| Revision as of 19:54, 15 September 2022 editMowik1one (talk | contribs)20 edits Added some sentences to the main and 'history' sections, as well as citations.Tag: Visual edit← Previous edit | Revision as of 20:34, 15 September 2022 edit undoMowik1one (talk | contribs)20 edits Added a paragraph to 'history' in a subheading with citations.Tag: Visual editNext edit → | ||
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| Variations within MPB were the short-lived but influential artistic movement known as ], and the music of ].<ref name="timeout">{{cite book|pages=191–92|title=Time Out São Paulo|publisher=]|year=2009|isbn=978-1846701269}}</ref> | Variations within MPB were the short-lived but influential artistic movement known as ], and the music of ].<ref name="timeout">{{cite book|pages=191–92|title=Time Out São Paulo|publisher=]|year=2009|isbn=978-1846701269}}</ref> | ||
| MPB songs are in part characterized by their harmonic complexity and their elaborate lyrics, which call back to a connection between Brazil’s popular music and poetry that has been culturally relevant since the 1920s. It also draws from themes from Brazil’s folk music as a part of an effort to create a musical style that reflected true Brazilian culture. During the 1970s, these qualities gave the style an intellectual prestige that made it more popular for listening as an artform rather than being used as music for dancing, further distinguishing it from other popular music of the time. However, this was not always the case, as demonstrated by music by artists such as Jorge Ben Jor, many of whose songs fall into the category of dance music.<ref name=":0">{{Cite book |last=Eakin |first=Marshall C. |title=Becoming Brazilians |publisher=Cambridge University Press |year=2017 |isbn=978-1-107-17576-1 |pages=206-216}}</ref><ref>{{Cite book |last=Stroud |first=Sean |title=The Defence of Tradition in Brazilian Popular Music: Politics, Culture and the Creation of Música Popular Brasileira |last2=Hawkins |first2=Stan |last3=Burns |first3=Lori |publisher=Taylor and Francis Group |year=2008 |pages=1-109}}</ref> | MPB songs are in part characterized by their harmonic complexity and their elaborate lyrics, which call back to a connection between Brazil’s popular music and poetry that has been culturally relevant since the 1920s. It also draws from themes from Brazil’s folk music as a part of an effort to create a musical style that reflected true Brazilian culture. During the 1970s, these qualities gave the style an intellectual prestige that made it more popular for listening as an artform rather than being used as music for dancing, further distinguishing it from other popular music of the time. However, this was not always the case, as demonstrated by music by artists such as Jorge Ben Jor, many of whose songs fall into the category of dance music.<ref name=":0">{{Cite book |last=Eakin |first=Marshall C. |title=Becoming Brazilians |publisher=Cambridge University Press |year=2017 |isbn=978-1-107-17576-1 |pages=206-216}}</ref><ref name=":1">{{Cite book |last=Stroud |first=Sean |title=The Defence of Tradition in Brazilian Popular Music: Politics, Culture and the Creation of Música Popular Brasileira |last2=Hawkins |first2=Stan |last3=Burns |first3=Lori |publisher=Taylor and Francis Group |year=2008 |pages=1-109}}</ref> | ||
| ==History== | ==History== | ||
| MPB, loosely understood as a "style", debuted in the mid-1960s, with the ] being applied to types of non-electric music that emerged following the beginning, rise and evolution of bossa nova. MPB artists and audiences were largely connected to the intellectual and student population, causing later MPB to be known as "university music."<ref>{{in lang|pt}}</ref><ref> {{in lang|pt}}</ref> Over time, the definition of MPB expanded to include a wider variety of music that was popular in Brazil, including rock music, which was not initially under the umbrella due to its foreign origins.<ref name=":0" /><ref>{{Cite book |last=Dunn |first=Christopher |title=Brazilian Popular Music and Citizenship |last2=Avelar |first2=Idelber |publisher=Duke University Press |year=2011 |pages=64-73}}</ref> | MPB, loosely understood as a "style", debuted in the mid-1960s, with the ] being applied to types of non-electric music that emerged following the beginning, rise and evolution of bossa nova. MPB artists and audiences were largely connected to the intellectual and student population, causing later MPB to be known as "university music."<ref>{{in lang|pt}}</ref><ref> {{in lang|pt}}</ref> Over time, the definition of MPB expanded to include a wider variety of music that was popular in Brazil, including rock music, which was not initially under the umbrella due to its foreign origins.<ref name=":0" /><ref>{{Cite book |last=Dunn |first=Christopher |title=Brazilian Popular Music and Citizenship |last2=Avelar |first2=Idelber |publisher=Duke University Press |year=2011 |pages=64-73}}</ref> | ||
