Samba - Knowledge

3186: 323:. Today synonymous with the rhythm of samba, this new samba brought innovations in rhythm, melody and also in thematic aspects. Its rhythmic change based on a new percussive instrumental pattern resulted in a more "batucado" and syncopated style – as opposed to the inaugural "samba-maxixe" – notably characterized by a faster tempo, longer notes and a characterized cadence far beyond the simple ones palms used so far. Also the "Estácio paradigm" innovated in the formatting of samba as a song, with its musical organization in first and second parts in both melody and lyrics. In this way, the sambistas of Estácio created, structured and redefined the urban Carioca samba as a genre in a modern and finished way. In this process of establishment as an urban and modern musical expression, the Carioca samba had the decisive role of samba schools, responsible for defining and legitimizing definitively the aesthetic bases of rhythm, and 1326:

the author of the composition, but he would not receive any part of the gains obtained from the sales of the records, which were divided between the buyer and the record label – or the entire composition – that is, the real author completely lost the rights to his samba, including authorship. In some cases, the sambista sold the partnership to the buyer and also received a portion of the profits from the sales of the records. Selling a samba meant the composer had a chance to see his production publicized – especially when he did not yet enjoy the same prestige acquired by the first generation samba composers – and also a way to make up for his own financial difficulties. For the buyer, it was the possibility to renew his repertoire, record more records and earn sales, and further consolidate his artistic career. Artists with good contact with record labels, the popular singers

2039:. Both influences displeased the more traditionalist critics: in the first, they accused the samba-canção of having "jazzed up", especially for the sophisticated orchestra arrangements; in the second, the slower and more romantic progress of the slope led to pejorative labels such as "sambolero" or "sambalada". In fact, the orchestral accompaniments of the samba-canção at that time were marked by arrangements containing woodwinds and strings that replaced the traditional regional musical ensemble and made it possible to dramatize the arrangements in accordance with the theme of the songs and the expressiveness of the singers. If, for some critics, these orchestral and melodic-harmonic attributes of modern 1950s samba-canção came from post-war 966:– did not belong to composers, but to publishers and, later, to record labels, a reality modified only with the advent of electrical recordings, when the right to intellectual property of the work became individual and inalienable to the composer. In any case, it was because "Pelo Telefone" that samba gained notoriety as a product in the Brazilian music industry. Gradually, the nascent urban samba was gaining popularity in Rio de Janeiro, especially at the Festa da Penha and Carnival. In October, the Festa da Penha became a great event for composers from Cidade Nova who wanted to publicize their compositions in the expectation that they would be released at the following carnival. Another promoter during this period was the 2120: 1708:, Almirante, Lamartine Babo, among others. The advent of the popular chanchada films made Brazilian cinema one of the biggest promoters of carnival music. In one of the rare moments when sambistas from the hill starred in radio programs, Paulo da Portela, Heitor dos Prazeres and Cartola led the program "A Voz do Morro", at Rádio Cruzeiro do Sul, in 1941. There, they presented unpublished sambas whose titles were given by listeners. However, over the course of the decade, the samba made by these genuine sambistas was losing space on Brazilian radio to new sub-genres that were being formed, while figures such as Cartola and Ismael Silva were ostracized until they left the music scene in the late 1940s. 641:, it was a distinctly Afro Brazilian musical genre that brought people together in community and celebration, but that, to the Brazilian elite, was threatening. Samba's incorporation of African drumming was thought to be a connection to Afro Brazilian cults. Many early composers were thought to be leaders of African cults and for this connection, samba faced policed persecution. Any Samba gathering was swiftly shut down, with musicians arrested and their instruments destroyed. As a result, Samba had to go underground; it relied on community members to assume the risk of persecution to have Samba parties out of their homes. Ultimately samba became a hallmark of Brazilian culture, highlighted at 3146: 3841:"Partido-alto was born from the batucadas' circles, where the group kept the beat, hitting it with the palm of their hands and repeated the surrounding verse. The chorus served as a stimulus for one of the participants to dance samba to the center of the circle and with a gesture or body swing they invited one of the components of the circle to stand upright (a term used to mean the individual who stood with their feet up together waiting for the kick that was the attempt to bring down those who were standing up with their feet). These elements were considered "batuqueiros", that is, good in making batucada, good "kicking" (passing the leg over the partner trying to make him fall)." 1893:

language and audience that made radio an even more popular media in Brazil. In search of easier communication with the listener, the programming standard became more sensational, melodramatic and appealing. One of the best expressions of this new format and the new popular audience was the auditorium programs and the "kings" and "radio queen" contests. Although they played a role in legitimizing samba as a cultural product and national symbol music and also transforming popular musical culture with the circulation of new musical genres and more extroverted performances, auditorium programs such as the paradigmatic "Programa César de Alencar" and "Programa Manoel Barcelos" – both on

