Book Description
In the late 1960s, Brazilian artists forged a watershed cultural movement known as Tropicália. Music inspired by that movement is today enjoying considerable attention at home and abroad. Few new listeners, however, make the connection between this music and the circumstances surrounding its creation, the most violent and repressive days of the military regime that governed Brazil from 1964 to 1985. With key manifestations in theater, cinema, visual arts, literature, and especially popular music, Tropicália dynamically articulated the conflicts and aspirations of a generation of young, urban Brazilians.
Focusing on a group of musicians from Bahia, an impoverished state in northeastern Brazil noted for its vibrant Afro-Brazilian culture, Christopher Dunn reveals how artists including Caetano Veloso, Gilberto Gil, Gal Costa, and Tom Zé created this movement together with the musical and poetic vanguards of Sao Paulo, Brazil's most modern and industrialized city. He shows how the tropicalists selectively appropriated and parodied cultural practices from Brazil and abroad in order to expose the fissure between their nation's idealized image as a peaceful tropical "garden" and the daily brutality visited upon its citizens.
Customer Reviews:
A very, very well-done interdisciplinary study.......2004-09-17
Prof. Christopher Dunn has written an impressive book about music and its role in the history and development of Brazilian Counterculture. "Brutality Garden: Tropicalia and the Emergence of a Brazilian Counterculture" begins by covering the history of Brazilian intellectual modernism (modernismo), focusing on the contributions of Oswald de Andrade and Mario de Andrade, as well as the early development of a progressive political impulse in early to mid 20th century Brazil. Two elements emerge early: the growth of a 'orthodox' socialism in the arts and music, and a concern over the authenticity of Brasilian cultural production both for internal consumption and external export. Musically, this concern with authenticity focused on the dual phenomena of Carmen Miranda, and Bossa Nova, both of which carry either heavy non-Brazilian influences and uncomfortable racial stereotypes.
Meanwhile, the progressive impulse is subverted in a right-wing military coup (supported and encouraged by the United States) which profoundly affects the Brazilian arts and the public. Television and Opera maintain a certain degree of freedom from censorship at first, but revolutionary socialism seems unable to articulate an effective resistance.
Enter Caetano Veloso and Gilberto Gil. In this matrix of poltical and nationalistic uncertainty, and through the use of pastiche, dissassociative imagery, irony, parody, and a concern with the everyday frustrations of Brazilians, they construct an insurgent music that gains a wide reach and audience, while mostly flying underneath the dictatorship's radar screen. Refusing the government's attempts to force a highly nationalistic concept of unity on the populace, Tropicalia uses deploys the benign imagery of tropical paradise, only to subvert them with references (sometimes overt, sometimes oblique by necessity) to social and political trauma. The more orthodox leftists, of course, criticize Tropicalia for not directly inciting the masses to act, and instead promoting escapism. Yet Tropicalia's moment in the sun is not only threaded in the past of Brazilian historical discourse on modernity, but serves to feed a growing countercultural movement in Brazilian culture throughout the late 1960s and 1970's. By foregrounding areas of Brazilian socio-economic underdevelopment, Afro-Brazilian religion (Macumba, Candomble), and the historical legacy of Portugese colonialism, Tropicalia stakes out a lasting ground, and a usable past for Brazilian counterculture.
The book is heavy on history, and light on the explicit citation of theory, although its playful and trickster hermeneutic (well suited to its subject matter) is everywhere. Also playing a prominant role in the book is Candomble. Candomble religion plays an imporant role in the history of Tropicalia, and in the larger history of Brazilian metaphor and music. Candomble practices and practitioners occur in artistic discourses concerning the nature and center of Brazilian modernismo. Such as the 1971 painting "Primeria missa no Brasili" by Glauco Rodrigues, the song "Batmacumba" on "Tropicalia , ou panis et circensis" and on Os Mutandes first recording , Veloso's "Triste Bahia," a 1970's pop revival with roots as early as the 1930's. but especially prescient with Gil Gilberto and Veloso, and Gal Costa's tour of "Doces Barbaros" in 1976. 1977 saw Veloso's album "Bicho" and Gilberto Gil's "Refavela," both intimately concerned with Black consciousness and Candomble. Even as 1997 Gil's album "Quanta" wove discourses of the Internet with Orisha worship.
