The music of Brazil was formed from the mixture of European, African and indigenous elements, brought by Portuguese settlers, slaves and by the natives who inhabited the so-called New World. Other influences have been added throughout history, establishing a huge variety of musical styles. At the time of the discovery of Brazil, the Portuguese were amazed at the natives ' way of dressing and the way they made music: singing, dancing, playing instruments (rattles, flutes, drums).
Brazilian music mixes elements of various cultures, especially the so-called formative cultures, which were the Portuguese (European) settlers, the natives (indigenous) and the African (slaves). It is difficult to say with certainty which were the elements of origin, …show more content…
Dom João Sexto brought with him the Bragança music library - one of the best in Europe at the time - and quickly ordered musicians from Lisbon and Italy, reorganizing the Royal Chapel, very prestigious for the quality of the songs presented. At that time the first great Brazilian composer, Father Jose Mauricio Nunes Garcia, and Gabriel Fernandes da Trindade, composer of modinhas and the only pieces of Chamber Orchestra, and João de Deus de Castro Lobo appeared. The central figure in this difficult period was Francisco Manuel da Silva, disciple of Father José Mauricio and successor of his master in the Chapel. He was a composer of scarce resources, but deserves credit for having founded the Conservatory of Music of Rio de Janeiro, having been regent of the Teatro Lirico Fluminense, and also in the National Opera, and the author of the Brazilian National Anthem. His work reflected the transition from musical taste to Romanticism, when the interest of the national composers turned to the opera, which was at its peak in Brazil. The greatest figure of the time was Antônio Carlos Gomes, who composed operas with nationalist themes but with European aesthetics, such as "O Guarani" and "O Escravo", which were successful in demanding European theaters such as La Scala in …show more content…
In 1917, the samba left the improvisation wheels of the Rio hills, and was considered representative of Brazilian popular music. There are several regional forms of samba in other parts of the country, but the modern urban samba, are sung to the sound of palms and beaten rhythm, with one or more parts of verses declamatory and played with stringed instruments such as cavaquinho, guitar, and Various percussion instruments such as tambourine, deaf and tambourine. With the passing of the years, other aspects of the samba urban of Rio de Janeiro have emerged, which have gained their own denominations such as samba de breque, samba-canção, bossa nova, samba-rock, pagoda, among others. Besides being one of the most popular musical genres in Brazil, samba is well known abroad, being considered as a Brazilian symbol, alongside football and carnival. The story began with the international success of the song "Aquarela do Brasil", by Ary Barroso, then extended through Carmen Miranda, who took the samba to the US, and also consecrated Bossa Nova, which definitively
Brazilian music mixes elements of various cultures, especially the so-called formative cultures, which were the Portuguese (European) settlers, the natives (indigenous) and the African (slaves). It is difficult to say with certainty which were the elements of origin, …show more content…
Dom João Sexto brought with him the Bragança music library - one of the best in Europe at the time - and quickly ordered musicians from Lisbon and Italy, reorganizing the Royal Chapel, very prestigious for the quality of the songs presented. At that time the first great Brazilian composer, Father Jose Mauricio Nunes Garcia, and Gabriel Fernandes da Trindade, composer of modinhas and the only pieces of Chamber Orchestra, and João de Deus de Castro Lobo appeared. The central figure in this difficult period was Francisco Manuel da Silva, disciple of Father José Mauricio and successor of his master in the Chapel. He was a composer of scarce resources, but deserves credit for having founded the Conservatory of Music of Rio de Janeiro, having been regent of the Teatro Lirico Fluminense, and also in the National Opera, and the author of the Brazilian National Anthem. His work reflected the transition from musical taste to Romanticism, when the interest of the national composers turned to the opera, which was at its peak in Brazil. The greatest figure of the time was Antônio Carlos Gomes, who composed operas with nationalist themes but with European aesthetics, such as "O Guarani" and "O Escravo", which were successful in demanding European theaters such as La Scala in …show more content…
In 1917, the samba left the improvisation wheels of the Rio hills, and was considered representative of Brazilian popular music. There are several regional forms of samba in other parts of the country, but the modern urban samba, are sung to the sound of palms and beaten rhythm, with one or more parts of verses declamatory and played with stringed instruments such as cavaquinho, guitar, and Various percussion instruments such as tambourine, deaf and tambourine. With the passing of the years, other aspects of the samba urban of Rio de Janeiro have emerged, which have gained their own denominations such as samba de breque, samba-canção, bossa nova, samba-rock, pagoda, among others. Besides being one of the most popular musical genres in Brazil, samba is well known abroad, being considered as a Brazilian symbol, alongside football and carnival. The story began with the international success of the song "Aquarela do Brasil", by Ary Barroso, then extended through Carmen Miranda, who took the samba to the US, and also consecrated Bossa Nova, which definitively