| Preface |
vii |
| Introduction |
1 |
| CHAPTER ONE: THE BEGINNINGS |
7 |
| Amerindians |
7 |
| The African Slaves |
13 |
| Slave Resistance |
15 |
| Black Participation in MPB |
18 |
| CHAPTER TWO: FOLKLORIC COMPENDIUM |
22 |
| Folk Songs and Folksingers |
22 |
| The Importance of the Word |
24 |
| The Modinha |
33 |
| Dances |
37 |
| Amerindian Influences |
38 |
| African Influences |
40 |
| European Influences |
46 |
| Folkloric Performances |
48 |
| Bumba-meu-boi |
50 |
| Kings, Warriors and Sailors |
55 |
| Musical Instruments |
60 |
| Musical Instruments: String Instruments |
62 |
| Musical Instruments: Wind Instruments |
67 |
| Musical Instruments: Percussion |
69 |
| Musical Instruments: Diverse Instruments |
73 |
| Musical Instruments: Instrumental Groups |
74 |
| Magical Music. Afro-Brazilian Religions |
76 |
| Magical Music. Afro-Brazilian Religions: Candomblé |
79 |
| Magical Music. Afro-Brazilian Religions: Macumba |
79 |
| Magical Music. Afro-Brazilian Religions: Umbanda |
79 |
| CHAPTER THREE: THE CHORO |
85 |
| Rio Antigo |
85 |
| The Belle Epoque |
87 |
| Pixinguinha |
92 |
| Choro Musicians and Conjuntos |
94 |
| Kinship Bonds |
100 |
| CHAPTER FOUR: THE SAMBA |
102 |
| Origins |
102 |
| The Birth of the Samba Schools |
108 |
| The Golden Age of the Samba |
110 |
| Carmen Miranda |
114 |
| The Samba-Choro |
118 |
| The Marcha-Rancho |
118 |
| Morros Samba |
119 |
| Bahia in Rio: Dorival Caymmi |
122 |
| The Northeast in Rio: Luiz Gonzaga |
124 |
| CHAPTER FIVE: THE BOSSA NOVA |
131 |
| The Pre-Bossa-Nova Period |
131 |
| Antonio Carlos Jobim |
131 |
| Beginnings |
133 |
| Vinicius de Moraes |
133 |
| Meetings: Encontros |
135 |
| João Gilberto |
136 |
| Chief Features of the Bossa Nova |
138 |
| Chief Features of the Bossa Nova: Lyrics |
139 |
| Chief Features of the Bossa Nova:: Harmonies |
141 |
| Chief Features of the Bossa Nova: Impact on other Fields |
143 |
| The Bossa Nova's Heyday |
144 |
| CHAPTER SIX: OFFSPRING OF THE BOSSA NOVA |
150 |
| The Afro-Sambas |
152 |
| Sambas de Participação and Canções de Protesto |
155 |
| Chico Buarque |
158 |
| Critics and Protest |
163 |
| Bahian Tropicalism |
164 |
| Iêiêiê Brasileiro |
173 |
| Talents and Hopes |
174 |
| CHAPTER SEVEN: THE SEVENTIES AND EIGHTIES |
178 |
| Rio or São Paulo |
178 |
| The Samba' s Development |
183 |
| The Post-Bossa-Nova Artists |
188 |
| Rio and its Samba Schools |
198 |
| The Hinterland: a Reservoir of New Talents and an Inexhaustible Source of Raw Material |
210 |
| Música Sertaneja |
211 |
| The Baianos |
214 |
| Novos Baianos Novos |
220 |
| Bahia de Todos os Soms |
222 |
| The Lambada Story |
224 |
| Mineiros |
228 |
| The Northeasterners |
236 |
| Movimento Armorial |
239 |
| Cearenses |
240 |
| Rockers and Paulistas |
241 |
| Rock Brasil |
243 |
| The South |
245 |
| Panlatinoamericana |
246 |
| CHAPTER EIGHT: THE INSTRUMENTALISTS |
248 |
| Revolt of the Instrumentalists |
248 |
| The Musicians |
254 |
| Instrumental Groups |
262 |
| CHAPTER NINE: BRAZILIAN SHOW BUSINNES |
264 |
| Some Aspects of the Music Industry |
265 |
| 'Records Are Culture' |
265 |
| Media Connections |
270 |
| Confusion over Copyright |
272 |
| 6:30 and 22 |
273 |
| CHAPTER TEN: THE STATE AND MUSIC |
275 |
| Cultivation of Music |
276 |
| Censorship |
279 |
| The Debate over Censorship |
285 |
| Consequences |
287 |
| Glossary |
290 |
| Samba Schools in Rio |
292 |
| Bibliography |
294 |
| Index |
299 |
© 2003 - 2023 Maurizio Galdiolo - E-mail: grog53@gmail.com