1787:. In general, the samba-canção was characterized as a slower tempo variant, with a dominance of the melodic line over the rhythmic marking that basically explores the subjectivity of subjectivity and feeling. As their releases took place outside the carnival season, the trend was linked to the so-called "mid-year samba". However, during the 1930s, the term samba-canção was used arbitrarily to designate many compositions contained under the name of "samba de meio de ano" ("mid-year samba"), but which did not fit as samba-canção themselves. On the other hand, many sambas at the time of their releases would later be recognized as samba-canção, as in the case of works by 1994:– was deeply characterized by the prestige and dominance of samba-canção in the Brazilian music scene. Although in its time of appearance there were not so many releases characteristic of this aspect, many achieved huge commercial success and, in the mid-1940s, this sub-genre began to dominate Brazilian radio programming and be the most played style outside the carnival era. This rise of samba-canção as a hegemonic musical style was also accompanied mainly by the avalanche of foreign musical genres – imported to Brazil under the political-cultural context of World War II – that began to compete in the country's market with the samba-canção itself. 958:'s house. Sinhô claimed the authorship of the chorus "ai, se rolinha, sinhô, sinhô" and created another song lyrics in response to Donga. However, Sinhô himself, who would consolidate himself in the 1920s as the first important figure of samba, was accused of appropriating other people's songs or verses – to which he justified himself with the famous maxim that samba was "like a bird" in the air, it is "whoever gets it first". This defense is part of a period in which the figure of the popular composer was not that of the individual who composed or organized sounds, but the one who registered and disseminated the songs. In the era of 997:. Because of this, this type of samba is considered by scholars as "samba-maxixe" or "samba amaxixado". Although the samba practiced in the festivities of Bahian communities in Rio was an urban stylization of the ancestral "samba de roda" in Bahia, characterized by a high party samba with refrains sung to the marked rhythm of the palms and the plates shaved with knives, this samba it was also influenced by the maxixe. It was in the following decade that a new model of samba would be born, from the hills of Rio de Janeiro, quite distinct from that of the amaxixado style associated with the communities of Cidade Nova. 775: 2408: 3289:, the central region of the city that started to concentrate several bars and restaurants with live music. For having identified with the bohemian neighborhood, this movement became known informally as "samba da Lapa". With a repertoire composed of classics sambas and without concessions to more modern sub-genres, this new circuit promoted the meeting between beginning and veteran musicians from several generations of sambistas, all identified with the traditional elements that make up the urban Carioca samba. Among some artists who acted in the scope of samba circles in this neighborhood, were 1881: 1633:, whose ideological cultural policy of reconceptualizing the popular and extolling everything that was considered an authentic national expression, samba was elevated to the position of major national symbol of the country and the official pace of the country. However, one of the concerns of the Vargas regime was to interfere in music production to promote samba as a means of "pedagogical" socialization, that is, by banning compositions that confront the regime's ethics. In this quest to "civilize" samba, political bodies such as the Department of Press and Propaganda (DIP, 2400: 2603: 1099: 2864:

written solos, instead of improvised and spontaneous singing according to traditional canons. This stylized partido-alto was released on several collective LPs, released during the 1970s, whose titles included the subgenre's own name, such as "Bambas do Partido Alto", "A Fina Flor do Partido Alto" and "Isto Que É Partido Alto", which included samba composers such as Anézio, Aniceto, Candeia, Casquinha, Joãozinho da Pecadora, Luiz Grande and Wilson Moreira, although not all were versed in the art of improvisation. Another artist who stood out as a

1217:

Rio society who supported and frequented the musical circles of the "Pequena Africa", the new Estaciano sambistas suffered socio-cultural discrimination, including through police repression. A popular neighborhood with a large Black/mixed contingent , Estácio was one of the great strongholds of poor samba musicians situated between marginality and social integration, who ended up being stigmatized by the upper classes in Rio as "dangerous" rascals. Because of this infamous brand, the Estaciano samba suffered great social prejudice in its origin.

2611: 230: 666:. From the cucumbis, the "Cariocas cordões" emerged, which presented elements of Brazilianness – like Black people in indigenous dress. At the end of the 19th century, on the initiative of Hilário Jovino, from Pernambuco, ranchos de reis (later known as carnival ranchos) emerged. One of the most important ranches in Rio's carnival was Ameno Resedá. Created in 1907, the self-titled "rancho-escola" became a model for carnival performances in procession and for future samba schools born in the hills and suburbs of Rio. 2619: 1350: 1009: 678: 2128: 1391: 2419:, without, however, "denying or taking away spontaneity and prospects for progress". This letter came to meet a series of circumstances that made traditional urban samba not only revalued in different Brazilian cultural circles, but also started to be considered by them as a kind of "counter-hegemonic" and "resistance music" in the Brazilian music scene. In a decade characterized in the Brazilian music industry by the domination of international rock music and its Brazilian variant, 2392: 3066:

growing investments of record labels stimulated by huge sales since 1986, pulled by both the LPs of the already established Almir Guineto and Fundo de Quintal – the great paradigm of the subgenre – and for the debut works of Zeca Pagodinho, Marquinhos Satã and Jovelina Pérola Negra. Although there was a certain cooling of the interest of record labels and the media even during the second half of the 1980s, pagode established itself as an important subgenre of samba.

