scholarly journals Raul Seixas e o cenário musical brasileiro na década de 1970 * Raul Seixas and the Brazilian music scene in the 1970s

2013 ◽  
Vol 2 (1) ◽  
pp. 99
Author(s):  
LUCAS MARCELO TOMAZ DE SOUZA
Keyword(s):  
Popular Music ◽  
Structural Organization ◽  
Cultural Industry ◽  
Brazilian Music ◽  
Music Scene ◽  
Musical Production

<p><strong>Resumo:</strong> Este trabalho possui dois objetivos distintos, porém complementares. O primeiro visa pensar a estruturação do mercado fonográfico brasileiro durante a década de 1970, focando a inserção do cantor e compositor Raul Seixas no mesmo. O segundo objetivo é o de analisar o LP Krig-ha Bandolo! de Raul Seixas, lançado em 1973, pela Philips, como forma de compreendermos as possíveis relações existentes entre a sua produção musical e as demandas comercias e simbólicas que sobre ele recaiam.</p><p><strong>Palavras-chave:</strong> Raul Seixas – Música Popular – Rock e Indústria Cultural na Década de 1970.</p><p> </p><p><strong>Abstract:</strong> This paper has two distinct goals, however they complement each other. The first one aims to think the structural organization of the Brazilian phonographic market during the 70s, focusing on the participation of the singer and songwriter Raul Seixas. The second goal is the analysis of Raul Seixas’ LP Krig-ha Bandolo!, released in 1973 by Philips, as a way of understanding the possible existing relations between him and his musical production and the commercial and symbolic demands that he had to deal with.</p><p><strong>Keywords:</strong> Raul Seixas – Popular Music – Rock and 1970's cultural industry.</p>

scholarly journals Documentary shooting and samba

2020 ◽  
pp. 48-66
Author(s):  
Albert Elduque
Keyword(s):  
Popular Music ◽  
Technical Approach ◽  
Brazilian Music ◽  
Young Professional ◽  
Music Scene ◽  
Cultural Mediators ◽  
History Of ◽  
Professional Singer

This article addresses the film Partido alto (Leon Hirszman, 1976­–1982), a Brazilian music documentary that showcases two sessions of partido-alto, a traditional, improvisation-based genre. The film highlights a separation between the diegetic music world, which is based on improvisation, and the technical approach to register it. First, it foregrounds the process of recording popular music through the noticeable presence of a microphone that strives to follow each singer’s unpredictable interventions. Then, the young professional singer Paulinho da Viola joins in on the performance with nonprofessional singers, working as a mediator between the official music scene and popular traditions. I suggest that, by using cameras and microphones to approximate a popular, nonrecorded form of art, the film raises some crucial issues in the history of samba. In particular, the ways in which cinematic techniques such as the sequence shot and voiceover are employed in the film allows us to reflect on the dichotomy between improvisation and recording, as well as the role of cultural mediators. Paulinho da Viola lies at the centre of these strategies, for he assumes an expert commentator and interviewer role, while also being a participant in the popular community.

scholarly journals The Music of Brazil in the Eyes of Anglo-American Academic Literature

Per Musi ◽  
2018 ◽  
Author(s):  
Silvano Fernandes Baia
Keyword(s):  
Popular Music ◽  
Critical Reading ◽  
Brazilian Music ◽  
Academic Literature ◽  
Musical Production ◽  
Anglo American ◽  
American Academic

This paper presents an analysis of the literature on Brazilian music written in English and developed by Anglo-American researchers. Based on a critical reading of texts published in books dedicated to Brazilian music, it identifies prevalent themes and approaches in such circuits, as well as indicating recurring concepts and trends that underpin the discourses present in such texts. From this overview, interpretations emerge on the country's musicality and on how Brazil is seen by means of the study of their music. Besides a valorization of certain approaches and part of the musical production – popular music and some specific genres – many social, political and cultural conceptions surface in this context in which there is a circulation of ideas about a Brazil written in English.

Pop and the Nation-State: towards a theorisation

Popular Music ◽  
1999 ◽  
Vol 18 (2) ◽  
pp. 193-207 ◽  
Author(s):  
Martin Cloonan
Keyword(s):  
Popular Music ◽  
State Level ◽  
The Other ◽  
Nation State ◽  
Popular Music Studies ◽  
Music Scene ◽  
The One

Recent years have seen two noticeable trends in Popular Music Studies. These have been on the one hand a series of works which have tried to document the ‘local’ music scene and, on the other, accounts of processes of globalisation. While not uninterested in the intermediate Nation-State level, both trends have tended to regard it as an area of increasingly less importance. To state the matter more boldly, both trends have underplayed the continually important role of the Nation-State.

“Peculiar ‘Til I D.I.E.”

