In-Class Revision Flashcards
(29 cards)
1
Q
Carmen Miranda
A
- born in Portugal but moved to Rio and grew up in a working class family and neighborhood
- samba-cançao artist
- dressed like a Black Bahian woman
- performed “They said I came back Americanized” as a clap-back to people who critiqued her as too American
2
Q
Cultural Cannibalism
A
- ## heavily embraced by Tropicalistas
3
Q
Samba de morro and authenticity
A
- started being played back in the 1930s
- classified as an idiom after the creation of samba cançao, to distinguish the older and authentic version from the new one
- typically played by Afro-Brazilians from favelas
- the “original” samba
- themes revolved around life in favelas
4
Q
Cavaquinho and agogô
A
- musical instruments
- cavaquinho: Portuguese instrument that resembles a mandolin
- agogô: percussion instrument of African descent
- these two instruments represent the fusion of Portuguese and African culture in samba
5
Q
“Opinão”
A
- performed by Lara Leon
- came out in the mid 60s - around the time of the military coup in 1964
- political song
- Lara Leon belongs to the political wing of bossa nova
- Lara Leon was white and used her platform to raise Afro-Brazilian musicians and composers
- protested social injustice in Brazil, alternating music and passages read aloud
6
Q
samba cançao
A
- gets backlash and not considered samba because it was believed to be whitened and inauthentic compared to samba de morro
- developed in upscale neighborhoods in Rio in the 1930s
- middle-class samba composers
- notable: Noel Rosa, Braguinha, Lamartine, Babo, Ary Barroso
- samba that emphasized the melody over rhythm
- popularized the genre with the middle class
7
Q
“Asa Branca”
A
- written by Luis Gonzaga; the godfather of forro
- song that put forro on the map
- came out in 1947
- forro - played in the sertao
8
Q
Gilberto Gil
A
- member of the Tropicalia movement - along with Caetano Veloso
- Came from Bahia
- all over the map musically
- part of the blocos afro in the 1970s (along with Caetano Veloso)
- part of the Filhos de Ghandi
- exiled for a brief period but came back
- part of Ilê Aiyé
9
Q
Capoeira regional
A
- branched off from capoeira Angola
- went more global
- influence from batuque (a type of wrestling).
- Bimba is considered the master of capoeira regional
10
Q
Capoeira
A
- type of martial art that resembles a dance
- has its roots in resistance in plantation and quilombos
- brought to Brazil by enslaved Bantu people
- associated with Black people and slavery
- outlawed for a bit until Vargas allowed it
11
Q
Ilê Aiyé
A
- a bloco afro
- only allowed Black and mixed members to join (which was controversial)
- established in the late 70s or early 80s
- political lyrics
12
Q
“Pelo Telephone”
A
- first samba recorded
- released second decade of the 20th century
- created by Donga
13
Q
Candomblé
A
- a syncretic religion that beldns aspects of Yoruba and other primarily West African beleifs and practices with Catholicism
- we see a candomblé ceremony in the Black Orpheus movie when Orpheus is trying to bring Eurydice back
- music was the center of their ceremonies
- specific songs were used to summon specific orixas (dieties)
- uses the agogo to summon orixas
14
Q
Afroxé
A
- secular manifestation of candomblé
15
Q
“Desafinado”
A
- one of the earliest bossa novas
- made famous by Jao Gilberto ; composed by Jobim
- a little love song disconnected from politics, typical of early bossa nova
- early bossa nova was associated with white and middle-class people (this is the type of bossa nova that international)
- this kind of bossa nova is kind of the opposite of teh original samba which was played by poor people, used little instruments, and was not commercial
16
Q
“Girl From Ipanema”
A
- several versions released
- released in 1964
- Composed by Jobim but made famous by Stan Getz, Joa Gilberto, and Astrud Gilberto
- Astrud knew a little English so they had her sing English lyrics, which helped the song become very popular abroad
- represented the culmination of Brazilian popular music on the charts
- represented the triumph and international-ness of early bossa nova
17
Q
“They Don’t Really Care About Us”
A
- Michael Jackson song filmed in Salvador (but features scenes of Rio)
- Featured Olodum: a troop that was very socially engaged and focused on the axé trend
- a song about Black empowerment and social critique of oppressive institutions
- controversial because Jackson included himself in the “us” but had security protecting him at all times
18
Q
Frevo
A
- a kind of rhythm/cadence/idiom poular in the state of Pernambuco; a coastal state
- commonly played in carnaval music
19
Q
“Maracatú Atômico”
A
- Maracatu: a type of festivity/dance/beat from the Brazilian Norhteast
- song from the 90s
- sung by Chico Science
- Chico Science is important because they become very heavily identified with mangue beat
- Chico Science died young and with him the mangue beat movement did too
20
Q
Lampão
A
- name for an outlaw
- cangaceiro: like a bandit from the backlands (the sertao) who fought against the powers in the region (conservatism, religion)
- a robinhood figure
- plays important role in forro music
21
Q
Afoxé
A
- secularization of candomblé music
- plays a part in the 1970s movements of the blocos afro
22
Q
MPB
A
- emerged in the late 1960s and early 1970s as a result of the authoritarian regime
- sort of an all encompassing term for popular music being made during this time that didn’t quite fit into previously established idioms
- a collision of bossa nova, regional folk music, protest songs, samba, the Tropicalia movement,
- many MPB artists were censored
- a period of many music festivals that were filled with protest songs and allowed for many MPB artists to garner fame
23
Q
Tropicália
A
- kicked off by Gilberto Gil and Caetano Veloso in 1967
- anything went in this idiom: rock, samba, electronic instruments, berimbaus, folk music,
- an art movement manifested in various media types from 1967-1969
- the album cover of the album represents the fusion of so many different styles
24
Q
Axé Music
A
- came out of Salvador
- emerging Afro-Brazilian pop styles such as samba-reggae
- popularized in part by Olodum
- ## emerged in the 80s
25
Mangue beat
- in recife, emerged in the 1990s
- fused maractu and embolada with rock and hip-hop
26
Lundu and maxixe
- musical idioms from the 19th century
- the predecessors of samba
27
Getúlio Vargas
- democratically elected and later a populist leader
- used samba as a national unification tool
- used carnaval as a national unification tool
- used the radio as tool
28
Bumba meu-boi
- from the North: Maranao
- a processional dance that enacts the death and resurrection of a mythical ox
- a form of auto, which is a dramatic genre from medieval times that includes dances, songs, and allegorical characters
29
1964
- the year of the coup d'état
- led to two decade military dictatorship in Brazil
- accelerated the movement of bossa nova's songwriter in different directions
-