| === Initial Success === | |||
| Like bossa nova, MPB was an attempt to produce a "national" Brazilian music that drew from traditional styles. MPB made a considerable impact in the 1960s, thanks largely to several televised music festivals. The beginning of MPB is often associated with ]'s interpretation of ] and ]'s "Arrastão." In 1965, one month after celebrating her 20th birthday, Elis appeared on the nationally ] ''Festival de Música Popular Brasileira'' and performed the song. Elis recorded ''Arrastão'' and released the song as a single, which became the biggest selling single in Brazilian music history at that time and catapulted her to stardom. This brought MPB to a national Brazilian audience and many artists have since performed in the style over the years. | Like bossa nova, MPB was an attempt to produce a "national" Brazilian music that drew from traditional styles. MPB made a considerable impact in the 1960s, thanks largely to several televised music festivals. The beginning of MPB is often associated with ]'s interpretation of ] and ]'s "Arrastão." In 1965, one month after celebrating her 20th birthday, Elis appeared on the nationally ] ''Festival de Música Popular Brasileira'' and performed the song. Elis recorded ''Arrastão'' and released the song as a single, which became the biggest selling single in Brazilian music history at that time and catapulted her to stardom. This brought MPB to a national Brazilian audience and many artists have since performed in the style over the years. | ||
| Thanks to an economic boom in Brazil through the 1960s and '70s, an expanding working and middle class had greater access to television, which became a substantial vehicle for the consumption and spread of MPB. Musical showcases such as ''Festival de Música Popular Brasileira'' turned out to be a massive success, and the stations ''TV-Record'' and ''FIC'' most notably competed in a ratings battle that resulted in greatly expanding the audience of Brazilian Popular Music. In particular, the shows ''O Fino da Bossa'' and ''Jovem Guarda'' achieved a great deal of media attention and praise, with the former being attributed to taking part in the creation of MPB. The successes of both prompted the live broadcasting of more vibrant music festivals. These events were more like competitions, and artists first had to go through a lengthy submission process before being given the chance to perform in front of a panel of judges as well as a live audience. The music festivals further expanded viewership while also increasing the competition between artists for airtime and stations for better ratings.<ref name=":0" /><ref name=":1" /> | |||
| Many of the albums on ''Rolling Stone Brazil''{{'}}s list of the 100 greatest Brazilian albums fall under this style.<ref>]{{in lang|pt}}</ref> | Many of the albums on ''Rolling Stone Brazil''{{'}}s list of the 100 greatest Brazilian albums fall under this style.<ref>]{{in lang|pt}}</ref> | ||
Revision as of 20:34, 15 September 2022
Trend in post-bossa nova urban popular music in Brazil
| Brazilian popular music | |
|---|---|
| Native name | Música popular brasileira (MPB) |
| Stylistic origins | Bossa nova, samba, samba-canção, baião, jazz, rock, Brazilian regional styles |
| Cultural origins | 1960s, Brazil (Rio de Janeiro, Salvador, Minas Gerais, São Paulo) |
Música popular brasileira (Portuguese pronunciation: [ˈmuzikɐ popuˈlaʁ bɾaziˈlejɾɐ], Popular Brazilian Music) or MPB is a trend in post-bossa nova urban popular music in Brazil that revisits typical Brazilian styles such as samba, samba-canção and baião and other Brazilian regional music, combining them with foreign influences, such as jazz and rock.