2234:", by Antonio Carlos Jobim and Vinicius de Moraes, at the frontline – became major international successes. However, in the midst of the turbulence that marked the Brazilian political scene at the time, the movement suffered a dissent, which resulted in the so-called "nationalist current". With the intention of carrying out a work more engaged and aligned with the social context of the period, the nationalist bossa-novistas formed around Nara Leão, Carlos Lyra, 1091: 1083: 1225:

which had a headquarter and license to parade at the carnival. We decided to organize a carnival bloc, even without a license, that could allow us to go out at the carnival and do samba all year round. Organization and respect, without fights or huffing, were important. It was called "Deixa Falar" as it despises the middle class ladies of the neighborhood who used to call people a vagabond. We were malandros, in a good way, but vagabonds weren't.

3598: 1717: 3761:(Bide). He asked me if he wanted to sell samba to Chico Viola . A hundred thousand reis was what he offered. I accepted quickly and the samba, which became his property, appeared with my name. Then I sold 'Amor de Malandro', for five hundred réis, but this time I didn't appear in the recording as an author. I was angry, of course. The same was true of other samba dancers: they sold songs that appeared as if they were from buyers." 2893: 2901: 3584: 3789:

displayed on the disc label, for the first time, the expression "samba-canção". On the other hand, Tinhorão comments that Celestino's voice and his operatic style were not appropriate to the configuration of the new sub-genre: "his voice emission ... did not allow to recognize the right dose of samba rhythmic balance, which Henrique Vogeler tried to introduce as a disturbing element of the classic melody of the song. "

3411: 3383: 1602:, these elegant amusement houses offered restaurant and bar services and were the stage for shows – among which samba also featured prominently. Thus, the casinos signed exclusive contracts with major artists, as was the case with Carmen Miranda as a big star at Cassino da Urca. In an unusual event for the universe of sambistas on the hill, composer Cartola performed for a month at the luxurious Casino Atlântico, in 57: 1563:

normally on the sidelines of this process as a mere supplier of compositions for the white performers or as instrumentalists accompanying them. This strong presence of white singers and composers was also decisive for the acceptance and appreciation of samba by the economic and cultural elites of Brazil. From this, the middle class started to recognize the value of the rhythm invented by black Brazilians. The

14842: 2583:

Bienal do Samba took place in 1968, a year also characterized by the release of Paulinho da Viola's first solo album and also of another studio album by this composer in a duet with Elton Medeiros. At the beginning of the following decade, Paulinho consolidated his prestige with the commercial success of the samba "Foi um rio que passou na minha vida" and also as a producer of the first studio album of the

3425: 3369: 1449:, started signing advantageous contracts to work exclusively with a certain radio station. The institution of auditorium programs created the need to set up big radio orchestras, conducted by arranging conductors, which gave a more sophisticated look to Brazilian popular music. One of the most notorious orchestral formations on the radio was the Orquestra Brasileira – under the command of conductor 1162:

Another structural change resulting from this samba was the valorization of the "second part" of the compositions: instead of using the typical improvisation of the samba circles of the alto party or carnival parades, there was the consolidation of pre-established sequences, which would have a theme – for example, everyday problems – and the possibility of fitting everything within the standards of

3397: 2556:

rock and Jovem Guarda, especially due to the influence of record labels on commercial broadcasters in the country, Adelzon Alves' radio show became the main spokesman for samba and sambistas from Rio de Janeiro on the media and a major propagator of terms, which reverberate until today, referring to the legacy of the universe of "samba do morro" as national music "of resistance" and "root".

2494:. Known at the time as "regional", these musical ensemble based on classical guitar, cavaquinho and pandeiro, and occasionally some wind instrument, were revalued and became associated with the idea of a more authentic and genuine samba. From then on, the idea of forming samba vocal-instrumental groups for professional presentations matured and, with the success obtained by groups such as 2759:. Among the singers of the new generation, the names of Clara Nunes, Beth Carvalho and Alcione emerged as the great female samba singers in the Brazilian music industry, whose good record sales – marked by the appreciation of songs by the composers of the Rio de Janeiro samba schools – contributed greatly for the popularity of samba. In addition to this triad of singers were also added 445: 2571:, author of sambas such as "Apesar de Você", which became classics of the genre. Against the ideological disputes between the acoustic guitar (an instrument traditional in Brazilian music genres and synonymous with national music) and electric guitars (seen as an "Americanized" instrument in Brazilian music) that characterized these Brazilian song festivals, the beginning sambista 1133:). In a short time, this type of temporary housing was permanently established in the urban landscape of Rio, originating the first favelas in the city. From the increase in the populations expelled from the tenements and the arrival of new poor migrants to the capital of the Republic, the favelas grew rapidly and spread through the hills settlements and suburban areas of Rio. 2884:

theaters, steakhouses, among others, with the promotion of "rodas de samba" with stage and microphones and the participation of sambistas linked to samba schools. Meanwhile, new "rodas de samba" were formed informally in the suburbs of Rio de Janeiro, the result of which would lead to the germ, in the late 1970s, of a new and successful sub-genre of modern samba in the 1980s.

1771:

such as "samba à moda agrião" (samba in the watercress style), "samba epistolar" (epistolary samba) and "samba fonético" (phonetic samba). In other cases, it was music critics that imputed pejorative labels with a view to disapproving certain aesthetic changes or fashion trends – as in the disparagingly called sambalada and sambolero for stylistic nuances the samba-canção.

