Orality and Capitalist Logic in the Music of Samba Schools (1)
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Types of Dance Styles
Types of Dance Styles International Standard Ballroom Dances Ballroom Dance: Ballroom dancing is one of the most entertaining and elite styles of dancing. In the earlier days, ballroom dancewas only for the privileged class of people, the socialites if you must. This style of dancing with a partner, originated in Germany, but is now a popular act followed in varied dance styles. Today, the popularity of ballroom dance is evident, given the innumerable shows and competitions worldwide that revere dance, in all its form. This dance includes many other styles sub-categorized under this. There are many dance techniques that have been developed especially in America. The International Standard recognizes around 10 styles that belong to the category of ballroom dancing, whereas the American style has few forms that are different from those included under the International Standard. Tango: It definitely does take two to tango and this dance also belongs to the American Style category. Like all ballroom dancers, the male has to lead the female partner. The choreography of this dance is what sets it apart from other styles, varying between the International Standard, and that which is American. Waltz: The waltz is danced to melodic, slow music and is an equally beautiful dance form. The waltz is a graceful form of dance, that requires fluidity and delicate movement. When danced by the International Standard norms, this dance is performed more closely towards each other as compared to the American Style. Foxtrot: Foxtrot, as a dance style, gives a dancer flexibility to combine slow and fast dance steps together. -
The Dance Series from Ortofon Is Now Complete – MC Tango Joins MC Samba & MC Salsa for Almost Sixty Years, Ortofon Has
March, 2007 The dance series from Ortofon is now complete – MC Tango joins MC Samba & MC Salsa For almost sixty years, Ortofon has been at the forefront of music reproduction from analogue records. Throughout the years Ortofon have developed many new and creative designs for the enjoyment of music lovers and audio enthusiasts all over the world. WHY AN ORTOFON MOVING COIL CARTIDGE? Many have asked the question: Why is the sound of a moving coil cartridge so superior to that of a traditional magnetic: The answer in one word is linearity. The patented Ortofon low-impedance, low-output design is inherently linear over the entire audible range. This coupled with unequalled tracking ability and unique diamond profiles combines to deliver a sound previously deemed unattainable. The MC Tango, MC Samba and MC Salsa is a direct result of our endeavours. MC Tango has an elliptical diamond which is cut and polished to Ortofon’s standards, and the output is 0.5 mV. The MC Tango is our MC entry level cartridge with a very high cost/performance ratio. MC Samba and MC Salsa have a tiny, nude Elliptical or Fine Line diamond, mounted on a very light and rigid cantilever. This results in low equivalent stylus tip mass and cantilever compliance on 14 and 15 µm/mN, which means that MC Samba and MC Salsa will give excellent results with virtually any tone arm. The armature has been designed as a tiny lightweight cross, and the coils are mounted at exactly 90 degree to each other (just like the walls of the record groove), which is improving the channel separation. -
Becoming Global and the New Poverty of Cities
USAID FROM THE AMERICAN PEOPLE BECOMING GLOBAL AND THE NEW POVER Comparative Urban Studies Project BECOMING GLOBAL AND THE NEW POVERTY OF CITIES TY OF CITIES This publication is made possible through support provided by the Urban Programs Team Edited by of the Office of Poverty Reduction in the Bureau of Economic Growth, Agriculture and Trade, U.S. Agency for International Development under the terms of the Cooperative Lisa M. Hanley Agreement No. GEW-A-00-02-00023-00. The opinions expressed herein are those of the Blair A. Ruble authors and do not necessarily reflect the views of the U.S. Agency for International Development or the Woodrow Wilson Center. Joseph S. Tulchin Woodrow Wilson International Center for