Music of Brazil
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| Strong influences on the '''[[music]] of [[Brazil]]''' come from many parts of the world, but there are very popular regional [[music]] styles influenced by [[Africa]]n and [[Europe]]an forms. After 500 years of history the Brazilian music developed some unique and original styles like [[choro]], [[música sertaneja|sertanejo]], [[brega]], [[forró]], [[frevo]], [[samba]], [[Bossa nova]], [[MPB]], [[Brazilian rock]], [[axé]] and others. Samba is no doubt the best known form of Brazilian music worldwide, though Bossa nova and other genres have also received much attention abroad. Brazil also has a growing community of modern/experimental composition, including [[electroacoustic music]]. All genres of Brazilian music formed a solid tradition. | Strong influences on the '''[[music]] of [[Brazil]]''' come from many parts of the world, but there are very popular regional [[music]] styles influenced by [[Africa]]n and [[Europe]]an forms. After 500 years of history the Brazilian music developed some unique and original styles like [[choro]], [[música sertaneja|sertanejo]], [[brega]], [[forró]], [[frevo]], [[samba]], [[Bossa nova]], [[MPB]], [[Brazilian rock]], [[axé]] and others. Samba is no doubt the best known form of Brazilian music worldwide, though Bossa nova and other genres have also received much attention abroad. Brazil also has a growing community of modern/experimental composition, including [[electroacoustic music]]. All genres of Brazilian music formed a solid tradition. | ||
| + | === Funk Carioca and rap === | ||
| + | {{main|Funk Carioca}} | ||
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| + | Funk Carioca is a type of dance music from Rio de Janeiro, derived from and superficially similar to [[Miami Bass]]. In Rio it is most often simply known as Funk, although it is very different musically from what [[Funk]] means in most other places and contexts. It's usually seen as party music and high and medium class people are usually reluctant to admit they listen to it, since music from this genre usually contains sexually explicit lyrics and is attributed to poor people derived from the [[favelas|Favela]]. Funk Carioca, like other types of hip-hop lifts heavily from samples such as international rips or from previous funk music. Many popular funk songs sampled music from the movie [[Rocky]]. | ||
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| + | Funk as well as rap was introduced to Brazil in a systematic way in the 1980s. These types of music were heavily supported in big cities by people—usually teenagers—of lower socioeconomic status. Many funk artists have openly associated themselves with black movements and often in the lyrics of their songs, comment on race relations and openly express black pride. | ||
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| + | In [[São Paulo]] and other places in the south of Brazil, in more urban areas, rap is more prevalent than funk. The lower class, mostly nonwhite rappers are referred to as "Rapeiros". They dress similarly to American rappers that they have seen on television. Early Brazilian rap was based upon rhyming speeches delivered over dance bases sampled from funk albums, with occasional scratches. São Paulo has gained a strong, underground Brazilian rap scene since it's emergence in the late 1980s with many independent labels forming for young rappers to establish themselves on. | ||
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| + | In the 1990s in [[Rio de Janeiro]], funk as well as rap were reported by the press to have been adopted by the drug lords of the city as a way to market their drugs at dance hall events. Some crime groups were known to subsidize funk parties to recruit young kids into the drug dealing business. These events were often called baile funk (which can mean a funk dance party) and were sometimes notorious for their blatant sexuality and violence. However, while some funk and rap music was used to send messages out about slums and drugs, others were used mostly to deliver socio-political messages about local, regional, or national issues they are affected by. In fact, some groups adhered to what they called rap consciência (socially conscious rap) and opposed hip-hop which some considered too alienated and consumerist. Despite these differences, both types of music continue to thrive in Brazil today. | ||
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| + | The intrusion of alien elements in Brazil’s cultural system is not destructive process. The return of a democratic government allowed for freedom of expression. The Brazilian music industry opened up to international styles and this has allowed for both foreign and local genres to co-exist and identify people. Each different style relates to the people socially, politically, and economically. | ||
| == See also == | == See also == | ||
| *[[Black Rio: Brazil Soul Power 1971-1980]] | *[[Black Rio: Brazil Soul Power 1971-1980]] | ||
| {{GFDL}} | {{GFDL}} | ||
Revision as of 00:06, 24 March 2009
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Strong influences on the music of Brazil come from many parts of the world, but there are very popular regional music styles influenced by African and European forms. After 500 years of history the Brazilian music developed some unique and original styles like choro, sertanejo, brega, forró, frevo, samba, Bossa nova, MPB, Brazilian rock, axé and others. Samba is no doubt the best known form of Brazilian music worldwide, though Bossa nova and other genres have also received much attention abroad. Brazil also has a growing community of modern/experimental composition, including electroacoustic music. All genres of Brazilian music formed a solid tradition.
Funk Carioca and rap
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Funk Carioca is a type of dance music from Rio de Janeiro, derived from and superficially similar to Miami Bass. In Rio it is most often simply known as Funk, although it is very different musically from what Funk means in most other places and contexts. It's usually seen as party music and high and medium class people are usually reluctant to admit they listen to it, since music from this genre usually contains sexually explicit lyrics and is attributed to poor people derived from the Favela. Funk Carioca, like other types of hip-hop lifts heavily from samples such as international rips or from previous funk music. Many popular funk songs sampled music from the movie Rocky.
Funk as well as rap was introduced to Brazil in a systematic way in the 1980s. These types of music were heavily supported in big cities by people—usually teenagers—of lower socioeconomic status. Many funk artists have openly associated themselves with black movements and often in the lyrics of their songs, comment on race relations and openly express black pride.
In São Paulo and other places in the south of Brazil, in more urban areas, rap is more prevalent than funk. The lower class, mostly nonwhite rappers are referred to as "Rapeiros". They dress similarly to American rappers that they have seen on television. Early Brazilian rap was based upon rhyming speeches delivered over dance bases sampled from funk albums, with occasional scratches. São Paulo has gained a strong, underground Brazilian rap scene since it's emergence in the late 1980s with many independent labels forming for young rappers to establish themselves on.
In the 1990s in Rio de Janeiro, funk as well as rap were reported by the press to have been adopted by the drug lords of the city as a way to market their drugs at dance hall events. Some crime groups were known to subsidize funk parties to recruit young kids into the drug dealing business. These events were often called baile funk (which can mean a funk dance party) and were sometimes notorious for their blatant sexuality and violence. However, while some funk and rap music was used to send messages out about slums and drugs, others were used mostly to deliver socio-political messages about local, regional, or national issues they are affected by. In fact, some groups adhered to what they called rap consciência (socially conscious rap) and opposed hip-hop which some considered too alienated and consumerist. Despite these differences, both types of music continue to thrive in Brazil today.
The intrusion of alien elements in Brazil’s cultural system is not destructive process. The return of a democratic government allowed for freedom of expression. The Brazilian music industry opened up to international styles and this has allowed for both foreign and local genres to co-exist and identify people. Each different style relates to the people socially, politically, and economically.
See also
Unless indicated otherwise, the text in this article is either based on Wikipedia article "Music of Brazil" or another language Wikipedia page thereof used under the terms of the GNU Free Documentation License; or on research by Jahsonic and friends. See Art and Popular Culture's copyright notice.
