Brazilian music is full of passion, of sentiment, of joy. It is the result of a long simmering mix of heritage from AmerIndian, Portuguese and African sources meeting global influences to create a magical, mystical music. Yet it is the constant search for new forms within Brazil’s diverse musical heritage that most captivates us and influences musicians around the world.
Wherever you go in Brazil there is always the music. Whether it is the poly rhythms from percussion instruments at a street corner or a sophisticated discussion of the current year’s Carnival songs, the culture shares a common inspiration through their music. You might even be inspired to take some local music lessons. You will be able to improve your music knowledge and have a great time. Brazilian music is really magic and it’s a good communication tool.
After 500 years of history the brazilian music developed some unique and original styles like Choro, ForrÃ³, Frevo, Samba (in a lot of styles), Bossa Nova, MPB and others. Samba is no doubt the best known form of Brazilian music worldwide, though Bossa Nova and other genres have also received much attention abroad. All genres of Brazilian music formed a solid tradition.
The earliest music in what is now Brazil must have been that of the native peoples of the area. Little is known about their music, since no written records exist of this era. With the arrival of Europeans, Brazilian culture began to take shape as a synthesis of native musical styles with Portuguese music and African music.
Main article: Indigenous Brazilian music The native peoples of the Brazilian rainforest play instruments including whistles, flutes, horns, drums and rattles. Much of the area’s folk music imitates the sound of the Amazon Rainforest. When the Portuguese arrived in Brazil, the first natives they met played an array of reed flutes and other wind and percussion instruments. The Jesuit missionaries introduced songs which used the Tupi language with Christian lyrics, in an attempt to convert the people to Christianity , and also introduced Gregorian chant and the flute, bow, and the clavichord.
Eastern Amazônia has long been dominated by carimbÃ³ music, which is centered around Belém. In the 1960s, carimbo was electrified and, in the next decade, DJs added elements from reggae, salsa and merengue. This new form became known as lambada and soon moved to Bahia, Salvador by the mid-1980s. Bahian lambada was synthesizer-based and light pop music. French record producers discovered the music there, and brought it back with them to France passing by Portugal, where a Bolivian group called Los K’jarkas saw their own composition launch an international dance craze. Soon, lambada had spread throughout the world and the term soon became meaninglessly attached to multiple varieties of unrelated Brazilian music, leading to purist scorn from Belém and also Bahia.
Another form of regional folk music, bumba-meu-boi, was popularized by the Carnival celebrations of Parintins and is now a major part of the Brazilian national scene.
The field of Brazilian popular music can be traced back to the 1930s, when radio spread songs across the country. Popular music included instruments like cuicas, tambourines, frying pans, flutes, guitars and the piano. The most famous singer, Carmen Miranda, eventually became an internationally-renowned Hollywood film star. Her songwriter was Ary Barroso, one of the most successful songwriters in early Brazil, along with Lamartine Babo and Noel Rosa.
MÃºsica popular Brasileira
Tropicalia eventually morphed into a more popular form, MPB (mÃºsica popular Brasileira), which now refers to any Brazilian pop music. Well-known MPB artists include chanteuses Gal Costa, Maria BethÃ¢nia and Elis Regina and singer/songwriters Chico Buarque, Milton Nascimento, Gilberto Gil, Caetano Veloso, Ivan Lins, Djavan, João Bosco, and others.
In Rio de Janeiro in the 1870s a type of reserved and private music called choro developed out of fado and European salon music. Choro was usually instrumental and improvised, frequently including solos by virtuosos. Originally, a choro band used two guitars and cavaquinho, later picking up the bandolim, the clarinet and the flute. Famous choro musicians include Joaquim Antonio da Silva Calado JÃºnior, Valdir Azevedo, Jacob do Bandolim, Pixinguinha and Chiquinha Gonzaga; Pixinguinha’s “Lamentos” is one of the most influential choro recordings. In addition to composing choros, another composer, Ernesto Nazareth composed tangos, waltzes and polkas. Nazareth was influenced by Chopin but his music had a distinctly Brazilian flavor. Nazareth has also been compared to his contemporary Scott Joplin. The late 1960s saw a revival of the choro, beginning in the suburbs of Rio de Janeiro, and culminating with artists like Paulinho da Viola. Modern-day choro groups include Os Ingênuos.
Antonio Carlos Jobim and other 1950s composers helped develop a fusion of jazz harmonies and a smoother, often slower, samba beat called bossa nova, which developed at the beach neighborhoods of Ipanema and, later, the Copacabana nightclubs. The first bossa nova records by João Gilberto quickly became huge hits in Brazil. Bossa nova was introduced to the rest of the world by American jazz musicians in the early 1960s, and songs like “The Girl from Ipanema”, which remains the biggest Brazilian international hit, eventually became jazz standards.
By the end of the decade, artists like Caetano Veloso and Gilberto Gil combined American and European styles with electric guitars and different kinds of genuine Brazilian music, beginning a genre called Tropicalia. These songs, not unlike the music coming out of Britain and America at the same time, were often very politicized and were perceived as threatening by the establishment. The military government of the time went as far as to exile Veloso and Gil to England.
MÃºsica nordestina is a generic term for any popular music from the large region of Northeastern Brazil, including both coastal and inland areas. Rhythms are slow and plodding, and are derived from accordions and guitars instead of percussion instruments like in the rest of Brazil – In this region, African rhythms and Portuguese melodies combined to form maracatu and dance music called baião has become popular. Most influentially, however, the area around Recife, the home of forrÃ³.
