Samba Brazil

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Samba Brazil

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Die Musikgruppen Baterias werden stets von einer reich geschmückten Tanzformation angeführt und können mehrere hundert Musiker umfassen.

Samba batucada wird ähnlich gespielt wie der Samba enredo, meist mit rund 10 bis 20 Musikern und ohne Gesang. Die kleinere Besetzung ermöglicht es den einzelnen Spielern, mehr zu solieren und zu improvisieren bzw.

Eine jüngere Weiterentwicklung ist der Samba-Funk bzw. Diese innovativsten Musikströmungen der er Jahre sind stark von Funk sowie Rap beeinflusst worden und fusionierten diese Stile mit dem Samba.

Er wird üblicherweise nicht mehr zu den Samba-Stilen gerechnet. Aus diesem Grund strahlt die Musik aus dieser Region auf ganz Brasilien aus.

Das gilt auch für den Samba, der deshalb ebenso als Regionalmusik, wie als überregionaler Musikstil angesehen werden kann. Traditionell ist in der afro-brasilianischen Kultur Tanz allgemein ein fester Bestandteil der Musikkultur, beides ist daher traditionell nicht voneinander zu trennen.

In den Sambaschulen sind die Musik- und die Tanzformation gleichberechtigt. Die sehr vereinfachte Form des Sambatanzes , die in den er Jahren die europäischen und nordamerikanischen Tanzschulen erreichte und in das Turnierprogramm der lateinamerikanischen Tänze aufgenommen wurde, hat kaum noch etwas mit der ursprünglichen brasilianischen Tanzform gemeinsam.

In den ern entwickelten sich in den ärmsten Stadtteilen von Salvador da Bahia Brasilien bloco afro genannte Trommelgruppen.

Samba-Gruppen nehmen auch heute häufig teil an politischen Demonstrationen, wie die Gruppen aus dem weltweiten antikapitalistischen Rhythms of Resistance Netzwerk.

Die ersten Sambaschulen in Deutschland wurden in den späten er Jahren gegründet, seit den er Jahren gab es einen Boom. In Deutschland wird heute vor allem der aus dem Nordosten Brasiliens stammende Samba-Reggae gespielt.

Für die meisten deutschen Gruppen ist Samba — anders als für die Sambaschulen in Brasilien — nur ein Rhythmus unter vielen. In Berlin findet seit jeweils am letzten Septemberwochenende unter Leitung der Landesmusikakademie Berlin das Samba Syndrom statt.

Das viertägige Sambafestival Bad Wildungen findet seit alle zwei Jahre mit etwa 50 Gruppen in der ersten Septemberwoche statt. Stattdessen decken sie das gesamte Spektrum brasilianischer und anderer, auf brasilianische Percussioninstrumente übertragener Rhythmen ab.

Samba Entstehungsphase: frühes Kategorie : Brasilianischer Musikstil. Namensräume Artikel Diskussion. Ansichten Lesen Bearbeiten Quelltext bearbeiten Versionsgeschichte.

Lundu reveals, in a way, the amalgamation of black slaves and white Portuguese and indigenous cultures. When the African slaves where imported, it was named the "semba" and with the introduction of the Arabic Pandeiro tambourine , brought into the Roda by the Portuguese, the "Samba" was molded into the form of dance it is now.

All participants, including beginners, are invited to join the dance and observe as well as imitate. Usually, only the women dance after each other and they are surrounded by others dancing in a circle and clapping their hands.

The choreography is often spontaneous and is based on movements of the feet, legs and hips. One of the most typical moves is the umbigada which is clear Bantu influence, where the dancer invites her successor into the circle's center.

The factor that frequently draws the attention of most people to the rhythm is the unusually-accented syncopated beat. This syncopated rhythm is also an indication of Black resistance against cultural assimilation.

The Samba of Roda in particular was considered an expression of freedom and identity of the underprivileged and became a means of liberation.

The Samba de Roda has significantly waned during the twentieth century due to economic decline and increased poverty in the region.

The effects of mass media and competition from popular modern music have also devalued this tradition among the younger generation.

Finally, the weakening of the Samba de Roda was heightened through the aging of practitioners and demise of those who made the musical instruments.

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Main article: Samba de Gafieira. April Dance Research. Luso-Brazilian Review. Diccionario de vocabulos brazileiros. Imprensa Nacional. In addition to distinct rhythms and meters, samba brings a whole historical culture of food, varied dances miudinho, coco, samba de roda, and pernada , parties, clothes such as linen shirts, and the Naif painting of established names such as Nelson Sargento , Guilherme de Brito , and Heitor dos Prazeres.

Anonymous community artists, including painters, sculptors, designers, and stylists, make the clothes, costumes, carnival floats, and cars, opening the doors of schools of samba.

There is also a great tradition of ballroom samba in Brazil, with many styles. Samba de Gafieira is the style more famous in Rio de Janeiro, where common people used to go to the gafieira parties since the s, and where the moves and identity of this dance emerged, getting more and more different from its African, European, and Cuban [ further explanation needed ] origins and influences.

The National Samba Day is celebrated on December 2. The date was established at the initiative of Luis Monteiro da Costa, an alderman of Salvador , in honor of Ary Barroso.

He composed " Na Baixa do sapateiro " even though he had never been in Bahia. Thus December 2 marked the first visit of Ary Barroso to Salvador.

