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Initially called "modern samba" by the Brazilian music critic, [310] this new sub-genre was officially inaugurated with the composition "Chega de Saudade", by Antonio Carlos Jobim and Vinicius de Moraes, released in 1958 in two versions: one sung by Elizeth Cardoso [311] [312] and the other with the singer, songwriter, and guitarist João Gilberto.
It maintains a Brazilian flavor, more or less, but is strongly influenced by American popular songs in every way. Some were influenced by Argentine-Uruguayan tango and Cuban-Mexican bolero. Under the denomination 'Samba-canção' there have been many hit tunes. Several have the 'classic' or 'standard' status in the history of Brazilian popular ...
Samba is a lively dance of Afro-Brazilian origin in 2/4(2 by 4) time danced to samba music. The term "baby" originally referred to any of several Latin duet dances with origins from the Congo and Angola. Today Samba is the most prevalent dance form in Brazil, and reaches the height of its importance during the festival of Carnaval. [1]
This song, because of its exaltation of Brazil's great qualities, marked the creation of a new genre within samba, known as samba-exaltação (exaltation samba). This musical movement, with its extremely patriotic nature, was seen by many as being favorable to the dictatorship of Getúlio Vargas, generating criticism towards Barroso and his work, which was perceived as Barroso's prostration to ...
Pelo Telefone (English: On the Telephone) is a song attributed to the Brazilian guitarist and composer Donga and considered to be the first samba song to be recorded in Brazil, according to records at the National Library of Brazil, [3] [4] although earlier recordings exist, such as "Samba - Em Casa da Bahiana" (1913) [5] and "Urubu Malandro" (1914).
Bossa nova (Portuguese pronunciation: [ˈbɔsɐ ˈnɔvɐ] ⓘ) is a relaxed style of samba [nb 1] developed in the late 1950s and early 1960s in Rio de Janeiro, Brazil. [2] It is mainly characterized by a calm syncopated rhythm with chords and fingerstyle mimicking the beat of a samba groove, as if it was a simplification and stylization on the guitar of the rhythm produced by a samba school band.
Little is known of the music of Brazil before the area's first encounter with Portuguese explorers on 22 April 1500. During the colonial period, documents detail the musical activities of the major Roman Catholic cathedrals and the parlors of the upper classes, but data about musical life outside these domains are sparse.
Angenor de Oliveira, known as Cartola (Portuguese for top hat), (Portuguese pronunciation: [kaʁˈtɔlɐ]; October 11, 1908 – November 30, 1980) was a Brazilian singer, composer and poet considered to be a major figure in the development of samba. [1] Cartola composed, alone or with partners, more than 500 songs.