Northeastern Brazil is known for a distinctive form of literature called literatura de cordel, which are a type of ballads that include elements incorporated into music as repentismo, an improvised lyrical contest on themes suggested by the audience.
Frevo is a style of music from Olinda. In the 1950s, it spread south, to cities like Salvador. In Salvador, frevo bands began playing during Carnaval, originally in trios called trios elétricos. Overtime, the bands moved from playing on pickup trucks to fully amplified bands and stages. Trios eléctricos remain a primary feature of the Salvadoran Carnaval today.
ForrÃ³ is played by a trio consisting of a drum and a triangle and led by an accordion. ForrÃ³ is rapid and eminently danceable, and became one of the foundations for lambada in the 1980s. Luiz Gonzaga was the preeminent early forrÃ³ musician who popularized the genre in Rio de Janeiro and São Paulo in the 1940s with songs like “Asa Branca”.
Funk Carioca is a type of dance music from Rio de Janeiro, derived from and superficially similar to Miami Bass. In Rio it is most often simply known as Funk, although it is very different musically from what Funk means in most other places and contexts. It’s usually seen as party music and high and medium class people are usually relunctant to admit they listen to it, since music from this genre usually contains sexually explicit lyrics and is attributed to people derived from the Favela.
The Brazilian rock n’ roll exists since the “first rock song”, “Rock Around the Clock”, was covered (and also recorded in Portuguese), in 1954. The 1960’s, young singers like Roberto Carlos and his Jovem Guarda were very popular and influenced other artists like River Raid. In the 1970’s, there were many Progressive Rock bands in Brazil, such as O Terço and Bacamarte, which were very well-known in Europe and the US by progressive fans. The real “boom” of Brazilian rock was in the 1980’s, with many bands and artists like Barão Vermelho, Legião Urbana, Engenheiros do Hawaii, Titãs, Raul Seixas, Lulu Santos, Paralamas do Sucesso and festivals like Rock in Rio and Hollywood Rock.
Brazilian Heavy Metal
The most famous Brazilian heavy metal bands are Sepultura, Angra and Krisiun. Nowadays Sepultura is considered one of the best metal bands all over the world and a big influence for many other bands from different countries. Another bands are famous also, for an exemple: Torture Squad, Shaaman, Eyes of Shiva, Tuatha de Danann etc.
Music originally from Jamaica, but with representants in Brazil, mainly coming from the north / northeast region of the country. yep
MÃºsica sertaneja or Sertenejo is a term for Brazilian country music. It originally referred to music from originating among Sertão and musica caipira, but has since gained more influences from outside Brazil. In particular American country music, Mexican mariachi, and the Music of Paraguay. For several years it was a category at the Latin Grammy Awards.
Afro Brazilian music
By the beginning of the 20th century, samba had begun to evolve out of choro in Rio de Janeiro’s neighborhood, inhabited mostly by poor blacks descended from slaves. Samba’s popularity has grown through the 20th century, especially internationally, as awareness of samba de enredo (a type of samba played during Carnival) has grown. Other types of samba include:
- Samba de breque – reggaeish and choppy
- Samba-canção – typical variety of nightclubs.
- Samba pagode – modern popular variety.
The Afro-Brazilian sport of capoeira is never played without its own music, which is usually considered to be a call-and-response type of folk music. The main instruments of capoeira music include the berimbau and the pandeiro. Capoeira songs may be improvised on the spot, or they may be popular songs written by older mestres (teachers), and often include accounts of the history of capoeira, or the doings of great mestres.
This type of music is played primarily in the Recife and Olinda regions during Carnaval. It is an Afro-Brazilian tradition. The music serves as the backdrop for parade groups that evolved out of ceremonies conducted during colonial times in honour of the Kings of Congo, who were African slaves occupying symbolic leadership positions among the slave population. The music is played on large alfaia drums, large metal gonguê bells, snare drums and shakers.
Afoxê is a kind of religious music, part of the Candomblé tradition. In 1949, a group called Filhos de Gandhi began playing afoxé during Carnaval parades in Salvador; their name translates as Sons of Gandhi, associating black Brazilian activism with Mahatma Gandhi’s Indian independence movement. The Filhos de Gandhi’s 1949 appearance was also revolutionary because, up until then, the Carnaval parades in Salvador were meant only for light-skinned people.
The band Olodum, from Pelourinho, are generally credited with the mid-1980s invention of samba-reggae, a fusion of Jamaican reggae with samba. Olodum retained the politically-charged lyrics of bands like Ilê Aiyê.
Music of Salvador: Late 60s to mid-70s
In the latter part of the 1960s, a group of black Bahians began dressing as Native Americans during the Salvadoran Carnaval, identifying with their shared struggles through history. These groups included Comanches do Pelô and Apaches de TororÃ³ and were known for a forceful and powerful style of percussion, and frequent violent encounters with the police. Starting in 1974, a group of black Bahians called Ilê Aiyê became prominent, identifying with the Yoruba people of West Africa. Along with a policy of loosening restrictions by the Brazilian government, Ilê Aiyê’s sound and message spread to groups like Grupo Cultural do Olodum, who established community centers and other philanthropic efforts.