Flaming? ◽  
2020 ◽  
pp. 115-148
Author(s):  
Alisha Lola Jones
Keyword(s):  
Popular Music ◽  
Black Male ◽  
Washington Dc ◽  
Music Scene ◽  
Same Gender ◽  
Male Homosociality ◽  
Shed Light

Focusing on Washington, DC’s gospel go-go music scene in the early 2000s, chapter 4 highlights the role of an understudied popular music in performances of socioculturally preferred black male homosociality. This chapter examines men’s performances against the stereotype of the softer, woman-like, flamboyant male vocalist through research on a percussion-heavy music from Washington, DC called gospel go-go. In essence, the go-go music band is a symbolic composite of perspectives associated with the unmarked male-dominant categories of the musicians’ pit and absentee men, who are talking back, providing musical contestation of the duplicitous preacher and choir director stereotypes. Chapter 4 aims to shed light on the musical and performative properties of male homomusicoenrapture and homosonoenrapture, the same-gender musical and sonic textures and visual dynamics that stimulate intense enjoyment while enveloping and propelling gospel go-go participants.

Adopting imports: new images and alliances in Brazilian popular music of the 1990s

Popular Music ◽  
1999 ◽  
Vol 18 (3) ◽  
pp. 309-329 ◽  
Author(s):  
Cristina Magaldi
Keyword(s):  
Popular Music ◽  
Urban Youth ◽  
State Of The Art ◽  
Electronic Apparatus ◽  
Music Scene ◽  
Bossa Nova ◽  
The 1960S ◽  
Political Scene ◽  
Musical Styles

Anyone visiting Brazil today in search of an idealised ‘Brazilian Sound’ might, at first, be disappointed with the popular music scene. The visitor will soon realise that established musical styles such as bossa nova and MPB (Música Popular Brazileira (Brazilian Popular Music)), with their well-defined roles within the Brazilian social and political scene of the 1960s, 1970s, and early 1980s, have lost their immediate appeal with some contemporary audiences, and especially with Brazilian urban youth. In the 1990s, Brazilian radio and TV are saturated with a variety of new local genres that borrow heavily from international musical styles of all kinds and use state-of-the-art electronic apparatus. Hybrid terms such assamba-rock, samba-reggae, mangue-beat, afro-beat, for-rock(a contraction of forró and rock),sertaneja-country, samba-rap, andpop-nejo(a contraction of pop andsertanejo), are just a few examples of the marketing labels which are loosely applied to the current infusion of international music in the local musical scene.

Gender Differences of Popular Music Production in Secondary Schools

2011 ◽  
Vol 59 (1) ◽  
pp. 21-43 ◽  
Author(s):  
Joseph Michael Abramo
Keyword(s):  
Gender Differences ◽  
Learning Styles ◽  
Music Education ◽  
Popular Music ◽  
Original Music ◽  
Music Production ◽  
Musical Production ◽  
Music Class ◽  
Opposite Gender

In this case study, the author inv estigated how students’ gender affected their participation in a secondary popular music class in which participants wrote and performed original music. Three same-gendered rock groups and two mixed-gendered rock groups were observ ed. Would students of different genders rehearse and compose differently? How would same-gendered processes compare to mixed-gendered processes? Research suggests that girls learn differently from boys and that gender—as distinct from sex—is formed in social env ironments. In research on popular music education, howev er, the participation of girls has been under-documented and under-theorized. This study found that boys and girls rehearsed and composed differently: Whereas the boys combined musical gestures and nonv erbal communication into a seamless sonic process, the girls separated talk and musical production. In the mixed-gendered groups, tensions arose because participants used different learning styles that members of the opposite gender misunderstood. Broadening popular music pedagogies to incorporate different practices is suggested.

Kiwi rock: popular music and cultural identity in New Zealand

Popular Music ◽  
1994 ◽  
Vol 13 (3) ◽  
pp. 261-278 ◽  
Author(s):  
Roy Shuker ◽  
Michael Pickering
Keyword(s):  
New Zealand ◽  
Cultural Identity ◽  
Popular Music ◽  
Commercial Success ◽  
Music Scene ◽  
History Of ◽  
Comprehensive History

The New Zealand popular music scene has seen a series of high points in recent years. Published in 1989 were John Dix's labour of love, Stranded in Paradise, a comprehensive history of New Zealand rock'n'roll; an influential report by the Trade Development Board, supportive of the local industry; and the proceedings of a well-supported Music New Zealand Convention held in 1987 (Baysting 1989). In the late 1980s, local bands featured strongly on the charts, with Dave Dobbyn (‘Slice of Heaven’, 1986), Tex Pistol (‘The Game of Love’, 1987) and the Holiday Makers (‘Sweet Lovers’, 1988) all having number one singles. Internationally, Shona Laing (‘Glad I'm Not A Kennedy’, 1987) and Crowded House (‘Don't Dream It's Over’, 1986) broke into the American market, while in Australia many New Zealand performers gathered critical accolades and commercial success.

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