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Bossa Nova::Novo Brasil: The Significance of Bossa Nova as a Brazilian Popular Music

Published online by Cambridge University Press:  24 October 2022

Albrecht Moreno
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In Brazil, perhaps more than in any other Latin American nation, popular music has traditionally been a potent cultural force. It is probable, as P. M. Bardi, director of São Paulo's Museum of Art, has suggested, that “of all the arts, [music] is closest to the Brazilians' modes of feeling and expression.” Even such erudite composers as Carlos Gomes (1836–96), Alberto Nepomuceno (1864–1920), Camargo Guarnieri (1907–), Gilberto Mendes (1922–) and, above all, Heitor Villa-Lobos (1887–1959), often found their inspiration in Brazilian folklore and the everyday lives of common people.

Type
Research Reports and Notes
Information
Latin American Research Review , Volume 17 , Issue 2 , 1982 , pp. 129 - 141
Copyright
Copyright © 1982 by the University of Texas Press

Footnotes

*

The author would like to acknowledge gratefully the assistance of Gilberto Mendes and Jose Furtado in the preparation of this paper. All information, interpretation, and analysis is, of course, the sole responsibility of the author.

References

Notes

1. P. M. Bardi, Profile of the New Brazilian Art (Rio de Janeiro: Livraria Kosmos Editora, 1970), p. 148.

2. See, respectively, O Guarani, Serie Brasileira, Dansa Brasileira, Santos Football Music, and Momoprococe: Carnaval das Crianças.

3. “Middle class” is used here and throughout to denote social status as well as income. Used in a broad sense, middle-class individuals usually have a high school school education or more, are either self-employed or employed as white-collar workers, and enjoy a moderate standard of living.

4. LeRoi Jones, Blues People: Negro Music in White America (London: MacGibbon & Kee, 1965), pp. 13–16.

5. Although Donga has legal title to “Pelo Telefone,” both Sergio Cabral and Hilaria Batista de Almeida claim authorship. “Pelo Telefone” is generally considered the first samba ever recorded. Ary de Vasconcelos, however, cites “Em Casa de Baiana” as the first.

6. Carmen Miranda appeared in several Hollywood musicals in the late 1930s and early 1940s. In actuality, she was more popular in the U.S. than in Brazil. She was believed by many Brazilians to be a vulgar representation of their country as some sort of “banana republic.”

7. Stan Cornyn, “The Wonderful World of Antonio Carlos Jobim” (liner notes on a record album produced by Warner Brothers).

8. Orfeu de Conceição was later adapted to film by the French director Marcel Camus as Orfeu Negro (Black Orpheus), winner of the Grand Prix at the Cannes Film Festival in 1959.

9. O Cruzeiro (Rio de Janeiro), 9 Oct. 1969.

10. Military censorship of mass media was lifted in mid-1978.

11. Boal, for a period during the late 1960s and early 1970s, lived in exile in Argentina and the U.S.

12. The sertão, an interior scrubland of the Northeast, experiences recurrent periods of drought that result in full-scale famines. Brazilian sociologist Josue de Castro described the sertão as having “a strange geography, where the earth does not feed man so much as man the earth.”

13. In the late 1960s, Buarque was exiled to Italy.

14. During the late 1960s and early 1970s, Vandre lived in exile in Chile, France, and Algeria.

15. Interview with Buarque in O Som do Pasquim (Rio de Janeiro: Editora Codecri, 1976), pp. 13–14.

16. Veloso lived in exile in England during the late 1960s as did Gil.

17. Caetano Veloso, Alegria, Alegria (Rio de Janeiro: Pedro Q Ronca Edições, 1977), p. 22.

18. Milton has recorded with Wayne Shorter (see Native Dancer). Other Brazilians currently active in American jazz include Flora Purim, Dom Um Romão, and Airto.

19. Ruy Guerra, Nova Historia da Musica Popular Brasileira: Milton Nascimento (São Paulo: Abril Culture, 1977), phonograph record, p. 1.