It is associated with yearly carnaval (Brazilian carnival). Samba – A rhythmic genre with African musical roots that normally includes the sounds of the pandeiro, reco reco, tamborim and cuica. The Fortaleza maracatu is the Baque Virado or Nação lines and is celebrated during carnivals. It includes Brazilian and Spanish-Caribbean influences. Lambada – a sensual dance that became popular in the 1980s. (source: Rob Curto’s Forro For All) Read more about forró.Įxcelencia chants – traditional Catholic chants to prepare the dead’s soul to the encounter with God, usually performed during death-watches. Forró is danced by couples locked in a sensual embrace and has three main rhythms: baiao, xote and arrasta-pe. With influences from Africans, Portuguese and indigenous Brazilians, forró is uniquely Brazilian.Įuropean button accordion music was fused with African-based rhythms to create ‘forró pe-de-serra’ (traditional forró) played on accordion, triangle and zabumba (a low drum worn at an angle). ![]() Born in the sertao, the arid interior of the region, forró was formed by the many traditions cultures and musical styles of the Northeast. It is typical in the northeast of Brazil.įorró – The essence of Northeast Brazil. This ever-evolving genre has diverse roots ranging from classical European salon music to Afro-Brazilian rhythms and instrumentation.Ĭhoro Novo – Choro novo literally means “new choro.” It is a combination of choro, jazz and Afro-Brazilian music.Ĭiranda – folk song and dance from Pernambuco.Ĭoco – Afro-Brazilian song and dance in 2/4 from the northeastern coast.Įmbolada – Improvised poetry in a question-answer structure, backed by the pandeiro’s rhythm. The music is as unique as the instruments themselves.Ĭarimbo – Afro-Brazilian song and dance from Para.Ĭhoro – An early form of popular urban instrumental music of Brazil, developed in the late nineteenth century in Rio. Ladainha means litany.Ĭandomble – Afro-Brazilian ritual music that includes Yoruba deities.ĭança do coco, originated by Afro-Brazilians in northeastern Brazil.Ĭapoeira is a Brazilian martial art and dance style developed by the the former enslaved African peoples of Brazil to teach each other how to defend themselves. Northeastern Brazil.Ĭancao ladainha is a long poem traditionally sung at the beginning of a capoeira roda, while players remain crouched in front of the berimbau. Several books provide an insight into the world of bossa nova: Bossa Nova: The Story of the Brazilian Music That Seduced the World, The Brazilian Sound: Samba, Bossa Nova, and the Popular Music of Brazil, and The Latin Beat: The Rhythms and Roots of Latin Music, from Bossa Nova to Salsa and Beyond.īumba-meu-boi or boi-ceará – songs and dances of a religious cult to the ox, with Portuguese roots. Some of the leading bossa nova artists include João Gilberto, Chico Buarque, Astrud Gilberto, Antonio Carlos Jobim, Toquinho, and Stan Getz. He became a tremendous national success, striking a chord in the hearts of Brazilians, and popularizing forró throughout Brazil. He felt the need to express his own culture, and roots, and to sing about the experiences of the displaced Northeastern immigrants working in the southern cities. Luiz left the Northeast and ended up in Rio de Janeiro where he pursued a career as a musician, and ended up performing regularly on the radio playing waltzes, fox trots, sambas, and tangos. ![]() Luiz learned to play the oito baixos and then the piano accordion. His father, Januario, played button accordion or oito baixos: and was also an accordion builder and repairman. One of the most famous of these migrants was accordionist Luiz Gonzaga who was born in 1912 in the Northeastern state of Pernambuco. In the 20th century, mass migrations from the northeast introduced forró to Brazilian cities in the south. ![]() Your Connection to traditional and contemporary World Music, including folk, roots, global music, ethno and crosscultural fusionsīrasilia, Brazil’s capital – Photo by Angel Romero Northeastern Brazilian Music
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