Scholars 1300 Pennsylvania Ave., N.W. Washington, DC 20004 Tel. (202) 691-4000 Fax (202) 691-4001 www.wilsoncenter.org BECOMING GLOBAL AND THE NEW POVERTY OF CITIES Edited by Lisa M. Hanley, Blair A. Ruble, and Joseph S. Tulchin Comparative Urban Studies Project Woodrow Wilson International Center for Scholars ©2005 Woodrow Wilson International Center for Scholars, Washington, DC www.wilsoncenter.org Cover image: ©Howard Davies/Corbis Comparative Urban Studies Project BECOMING GLOBAL AND THE NEW POVERTY OF CITIES Edited by Lisa M. Hanley, Blair A. Ruble, and Joseph S. Tulchin WOODROW WILSON INTERNATIONAL CENTER FOR SCHOLARS Lee H. Hamilton, President and Director BOARD OF TRUSTEES Joseph B. Gildenhorn, Chair; David A. Metzner, Vice Chair. Public Members: James H. Billington, The Librarian of Congress; Bruce Cole, Chairman, National Endowment for the Humanities; Michael O. Leavitt, The Secretary, U.S. Department of Health and Human Services; Condoleezza Rice, The Secretary, U.S. -
1 -A Análise Sociológica De Letras De Música
UNIVERSIDADE DE BRASÍLIA INSTITUTO DE CIÊNCIAS SOCIAIS PROGRAMA DE PÓS-GRADUAÇÃO EM SOCIOLOGIA A Análise Social nas Letras das Canções de Lupicínio Rodrigues Daniel de Almeida Pinto Kirjner Professora Doutora Maria Angélica Brasil Gonçalves Madeira Orientadora Banca: Prof. Doutor Marcelo Carvalho Rosa (UnB) Banca:Maria Therezinha Ferraz Negrão de Mello (UnB) Brasília Março de 2011 1 UNIVERSIDADE DE BRASÍLIA INSTITUTO DE CIÊNCIAS SOCIAIS PROGRAMA DE PÓS-GRADUAÇÃO EM SOCIOLOGIA A Análise Social nas Letras das Canções de Lupicínio Rodrigues Daniel de Almeida Pinto Kirjner Dissertação apresentada ao Departamento de Sociologia da Universidade de Brasília/UnB como parte dos requisitos para a obtenção do título de mestre. Brasília Março de 2011 2 Sumário I – Agradecimentos...............................................................................................................................4 II - Introdução ......................................................................................................................................5 1 - A Análise Sociológica de Letras de Música....................................................................................8 1.1 - Samba-canção: Fratura e Paixão.........................................................................................9 1.2 – Lupicínio Rodrigues: o Feminino, o Masculino e Suas Relações. .................................15 1.3 – Contribuições de Teorias da Ação...................................................................................30 1.3.1 – A Agência -
Brazilian Choro
The Brazilian by Tadeu Coelho and Julie Koidin Choro: Historical Perspectives and Performance Practices alanço is to choro as swing is to jazz—in both, mandatory elements to proper performance Band enjoyment of the music. Immersion in the sound of choro is imperative to playing it well. Knowledge of its origins and history is also helpful. Introduction the melody through spirited improvisations, sometimes David Willoughby, editor of the College Music Society quoting other melodies, from popular to classical styles. Newsletter, posed these questions: Should it not be a con- Although easier to decipher these performance intricacies stantly sought after goal for musicians trained in narrow via recordings, it still remains difficult—although not specialties to work together towards broader musical impossible—to catch the “twinkle” in the performer’s eye. understandings and towards the creation of a more Choro’s limited dissemination is furthered by its lack of vibrant musical culture? Should such a culture comprise accurate printed music. The vast majority of sheet music only materials imported from Western Europe? Should it publications have accompaniment that is written in a lead not synthesize musical repertories, of various kinds, from sheet format, i.e. chord symbols over melody. Without a all over the world?1 recording, it would be impossible to decipher the rhythms Throughout the world, the tradition of a country studying used in the accompaniment. The numerous errors found in its own cultural practices is not inceptive with its art. Such is the majority of publications, both in the melodic lines and the case of the choro, an indigenous music of Brazil, mostly chord symbols, further infringe on the probability of the instrumental, but at times with lyrics. -
