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As Brazil grows in stature as a global power, more and more people are discovering the country’s fascinating culture, especially the striking exuberance and inventiveness of Brazilian popular music. In Brazilian Jive, David Treece uncovers the genius of Brazilian song, both as a sophisticated, articulate art form crafted out of the dialogue between music and language and as a powerfully eloquent expression of the country’s social and political history. Focusing on the cultural struggles of making music in Brazil, Treece traces the rise of samba through the bossa nova revolution of the late 1950s to the emergence of rap in the 1990s. He describes how Brazilian music grew out of the pain and dispossession of slavery and, inspired by African traditions, how it celebrates new ways of moving freely in time and space. Redolent with the rhythms and tones of the modern, the Brazilian soundscape also expresses the country’s dissonances and contradictions, while the conversation between melody and word often signifies a larger dialogue between its artistic and political cultures. Looking below the surface of Brazilian culture, Brazilian Jive provides fresh insight into the music of this vibrant and colorful nation.
This book offers the reader a critical and interdisciplinary introduction to Brazilian history. Combining a didactic approach with insightful historical analysis, it discusses the main political, cultural, and social developments taking place in the Latin American country from 1500 to 2010. The historical narrative leads the reader step by step and in chronological succession to a clear understanding of the country’s three main historical periods: the Colonial Period (1500-1822), the Empire (1822-1889), and the Republic (1889-present). Each phase is treated separately and subdivided according to the political developments and successive regional forces that controlled the nation’s territory throughout the centuries. At the end of each section, an individual chapter discusses the foremost cultural and artistic developments of the period, engaging perspectives on literature, music, and the visual arts, including cinema. Through its multifaceted approach, the book explores economic history, foreign policy, education and social history, as well as literary and artistic history to reveal the multiethnic and culturally diversified nature of Brazil in all its fullness.
A multidisciplinary, authoritative outline of the current intellectual landscape of the field. Over the past three decades, the term ‘diaspora’ has been featured in many research studies and in wider theoretical debates in areas such as communications, the humanities, social sciences, politics, and international relations. The Handbook of Diasporas, Media, and Culture explores new dimensions of human mobility and connectivity—presenting state-of-the-art research and key debates on the intersection of media, cultural, and diasporic studies This innovative and timely book helps readers to understand diasporic cultures and their impact on the globalized world. The Handbook presents contributions from internationally-recognized scholars and researchers to strengthen understanding of diasporas and diasporic cultures, diasporic media and cultural resources, and the various forms of diasporic organization, expression, production, distribution, and consumption. Divided into seven sections, this wide-ranging volume covers topics such as methodological challenges and innovations in diasporic research, the construction of diasporic identity, the politics of diasporic integration, the intersection of gender and generation with the diasporic condition, new technologies in media, and many others. A much-needed resource for anyone with interest diasporic studies, this book: Presents new and original theory, research, and essays Employs unique methodological and conceptual debates Offers contributions from a multidisciplinary team of scholars and researchers Explores new and emerging trends in the study of diasporas and media Applies a wide-ranging, international perspective to the subject Due to its international perspective, interdisciplinary approach, and wide range of authors from around the world, The Handbook of Diasporas, Media, and Culture is ideal for undergraduate and graduate students, teachers, lecturers, and researchers in areas that focus on the relationship of media and society, ethnic identity, race, class and gender, globalization and immigration, and other relevant fields.
Most die-hard Brazilian music fans would argue that Getz/Gilberto, the iconic 1964 album featuring "The Girl from Ipanema," is not the best bossa nova record. Yet we've all heard "The Girl from Ipanema" as background music in a thousand anodyne settings, from cocktail parties to telephone hold music. So how did Getz/Gilberto become the Brazilian album known around the world, crossing generational and demographic divides? Bryan McCann traces the history and making of Getz/Gilberto as a musical collaboration between leading figure of bossa nova João Gilberto and Philadelphia-born and New York-raised cool jazz artist Stan Getz. McCann also reveals the contributions of the less-understood participants (Astrud Gilberto's unrehearsed, English-language vocals; Creed Taylor's immaculate production; Olga Albizu's arresting, abstract-expressionist cover art) to show how a perfect balance of talents led to not just a great album, but a global pop sensation. And he explains how Getz/Gilberto emerged from the context of Bossa Nova Rio de Janeiro, the brief period when the subtle harmonies and aching melodies of bossa nova seemed to distill the spirit of a modernizing, sensuous city. 33 1/3 Global, a series related to but independent from 33 1/3, takes the format of the original series of short, music-based books and brings the focus to music throughout the world. With initial volumes focusing on Japanese and Brazilian music, the series will also include volumes on the popular music of Australia/Oceania, Europe, Africa, the Middle East, and more.
Most die-hard Brazilian music fans would argue that Getz/Gilberto, the iconic 1964 album featuring "The Girl from Ipanema," is not the best bossa nova record. Yet we've all heard "The Girl from Ipanema" as background music in a thousand anodyne settings, from cocktail parties to telephone hold music. So how did Getz/Gilberto become the Brazilian album known around the world, crossing generational and demographic divides? Bryan McCann traces the history and making of Getz/Gilberto as a musical collaboration between leading figure of bossa nova João Gilberto and Philadelphia-born and New York-raised cool jazz artist Stan Getz. McCann also reveals the contributions of the less-understood participants (Astrud Gilberto's unrehearsed, English-language vocals; Creed Taylor's immaculate production; Olga Albizu's arresting, abstract-expressionist cover art) to show how a perfect balance of talents led to not just a great album, but a global pop sensation. And he explains how Getz/Gilberto emerged from the context of Bossa Nova Rio de Janeiro, the brief period when the subtle harmonies and aching melodies of bossa nova seemed to distill the spirit of a modernizing, sensuous city. 33 1/3 Global, a series related to but independent from 33 1/3, takes the format of the original series of short, music-based books and brings the focus to music throughout the world. With initial volumes focusing on Japanese and Brazilian music, the series will also include volumes on the popular music of Australia/Oceania, Europe, Africa, the Middle East, and more.
