TEST 2 Brazil Latin America PDF

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Juan Wolf...

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Anyone Want to study Today? Q: Music that appealed to the elite socioeconomic class in Recife: A: Big band orchestras, sounds like those on records.

WHEN IN DOUBT JUST WRITE ‘DENSE TIMBRES’ shoutout to whoever posted the iclicker questions!!

MUS 359: Test Two Review Sheet [4/26/18]:Brazil: A Country Divided ●

Brazil’s narrative of difference with the rest of Latin America ○ Colonizer: Portugal → different official language

o Portugal plays an important role in the slave trade, with 40% of Atlantic slave trade going to Brazil o Colonial music in Brazil later to develop later than the rest of Latin America since Portugal’s interests change over time (from lumber to sugar to mining) o The casta system had flexibility in its implementation, leading to the development of an artisan class of free people of color that included composers --> § mulatismo musical: recognition of the role that the emergence of a free mixed-race artisan class had in Brazil’s musical development § Music Example: Lôbo de Mesquita’s Salve Regina ○ Rio as head of Portuguese Empire, contributes to its sense of importance ○

Division of Two Brazils (Impression) ■ Northeast:agricultural, traditional, “most African” of regions ■ South:urban, modern, most cosmopolitan of regions ● Musics of Indigenous Heritage ○ Strong association with Amazonian Rainforest, particularly Xingu National Park ○ Common musical characteristics include: ■ Regular pulse held by shakers ■ Repetition of short sections to create longer section, often for long rituals ■ Blurred line between speech and singing ■ Monophonic with drones possible ■ Musical Example: Nhoik: Nhuiti Ngrere ○ Important to realize that indigenous people are not lost in the past, but familiar with technology and discourses of modernity [5/1/18]: Focus on National Brazilian Music (from South) ● Rio de Janeiro:  home of samba de enredo (also known as samba de morro) o Associated with carnival   as a samba school  competition in sambadromo  · Instrumentation o Discourse about Instruments § Stringed Instruments associated with Portuguese Heritage § Percussion Instruments associated with African Heritage § Pandeiro as national instrument ● Heritage: a celebration/commemoration of characteristics related to past practice or situations

that help identify a group ○ Similar but different from history ○ Often values what has been denigrated in the past ○ Need to be critical about heritage while recognizing its benefits · Samba Development o Migration from Salvador da Bahia to Rio de Janeiro in late 19th  century o Gather in welcoming cultural spaces like the house of Tia Ciata – a migrant from Bahia herself § Here first “carnival samba” recorded: “Pelo Telefone” in 1916 o Migrants also live in poor neighborhoods in the buttes (or morros)  within or around the city of Rio

§ Have carnival parades in their neighborhood –by 1928 they develop the samba de morro – the rhythm played by the troupes in Rio’s carnival. · Samba-canção:usually refers to samba songs written by now famous composers like Ary Barroso and Dorival Caymmi that became part of Brazilian popular music ·  Carmen Miranda: famous performer of samba-canção in both Brazil and Hollywood. She became stereotyped as the woman in the tutti-frutti hat, a costume based on the character of the Baiana o Baiana: woman from Bahia, usually dressed in turban and hoop skirt, understood but often not explicitly stated as a person of African heritage, a standard character based on stereotypes of people in the environment in which samba was initially performed, now a bloc with all samba carnival dance troupes o Such characters appear in 1940s films that were part of U.S. Good Neighbor Policy and left a strong impression of Brazil on US culture in early 20th  century · Gertulio Vargas o Brazilian dictator who legitimizes samba schools, incentivizing carnival sambas with nationalistic themes with monetary support o Modernismo:the Brazilian nationalistic movement that espoused the idea of “cultural cannibalism,” supporting the samba as national expression under guise of racial democracy ● Bossa Nova: a new genre that emerged in the 1950-60s in Rio’s Copacabana beach, thanks

to the coming together of various influences ○ João Gilberto’s “gagging guitar” style:  a way of playing samba fingerstyle on guitar ○ Antonio (“Tom”) Carlos Jobim’s sophisticated harmonies ○ Vinicius de Morães: lyricist who captured the spirit of the time o The genre became popular throughout the world o U.S. jazz musicians recorded Brazilian songs to create hits of their own o These artists open to critique because of their disconnect with political and social issues