Samba, Rumba, Cha-Cha, Salsa, Merengue, Cumbia, Flamenco, Tango, Bolero
SAMBA, RUMBA, CHA-CHA, SALSA, MERENGUE, CUMBIA, FLAMENCO, TANGO, BOLERO PROMOTIONAL MATERIAL DAVID GIARDINA Guitarist / Manager 860.568.1172 [email protected] www.gozaband.com ABOUT GOZA We are pleased to present to you GOZA - an engaging Latin/Latin Jazz musical ensemble comprised of Connecticut’s most seasoned and versatile musicians. GOZA (Spanish for Joy) performs exciting music and dance rhythms from Latin America, Brazil and Spain with guitar, violin, horns, Latin percussion and beautiful, romantic vocals. Goza rhythms include: samba, rumba cha-cha, salsa, cumbia, flamenco, tango, and bolero and num- bers by Jobim, Tito Puente, Gipsy Kings, Buena Vista, Rollins and Dizzy. We also have many originals and arrangements of Beatles, Santana, Stevie Wonder, Van Morrison, Guns & Roses and Rodrigo y Gabriela. Click here for repertoire. Goza has performed multiple times at the Mohegan Sun Wolfden, Hartford Wadsworth Atheneum, Elizabeth Park in West Hartford, River Camelot Cruises, festivals, colleges, libraries and clubs throughout New England. They are listed with many top agencies including James Daniels, Soloman, East West, Landerman, Pyramid, Cutting Edge and have played hundreds of weddings and similar functions. Regular performances in the Hartford area include venues such as: Casona, Chango Rosa, La Tavola Ristorante, Arthur Murray Dance Studio and Elizabeth Park. For more information about GOZA and for our performance schedule, please visit our website at www.gozaband.com or call David Giardina at 860.568-1172. We look forward -
The Traditional Samba School Dance As a Performative Experience
The traditional samba school dance as a performative experience Renata de Sá Gonçalves Universidade Federal Fluminense Rio de Janeiro – RJ – Brasil [email protected] The anthropologist Evans-Pritchard criticizes that in ethnological approaches dance is often viewed as an independent activity and is described without reference to its contextual setting in native life (PRITCHARD, 1928). In his analysis of the Zande beer dance, the author emphasizes that dance always requires a stereotyped form, a prescribed mode of performance, concerted activities, recognized leadership and elaborate organization and regulation. Howard Becker talking about music, literature, theatre, dance and all the possible arts lightened not the artist genius but the collective activities and social conventions that composes an art world and operates a social system (BECKER, 1982). The main objective of this communication is to demonstrate that the Rio samba school carnival, as a collective activity, configures itself as a “popular art world” with specific rules, procedures and evaluation criteria composing his owns aesthetic conventions that are communally made and experienced. In this world, the samba school directory, the school members, the competition jury committee, the critics, the media, the researchers and finally, the audience act together. I will restrict the present analysis to a dance performed by a special couple in the Rio samba school parades - the couple of major-domo or “mestre- sala” 1 and flag-bearer or “porta-bandeira” 2 - as a representative example of an idea of tradition. Who are the couple? The ambiguous character of this couple is defined by its specific dance that is slower than the samba rhythm, by their typical acts, gentle gestures, positions, looks, smiles, improvisation and by their antique customs. -
Samba: Um Ritmo Negro De Resistência [ Samba: a Black Rhythm of Resistance