A dense book that weaves from literary and painting analysis to economic development theory and musical hermeneutics--this is a carefully written and edited interdisciplinary work of Cultural History and American/Atlantic Studies.
The author recommends the CD "Tropicalia Essentials" for use with the book. It is available on Amazon.com
After reading the book , I would also suggest "Tropicalia, ou panis et circensis" -- the original release of which appears to have been a crystalizing moment in the Tropicalia movement.
An indispensable overview of Brazilian pyschedelia.......2002-11-11
An outstanding history of the late -1960s surrealist-hippie rock movement known as "tropicalia." Although tons has already been written about Caetano Veloso, Gilberto Gil and the other heroes of the tropicalia scene in the Brazilian press and academia, it's been pretty slim pickings in the English-speaking world... up until now, that is! Christopher Dunn, who co-edited "Brazilian Popular Music & Globalization," skillfully combines hard academic research with a relatively light, conversational prose. This is dense yet captivating material, as Dunn deftly explores the historical and philosophical connections to tropicalia -- an art movement that was originally conceived as cross-genre and multi-media -- and previous Brazilian movements such as modernismo, which was Brazil's homegrown 1920s variant of the "futurist" philosophy that swept through Europe in the early 20th Century. Dunn also deftly tells the story of tropicalia's explosive growth as a subversive, psychedelic musical genre, and the harsh political repression it was met with by the dictatorship which held power from 1964 to 1985. This is a vital book, of interest to the many newfound fans of this wild musical style, or to art historians tracking the worldwide path of dada-ism and surrealist art. Highly recommended.
Book Description
Inadequately described as the John Lennon or the Bob Dylan of his country, Caetano Veloso has virtually personified Brazilian music for thirty-five years. Now, in his long-awaited memoir, he tells the heroic story of how, in the late sixties, he and a group of friends from the Northeastern state of Bahia created tropicalismo, the movement that shook Brazilian culture--and civic order--to its foundations and pushed a nation then on the margins of world politics and economics into the pop avant-garde.
Tropical Truth begins with a childhood in the Bahian hinterland, where Caetano (as Brazilians of all ages now call him) first heard not only the musical traditions of his own country and her Latin neighbors, but also the giants of postwar American song: Frank Sinatra, Ray Charles, Chet Baker, to name but a few. While teenagers in America would soon be enthralled by the primal (and commercial) beat of rock’n’roll, in Brazil it was bossa nova, that sublimely sophisticated music, that was to become the soundtrack of a generation. Inspired above all by bossa nova’s supreme master, João Gilberto, Caetano and his crew would set about creating a totally new sound. Tropicalismo would aim to “cannibalize” the extraordinary beauty and richness of Brazil’s musical past but at the same time to assimilate eclectically the most original elements of Anglo-American pop, an influence many rejected as yet another form of imperialism corrupting Brazil’s “authentic” character.
The birth of tropicalismo coincided with the wave of counterculture sweeping Western nations, but in Brazil that wave would hit the breakwaters of a brutal military junta. While supporting resistance to right-wing oppression (and the terrible social inequities it perpetuated) the tropicalistas nevertheless rejected the automatic connection to the Left and its unreflective nationalism, then the politics de rigueur of the artistic class. Their third way foresaw a Brazil open to free markets but likewise free in itself. It was a vision so subversive of both the political and musical status quo that before long Caetano faced imprisonment and was then forced into exile until the early seventies. But when he returned, it was in triumph: Brazil, no less than the state of her popular music, would never be the same.