[5/3/18]: Focus on Afro-Brazilian Music (from Northeast) · T hinking about the Atlantic Slave Trade: o Complex, culturally different depending on the era (Muslim, Angola, Nigeria) o F actors affecting Culture in the New World, include Quilombos (Escaped slave communities) · Candomblé: the Afro-Brazilian religious practice most associated with Africa in the minds of many Brazilians o connected to Yoruba religious practices in which people are mediums for the gods to manifest themselves among humans, often priestesses in white hooped skirts and turbaned – the basis for the baiana character o Organized by Houses and Nations · Overview of Music-Dance connections to West African Forms of Practice o F aceting: small parts make a whole o C  all-and-response o P  olyrhythm: cyclical timeline o T imbre: variety and density o G  roup participation with cultural specialists · A  foxé o Begin as Carnival expressions in Salvador de Bahia after the abolition of slavery

o A  ssociated with people of African descent (both rich and poor) who wanted to associate themselves to Africa o Post World War II: this connection to Africa emphasizes a relationship to candomblé houses (nations) § Through instrumentation (barrel shaped drums and bell) but played with hands § Through Ijexá   rhythm o Important Brazilian pop star Gilberto Gil helps to portray Afoxé as an important expression of African heritage · Maracatu de Baque Virado o Irmandades were religious brotherhoods were important as ways for people African descent to get together, help one another, and celebrate throughout Brazil. Often associated with specific saints like the Virgen of the Rosary. o In city of Recife: the genre of maracatu  emerged from brotherhood celebrations being moved to carnival o Discussion about African heritage of the genre connects to the parading of tribal kings in Africa

[5/8/18]: Musical Traditions as Mestiçagem: Frevo · C  apoeira o Afro-Brazilian martial art accompanied with music, associated with dance o Practiced in secret by African slaves or more openly in quilombos (runaway slave communities) o Features elements of African musical heritage, including instrumentation like the musical bow called the berimbau o Occasionally banned outright, but more often practitioners persecuted by “public nuisance” laws o To avoid detection, capoeira dancers began practicing alongside brass bands, which led to the development of the frevo dance · Military Bands o Associated with European heritage and power o Because the military incorporated men from many parts of society, many people learned to play band instruments through the military o A vibrant brass band culture emerged in Recife, with bands playing for all important occasions while building up fan bases that sometimes clashed with one another. · Frevo o Frevo developed from the polka-marcha being sped up and composed with syncopated melodies o Frevo da rua (street frevo) involves  brass bands called fanfarras parading in the streets during carnival. These bands play all instrumental frevos and sung carnival marches. o Frevo da bloco (troupe frevo) was a middle-class response to the perceived ruffian character of street frevos. It depended on a plucked string band accompaniment with female chorus singing. o Frevo as mestiçagem: Intellectuals like Gilberto Freyre argued that frevo was a perfect mix (mestiçagem) of African and European heritages, representative of the true Brazilian character.

[5/10/18]: Northeastern Music for the Nation · Beginnings of Commercial Recording and Radio Industry in Brazil o At the beginning of the twentieth century, the commercial recording industry starts (c. 1902) and then later a major radio station (c. 1922) centered in Rio de Janeiro, that together with stage opportunities, attract many musicians. o Choro: was initially a Brazilian way of playing European forms like waltz and schottish, but eventually developed their own genres, one offshoot of which was the samba (sweet melancholy) § Often references a feeling of saudade  § Like jazz, choro focused heavily on improvisation and became mainstream, with Afro-descendants playing a major role § Major exponent was Afro-Brazilian composer Pixinguinha and the Oito Batutas o Northeastern musicians like João Pernambuco come to Rio, becoming familiar with many urban genres, but also introducing northeast melodies and genres like marcha-frevo to musicians like Pixinguinha who also record them

§ Frevos recorded with big-band-like orchestras (frevos de orquestra) appealed to the elite audiences in Recife and, together with recorded versions of frevo de bloco, became their carnival music · Search for new National Music o After WWII, many Brazilians were unhappy with the image of samba that appeared in U.S. film (based on Carmen Miranda’s influence) o Luiz Gonzaga: Northeastern musician who discovered that his portrayal of Northeastern genres could feed this desire for a more “authentically Brazilian” music § Dresses as bandit (cangaço) § Establishes the standard trio instrumentation of accordion, triangle, and zabumba (horizontal bass drum) § Standardized the baião rhythm while reinforcing the image of the Northeast’s interior as dry place, full of hardship § Provides a music that makes many rural migrants nostalgic for their homeland

