us some examples. Perrone and Dunn ( Brazilian Popular 14) points that “this piece -a sub-genre of samba exaltação - is characterized lyrically by romantic patriotism and musically by long involved melodies and arrangements keeping the North American big-band sound.”Īquarela do Brasil :Brazil, Brazil For me, for meĭuring the history of samba we can find examples of artists that have expressed through this musical genre their ideas and opinions about social reality. To Meneses (174) it is the language of a situation, where the popular song is instrumented to promote the doctrinarian ideology of the State, becoming an ironic language. The lyrics of the song Aquarela do Brasil of composer Ary Barroso, belongs to the Estado Novo epoch. Therefore the song texts, in general, point the attention to themes about daily life, love, carnival and patriotism. ![]() (Pereira de Queiroz 27)įollowing Pereira de Queiroz, all content expressed at carnival processions had to be limited to themes that were not related with social critic. 4 In consequence, samba symbolizes the Brazilian stereotype in Europe as well as in the United States.Īt the beginning, the expansion of samba schools 5 represented the re-establishment of oppressed classes by the hegemonic groups… The prohibition of any critic, politic and socioeconomic claim during parades, was one of the ways to prevent a possible collective awareness of the suburbs. 3 It transforms in a product of commercialization and exportation, and a product of national identity unification. ![]() 2 “Technically, samba has a 2/4 meter, an emphasis on the second beat, a stanza-and-refrain alternation structure, and many interlocking, syncopated lines in the melody and accompaniment.” (McGowan and Pessanha, The Brazilian 23) From being a non-canonical expression, of marginal sectors and working classes, samba becomes the representation of Brazil. Musically is a responsorial singing that has cultivated the call-and-response performing style, and percussive interplay, the batucada. We will take as an analysis example the song Apesar de Vocé to be in my opinion, one of the songs that contains –into samba genre- a mayor grade of social and political critic, framed in historical time.ĭuring the first government period of General Getulio Vargas (1930-1937), and during his militar dictatorship (1937-1945, called Estado Novo ) the development of samba as a unifying element of Brazilian culture had a big importance. Buarque creates a fusion between popular culture and cult poetry, element that I will associate to the creation of sacred spaces. ![]() We give importance to revaluation of samba genre in Buarque’s creation through poetry, taking in account the socio-political context of 1960’s and 1970’s in Brazil (more specifically in the city of Rio de Janeiro) under the oppression of military dictatorship. This work intends to relate the musical and lyrical frames in the work of Chico Buarque.
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