Rich with the satisfactions of a novel, weaving the story of a country with that of its most idealistic generation, Tropical Truth recounts the odyssey of a brilliant constellation of artists: Caetano and his sister Maria Bethânia, the queen of Brazilian song; the black musical genius Gilberto Gil, Caetano's closest collaborator, with whom he was jailed and then banished; the great diva Gal Costa; the revolutionary filmmaker Glauber Rocha; the brothers de Campos, those luminaries of concrete poetry, who were among the tropicalistas’ learned mentors. Here is an unparalleled confluence of highbrow and pop, and with it the genesis of what has become one of the most wildly successful cultural exports ever produced by a nation other than the United States.
By turns erudite and playful, dreamlike and confessional, Tropical Truth is an utterly unexpected revelation of Brazil's most famous artist, one of the greatest popular composers of the past century.
Customer Reviews:
Difficult to read in English.......2006-06-30
The problem is the translation. Not knowing Portuguese though, I can only assume that Caetano writes eloquently in his native language. I base this on having watched the DVD Outros Doces Barbaros, the 25th reunion of Doces Barbaros (w/ Gil, Gal, and Bethania). Here, based on the English subtitles, he articulates his ideas very clearly.
BUT, this book is very tedious to read: long complex sentences that I suspect are a result of literal equivalencies i.e. word for word--instead of conceptual ones. I had to start the book 3 times before I could finally finish it. I am a musician who is a great admirer of Brazilian pop music and this book is a great resource and reference tool. If you can wade through the verbiage, it is a very rewarding read. All in all, kudos to Caetano. Just next time, he should hire a better translator.
The wrong writer gives us a much needed book.......2006-05-04
This is a book that needed to be written. I am disappointed both in Caetano Veloso and in the English translation, however.
First, the translation of this book is incredibly annoying because the translator randomly decides to translate the names of some works of art into English and leaves other names in the original Portuguese. For example, I was confused by references to a movie called "Land in Anguish" until I realized Caetano was talking about Glauber Rocha's movie "Terra em Transe." Who in the world knows the movie as "Land in Anguish"? In other cases, song names were left in their originial Portuguese. Why the different treatment?
Besides the unpredictable translation, I admit that I read this book with bias. I have become disappointed and bored with the artistic directions in which Caetano has travelled since the mid-1980s. He has become increasingly self-indulgent, arrogant, and at times down-right condescending and snobby in his media presence and artistic performances, especially through the 1990s.
And so much of that sense of self-importance permeates Caetano's narrative memoir of his 50 year encounter with the Brazilian music industry... first as a fan and then as a music maker. So many events, stories, people, and performances are refracted through the lense of a narrator who feels no modesty at all. What kind of narrator would brag about having great philosophical and metaphysical insights as seven year old? Caetano does. It is interesting how Caetano remembers the origin of the name "Gal Costa." Apparently it was entirely a decision arrived by Guilherme Araujo over Caetano's objections. Over Caetano's Objections? Why does Caetano even think he had the authority to object or to speak for Maria da Gra?a Penna Burgos, either then or now. It is funny that nowhere in the account of the name does Caetano once mention how Gal Costa herself felt about her stage name. Did she like it quickly or was she uncomfortable at first? We don't know. Caetano doesn't care and apparently he doesn't think we should either... although he tells us how HE feels about it... that he now likes it even though it has taken him many years to get used to it... Please!!!
My judgment of Caetano was sealed by his accounts of his marriage to and relationship with his ex-wife. "Poor girl" was all I could think as Caetano describes how reluctantly he walked down the aisle - apparently just to make his future in-laws happy - and with what veiled contempt he holds for his ex-wife and his marriage to her: he subtly calls her "naive" at one point, and never talks about her as having been an intelligent woman or an intellectual, but rather as being "attracted to the literary and artistic milieu". Caetano sums up his wife when he says that his marriage gave him a "youthful happiness of social success (to have a girlfriend!)" and then adds that his wife "Ded? was the right person for that experience." From a historian's point of view, this book - or something like it - needs to have been written. Too much of the history of Brazilian pop music and pop culture from the 1960s is about to become forgotten. BUt it was very painful to wade through Caetano's arrogant, narcissistic dirty laundry just to learn about the history of pop music in Brazil.
