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Interscope Records released the film's soundtrack Rio (Music from the Motion Picture) on April 5, 2011 in digital formats, and a physical release on April 12. [ 1 ] [ 2 ] The album produced by the film's composer John Powell , and Brazilian musician Sérgio Mendes , featured collaborations from Brazilian and American artists, along with songs ...
For the samba musicians from the hills of Rio, samba was the last Brazilian stage of Angolan drumming that they proposed to teach to Brazilian society through samba schools. [159] This generational conflict, however, did not last for long, and Estácio's samba established itself as the rhythm par excellence of Rio's urban samba during the 1930s.
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.
The factor that frequently draws the attention of most people to the rhythm is the unusually-accented (syncopated) beat. The absent beat is the strongest characteristic of Samba prompting the listener to dance to fill the gap with her/his body movements. This syncopated rhythm is also an indication of Black resistance against cultural assimilation.
In 1840, the very first Rio masquerade took place, and polka and waltz took center stage. [5] Later in the beginning of the 20th century the Samba and Batucada rhythms classically associated with Rio Carnival were introduced by Afro-Brazilians and Pardos, by adapting different cultural inputs to produce a new musical genre. During this period ...
Rio de Janeiro's carnival alone drew 6 million people in 2018, ... Rhythm, participation, and costumes vary from one region of Brazil to another.
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Northeastern music is a generic term for any popular music from the large region of Northeastern Brazil, including both coastal and inland areas. Rhythms are slower and are derived from guitars instead of percussion instruments like in the rest of Brazil—in this region, African rhythms and Portuguese melodies combined to form maracatu and forró.