Samba: um ritmo negro de resistência [ Samba: a black rhythm of resistance Amailton Magno Azevedo1 Este artigo contém partes modificadas da tese de doutorado A memória musical de Geraldo Filme – os sambas e as micro-áfricas em São Paulo (PUC-SP, 2006). RESUMO • Este artigo pretende situar o sam- This article aims to situate samba under the ba sob o prisma da crítica pós-colonial, que prism of postcolonial, criticism that allows permite uma abordagem sobre a cultura ne- an approach to black culture as a challenge to gra como uma contestação à modernidade. modernity. It should be noted that the article Importa destacar que o texto se organizou a was organized from the following problema- partir das seguintes questões problematiza- tizing questions: black style, black body and doras: estilo negro, corpo negro e microáfri- micro-Africa. I defend a rearrangement on ca. Defendo um rearranjo sobre historiografia historiography that dealt with samba. That que tratou do samba. Que suas origens se en- their origins are found in Bahia and Rio de contram na Bahia e Rio de Janeiro já se sabe; Janeiro and Bahia is already known; what is o que é necessário é observar que o mapa do needed is to observe that the samba map is samba é dilatado, fluido e multidirecional. dilated, fluid and multidirectional. From this A partir desse rearranjo, pretende-se pensar rearrangement, we intend to think of the city a cidade de São Paulo deslocada do chavão of São Paulo displaced from the buzzword that que sempre lhe foi atribuído, como túmulo has always been attributed to it, as a tomb or ou algo parecido, quando se trata de samba. -
Brasilian Rhythms and Drumming Techniques
BRASILIAN RHYTHMS AND DRUMMING TECHNIQUES Dr. Jason Koontz Director of Percussion Studies Eastern Kentucky University GENERAL CHARACTERISTICS OF AFRO-BRASILIAN MUSIC *Call and response *Rhythmic complexity (syncopation & polyrhythm) *Structure based on melodic/rhythmic ostinato patterns *Use of timeline/clave *Music as means of communal participation SAMBA - AFRO-BRASILIAN URBAN POPULAR SONG/DANCE FORM Carnival samba (e.g. Samba Batucada and Samba Enredo (Rio,São Paulo), Axé (Bahia) §Characterized by heavy percussion, songs about themes presented in Carnival Pagode (Year-round) samba §Characterized by light percussion and plucked string accompaniment (guitar, cavaquinho) §Songs often satiric, witty, improvised Partido Alto Rhythm Variations A ™2 ≈ ¿™ ¿ ¿ ¿ ¿ ≈ ¿ ¿ ™ / 4 J 3 B ™ ¿ ¿ ≈ ¿ ¿ ≈ ¿™ ¿ ¿ ™ / J 5 C ™ ≈ ¿ ¿ ‰ ¿ ¿ ¿ ¿™ ¿ ™ / J 7 D ™ ≈ ¿ ¿ ‰ ¿ ¿ ¿ ≈ ¿ ¿ ™ / J 9 E *"palma da mão" rhythm ™ ¿™ ¿ ‰ ¿ ¿™ ¿ ‰ ¿ / J J PAGODE INSTRUMENTS: Surdo de Mão – Bass drum instrument played with the hand (a.k.a. Tan Tan, Rebolo) Tamborim (tom-boo-reem), a small single-headed frame drum Pandeiro, (pahn-dey-roo) a tambourine Reco-Reco (hecko-hecko) – scraped metal spring instrument (like a metal Guiro) Cuica (Kwee-Ka) friction drum Cavaquinho – Brasilian counterpart to the Portuguese Cavaquinho, and Ukulele (steel strings G-D-B-G) Pagode (pah-go-jee) rhythms A pattern 1 B pattern 2 > > > > > > > > ° ™2 œ œ œ ™ ™ œ œ œ œ œ œ œ œ ™ Cuíca / ™4 ≈ œ œ œ ≈ œ œ ™ ™ œ œ œ œ œ œ œ œ ™ ™2 ≈ ≈ ™ ™ ≈ ≈ ™ Tamborim / ™4 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ™ ™ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ™ *"Teleco-teco" rhythm (based on Partido Alto) >. >. >o >. >. >. >o >. ™ o o ™ ™ ™ 2 >¿ >¿ o >¿ ≈ o o ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ Pandeiro / ™4 ≈ œ œ œ œ œ ™ ™ œ œ œ œ œ œ œ œ ™ t f h f t f h f t f h f t f h f . -
Relatório De Ecad
Relatório de Programação Musical Razão Social: Empresa Brasileira de Comunicação S/A CNPJ: 09.168.704/0001-42 Nome Fantasia: Rádio Nacional do Rio de Janeiro Dial: 1130 Khz Cidade: UF: Data Hora Nome da música Nome do intérprete Nome do compositor Gravadora Vivo Mec. 01/04/2020 11:43:40 QUERO TE ENCONTRAR Claudinho & Buchecha X 01/04/2020 16:07:29 Um novo tempo Ivan Lins Marcos Valle/Paulo Sérgio Valle X Nelson Motta 01/04/2020 16:31:11 Maria Fumaça Banda Black Rio Luiz Carlos X Oderdan 01/04/2020 16:35:27 Olhos coloridos Seu Jorge & Sandra de Sá Macau X 01/04/2020 20:00:43 Juventude Transviada Luiz Melodia & Cassia Eller Luiz Melodia X 01/04/2020 20:05:13 Amores Possíveis Paulinho Moska João Nabuco/Totonho Villeroy X 01/04/2020 20:07:31 Me faz um dengo - Disritmia Roberta Sá & Martinho da Vila Martinho da Vila X 01/04/2020 20:12:50 Cigana (ao vivo) Raça Negra Gabu X 01/04/2020 20:15:54 Encontros e Despedidas Maria Rita Milton Nascimento/Fernando Brant X 01/04/2020 20:19:54 A Francesa Cláudio Zóli Antonio Cicero e Claudio Zoli X 01/04/2020 20:23:53 Tive Sim Cartola Cartola X 01/04/2020 20:26:02 Sem Compromisso Marcos Sacramento Geraldo Pereira/Nelson Trigueiro X 01/04/2020 20:28:33 Um Homem Também Chora Gonzaguinha Gonzaguinha X 01/04/2020 20:31:58 Apesar de Cigano Jorge Vercilo Altay Veloso X 01/04/2020 20:36:25 Só depois (ao vivo no morro) Grupo Revelação Carlos Caetano/Claudemir/Charles Bonfim X 01/04/2020 20:39:39 A Voz Do Morro Zé Renato Zé Ketti X 01/04/2020 20:43:03 Vitoriosa Ivan Lins Ivan Lins/Vitor Martins X 01/04/2020 20:46:57 -