481:, dated February 1838, 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. According to Hiram Araújo da Costa, over the centuries, the festival of dances of enslaved people in Bahia were called samba. In 1114:(such as electric lighting, water and sewage, modern pavements), new legislation that imposed architectural norms and restrictions for urban buildings, and the prohibition on the exercise of certain professions or economic practices linked to subsistence, especially of the poorest. The situation of this population worsened further with the urban reforms in the 2520:, Nosso Samba, Brazil Ritmo 67, Os Batuqueiros, Exporta-samba, among others. Two other significant performances from this moment of aesthetic revaluation of traditional urban samba were "Telecoteco opus N ° 1", with Cyro Monteiro and Dilermando Pinheiro, which was shown at Teatro Opinião, and "O samba pede passagem", which brought together veterans 2579:, in the third Festival of Brazilian Popular Music in 1967. Although its early eliminated in this contest, this samba projected Martinho's name on the music scene of that time, whose subsequent successes paved the way for the affirmation in the music industry of this type of samba characterized by strong chorus and, normally, three solo parts. 1297:. For the samba musicians from the hills of Rio, samba was the last Brazilian stage of Angolan drumming that they proposed to teach to Brazilian society through samba schools. This generational conflict, however, did not last for long, and Estácio's samba established itself as the rhythm par excellence of Rio's urban samba during the 1930s. 1280:

Persegue", by Heitor dos Prazeres, one of Oswaldo Cruz's representatives. Deixa Falar was disqualified for the use of a flute and tie by Benedito Lacerda, then representative of the Estácio group. This veto on wind instruments became the rule from then on – including for the first parade between them, organized in 1932 by journalist

12401: 3170:, saw their sales drop substantially at the turn of the 21st century. In addition, in a space of a few decades, samba songs played in the media have declined, with the genre it is almost always represented by the sub-genre pagode in the Brazilian charts. Of the 100 most heard artists on Brazilian radio between 2010 and 2019 on the 2043:, for others this influence was much more Latin American than North American. Another aesthetic mark of the period was the vocal performance of the singers of this style of samba, sometimes more inclined to the lyrical power and expressiveness, sometimes more supported by an intonation and close to the colloquial dynamics. 1810:, a sub-genre typified in this way in the 1930s because of the lyrics and melody, which must comprise the poetic summary of the theme chosen by the samba school for its carnival parade. Samba-de-terreiro – or also samba de quadra – was a short-tempo samba modality, with the second most measured part that prepares the 2423:, the traditional samba would have started to be seen as an expression of the greatest authenticity and purity of the genre, which led to the creation of terms such as "samba autêntico" ("authentic samba"), "samba de morro" ("samba of the hill"), "samba de raiz" ("roots samba"), or "samba de verdade" ("real samba"). 1305:

studio with the percussion that would characterize the genre from there: tamborim, surdo, pandeiro, ganzá, cuíca, among others. Although there was the presence of these percussive instruments, the samba recordings in the studio were characterized by the predominance of musical arrangements of orchestrated tone with

2226:, bossa nova has become a sambistic sub-genre of great reputation on the Brazilian music scene and, with its rhythm, more assimilable abroad than traditional samba, became known worldwide. After being released on the American market in a series of concerts in New York City in late 1962, Brazilian bossa nova albums 1547:. Another highlight was the singer Carmen Miranda, the greatest star of Brazilian popular music at that time and the first artist to promote samba internationally. Renowned in Brazil, Carmen continued her successful artistic career in the United States, where she worked in musicals in New York City and, later, in 2680:. This Brazilian entry in the scope of the global cultural industry also profoundly affected the samba universe, which became one of the mass phenomena of the national music market of that decade represented by the appearance, on the list of best selling records of the period, of studio albums by artists such as 717: 3669:"Many groups and individuals (Black, Romani, Bahians, Cariocas, intellectuals, politicians, folklorists, classical composers, French, millionaires, poets – and even an American ambassador) participated, with greater or lesser tenacity, in the 'fixation' of samba as a musical genre and its nationalization". 3770:"Committed to valuing her artists, Ladeira innovated in presenting them by epithets or catchphrases: 'Remarkable Little Girl' designated to Carmem Miranda; 'The singer of the thousand and one fans' designated to Ciro Monteiro; and 'the singer who dispensed with adjectives' designated to Carlos Galhardo." 1725:

The period of Brazilian music between 1929 and 1945 marked by the arrival of radio and electromagnetic recording of sound in the country and by the notability of major composers and singers, – the so-called "golden age" registered several styles of samba, some with greater and others with less solidity.