This movement has produced and is represented by many Brazilian artists, such as Jorge Ben Jor, Ivan Lins, Novos Baianos, Belchior and Dominguinhos, whose individual styles generated their own trends within the genre. The term is often also used to describe any kind of music with Brazilian origins and "voice and guitar style" that arose in the late 1960s.
Variations within MPB were the short-lived but influential artistic movement known as tropicália, and the music of samba rock.
MPB songs are in part characterized by their harmonic complexity and their elaborate lyrics, which call back to a connection between Brazil’s popular music and poetry that has been culturally relevant since the 1920s. It also draws from themes from Brazil’s folk music as a part of an effort to create a musical style that reflected true Brazilian culture. During the 1970s, these qualities gave the style an intellectual prestige that made it more popular for listening as an artform rather than being used as music for dancing, further distinguishing it from other popular music of the time. However, this was not always the case, as demonstrated by music by artists such as Jorge Ben Jor, many of whose songs fall into the category of dance music.
History
MPB, loosely understood as a "style", debuted in the mid-1960s, with the acronym being applied to types of non-electric music that emerged following the beginning, rise and evolution of bossa nova. MPB artists and audiences were largely connected to the intellectual and student population, causing later MPB to be known as "university music." Over time, the definition of MPB expanded to include a wider variety of music that was popular in Brazil, including rock music, which was not initially under the umbrella due to its foreign origins.
Initial Success
Like bossa nova, MPB was an attempt to produce a "national" Brazilian music that drew from traditional styles. MPB made a considerable impact in the 1960s, thanks largely to several televised music festivals. The beginning of MPB is often associated with Elis Regina's interpretation of Vinícius de Moraes and Edu Lobo's "Arrastão." In 1965, one month after celebrating her 20th birthday, Elis appeared on the nationally broadcast Festival de Música Popular Brasileira and performed the song. Elis recorded Arrastão and released the song as a single, which became the biggest selling single in Brazilian music history at that time and catapulted her to stardom. This brought MPB to a national Brazilian audience and many artists have since performed in the style over the years.
Thanks to an economic boom in Brazil through the 1960s and '70s, an expanding working and middle class had greater access to television, which became a substantial vehicle for the consumption and spread of MPB. Musical showcases such as Festival de Música Popular Brasileira turned out to be a massive success, and the stations TV-Record and FIC most notably competed in a ratings battle that resulted in greatly expanding the audience of Brazilian Popular Music. In particular, the shows O Fino da Bossa and Jovem Guarda achieved a great deal of media attention and praise, with the former being attributed to taking part in the creation of MPB. The successes of both prompted the live broadcasting of more vibrant music festivals. These events were more like competitions, and artists first had to go through a lengthy submission process before being given the chance to perform in front of a panel of judges as well as a live audience. The music festivals further expanded viewership while also increasing the competition between artists for airtime and stations for better ratings.
Many of the albums on Rolling Stone Brazil's list of the 100 greatest Brazilian albums fall under this style.
See also
References
- Time Out São Paulo. Time Out Guides. 2009. pp. 191–92. ISBN 978-1846701269.
- ^ Eakin, Marshall C. (2017). Becoming Brazilians. Cambridge University Press. pp. 206–216. ISBN 978-1-107-17576-1.
- ^ Stroud, Sean; Hawkins, Stan; Burns, Lori (2008). The Defence of Tradition in Brazilian Popular Music: Politics, Culture and the Creation of Música Popular Brasileira. Taylor and Francis Group. pp. 1–109.
- UOL, 500 anos de Música brasileira(in Portuguese)
- Performance da música indígena no Brasil (in Portuguese)
- Dunn, Christopher; Avelar, Idelber (2011). Brazilian Popular Music and Citizenship. Duke University Press. pp. 64–73.
- Anexo:Lista dos 100 maiores discos da música brasileira pela Rolling Stone Brasil(in Portuguese)
External links
- Brazilian music at CliqueMusic
- MPB at AllMusic.com
- What Is Brazilian MPB Music? at Sounds and Colours
- Brazilian music – beyond the clichés
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