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We decided to organize a carnival bloc, even without a license, that could allow us to go out at the carnival and do samba all year round.
Organization and respect, without fights or huffing, were important. We were malandros, in a good way, but vagabonds weren't.
Although broadcasting in Brazil was officially inaugurated in ,  it was still an incipient and technical, experimental and restricted telecommunication medium.
A Vargas decree regulating radio advertising was crucial to the commercial, professional and popular transformation of Brazilian broadcasting.
This expansion of radio as a medium of mass communication enabled the formation of professional technicians linked to sound activities, as well as for singers, arrangers and composers.
In this golden age of radio broadcasting in Brazil, a new generation of composers from the middle class emerged, such as Ary Barroso , Ataulfo Alves , Braguinha , Lamartine Babo and Noel Rosa , who have built successful careers in this media.
The consolidation of samba as the flagship of the radio programming of Rio de Janeiro was characterized by the association of the musical genre with the image of white artists, who, even when proletarianized, were more palatable to the preference of the public, while the poor black sambistas remained normally on the sidelines of this process as a mere supplier of compositions for the white performers or as instrumentalists accompanying them.
The consolidation of samba among Brazilian elites was also influenced by the valorization of the ideology of miscegenation in vogue with the construction of nationalism under the Getulio Vargas regime.
Under Vargas, samba had an expressive weight in the construction of an image of Brazil abroad and was an important means of cultural and tourist dissemination of the country.
The rise of samba as a popular musical genre in Brazil also relied on its dissemination in Brazilian cinema , especially in musical comedies, being an integral part of the soundtrack, the plot or even the main theme of the cinematographic work.
Thanks to its economic exploitation through the radio and the records, samba not only became professional,  but also diversified into new sub-genres,  many of which were different from the hues originating in the hills of Rio de Janeiro  and established by the interests of the Brazilian music industry.
Basically, Carnaval was reserved for the launch of marchinhas and sambas-enredo , a sub-genre typified in this way in the s because of the lyrics and melody, which must comprise the poetic summary of the theme chosen by the samba school for its carnival parade.
At the turn of the s, samba de breque emerged, a sub-genre marked by a markedly syncopated rhythm and sudden stops called breques from English word break , Brazilian term for car brakes ,  to which the singer added spoken comments, generally humorous in character, alluding to the theme.
After the end of the World War II and the consequent growth in the production of consumer goods, radio sets spread in the Brazilian market in different models and at affordable prices to the different social class of the Brazilian population.
At a time when the appeal to the traditional was gaining new momentum, bossa nova would mark the entire structure of creation and listening supported by established genres, considering that it sought a renewal within the tradition of samba.
Consolidated in the following years as a type of concert samba, non-dancing, and comparable to American cool jazz ,  bossa nova has become a sambistic sub-genre of great reputation on the Brazilian music scene and, with its rhythm, more assimilable abroad than traditional samba, became known worldwide.
In addition to bossa nova, other new samba sub-genres emerged in this period between the late s and early s.
The rise of nightclubs as the main nightlife venues in Rio disseminated variety shows with the participation of sambistas and samba dancers,  mainly performed by instrumental musical ensemble with keyboard , eletric guitar , acoustic bass guitar , drums and percussion , and performed by crooners.
The period was also characterized by the profusion of some partner dance samba styles. Between and , Brazil experienced a huge growth in the production and consumption of cultural goods.
Another important aspect in the phonographic sector of the period was technological, with a modernization of recording studios in Brazil that approached international technical standards,  and the consolidation of foreign record labels in the country, such as EMI and the WEA.
In the stronghold of traditional samba, the first LPs of veteran composers Donga , Cartola and Nelson Cavaquinho were released.
Under this same context of the expansion of samba in the Brazilian phonographic market of the s , the music industry invested in a less traditional and more sentimental line of samba, whose simplified rhythmic structure left percussion — the main feature of samba — a little sideways.
The s were also a time of major changes in Rio de Janeiro samba schools, and the music industry began to invest in the annual production of LPs of the sambas de enredo presented at the carnival parades.
In the s , pagodes became a fever throughout Rio de Janeiro. The debut of this kind of samba in the recording studios occurred in with Fundo de Quintal ,   musical group sponsored by Beth Carvalho.