[5/15/18]: Reinventing Africa for the Northeast and the World · In the late 1960s and early 1970s, the Black Power movement in the US, together with other international artists like reggae star Bob Marley develop an international Afro-centric attitude towards Black issues · In Bahia, search for ways of expressing that identity in carnaval that go beyond traditional Northeast afoxés and maracatus. o Blocos afro §  Ilê-Aiyê: the first group, adopts afro-primtivo =rhythms and dress; limits membership to Afro-descendants, stress African heritage § Olodum:creates samba-reggae rhythm with Neguinho do Samba, civic organizations · Becomes internationally famous through collaborations with Paul Simon and Michael Jackson o Axé music § Refers to the mix created by use of rhythms created by blocos afros and Brazilian popular music (MPB) § Becomes nationally and internationally known through stars like Daniela Mercury § Critiqued because lyrics avoid messages of criticism and awareness that blocos afro espoused o Blocos afro also become sources for important musicians like Carlinhos Brown and influence the trio  elétricos (electric cars) that participate in Bahia’s carnival · In Recife, the changes in Bahia help start a movement called Mangue Beat(Mangrove beat) that seeks to privilege local roots while also voicing concerns about the environment o Leader Chico Science and Nação Zumbi (Zumbi Nation) invoke maracatú · Thoughts about Music in Northeast Brazil: modernity (tradition) and hybridity

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Lôbo de Mesquita: Salve Regina

● José Joaquim Emerico Lobo de Mesquita: Salve Regina (Links to an external site.)Links to

an external site. ● An example of sacred music production in Brazil in the late 1700s. The composer Lôbo de Mesquita was the

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son of a Portuguese colonist and Afro-Brazilian slave. He also was a self-taught composer and organ virtuoso. May have identified as Meztiso---Mixed heritage / European heritage (Meztiso is the Andes...mulatismo) Mulatismo-- Afro Brazilian/ Portuguese for composer LOBO DE MESQUITA

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Indigenous Heritage: Kayapo Music

● Nhiok: Ngrere, Min negrere, Nhuiti Ngrere (Links to an external site.)Links to an external v

site. ● This example illustrates all the characteristics that are typically associated  with Indigenous communities in the

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Amazonian rain forest(isolated). This male chant is part of the female naming ritual and references the hummingbird, one of many animal-related chants. No European influence

Regular pulse held by shakers ● Repetition of short sections to create longer section, often for long rituals ● Blurred line between speech and singing ● Monophonic with drones possible ●

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Samba-Canção: Carmen Miranda sings "O Que E Que Baiana Tem

● CARMEN MIRANDA - O QUE É QUE A BAIANA TEM (Links to an external site.)Links to

an external site. ● Here Carmen Miranda sings Dorival Caymmi's hit "What is it that women from Bahia have got?" She

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describes the different aspects of Baiana costume and includes other features like grace. This movie is the first time she wears the hat that contains fruit, which later becomes the stereotype of her character in U.S. films. High class African women of NE Stereotype--1940’s Began as icon---Became sellout turban,hoopskirt,bracelet/fruit hat

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Bossa Nova: Garota de Ipanema (The Girl from Ipanema)

● "The Girl from Ipanema" Astrud Gilberto, João Gilberto and Stan Getz (Links to an external

site.)Links to an external site. ● This song, written by Tom Jobim and Vinicius de Moraes, has become one of the most recorded songs in

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history. This recording features one of the musicians responsible for the bossa nova sound Joao Gilberto with his gagging guitar. It also illustrates the connection with U.S. jazz as Stan Getz improvises a saxophone solo. Antonio Carlos Jobim---Arguably the most famous composer 1960’s--one of the most recorded songs ever Joao Gilberto Samba rhythm on guitar (Gagging Guitar) JAZZ and BOSS NOVA intertwine well and mutually influence “Hipster Music” / Sophisticated

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Orixas dancing in a Candomblé Ceremony

● Orixas dancing in a Candomblé Ceremony (Links to an external site.)Links to an external

site. ● This clip features several mediums possessed by the goddess Iansa (Oya) during a xiré or toque (Candomblé

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ceremony) at a ritual house. Many Brazilians consider candomblé the most African of Afro-Brazilian music-dance expressions, but the religion welcomes people of any ethno-racial background. atabaques/agbe/agogo Color symbolizes possession Yoruba Origins Stick and Hand Orixas african deities Uses faceting to create complexity

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Afoxé: Filhos de Gandhi (Sons of Gandhi)

● Afoxé: Filhos de Gandhi (Links to an external site.)Links to an external site.

