A gravadora Chantecler e a música regional do Brasil

Vicente, Eduardo

doi:10.1590/s0103-40142017.3190021

Cited by 1 publication

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“…These record companies also demonstrated major market segmentation that characterized the decades that follow. While Chantecler was founded in 1958 with the intent of recording regional music (especially música sertaneja) on 78 rpm records for audiences in the interior of the country, 13 Festa was founded a few years earlier and was dedicated exclusively to releasing vinyl records and primarily recorded poetry and classical music for a more sophisticated audiences in the large urban centers. 14 Festa stands out as the record company that recorded and released LPs widely considered the beginning mark of bossa nova: Canções do Amor Demais (1958), in which Elizabeth Cardoso recorded songs by Antônio Carlos Jobim and Vinícius de Moraes accompanied on the guitar by João record with the English record company Odeon, further marking the critical arrival of a new musical genre.…”

Section: From Samba-canção To Bossa Novamentioning

confidence: 99%

Popular Music since 1945 and the Growth of the Brazilian Culture Industries since 1945

Goldschmitt¹,

Vicente²

2020

Oxford Research Encyclopedia of Latin American History

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The period following the end of Getúlio Vargas’s second government (1951–1954) saw a massive expansion of the media industries, with popular music in particular becoming an important cultural touchstone. A major feature of the postwar period was the politicization of music and other media such as radio, television, and social media. Other salient trends include the incorporation of international musical influences (especially jazz, rock, and countercultural postures) into Brazilian musical production starting in the late-1950s, and the rise and prominence of regional genres in the national discourse. Along with the fluctuations in the national economy, the recording industry expanded and contracted. Brazilian media industry infrastructures have taken part in artistic expression, including both major multinational record labels as well as independent record companies. Popular music production has regularly responded to the social and economic upheavals that have characterized Brazil since the end of World War II, including the military dictatorship (1964–1985). While much of the international reputation of Brazilian music in this period relies on the popularity of bossa nova, the history of the country’s media industries shows how other genres such as música popular brasileira, rock, brega, and sertanejo adapted to public tastes. Even during the height of the military regime’s repression, the efforts of record companies and recording artists saw the expansion of Brazilian popular music into still more diverse sounds, a trend that continued through the first decades of the 21st century. Interdisciplinary perspectives, including communication studies, history, anthropology, and ethnomusicology, show some possible new routes for music and cultural industry research in Brazil.

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Section: From Samba-canção To Bossa Novamentioning

confidence: 99%