best if you know brazil well .......2005-11-19
I read this book in portuguese, when it first came out in Brazil, and i absolutely loved it. This book is not only about Caetano Veloso and his music. Caetano Veloso has a very unique way to see people and to write about them, and in his life he had the privilege to meet some of the most important people in Brazil's cultural scene. In his book he tells us many precious stories about Chico Buarque de Hollanda, Gilberto Gil, Nara Leao, Paulinho da Viola and so many others. Some important moments of his life and also of Brazilian history are also told from a very personal point of view: stories of Caetano and Gil's prison and exile during brazilian dictatorship were specially moving to me. And then there are some fabulous stories about the beginnings of Caetano's carreer, how it all started. Caetano has such an insteresting point of view about everything, it's awesome to be able to get inside his mind, and that's how i felt reading his book. I actually ended up reading it twice. I think though, that this book can be better appreciated by people who really know brazilian music and culture well. Another reviewer mentioned that Caetano talks about lots of "obscure artists", but i don't think this is a true statement. He talks about very important people in brazilian culture, including writers, film directors and musicians. The people he mentions are very known in Brazil,and he also talks about important european and american artists. The people he mentions in his book are not obscure at all. Probably, if you know who he is talking about it makes for a much better reading experience. So, if you have a curious mind and are interested in art, music, and Brazil, this is certainly a wonderful book to read. And, like me, you may want to read it more than once...
An entirely Excellent Book.......2005-05-11
Despite another reviewer's shallow "Gas Attacks" about this work, this is an excellent book that depicts the realities of the revolution intertwined with the cosmos of Brazilian music. Kudos to the writer!
An unusual and fascinating memoir........2005-03-27
If one were to compare "Tropical Truth" with critical writings on Tropicália, it would seem unusual that Caetano Veloso writes more as an observer rather than a central figure in the development of an artistic movement that impacted contemporary Brazilian music. Veloso approaches the subject with remarkable erudition, surprising detachment, and subtle humor; and the result is as much a historical record as it is a meditation on the people, places and events of the time.
My only complaint would be regarding the editing. Veloso writes using long sentences--unwittingly imitating Saramago, perhaps?--and the translation could have used a bit more polish. Otherwise, it is an excellent work from an equally excellent artist.
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- Carmen-the lovely Latin lark lives!
|
Brazilian Bombshell
Martha Gil-Montero
Manufacturer: Dutton Adult
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Binding: Hardcover
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Carmen Miranda - Bananas Is My Business
ASIN: 1556111282 |
Customer Reviews:
Carmen-the lovely Latin lark lives!.......2005-03-04
Carmen Miranda da Cunha was born in Portugal and she with her family moved to Brazil when she was very young.Her family was poor but at a young age she started to sing and eventually she started to carve herself a very respectable notch in the Brazillian music scene.She toured during the thirties with the top flight Latin musicians in her country and with many recordings under her belt before she even landed in the U.S. she was in fact a bona fide star in her native country.
The U.S. recording industry got wind of this unique talent and then Hollywood who beckoned her northward.Determined,talented and driven she went on to conquer Hollywood as she had her home country.But it was the image she created there that many back home decried her for having sold out her principals and herself.Carmen so wanted everyone to like her and she especially couldn't understand the lack of tolerance in Brazil by some for what she was doing in the U.S.After all wasn't she just trying to be a success?
She unfortunately took alot of criticism to heart either from home or elsewhere and she became at times deeply depressed.She relied sometimes on alcohol and other chemical substances to asuage her inner demons but they wouldn't go away.Rest in sanitariums and even shock treatments over time didn't do it and neither did a loveless marriage with an abusive husband.
It was during a taping on Aug.4/55 of a Jimmy Durante show that she had an unexpected fall but quickly recovered.She had not been feeling her self for a while but she carried on and finished taping the show.The next morning at around 2:30AM she left to go to bed and that was the last time her family and friends saw her alive.Such a tragic ending for such a talented woman.