Initially, this day was celebrated only in Salvador, but eventually, it turned into a national holiday. The etymology of samba is uncertain. One of the oldest records of the word samba appeared in Pernambuco magazine's O carapuceiro , dated February , when Father Miguel Lopes Gama of Sacramento wrote against what he called "the samba d'almocreve" — not referring to the future musical genre, but a kind of merriment dance drama popular for black people of that time.

In the middle of the 19th century, the word samba defined different types of music made by African slaves when conducted by different types of Batuque , but it assumed its own characteristics in each Brazilian state , not only by the diversity of tribes for slaves, but also the peculiarity of each region in which they were settlers.

In Argentina , there is a dance called " zamba ", a name which seems to share etymological origins with the samba, but the dance itself is quite different.

Samba-enredo or samba de enredo is a subgenre of samba, performed by a samba school or escola de samba for the festivities of Brazilian Carnival.

A new song must be written each year for each school; they must be on Brazilian topics. The Carnaval parade is among other things a samba competition, with judges, who rank the new sambas according to their perceived merit.

Being by definition topical, sambas-enredo are seldom performed outside of the Carnaval environment. For each samba school, choosing the following year's samba-enredo is a long process.

Well in advance of the Carnaval parade, each samba school holds a contest for writing the song. The song is written by samba composers from within the school itself "Ala dos Compositores" , or sometimes from outside composers, normally in " parcerias " partnerships.

Each school receives many—sometimes hundreds—songs, sometimes hundreds of them, each hoping to be the next samba-enredo for that year. The samba-enredo is written by these numerous composers mentioned above only after the Carnival Art Director, or "Carnavalesco", officially publishes the samba school 's parade theme synopsis for the year.

After a careful explanation of the parade-theme, many times done by the Carnival Art Director himself, composers may ask questions in order to clarify the synopsis, so they can start writing the samba-enredos.

It ends up after with somewhere between three and four sambas, which are competing in the great Final do Samba.

The winner finally becomes the samba schools hymn of the year. After months of deliberation, the new samba-enredo is chosen and becomes the voice of the samba school for the next year's Carnaval.

The most important night in this process, is called the "final de samba", or samba final, when the samba school decides between two or three samba-enredos.

At the end of the process, the winning samba-enredo is selected, and it is this song that is sung during the school's parade in the sambadrome. This process normally happens in Brazil from August until November, and today is highly professionalized, with samba-composers hiring fans, producing CDs, banners, and throwing parties to promote their samba-enredo.

The final chosen song, today, is also uploaded on the school's YouTube and Facebook pages to reach even more fans.

It is important to note that the samba-enredo is one of the criteria used by the Judging committee to decide who is the winner of the Carnaval parade competition.

The samba-enredo must be well sung by the samba school's puxador or singer or the school will lose points. While the puxador sings, everyone marching in the Carnaval parade sings the samba-enredo along with him, and harmony is another judging criterion.

During the first decade of the 20th century, some songs under the name of samba were recorded, but these recordings did not achieve great popularity.

However, in , " Pelo Telefone " "By Telephone" was recorded, [17] and it is considered the first true samba. Actually, "Pelo Telefone" was created by a collective of musicians who participated in celebrations at the house of Tia Ciata Aunt Ciata.

It was eventually registered by Donga and the Almeida National Library. From that moment on, samba started to spread across the country, initially associated with Carnival and then developing its own place in the music market.

As the samba consolidated as an urban and modern expression, it began to be played on radio stations, spreading across the hills and neighborhoods to the affluent southern areas of Rio de Janeiro.

Initially viewed with prejudice and discrimination because it had black roots, the samba, because of its hypnotic rhythms and melodic intonations in addition to its playful lyrics, eventually conquered the white middle class as well.

The samba is frequently associated abroad with football and Carnaval. Bossa nova finally entered the country into the world of samba music.

Brazilian percussionist and studio musician Paulinho Da Costa , currently based in Los Angeles, incorporates the rhythms and instrumentation of the samba into the albums of hundreds of American, European and Japanese artists — including producer Quincy Jones , jazz performer Dizzy Gillespie , pop singer Michael Jackson and vocalist Barbra Streisand.

The success of the samba in Europe and Japan only confirms its ability to win fans, regardless of their language. Currently, there are hundreds of samba schools on European soil and scattered among countries like Germany, Belgium, Netherlands, France, Sweden, Switzerland and the United Kingdom.

Already in Japan, the records invest heavily in the launch of former sambistas' set of discs, which eventually created a market composed solely of catalogs of Japanese record labels.

These stands form poor communities that these people called the favelas later the term became synonymous with the irregular buildings of the poor.

At the same time, there were the samba-corrido , a line that had more work together with the rural Bahian accent, and the samba-chulado, a more rhyming and melodic style that characterized the urban samba carioca.

By the s, Republican propagandists were attempting to prohibit samba on the pretext that folklorist dances shamed Brazil's national image.

It would take the edict of a federal administration to halt the persecution of neighborhood samba groups and to recognize officially their parades.

Later, the views of anthropologist Gilberto Freyre, and Getrllio Vargas, who became Brazil's new populist president in , provided the country with fresh perspectives on racial mixing.

Under Vargas, samba schools and carnaval parades were supported by the state and quickly established themselves all over Brazil.

Samba significantly benefited from these political efforts to create a homogeneous national culture. While certain types of music suggested different racial or class origins, samba dissipated social antagonisms and helped unify a society that varied in its origins, appearance, and ways of living and thinking.

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João Gilberto - Joao Gilberto Sings Famous Brazilian Songs

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