Corpos Desfilantes De Joãozinho Da Goméia
ISSN:1984-9540 DOI: 10.12957/periferia.2020.55012 CANDOMBLÉS E CARNAVAIS: CORPOS DESFILANTES DE JOÃOZINHO DA GOMÉIA Leonardo Augusto Bora1 Gabriel Haddad Gomes Porto2 Vinícius Ferreira Natal3 RESUMO O trabalho investiga a presença de Joãozinho da Goméia enquanto “destaque de luxo” em desfiles de escolas de samba da cidade do Rio de Janeiro, no final da década de 1960 e no início da década de 1970. Objetiva-se, com isso, o estabelecimento de conexões entre o universo dos “barracões” das religiões de matrizes africanas e a complexidade dos “barracões” das agremiações carnavalescas. De início, as relações históricas entre escolas de samba, cosmogonias negro-africanas e sociabilidades de terreiros são problematizadas, com base em proposições teóricas de nomes como Paul Gilroy e Muniz Sodré. Num segundo momento, a partir da prospecção bibliográfica e do recorte de fragmentos jornalísticos, são apresentados apontamentos sobre a importância dos destaques de carnaval, com ênfase em personagens desempenhados por João da Goméia em desfiles de 1969 e 1970, em escolas como Império Serrano, Império da Tijuca e Imperatriz Leopoldinense. Depois, as lentes investigativas são direcionadas para a reinterpretação visual de algumas fantasias utilizadas pelo Babalorixá, conforme o proposto no decorrer do desfile de 2020 do GRES Acadêmicos do Grande Rio, cujo enredo Tata Londirá: o Canto do Caboclo no Quilombo de Caxias dedicou um “setor” (o equivalente a um capítulo de uma narrativa) aos corpos desfilantes do personagem homenageado. Conclui-se, por fim, que João da Goméia pode ser compreendido enquanto agente mediador que transitava por círculos culturais distintos, mesclando, na sua corporeidade carnavalesca, os saberes trocados nos terreiros de Candomblé e as vivências nas quadras (outrora chamadas “terreiros”) e nos barracões do “maior show da Terra”. -
“O Que É Que a Bahiana Tem”--Carmen Miranda (1939) Added to the National Registry: 2008 Essay by Katherine Bishop-Sanchez (Guest Post)*
“O Que é que a Bahiana tem”--Carmen Miranda (1939) Added to the National Registry: 2008 Essay by Katherine Bishop-Sanchez (guest post)* Carmen Miranda Early label In 1938, the Brazilian actress and popular singer Carmen Miranda (1909-1955) starred in her fifth Brazilian produced film, “Banana da Terra” (Sonofilms) and performed, among several musical numbers, the samba “O que é que a baiana tem?” composed by Dorival Caymmi. This samba would become Miranda’s signature song, indelibly connecting the Brazilian singer to the figure of the baiana or Afro-Brazilian woman from Bahia. In Brazil, Miranda recorded the song with Dorival Caymmi at Odeon Records in 1938, and then again with her band, Bando da Lua, at Decca USA, in December 1939. The title of this song can be translated as “What does the girl from Bahia have?” making reference to the Afro-Brazilian women from Bahia who can be seen in urban centers throughout Brazil selling their savory dishes on street corners. Their typical dress includes a wide, often white, hooped skirt, a loose-fitting cotton blouse trimmed with wide lace, a striped shawl draped over the shoulder or around the waist, a turban, sandals, and numerous necklaces and bracelets. The typical baiana dress is a staple of Carnival festivities, candomblé religious ceremonies and other religious festivities throughout Brazil such as the popular festivals of Bonfim in Salvador, Bahia. A large ensemble of women dressed as baianas has been one of the most important wings of official samba school Carnival parades since the early 1930s. Carmen Miranda’s performance of “O que é que a baiana tem?” in “Banana da Terra” became memorable because of the synergy between her costume and the lyrics of the song.