3069:

In the 1990s, a new generation of artists emerged who shared, to some extent, similar characteristics, such as the incorporation of musical elements traditionally uncommon in the traditional samba, and a repertoire devoted largely to romantic lyrics. Initially seen by the phonographic industry and by

2883:

Even during this period, "rodas de samba" ("samba circles") began to spread as a fever throughout Rio de Janeiro and other Brazilian cities. Originally restricted to the backyards of sambistas' residences and the samba school headquarters, these informal meetings have taken on a new meaning in clubs,

2846:

collective records, a traditional form of samba that is often sung in the terreiros (the samba school headquarters) in Rio de Janeiro and in the usual "pagodes" – festive gatherings, with music, food and drink – since the first decades of the 20th century. With remote African roots, this sub-genre is

1562:

The consolidation of samba as the flagship of the radio programming of Rio de Janeiro was characterized by the association of the musical genre with the image of white artists, who, even when proletarianized, were more palatable to the preference of the public, while the poor black sambistas remained

1414:

A 1932 Vargas decree regulating radio advertising was crucial to the commercial, professional and popular transformation of Brazilian broadcasting. With the authorization that ads could occupy 20% (and then 25%) of the programming, the radio became more attractive and safe for advertisers and – added

950:

baiana" was recorded by Alfredo Carlos Bricio, declared to the National Library as "samba de partido-alto" in 1913, "A viola está magoada", by Catulo da Paixão Cearense, released as "samba" by Baiano and Júlia the following year, and "Moleque vagabundo", "samba" by Lourival de Carvalho, also in 1914.

594:

was typically danced outdoors by a soloist, while other participants of the roda took charge of the singing – alternating in solo and chorus parts – and the performance of dance instruments. The three basic steps of Bahian samba de roda were the corta-a-jaca, the separa-o-visgo and the apanha-o-bago,

3304:

and Sururu na Roda group, Luciane Menezes and Dobrando a Esquina group, Eduardo Gallotti and Anjos da Lua group, among others, besides veterans such as Áurea Martins. And later, Edu Krieger and Moyseis Marques has appeared. Other new artists linked to the samba traditions, but without direct ties to

1782:

of Rio de Janeiro in the late 1920s and early 1930s. Although the term began to circulating in the press in 1929 to mistakenly designate "Jura", by Sinhô, and "Diz que me amas", by J. Machado, the starting point of the line was "Linda Flor (Ai, Ioiô)", a melody by Henrique Vogeler and lyrics by Luis

1724:

Thanks to its economic exploitation through the radio and the records, samba not only became professional, but also diversified into new sub-genres, many of which were different from the hues originating in the hills of Rio de Janeiro and established by the interests of the Brazilian music industry.

1644:

Under Vargas, samba had an expressive weight in the construction of an image of Brazil abroad and was an important means of cultural and tourist dissemination of the country. In an attempt to reinforce a positive national image, the presence of renowned singers of the kind in presidential committees

1304:

together made up the percentages just over half of the repertoire recorded in that period. Thanks to the new electric recording technology, it was possible to capture the percussive instruments present in samba schools. The samba "Na Pavuna", performed by Bando de Tangarás, was the first recorded in

1224:

At the end of the carnival, samba has continued because we did samba all year. At Café Apolo, Café do Compadre, across the street, at the backyard feijoadas or at dawn, on street corners and in bars. Then the police used to come and bother us. But it didn't bother the guys of (carnival rancho) Amor,

1216:

Thus, at the end of the 1920s, the modern carioca samba had two distinct models: the primitive urban samba of Cidade Nova and the new syncopated samba of the Estácio group. However, while the Bahian community enjoyed a certain social legitimacy, including the protection of important personalities of

3811:

The regional is a kind of musical ensemble in Brazil generally formed by one or more instruments with a melodic function, such as flute and mandolin; cavaquinho, with an important rhythmic role and can also assume part of the harmony; one or more guitars, forming the harmonic basis of the ensemble;

3065:

With the success of the LP "Raça Brasileira", the pagode phenomenon experienced a period of commercial growth in the Brazilian phonographic market. The main artists in this sub-genre reached the top of the success charts and became known nationally thanks to exposure in the mainstream media and the

2908:

Originally designated in the samba universe for the musical meetings of sambistas and, soon, also extending to the sambas sung in them, the term pagode became popular with the resignification of the "rodas de samba" in Rio de Janeiro, from the 1970s, with the "pagodes" or "pagodes de mesa" ("pagode

2879:

presented at the carnival parades. In the early years, it was common to release up to two albums, the first containing the sambas-enredo of the parades and the second with sambas depicting the history of each samba school. Beginning in 1974, the annual release began to focus on a single LP for each

2801:

Under this same context of the expansion of samba in the Brazilian phonographic market of the 1970s, the music industry invested in a less traditional and more sentimental line of samba, whose simplified rhythmic structure left percussion – the main feature of samba – a little sideways. Rejected as

2626:

Between 1968 and 1979, Brazil experienced a huge growth in the production and consumption of cultural goods. During this period, there was a strong expansion of the music industry in the country, which consolidated itself as one of the largest world markets. Among the main factors for the expansion

2555:

in Rio de Janeiro, the radio program dedicated a repertoire exclusively dedicated to the samba – in a scenario in which radio before the supremacy of television as a major means of communication in Brazil had become a disseminator of music recorded on disc. Faced with the hegemony of Anglo-American

1497:

middle-class neighborhood, Noel Rosa was instrumental in destigmatizing the samba do Estácio. Although he started his musical trajectory by composing Northeastern emboladas and similar Brazilian rural music genres, the composer changed his style by having contact with the samba made and sung by the