This book is a welcome tome on the life of Carmen but unfortunately the authors' writing gets away from her sometimes and she will devote paragraphs of florid prose on what she thinks Carmen may have thought of at a certain moment in her life.Also her chronology is sloppy as she skips forward then back from chapter to chapter.
In conclusion I would recommend this book,albeit not highly,as there are many things one can learn once you're able to seperate the wheat from the chaff.It does contains alot of photos previously unseen by this writer and contains adecdotes from many who knew her both in Brazil and in the U.S.
I can only hope there comes along another deserved book on this delightful and talented singer/actress but with a more focused and thorough approach to its' subject matter.
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Maracatu Atomico: Tradition, Modernity, and Postmodernity in the Mangue Movement and the New Music Scene of Recife, Pernambuco, Brazil (Current Research in Ethnomusicology, V. 3)
Philip Galinsky
Manufacturer: Routledge
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Binding: Hardcover
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ASIN: 0415940222 |
Book Description
"Maracatu Atômico" is the first academic work to investigate the mangue movement, one of Brazil's most vital pop culture trends of the last thirty years, and the related "new music scene" of Northeast Brazil. Contending with the widespread poverty and social problems, mangue places a renewed value on the local environment and its myriad folk traditions while embracing modern, global pop influences and technology. The book provides historical and ethnographic accounts of the movement, analyzes salient examples of folk and pop fusion music, and enters recent debates about postmodernity, globalization, and "world music" in an attempt to understand better how local musicians in one "Third World" region interact within a more global cultural system.
Book Description
Samba is Brazil's "national rhythm," the foremost symbol of its culture and nationhood. To the outsider, samba and the famous pre-Lenten carnival of which it is the centerpiece seem to showcase the country's African heritage. Within Brazil, however, samba symbolizes the racial and cultural mixture that, since the 1930s, most Brazilians have come to believe defines their unique national identity.
But how did Brazil become "the Kingdom of Samba" only a few decades after abolishing slavery in 1888? Typically, samba is represented as having changed spontaneously, mysteriously, from a "repressed" music of the marginal and impoverished to a national symbol cherished by all Brazilians. Here, however, Hermano Vianna shows that the nationalization of samba actually rested on a long history of relations between different social groups—poor and rich, weak and powerful—often working at cross-purposes to one another.
A fascinating exploration of the "invention of tradition," The Mystery of Samba is an excellent introduction to Brazil's ongoing conversation on race, popular culture, and national identity.
Customer Reviews:
Are you an academic?.......2005-09-18
Then this strenuously researched and exhaustively detailed exegesis is for you. Footnotes in abundance! Dry as the Sahara!
Interested in an accessable overview of the history of the development of Afro/Brasilian music leading to what we now know as "samba"? Then don't be fooled by the ecstatic dancer on the cover, we're talking impenetrable doctoral thesis material here.
On that level, it's a great piece of source material with a lot of history to offer.
Want an informative yet easy read on the subject? Google it and almost any other offering will deliver.
-Carl (aka Carlinhos)...
(...)
provocative & interesting read.......2004-12-01
This is a straightforward, easy to read, enjoyable and informative book about how samba dance and music moved from a marginalized position to one now considered to be at the "heart" of Brazilian identity. Vianna, a scholar of music, introduces the reader to important samba musicians, intellectuals, and government officials in this story that centers around the rule of Getulio Vargas which began in the 1930s and lasted into the 1950s. Vianna connects samba to ideas of national identity and race, offering insight into why, despite the celebration of samba and Afro-Brazilian roots, Brazilians of African descent continue to face discrimination. This book would make a great read for non-scholars and students alike, who are interested in music, Brazil, and the African diaspora.