● Afoxé is a carnival genre that emerged in Salvador de Bahia after the freeing of the slave. While initially

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involving all sorts of representations of African heritage, after World War II, afoxés started to become standardized, using instrumentation similar to candomblé house and the Ijexá  rhythm. The Filhos de Gandhi are the best known afoxé group due to having worked with Brazilian pop star, Gilberto Gil Agogo→ bell Drums played w/ Hands***

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● Removal of religion Happened after the Abolition of Slavery

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Maracatu de Baque Virado: Nação Estrela Brilhante

● Maracatu de Baque Virado: Nação Estrela Brilhante (Links to an external site.)Links to an

external site. ● Maracatus are a carnival expression that emerged in Recife when Catholic religious brotherhoods were

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forced to move their celebrations and candomblé members also joined them. They feature European military style percussion played in an African influenced way and characters that invoke royalty. People who want to emphasize the African heritage of maracatu often connect it to the procession of chiefs in West Africa. Faith -- Culture mix ( Talismen -- rosary) Irmandade do Rosario Dos Pretos

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Capoeira

● Capoeira (Links to an external site.)Links to an external site. ● People of African descent in Brazil developed the martial art known as capoeira both as slaves and as

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members of runaway slave communities (quilombos). To disguise the combative nature of the practice, they accompanied the movements with music that had characteristics associated with musics of African heritage on instruments like the musical bow (berimbau). These moves later would inspire the dance steps of frevo. Musical cues signal that officers are coming** Mask Martial art with dance Agogo-bell / Panderio / atabaques Variety timbres

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Frevo da Rua

● Frevo da rua (Links to an external site.)Links to an external site. ● Frevo is the music associated with Recife's  carnival. Emerging from the military bands that developed in 19th ●

century Brazil, the fanfarra bands transformed the polka-marcha by speeding it up and writing syncopated melodies to create frevo. Street bands were considered working class version of Recife's carnival. Military gave access to brass bands

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Bloco string(middle class)quiet ---Rua Brass(fanfarras)(street class)(loud)----Frevo da cancao (high class/Orchestra)Radio recording industry. Capoeira dance inspired Frevo Fighting among groups/ rivalries w/ umbrellas(parasol)

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Choro: Os Oito Batutas

● Choro: Os Oito Batutas (Links to an external site.)Links to an external site.

● Choro began as a Brazilian way to play European genres (such as waltz and schottish). It later developed its

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own genre which eventually led to the samba. This choro medley include a tune (begins at 1:15) named after the famous early choro group "Os Oito Batutas (The 8 Batons)," written by the famous Afro-Brazilan composer, Pixinguinha. Slow---->fast tempo IMPROV** Pixinguinha is the Louis Armstrong Saudade (sweet Melancholy) collab/party music Connections to jazz but NOT the same

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Luiz Gonzaga: Asa Branca

● Luiz Gonzaga (Links to an external site.)Links to an external site. ● Luiz Gonzaga was the premier exponent of baião, a rhythm associated with the dry interior region of the

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Northeast. Dressed as a bandit, he developed the trio format that would become the expected instrumentation for this music: accordion, triangle, and the small bass drum known as zabumba. The music offered an alternative to the samba that was seen in U.S. movies and was especially poignant for rural migrants to the city. Trio-accordion, triangle, and the small bass drum known as zabumba Invoked nostalgia for rural migrants

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Standardized the baião rhythm

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Olodúm

● Olodum (Links to an external site.)Links to an external site. ● Building on the work of the bloco afro Ilê Aiyê, Neguihno do Samba co-founded Olodum, another bloco afro that

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used different techniques to mix rhythms like samba and reggae together. Their collaborations with international pop stars made them famous, but beyond music, they also created workshops and support groups for people in living in Salvador da Bahia's predominantly Black neighborhoods. Strong community ties

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Afro-primitivo rhythm Color rather than costumizati...