1419:

in the period – transformed this telecommunication medium of its function once educational for an entertainment powerhouse. With the contribution of financial resources from advertising, the broadcasters began to invest in musical programming, turning the radio into the great popularizer of popular

3085:

This distinction was established precisely because the samba made by these new artists and musical groups – although it maintained some similarities with the standard enshrined in the Fundo de Quintal – did not have the samba musicians of the previous decade as a major musical reference nor did it

2046:

With a new generation of performers that emerged in the post-war period, the Brazilian music scene was taken over by emotional and painful samba-canção songs in the 1950s. This sub-genre was divided between a more traditional and a more modern generation. If in the first group there were composers

1892:

and the consequent growth in the production of consumer goods, radio sets spread in the Brazilian market in different models and at affordable prices to the different social class of the Brazilian population. Within this context, Brazilian radio broadcasting also went through a moment of change in

1325:

in "Para Me Livrar do Mal". With the growing demand for new sambas by the singers, the practice of buying and selling compositions has also become common. This transaction usually took place in two different ways: the author negotiated only the sale of the samba recording – that is, he remained as

2863:

and/or classical guitar) and the art of singing and creating improvised verses, almost always in the character of challenge or contest. This essence based on improvisation was taken to the record studios, where partido-alto became a style with more musicality and made with more concise verses and

1770:

and released labels and album covers printed various nomenclatures for samba in an attempt to express a functional, rhythmic or thematic trend – such as "samba à moda baiana" (samba in the Bahian style), "samba-batucada", "samba-jongo", "samba-maxixe" -, although some sounded quite inconsistent –

569:

noticed that, in rural areas, the term "samba" was associated with the event where the dance was performed, the way of dancing the samba and the music performed for the dance. The Urban Carioca Samba was influenced by several traditions associated with the universe of rural communities throughout

1900:

For the samba more linked to the traditions of Estácio and the hills, the 1950s was characterized by the vitalizing presence of old and new composers who led the renewal of the genre for the next years. This renewal was present in the sambas of well-known authors from the general public, such as

1436:

enabled the formation of professional technicians linked to sound activities, as well as for singers, arrangers and composers. From this scenario, broadcasters Ademar Casé (in Rio) and César Ladeira (in São Paulo) stood out as pioneers in the establishment of exclusive contracts with singers for

1369: 949:

The success of "Pelo Telefone" marked the official beginning of samba as a song genre. Its primacy as "the first samba in history" has, however, been questioned by some scholars, on the grounds that the work was only the first samba under this categorization to be successful. Before, "Em casa da

3788:

With a melody composed by pianist Henrique Vogeler, "Linda Flor" had three different versions for each lyrics, the most famous of which was "Ai, Ioiô", written by Luis Peixoto. According to José Ramos Tinhorão, the first version, entitled "Linda Flor" and recorded by Vicente Celestino at Odeon,

2582:

As the aesthetic orientation towards young music of that time, these "song festivals" practically ignored the samba, which generated criticism from sambistas such as Elton Medeiros, who claimed the inclusion of the "truly Brazilian music" in these musical contests. Against this trend, the first

2162:

At a time when the appeal to the traditional was gaining new momentum, bossa nova would mark the entire structure of creation and listening supported by established genres, considering that it sought a renewal within the tradition of samba. Initially called "modern samba" by the Brazilian music

1398:

The 1930s in Brazilian music marked the rise of Estácio's samba as a musical genre to the detriment of maxixe-style samba. If the samba schools were crucial to delimit, publicize and legitimize the new Estaciano samba as the authentic expression of the Rio's urban samba, the radio also played a

338:

At the same time that it established itself as the genesis of samba, the "Estácio paradigm" paved the way for its fragmentation into new sub-genres and styles of composition and interpretation throughout the 20th century. Mainly from the so-called "golden age" of Brazilian music, samba received

3157:

and, mainly, compact discs caused a deep crisis in the music industry in Brazil, which worsened, from the 2000s, with the possibility of digital download, often free of charge, of musical works via the internet. In this context, there was a sharp drop in the commercialization of official samba

2663:

as a dominant medium format, where it was possible to insert several compositions on the same record, and also made the artist more important than his songs individually; the significant participation of foreign music in the Brazilian market, with the predominance of young music on the country

1161:

Estácio's samba was distinguished from Cidade Nova's samba both in thematic aspects, as well as in the melody and rhythm. Made for the parades of the carnival blocs in the neighborhood, the samba do Estácio innovated with a faster tempo, longer notes and a cadence beyond the traditional palms.

