Charles Perrone, in Masters of Contemporary Brazilian Music discusses the vocal lyrics of the Brazilian music scene and describes the breadth and depth of Brazilian song writing. In this work he discusses another aspect of the music, its meaning and context, building on the idea of nationalism and universalities that are present in Samba and other forms of Brazilian popular music and culture (in this case looking at only 6 of the most popular lyricists and performers.) Perrone argues that Samba, though it has very few lyrics has tremendous social and political meaning, similar to reggae and that the lyrics associated with it are often reminiscent of personal turmoil and social growth. (Perrrone)
As a modern musical expression the Samba arrived in the international context in the early twentieth century in Rio de Janeiro. Samba, according to Morales, is descended from the lundu, a Bantu-Angolan style brought by Africans to Brazil during the peak of slavery in the eighteenth and nineteenth centuries, but eventually internalized influences from ragtime (from New Orleans), habanera (from Cuba), and even German polka (through Mexico and German immigration)." (25)
Morales goes on to say that, Samba is mainly a percussive music played in a shuffling 2/4 rhythm, using several different kinds of drums, such as the surdo and the bateria," (25) and other percussive accessories (mentioned earlier).
It can be argued that samba is largely a folk music where there are few "shining stars," though Perrone argues demonstratively that there are significant stars, who have gone unrecognized by the broader culture....
shores, coasts, and then hinterlands of Brazil were filled with African slaves, a new culture took hold, invoking memories of the past and sustaining a culture for the future. The slaves, who had been surrounded by Europeans for years of their own lives and centuries of a history, carried with them a motley version of the Western African Bantu language. One of its many soulful, multi-faceted words was semba,
Another well-known format of the Samba is the Bossa Nova, which began in the 1950s and is influenced by jazz, and is "softer" and "more relaxed" than basic Samba (Yami, 2002). Samba Enredo is a Carnival form of music that is played mainly on drums and can contain solo and couple type moves. Samba de Pagode is somewhat of the "poor people's Samba," as it originated in the backyard
choreographer's choices regarding any and all aspects of dance will impact the strength of the message or support of a cause that he or she wants to convey to the audience. Using varied dynamics, the choreographer can convey different emotions and levels of energy, also controlling and modulating the pacing of the dancers' movements. Dynamics in turn relate to musicality. Depending on the role of music in the piece,
Capoeira was developed surreptitiously, with two men pretending that they are taking part in a dance, when in fact they are practicing kicks and blows. There is also a whole style of Capoeira music which goes along with the martial arts culture. In areas of Brazil where gangs are rampant, youth learn this dance and the drumming music that goes along with it is a positive alternative to fighting each
I think that one of the ways that break dancing helps to solidify resistance is through providing another avenue for a countercultural movement to grow. Due to the concerns about the economy that she mentioned, today is one of the few times in the history of the U.S. that there is not a dominant countercultural movement. Therefore, I believe that by having people breakdance in places where people also
Fantasia 1940 1.5 James Algar Samuel Armstrong, Fantasia (1940), Walt Disney Pictures, 120 min. -- ALS • symphony- an extended composition of a full orchestra, with several movements that are distinct from one another. A number of classical musicians composed symphonies (Webster's New World Dictionary, 1977, p. 1287) • melody -- a sequence of single tones to produce a rhythmic whole (Webster's New World Dictionary, 1977, p. 885). Melodies are oftentimes the
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