Book Description
Music in Brazil is one of several case-study volumes that can be used along with Thinking Musically, the core book in the Global Music Series. Thinking Musically incorporates music from many diverse cultures and establishes the framework for exploring the practice of music around the world. It sets the stage for an array of case-study volumes, each of which focuses on a single area of the world. Each case study uses the contemporary musical situation as a point of departure, covering historical information and traditions as they relate to the present. Visit www.oup.com/us/globalmusic for a list of case studies in the Global Music Series. The website also includes instructional materials to accompany each study. As the largest nation in Latin America, Brazil is home to some of the most celebrated music in the world. Music in Brazil covers a wide spectrum of this music, including samba, bossa nova, Tropicalia, and MPB (Musica Popular Brasileira); regional traditional and popular music; Brazilian rock, rap, and electronica; and such genres as sertaneja (similar to country-and-western music) and brega (sentimental pop). Music in Brazil is organized the themes of unity, diversity, cosmopolitanism, and verbal artistry. It shows how Brazilian music expresses the unity of the country's culture, discussing, for example, how samba plays a major part in annual Carnaval celebrations and provides a focus for nationalist sentiment. In contrast, the book also demonstrates how music represents the diversity of Brazilian culture, describing how each of Brazil's regions is home to unique genres of music, and how the audiences for various types of music reflect class distinctions. In addition, author John P. Murphy presents examples of cosmopolitan Brazilian music and emphasizes the connections between music and other aspects of Brazilian culture, especially language and gender. Enhanced by vivid illustrations and guided listening activities, this book is a captivating introduction to the music of Brazil. It is packaged with a 60-minute audio CD containing examples of the music discussed in the book, many of which are taken from the author's field recordings.
Book Description
This collection of articles by leading scholars traces the history of Brazilian pop music through the twentieth-century. It focuses on how traditional Brazilian musical styles have been influenced by international popular music to form new hybrids. Since the heyday of Carmen Miranda in the 1940s, Brazilian influences have been felt in the US, and this two-way street has resulted in an explosion of rich musical styles. With today's emphasis on Global Pop and World Music, there is great interest in Latin American musical forms. For anyone interested in the history and scope of Brazilian music, this volume is a must-read.
Customer Reviews:
Worthwhile but a tough read for nonacademics.......2001-08-10
I wonder who this book is for? The writing styles of the essays are strictly academic -- except for Caetano's which is more of a reminiscence and similar in tone to his New York Times stuff -- and the price certainly reflects academic rather than mainstream press standards. On the other hand, the flashy jacket, numerous photos, and subject matter seem to indicate an appeal to non-academic Brazilian music fans. Like me.
In any case, the 2 dozen or so essays span the time period between the Tropicalistas of the 60s, like Caetano, and recent phenoms like Chico Science and the "funk balls" of Rio and Salvador. I may not be qualified to judge it as an academic collection, but I noticed that almost all the scholarship is sociological in nature rather than musicological. For instance, there is only one page with any musical notation whatsoever, but there are very long essays on such themes as the pan-africanism, cultural "canibalism", and the themes of carnaval groups.
The highlights of the book are small nuggets that fall out along the way. For instance, evocations of the cultural richness amid fetid swamps and massive poverty, the ironies of heavy metal in Belo Horizonte, or the offhanded anecdote of Caetano decrying the evil of a corrupt career politician at a show.
The main lowlight is surely the tedious academic style of some of the writers and the endless repetition of certain themes. Some editing of this and a little less fawning over some of the performers would have made it an easier read. And inevitably with a collection of essays there is a feeling of randomness about the subject matter selections. (Compare it to the sassy and completely nonacademic "Bossa Nova" by Ruy Castro -- great fun.)
Bottom line: there are very few books about Brazilian music in English and most of those are for complete novices. This is therefore essential reading for anyone interested in Tropicalia and more recent developments in the most musical place on earth.