1136:

It was in this scenario that a new type of samba would be born during the second half of the 1920s, called "samba do Estácio", which would constitute the genesis of urban Carioca samba by creating a new pattern so revolutionary that its innovations last until the days current. Located close to

1320:

Another reason for the success of the new samba in the music industry was the introduction of the "second part", which stimulated the establishment of partnerships between the composers. For example, one composer created the chorus of a samba and another composer conceived the second part, as

3284:

Outside the hegemonic commercial scope of the subgenre pagode, the late 1990s was also a period of great visibility and notoriety for the most traditional samba in Rio de Janeiro. A new generation of musicians emerged in "rodas de samba" that spread through several neighborhoods in the city,

1279:

Zé Espinguela organized the first contest among the first samba schools in Rio: Deixa Falar, Mangueira and Oswaldo Cruz (later Portela). The dispute did not involve parede, but a competition to choose the best samba theme among these carnival groups – whose winner is the samba "A Tristeza Me

1048: 953:

Another debate related to "Pelo Telefone" concerns Donga's exclusive authorship, which was soon contested by some of his contemporaries who accused him of appropriating a collective, anonymous creation, registering it as his own. The central part of the song would have been conceived in the

2943:

In the 1980s, pagodes became a fever throughout Rio de Janeiro. And, far beyond simple places of entertainment, they became radiating centers of a new musical language that expressed itself with a new interpretive and totally renewed style of samba that was embedded in the tradition of the

12407: 1288:

Estácio's batucado and syncopated samba represented an aesthetic break with Cidade Nova's maxixe-style samba. In turn, the first generation of samba did not accept the innovations created by the samba musicians of the hill, seen as a misrepresentation of the genre or even designated as

1974:

and got him a job at a newspaper. As part of the celebrations of the Fourth Centenary of the city of São Paulo, the composer Almirante organized the "Festival da Velha Guarda" ("Old Guard Festival"), which brought together great names of Brazilian popular music then forgotten, such as

1849:, in 1939, samba-exaltação started to be well cultivated by professional composers in the musical theater and in the music industry and radio media. Another well-known samba of this type was "Brasil Pandeiro", by Assis Valente, a huge hit with the vocal group Anjos do Inferno in 1941. 2458:

and Zé Keti, as well as samba songs from the bossa nova nationalist branch. And at the end of that year, Nara Leão met with Zé Keti and João do Vale for the musical Show Opinião, which became a reference as an artistic manifestation in protest to the authoritarian regime established.

838:

and disseminated the mysteries of the African-based religions of the Jeje-Nagô tradition in the city. In addition to candomblé, the residences or terreiros of the aunts of Bahia hosted various community activities, such as cooking and the pagodes, where urban Rio samba would develop.

359:

and samba de terreiro – while other nomenclatures were somewhat more imprecise – such as samba do barulho (literally "noise samba"), samba epistolar ("epistolary samba") ou samba fonético ("phonetic samba") – and some merely derogatory – such as sambalada, sambolero or sambão joia.

1629:. Having acted decisively for the growth of radio in Brazil, the Vargas government perceived samba as a vital element in the construction of this idea of miscegenation. Samba's triumph over the airwaves allowed it to penetrate all sectors of Brazilian society. Especially under the 1897:, leader in audience and main media of communication in Brazil – stimulated the cult of personality and the private life of artists, whose apex was the collective frenzy generated around the fan clubs of popular music stars during the concourses of kings and queens of the radio. 3821:

According to the Brazilian Association of Record Producers, an official representative body of the record labels in the Brazilian phonographic market, the total record sales jumped from 9.5 million sold in 1968 to 25.45 million in 1975 and reached 52.6 million in

3678:"... the transformation of samba into national music was not a sudden event, going from repression to praise in less than a decade, but the crowning of a secular tradition of contacts ... between various social groups in attempt to invent Brazilian identity and popular culture." 1383: 2249:

In addition to bossa nova, other new samba sub-genres emerged in this period between the late 1950s and early 1960s. The rise of nightclubs as the main nightlife venues in Rio disseminated variety shows with the participation of sambistas and samba dancers, mainly performed by

1437:

presentation in live programs. That is, instead of receiving only one fee per presentation, the monthly remuneration was fixed to pay the artists, a model that triggered a fierce dispute between radio stations to form its professional and exclusive casts with popular stars of

2430:

and his wife Dona Zica in 1963. which transformed in a short time at a famous meeting point of veteran sambistas, attracted the attendance of many left-wing intellectuals and students, and became famous for its samba nights that, in addition to revealing new talents, such as

1428:

directly from the stations' auditoriums and studios. With samba as a great attraction, the radio gave space to the genre with the "sambas de carnaval", released for the carnival celebrations, and the "sambas de meio de ano" ("mid-year sambas"), launched throughout the year.

1069: 2802:

tacky and kitsch by both the most respected musicians in the country and by critics, this formula was stigmatized under the derogatory term of "sambão-joia". Despite this, this most romantic samba has become a great commercial success in the repertoire of singers such as

3070:

the media as a continuation of the pagode of the previous decade, this new wave was later characterized under the label of "pagode romântico" ("romantic pagode") – or also "pagode paulista", due to the large number of artists of this scene that emerged mainly from

2909:

circles"), where sambistas gathered around a large table, often located in a residential "backyard", in opposition to the fashionable samba circles made in clubs and the like. Some of the most famous pagodes in the city were the Pagode of Clube do Samba (made at

2671:

Another important aspect in the phonographic sector of the period was technological, with a modernization of recording studios in Brazil that approached international technical standards, and the consolidation of foreign record labels in the country, such as

1239:

and the creator of the expression "samba school" – the term was inspired by the Normal school that once existed in Estácio, and therefore the samba schools would form "samba teachers". Although the primacy of the country's first samba school is contested by

535:

