By Sean Stroud
Sean Stroud examines how and why Musica renowned Brasileira (MPB) has come to have one of these excessive prestige, and why the musical culture (including MPB) inside of Brazil has been defended with such vigor for thus lengthy. He emphasizes the significance of musical nationalism as an underlying ideology to discussions approximately Brazilian renowned tune because the Twenties, and the main debate on so-called 'cultural invasion' in Brazil. the jobs of these chargeable for the development of the assumption of MPB are tested in detail.Stroud analyses the more and more shut dating that has constructed among tv and renowned song in Brazil with specific connection with the post-1972 televised tune gala's. He is going directly to think of the impression of the Brazilian list within the gentle of theories of cultural imperialism and globalization and likewise evaluates governmental intervention with regards to well known tune within the Seventies. the significance of folklore and culture in renowned song that's found in either Mario de Andrade and Marcus Pereira's efforts to 'musically map' Brazil is obviously emphasised. Stroud contrasts those tasks with Hermano Vianna and Itau Cultural's related ventures on the finish of the 20 th century that took a wholly assorted view of musical 'authenticity' and tradition.Stroud concludes that the defence of musical traditions in Brazil is inextricably sure up with nationalistic sentiments and a wish to guard and safeguard. MPB is the musical expression of the Brazilian center type and has regularly acted as a cultural icon since it is linked to notions of 'quality' via yes sectors of the media.
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Additional resources for The Defence of Tradition in Brazilian Popular Music (Ashgate Popular and Folk Music Series)
However, ironically one form of musical domination was replaced by another, as statistics for radio play in Rio de Janeiro and São Paulo during the months of December in 1981, 1982 and 1983 revealed that the playlists were now swamped with MPB, with virtually no foreign music present. 99 Once again, MPB was portrayed in the media as being in a phase of artistic ‘crisis’. This state of affairs was partially responsible for the kick-start given to the Brazilian rock movement in the mid 1980s through the support of independent FM radio stations in various Brazilian cities.
Elis Regina, the rising star of what came to be known as MPB, returned from an international tour and immediately launched into a ﬁery tirade that was published in Intervalo magazine, and which demonstrates the contemporary depth of feeling on the issue: Returning to Brazil, I was hoping to ﬁnd samba stronger than ever. But what I saw was this submusic [submúsica], this noise that they call iê iê iê, capturing thousands of youngsters who are begining to be interested in music and who are being led astray.
The gaiety and sense of joyful experimentation that characterized Tropicália stood in stark contrast to the artistic vacuum which followed the exile of Gilberto Gil, Caetano Veloso, Geraldo Vandré and others, and the all-pervading sense of musical stasis which followed the imposition of severe censorship in 1968. 78 Airton Barbosa, ed. ’, p. 378. 79 Paiano, ‘O Berimbau’, p. 93. , p. 97. 81 José Ramos Tinhorão, Pequena história da música popular: da modinha à lambada (São Paulo, 1986), pp. 265–6.