Samba music9/3/2023 Now, thanks to this second, expanded edition, readers have a chance to delight in what became an instant classic in the study of Brazilian popular music and a game-changer in Brazilian ethnomusicology. First published in 2001 to a demand outnumbering the supply, FD has been inaccessible for many years. In this brilliant example of historical ethnomusicology, Sandroni examines changing denominations, the poetics, and the sounds of samba by way of historical sources, some indirect ethnography, and his firsthand experience as a guitarist and composer. With commendable English-language translations of idiosyncratic phrases, MS is entirely accessible to those who are new to the Brazilian context.Ī more musical assessment of samba during the same pivotal period is provided by ethnomusicologist Carlos Sandroni, who is Professor Adjunto (the Brazilian equivalent of an Associate Professor) of Music at the Federal University of Pernambuco. The book is ideal for the scholars of the music industry, Brazilian music, and the creation of popular music. The book is divided into nine chapters, in addition to an “Introduction” and a “Conclusion.” Of special interest for samba enthusiasts is the magnificent, if lamentably brief, photo gallery of musicians. MS is a sublime example of social history at its best. With care and attention, Hertzman interprets police records, published interviews with musicians and composers, sales data, historical newspapers, and photos and drawings from the era to recount the tale of samba’s “making” during the first decades of the twentieth century. Marc Hertzman, an Assistant Professor of History at the University of Illinois at Urbana-Champaign, focuses focuses his investigation primarily on the lives of the individuals who made samba a marketable reality. To our benefit, however, each does so from a distinct perspective and with a different set of sources and interests. Both Making Samba (MS), by Marc Hertzman, and Feitiço decente (FD), by Carlos Sandroni, examine samba in Rio de Janeiro during the half-century following the country’s infamously late 1888 abolition, as the genre ascended from the margins of society to musical metonym par excellence of the Brazilian nation. It is also a result of complex negotiations regarding notions of race and representation. In Brazil, like in so many former slavocracies, the solidification of a nation-defining popular music is not only associated with the growth of mass media and the expansion of the recording industry. Illustrations, photo gallery, bibliography, index.įeitiço decente: Transformações do samba no Rio de Janeiro (1917-1933). Making Samba: A New History of Race and Music in Brazil.
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