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Music of Brazil
The music of Brazil encompasses various regional musical styles influenced by European, American, African and Amerindian forms. Brazilian music developed some unique and original styles such as forró, repente, coco de roda, axé, sertanejo, samba, bossa nova, MPB, gaucho music, pagode, tropicália, choro, maracatu, embolada (coco de repente), frevo, brega, modinha and Brazilian versions of foreign musical styles, such as rock, pop music, soul, hip-hop, disco music, country music, ambient, industrial and psychedelic music, rap, classical music, fado, and gospel.
Samba has become the most known form of Brazilian music worldwide, especially because of the country's carnival, although bossa nova, which had Antônio Carlos Jobim as one of its most acclaimed composers and performers, has received much attention abroad since the 1950s, when the song "Desafinado", interpreted by João Gilberto, was first released.
The first four winners of the Shell Brazilian Music prize have each left a legacy on Brazilian music and are among the representatives of Brazilian popular music: Pixinguinha (choro), Antônio Carlos Jobim (bossa nova), Dorival Caymmi (samba and samba-canção), and Luiz Gonzaga (forró).
Instrumental music is also largely practiced in Brazil, with styles ranging from classical to popular and jazz influenced forms. Among the later, Naná Vasconcelos, Pixinguinha, Hermeto Pascoal and Egberto Gismonti are significant figures. Notable classical composers include Heitor Villa-Lobos, Carlos Gomes and Cláudio Santoro. The country also has a growing community of modern/experimental composition, including electroacoustic music.
Little is known of the music of Brazil before the area's first encounter with Portuguese explorers on 22 April 1500. During the colonial period, documents detail the musical activities of the major Roman Catholic cathedrals and the parlors of the upper classes, but data about musical life outside these domains are sparse. Some information is available in writings left by such travellers as Jean de Léry, who lived in Brazil from 1557 to 1558 and produced the first known transcriptions of native American music: two chants of the Tupinambá, near Rio de Janeiro.
Further registration of musical activity in Brazil came from the activities of two Jesuit priests in 1549. Ten years later, they had already founded settlements for indigenous people (the Reduções), with a musical-educational structure.
One century later, the Reduções of the southern Brazil, which were founded by Spaniard Jesuits, had a strong cultural development, where some music schools were founded. Some of the reports of that time show the fascination of the indigenous people for European music. The indigenous people also took part in the music, with both the construction of musical instruments and practice of vocal and instrumental performance.
In the 18th century, there was intense musical activity in all the more developed regions of Brazil, with their moderately stable institutional and educational structures. The previously few private orchestras became more common and the churches presented a great variety of music.
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Music of Brazil
The music of Brazil encompasses various regional musical styles influenced by European, American, African and Amerindian forms. Brazilian music developed some unique and original styles such as forró, repente, coco de roda, axé, sertanejo, samba, bossa nova, MPB, gaucho music, pagode, tropicália, choro, maracatu, embolada (coco de repente), frevo, brega, modinha and Brazilian versions of foreign musical styles, such as rock, pop music, soul, hip-hop, disco music, country music, ambient, industrial and psychedelic music, rap, classical music, fado, and gospel.
Samba has become the most known form of Brazilian music worldwide, especially because of the country's carnival, although bossa nova, which had Antônio Carlos Jobim as one of its most acclaimed composers and performers, has received much attention abroad since the 1950s, when the song "Desafinado", interpreted by João Gilberto, was first released.
The first four winners of the Shell Brazilian Music prize have each left a legacy on Brazilian music and are among the representatives of Brazilian popular music: Pixinguinha (choro), Antônio Carlos Jobim (bossa nova), Dorival Caymmi (samba and samba-canção), and Luiz Gonzaga (forró).
Instrumental music is also largely practiced in Brazil, with styles ranging from classical to popular and jazz influenced forms. Among the later, Naná Vasconcelos, Pixinguinha, Hermeto Pascoal and Egberto Gismonti are significant figures. Notable classical composers include Heitor Villa-Lobos, Carlos Gomes and Cláudio Santoro. The country also has a growing community of modern/experimental composition, including electroacoustic music.
Little is known of the music of Brazil before the area's first encounter with Portuguese explorers on 22 April 1500. During the colonial period, documents detail the musical activities of the major Roman Catholic cathedrals and the parlors of the upper classes, but data about musical life outside these domains are sparse. Some information is available in writings left by such travellers as Jean de Léry, who lived in Brazil from 1557 to 1558 and produced the first known transcriptions of native American music: two chants of the Tupinambá, near Rio de Janeiro.
Further registration of musical activity in Brazil came from the activities of two Jesuit priests in 1549. Ten years later, they had already founded settlements for indigenous people (the Reduções), with a musical-educational structure.
One century later, the Reduções of the southern Brazil, which were founded by Spaniard Jesuits, had a strong cultural development, where some music schools were founded. Some of the reports of that time show the fascination of the indigenous people for European music. The indigenous people also took part in the music, with both the construction of musical instruments and practice of vocal and instrumental performance.
In the 18th century, there was intense musical activity in all the more developed regions of Brazil, with their moderately stable institutional and educational structures. The previously few private orchestras became more common and the churches presented a great variety of music.