The Crosscultural Egghead's Guide to MPB.......2001-08-10
A must-read for anyone looking for a deeper understanding of the cultural forces shaping Brazilian music. Various contributors tackle the complexities of selling hybridized "world" music in a voracious, globalized world economy, and examine the ongoing stylistic, philosophical and generational tensions between different groups in Brazilian popular music. Particular emphasis is given to the "tropicalia" scene, including several chapters on Os Mutantes and an excellent essay by Caetano Veloso regarding the mixed meaning of Carmen Miranda's legacy to the '60s generation. Working upwards from a standard-issue Marscusian, colonial/postcolonial cultural critique, this book takes its cues from the Brazilian philosopher Osvaldo de Andrade, whose theories on "cultural cannibalism" were a key influence on the tropicalistas, and explains how the inclusive guerilla surrealism of the tropicalistas bypassed the stormy ideological divide between the left-wing cultural nationalism of the early MPB crowd and the vacant, prefab commercialism of the "jovem guarda" rock scene. Not content to lionize the tropicalistas, the book also shows how the '60s radicals later entered the status quo, and how their lofty superstardom has been rejected (or resented) by younger Brazilians, who came to see them as a fusty cultural aristocracy. A bit dense and mildly over-academic at times, but deeply fascinating and insightful, this is an invaluable resource for understanding the history of Brazilian pop, and for examining the metamorphoses of "local" music in a global market. Highly recommended!!
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Villa-Lobos (Oxford Studies of Composers)
Simon Wright
Manufacturer: Oxford University Press, USA
ProductGroup: Book
Binding: Paperback
Villa-Lobos, Heitor
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ASIN: 0193154757 |
Book Description
The music of the prolific Heitor Villa-Lobos (1887-1959) typifies Brazil, in its diversity, spirit of racial amalgam, and awesome beauty. Through the sheer quantity of his output, his original use of folkloric material, and the striking accessibility of his scores, Villa-Lobos has become the
best-known and most significant Latin American composer of all time. This book provides an introduction to his music, and by focusing attention on important or unusual works from his large oeuvre, charts Villa-Lobos's own often anguished musical journey through the Brazilian landscape. Jungle,
grasslands, river, city, and ocean all find a legitimate place in his aural mosaic of Brazil, but as he approached death his music assumed a deep spiritual quality of peace and resignation. His personal journey of discovery and fulfillment is clearly explained, set against the pervasive backdrop of
social and political upheaval which characterized Brazil during Villa-Lobos's lifetime.
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Carnival In Rio mini: Samba, Samba, Samba
Terry George
Manufacturer: edel CLASSICS GmbH
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Carnaval 2006 - Compacto Desfile Escolas De Samba
ASIN: 3937406557
Release Date: 2005-11-07 |
Book Description
During Carnival, Rio de Janeiro shuts down business as usual and throws itself into the world's most famous party in honor of unbridled hedonism and the rhythm of Samba... If you can't experience the legendary Parade in Rio's Sambodrome or want to refresh memories of the excessive party atmosphere, Carnival in Rio is the book for you. Wonderful, sensuous photography paired with pure Samba allow you to be a part of the Brazilian lust for life and take you away to one of the hottest shows on earth. Music CDs: The grand diversity of Samba from Rio, featuring stars such as Dudu Tucci
Books:
- Cleveland Rock & Roll Memories: True and Tall Tales of the Glory Days, Told by Musicians, DJs, Promoters, and Fans Who Made the Scene in the '60s, '70s, and '80s
- Critical Listening Skills for Audio Professionals
- Daughters of Madness: Growing Up and Older with a Mentally Ill Mother (Women's Psychology)
- Dear John
- Dosage Calculations
- Effective Group Facilitation in Education: How to Energize Meetings and Manage Difficult Groups
- Essential Elements 2000 for Strings Plus DVD: Violin
- Experiencing Music Technology (with DVD-ROM)
- Forecasting, Time Series, and Regression (with CD-ROM) (Forecasting, Time Series, & Regression)
- Fretboard Logic SE: The Reasoning Behind the Guitar's Unique Tuning + Chords Scales and Arpeggios Complete (The Fretboard Logic Guitar Method Parts I and II) (Fretboard Logic Guitar Method Ser)
Books Index
Books Home
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Tropical Truth: A Story of Music and Revolution in Brazil
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Brazilian Popular Music and Globalization
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