Global Popular Music: A Research and Information Guide offers an essential annotated bibliography of scholarship on popular music around the world in a two-volume set. Featuring a broad range of subjects, people, cultures, and geographic areas, and spanning musical genres such as traditional, folk, jazz, rock, reggae, samba, rai, punk, hip-hop, and many more, this guide highlights different approaches and discussions within global popular music research. This research guide is comprehensive in scope, providing a vital resource for scholars and students approaching the vast amount of publications on popular music studies and popular music traditions around the world. Thorough cross-referencing and robust indexes of genres, places, names, and subjects make the guide easy to use. Volume 2, Transnational Discourses of Global Popular Music Studies, covers the geographical areas of North America: United States and Canada; Central America, Caribbean, and South America/Latin America; Europe; Africa and Middle East; Asia; and areas of Oceania: Aotearoa/New Zealand, Australia, and Pacific Islands. It provides over twenty-four hundred annotated bibliographic entries covering discourses of extensive research that extend beyond the borders of the United States and includes annotated entries to books, book series, book chapters, edited volumes, special documentaries and programming, scholarly journal essays, and other resources that focus on the creative and artistic flows of global popular music.
Taking its cue from Deleuze's definition of minor cinema as one which engages in a creative act of becoming, this collection explores the multifarious ways that music has been used in the cinemas of various countries in Australasia, Africa, Latin America and even in Europe that have hitherto received little attention. The authors consider such film music with a focus on the role it has played creating, problematizing, and sometimes contesting, the nation. Film Music in 'Minor' National Cinemas addresses the relationships between film music and the national cinemas beyond Hollywood and the European countries that comprise most of the literature in the field. Broad in scope, it includes chapters that analyze the contribution of specific composers and songwriters to their national cinemas, and the way music works in films dealing with national narratives or issues; the role of music in the shaping of national stars and specific use of genres; audience reception of films on national music traditions; and the use of music in emerging digital video industries.
Freedom of expression and its direct counterpart, censorship and silencing, are increasingly gaining attention in the world of art and culture. Through the growth of social media and its worldwide distribution, arts and cultural products are shared, and the increased visibility and audibility of culture is highlighted through iconic and pivotal clashes, such as the fatwa on The Satanic Verses in 1989, the recurring bans on the music of Wagner, the alleged censorship of playlists following 9/11, and the cartoon crisis in 2006. This volume takes the discussion directly to the field of music studies in a broad frame and insists on examining music censorship in a global perspective. The book addresses the important and increasingly relevant issue of scholarship on music censorship and thus contributes to a detailed understanding of the phenomenon. Often, words and semantic meaning are held to be determining to the restrictions on musicians and singers, but as this collection documents, the reasons for censorship might not always be found in verbal messages. Rather, the positioning of a more broad understanding of why and how music can convey meaning and accordingly trigger censorship and bans is at the heart of this work. The complexity of music censorship includes historical, structural as well as emotional ‘listenings’ and interpretations of sound. The topic, accordingly, is political, as well as scholarly urgent.
Hip hop is a global form of creative expression. In Cuba, Brazil, and Haiti, rappers refuse the boundaries of hip hop’s US genesis, claiming the art form as a means to empower themselves and their communities in the face of postcolonial racial and class violence. Despite the geographic and linguistic borders that separate these artists, Charlie Hankin finds in their music and lyrics a common understanding of hip hop’s capacity to intervene in the public sphere and a shared poetics of neighborhood, nation, and transatlantic yearnings. Situated at the critical intersection of sound studies and Afro-diasporic poetics, Break and Flow draws on years of ethnographic fieldwork and collaboration, as well as an archive of hundreds of songs by more than sixty hip hop artists. Hankin illuminates how new media is used to produce and distribute knowledge in the Global South, refining our understanding of poetry and popular music at the turn of the millennium.
‘Music Scenes and Migrations’ brings together new work from Brazilian and European scholars around the themes of musical place and transnationalism across the Atlantic triangle connecting Brazil, Africa and Europe. Moving beyond now-contested models for conceptualizing international musical relations and hierarchies of powers and influence, such as global/local or centre/periphery, the volume draws attention instead to the role of the city, in particular, in producing, signifying and mediating music-making in the colonial and post-colonial Portuguese-speaking world. In considering the roles played by cities as hubs of cultural intersection, socialization, exchange and transformation; as sites of political intervention and contestation; and as homes to large concentrations of consumers, technologies and media, Rio de Janeiro necessarily figures prominently, given its historical importance as an international port at the centre of the Lusophone Atlantic world. The volume also gives attention to other urban centres, within Brazil and abroad, towards which musicians and musical traditions have migrated and converged – such as São Paulo, Lisbon and Madrid – where they have reinvented themselves; where notions of Brazilian and Lusophone identity have been reconfigured; and where independent, peripheral and underground scenes have contested the hegemony of the musical ‘mainstream’.