New Afro-Brazilian Music: The Brazilian Songwriter as ‘Warrior of the Imaginary’

2017 ◽  
Vol 14 (1) ◽  
Author(s):  
Mário de Andrade

Abstract “The music of sorcery in Brazil” was given as a lecture by Mário de Andrade to the Brazilian Music Association (Associação Brasileira de Música), in Rio de Janeiro, in 1933. The author never managed to complete its revision for publication. This was undertaken by Oneyda Alvarenga, who published the text of the lecture and a series of related documents in Volume XIII - Música de Feitiçaria no Brasil-of the Complete Works of Mário de Andrade (Editora Itatiaia/Instituto Nacional do Livro, 1983, p.23-70). The author is in search for the role of music, with its distinctive rhythms and melodic form, in the mystical trance of Afro-Brazilian religions. The text combines the flavour of his direct research experience in the catimbó of the Brazilian Northeast; his erudite bibliographical studies that were strongly influenced by evolutionary and diffusionist anthropology at the end of the 19th century and beginning of the twentieth; and an analysis of the music of macumba in the Rio de Janeiro around the 1930s as found in the recordings that Andrade so much enjoyed collecting and listening to.


1992 ◽  
Vol 13 (1) ◽  
pp. 126
Author(s):  
Ralph Cole Waddey ◽  
Tiago de Oliveira Pinto

Author(s):  
Caroline Moreira Vieira ◽  
Joana Bahia

Patricio Teixeira was an important voice in Brazilian music, particularly during the 1920s and 1930s. His career in radio broadcasting extended into the mid-1950s. Teixeira’s work gave visibility to black subjects and their cultural identities. This article analyzes the sacred elements that overflow into the musical and recreational universe of Rio through some of the songs recorded by Teixeira. With varied appropriations, these recordings of chants for orixá, Afro-Brazilian practices, and rituals mark the presence of the Afro-Brazilian sacred in Brazilian popular song.


Author(s):  
Luiz Naveda ◽  
Isabel C. Martínez ◽  
Javier Damesón ◽  
Alejandro Pereira Ghiena ◽  
Romina Herrera ◽  
...  

Author(s):  
Natasha Pravaz

What happens when Afro-Brazilian sounds like samba are lifted from their context of origin and performed by and for non-Brazilians in Canada? In particular, what happens to the samba groove--"cadência" or "suingue" as Brazilians call it--and what does this suingue do, or not do, to those performing? I explore such questions by focusing on two interrelated matters pertaining to what the editors of this volume refer to as a presumed Brazilian improvisative consciousness: the pedagogical dynamics of samba transmission, and the dialectics of freedom and restraint in samba’s creative processes, particularly in the context of Canadian samba. This article is informed by my ongoing field research with performers of Afro-Brazilian music in Toronto and surrounding areas who play in large, amateur ensembles such as Batucada Carioca, of which I am a member.


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