The novelty of the pagode in the Brazilian music scene occurred at a time of major reorganization of the music industry in the country, whose investments in the first half of the s had been concentrated mainly on Brazilian rock and children's music.
In the s , a new generation of artists emerged who shared, to some extent, similar characteristics, such as the incorporation of musical elements traditionally uncommon in the traditional samba, and a repertoire devoted largely to romantic lyrics.
This distinction was established precisely because the samba made by these new artists and musical groups — although it maintained some similarities with the standard enshrined in the Fundo de Quintal  — did not have the samba musicians of the previous decade as a major musical reference nor did it keep traditional and informal aspects of matrixes of urban samba.
During the second half of the s , the increase in the illegal sale of cassette tapes and, mainly, compact discs caused a deep crisis in the music industry in Brazil,   which worsened, from the s , with the possibility of digital download , often free of charge, of musical works via the internet.
Even so, the first two decades of the 21st century confirmed the pagode as the hegemonic reference of samba in the Brazilian music industry.
Outside the hegemonic commercial scope of the subgenre pagode, the late s was also a period of great visibility and notoriety for the most traditional samba in Rio de Janeiro.
In the institutional field, the Brazilian National Institute of Historic and Artistic Heritage declared in the modern Carioca samba and its matrixes samba de terreiro, partido-alto and samba-enredo as Intangible Cultural Heritage in Brazil.
With basically 2 4 rhythm and varied tempo, the urban samba is played basically by percussion instruments    and accompanied by string instruments.
In certain areas, other wind instruments were added. From Wikipedia, the free encyclopedia. This article is about Brazilian music genre. For the Rio dance, see Samba Brazilian dance.
For Ballroom dance, see Samba ballroom dance. For other uses, see Samba disambiguation. Brazilian musical genre. Not to be confused with Sambo or Zamba.
Brazilian Carnival samba Brazilian dance samba schools. Pelo Telefone. Primeira Linha. Composed by Heitor dos Prazeres. Recording by Benedito Lacerda with accompaniment by Gente do Morro in Samba de fato.
T in Na Pavuna. Composed by Homero Dornelas. Hit in the Rio carnival of Recorded by Mario Reis in Composed by Assis Valente. Recorded by Carmen Miranda in Main percussion instruments of urban samba.
He asked me if he wanted to sell samba to Chico Viola [Francisco Alves]. A hundred thousand reis was what he offered.
I accepted quickly and the samba, which became his property, appeared with my name. I was angry, of course.
The same was true of other samba dancers: they sold songs that appeared as if they were from buyers. Samba, no longer that samba inscribed in its transit project by society, became the official rhythm of the country, and as such, it has had a history.
Only a story in which the past was remade according to the present. The chorus served as a stimulus for one of the participants to dance samba to the center of the circle and with a gesture or body swing they invited one of the components of the circle to stand upright a term used to mean the individual who stood with their feet up together waiting for the kick that was the attempt to bring down those who were standing up with their feet.
Because when a group started playing, everyone already knew who that group was. Each of these groups had a sound, a characteristic.
Revisiting music theory: a guide to the practice , p. Albin, Ricardo Cravo Alencar, Edigar de Rio de Janeiro: Funarte.
Alvarenga, Oneyda, ed. Musica Popular Brasileira in Portuguese. Porto Alegre: Globo. Benchimol, Jaime Larry Rio de Janeiro: Lumiar.
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Luso-Brazilian Review. Diccionario de vocabulos brazileiros. Imprensa Nacional. Retrieved Vinyl Me Please. Samba-choro Samba-jazz Samba-reggae Sambass.
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She moved to England in and taught Latin American dance. Samba dance has contributed significantly to the development of Samba music. Instruments such as tartan and banjo were introduced with the re-emergence of Samba in the s.
Samba dance is one of the most popular dances in Brazil, and it is a symbol of cultural identity in the country. The dance transcends color and social class and is a unifying element in Brazil.
The dance is an important feature in carnival celebrations in Rio, and it is practiced throughout the year in places such as ballrooms and clubs.
The dance has also inspired competitions across the world, and it is also used for fitness.