samba brasil
Bossa Nova and samba brasil : The First great Brazilian musical revolution. In terms of harmonic with rhythmical structures, the Bossa Nova was the first great Brazilian musical revolution. The first modern language that was used in this country to make music. During the fifties, the rates that were listened to more in this nation were the rock - ballad, cha - cha - cha, the bolero and samba brasil traditional. Several musicians outlined the way of bossa novates and influenced by the jazz. The direct precursor of this movement was the composer and pianist Alfredo Jose gives to Silva, well - known artistic like Johnny Alf that proposed a bearing different from the piano based on the harmony, incorporating melodious and harmonic resources of North American music.
Before samba brasil . The young people pertaining to the from Rio de Janeiro middle - class, tired of the musical proposals of the moment, turned upside down to North American music and the jazz. They met in his departments to listen to discs arrived from the United States and also to try new musical forms. One of these places of meeting was the house of the sisters Danuza and Nara Leao (muse of the Bossa). Between the assistants to these meetings they were the musical young people Antonio Carlos Jobim, Carlos Lyra, Ronaldo Boscoli, Milton Banana, Menescal Robert and most adult, Johnny Alf and Vinicius de Moraes, among others. The samba brasil came to huge steps.
That musical restlessness in a while pronounced in that samba brasil lived a climate on political opening under the government of Juselino Kubitschek, the first chosen president freely and who impelled the development and the modernization of the country and samba brasil . In those musical meetings the first projects arose. In one of them they worked in joint form Antonio Carlos Jobim and Vinicius de Moraes, that after Orfeo he gives Conceiçao discovered his aesthetic affinities. Elizeth Cardoso - in that then true diva of the spectacle recorded a titled LP Cançao do love demais with compositions of duet Jobim / Vinicius, for the small Festa seal. The disc did not seem to contribute great new features with respect to other previous ones. Nevertheless the support of the guitar in some of its subjects stood out.
The guitarist was a well - known bahiano little in that then, whose name was Joao Gilberto do Prado Pereira de Oliveira. Its way to touch changed history. With the guitar it altered the rate of samba brasil classic and it turned it, with a new division, in something totally different. That so particular touch that it seemed something independent of the rest of the orquestal mass, and would have to constitute itself within the framework of modern samba brasil , the new wave, bossa novates. The new musical sort was forming itself basically, from the original rhythmical search of Joao Gilberto. Of the inspired compositions of A.C. Jobim and Carlos Lyra. Of the adjustments and the letters different from poets like Vinicius de Moraes or journalists like Ronaldo Boscoli, who added themselves to the new musical identity, introducing to the poetic image: Gentleness and a certain naivete. samba brasil began to beat hard.
More samba brasil . It was tried to integrate melodic, harmony and rate, without the parts predominated on the others. The guitar fulfilled then, one doubles harmonic and percussive function, thus creating that characteristic slightly out of phase rhythmical balance of melodic. The singer, either, did not excel of the rest of the group. He sang with the same naturalness with which he is spoken, offers an intimate atmosphere to him, adapted for the privacy of small atmospheres (coffees, bars) characteristic of the urban zones. Rhythmical, harmonic, melodic and poetical, bossa Nova and surprised Brazilian critical, public, experts in samba brasil and musicians.
All a generation of a samba brasil was added to the movement that extended along and to the wide thing of the Brazilian territory soon to transfer geographic barriers and to comprise of the cultural heap of the inhabitants of the world. He is not exaggerated to affirm that the present Brazilian pop music (MPB) would not be what is today, without this great movement. Although it is considered elitist, the Bossa Nova, represented a true phenomenon within the history of Brazilian music. It opened unimaginable spaces for the artists anywhere in the world. More bigly that samba brasil .
samba brasil according to defines the anthropologists is a period in which the effective social rules in the daily life temporarily are interrupted or. In this country, before to celebrate samba brasil as today it is known, was time of entrudo (of Latin introitus, entrance, name with that the catholic Church designated the liturgies of cuaresma when the retirement of the meat is demanded), of effective Portuguese inspiration until half - full of Century XIX. The slaves went out freely and eggs battles of and fruit were braided in.
The transition of the entrudo to the samba brasil takes place when the incipient Brazilian middle - class begins to adopt European models of diversion. First, the dances of masks in the halls, following the Italian - French traditions. More ahead, the prestito, parade of allegorical cars of the carnival clubs and, the Privateering, particular exhibition of vehicles or cars where confetis and serpentines were sent, all this, in the well - known today like Avenue Rio Branco in Rio de Janeiro . The humblest sectors of the population took the Praça Onze to do their own samba brasil moving to the rate of enormous drums (groups of ze pereiras), and cordoes that advanced like a more or less compact mass in which each participant danced to his way. All this was a sonorous chaos in that opera Aryans could be listened, polkas, mazurkas and groups whom directive of the carnival would only change with the irruption of samba like rate. At the beginning of Century XX three types of carnival groupings existed basically: the Cordao, the Rencho and the Bloco. Cordoes was spontaneous black groups, mulatos and targets of low class, that disguised crossed the streets to the rate of percussion instruments but without music or dances defined, directed by a teacher whose whistle all obeyed.