The use of the word in a musical context was documented as early as 1913 in the "Em casa de baiana", registered as "samba de partido-alto". Then, the following year, for the works "A viola está magoada" and "Moleque vagabundo". And, in 1916, for the famous

1145:

was a center of convergence of public transport, mainly of trams that served the North Zone of the city. Its proximity to the nascent hills settlements as well as its primacy in the formation of this new samba ended up linking its musical production, from

2034:

tones and more restrained vocal performances, and more complex melodic-harmonic structures, distinct, therefore, from the rhythmic-bodily sensuality of traditional samba. In other cases, it was due to the strong passionate exercised by bolero and foreign

1825:, but with medium tempo and presence of lyrics. Created by the Brazilian music industry, it was released, with all indications, with "Amor em excesso", by Gadé and Valfrido Silva, in 1932. One of the most popular sambas of this variant is "Carinhoso", by 1677:" (by Ary Barroso) was released in the United States market, becoming the first Brazilian song that was very successful abroad and one of the most popular works of the Brazilian popular songbook. In the midst of the good neighborhood policy, the animator 1836:

Widespread during the Estado Novo, samba-exaltação was a sub-genre marked by the character of grandeur, expressed notably by the extensive melody, the lyrics with a patriotic-ufanist theme and by the lavish orchestral arrangement. Its great paradigm was

1368: 629:, it is the combination, according to Lopes and Simas, of the Bahian samba de roda with the singing of the calango, as well as a kind of transition between rural samba and what would be developed in the urban environment of Rio from the 20th century. 1027: 3185: 945:

format on 19 January 1917, "Pelo Telefone" became a huge hit in that year's Rio carnival. Two instrumental versions were also released – recorded by Banda Odeon and Banda de 1º Battalion of the Police of Bahia – in 1917 and 1918 respectively.

3831:

According to the journalist Nelson Motta, the Philips label was, at the end of 1972, "TV Globo for record labels", holding in its cast all the "great" names of Brazilian music of the time, with the exception of Roberto Carlos, who was at Som

2258:, drums and percussion, and performed by crooners. A trend in the 1960s live music in Brazil, this format of "samba to dance" resulted in styles such as the sambalanço – a very lively and dancing type of samba, from which musicians such as 715: 657:

events used to attract all social segments, including Black and enslaved peoples, who took advantage of the celebrations to make their own manifestations, such as the crowning revelry of the Congo kings and the cucumbis (Bantu revelry) in

472:

State as a disciplinary measure, as there they could be idle and entertained with "fishing of corrals , and climbing coconut trees, in whose hobbies viola and samba will be welcomed ". Another old appearance was recorded in the humorous

3193:

Even so, the first two decades of the 21st century confirmed the pagode as the hegemonic reference of samba in the Brazilian music industry. In the first decade of this century, new artists emerged commercially, such as the samba bands

3098:

and keyboards to reproduce the sound of various instruments. Despite these dilutions, the "romantic pagode" achieved great commercial success in the Brazilian phonographic market and in the mass media, highlighting samba groups such as

826:. Through the action of black Bahians living in Rio, new habits, customs and values of Afro-Bahian matrixes were introduced that influenced the culture of Rio, especially in popular events such as the traditional Festa da Penha and 3700:

During the 19th century, a large part of the compositions belonged to the sheet music publishers, who bought, edited and disseminated them by hiring pianists – Sinhô himself worked for a long time as a pianist in music and piano

3090:, gave up the use of instruments common to the 1980s pagode – such as hand-repique, tan-tan and banjo – in exchange for instrumentation characteristic of international pop music from that period, especially the saxophone and the 2550:

In this context of the effervescence of the samba resistance movements, the radio show "Adelzon Alves, o amigo da madrugada" ("Adelzon Alves, the friend of the dawn") has appeared. Presented by radio broadcaster Adelzon Alves on

922:, witnessed the birth of "O Macaco É Outro" in October 1916. According to the journalist, this samba immediately won the support of the popular people who left singing the music in an animated block. Donga registered the work in 1660:

that performed at the Gran Exposición Feria Internacional del Uruguay. The Brazilian government also financed an information and popular music program called "Uma Hora do Brasil", produced and broadcast by Radio El Mundo, from

578:

or fandango, baiano, cateretê, quimbere, mbeque, caxambu and xiba. To this list, Jorge Sabino and Raul Lody added: the samba de coco and the sambada (also called coco de roda), the samba de matuto, the samba de caboclo and the

335:. Once criminalized and rejected for its Afro-Brazilian origins, and definitely working-class music in its mythic origins, the genre has also received support from members of the upper classes and the country's cultural elite. 2151:, the city maintained its position as a major cultural hub in the country and urban samba, whose transformations on the radio, the music industry, nightclubs and among the circles of university middle class youth resulted in 1402:

Although broadcasting in Brazil was officially inaugurated in 1922, it was still an incipient and technical, experimental and restricted telecommunication medium. In the 1920s, Rio de Janeiro was home to only two short-range

716: 1166:

of 78 rpm at the time – something like three minutes on 10-inch discs. In comparison to the works of the first generation of Donga, Sinhô and company, the sambas produced by the Estácio group also stood out for a greater

3779:"Samba, no longer that samba inscribed in its transit project by society, became the official rhythm of the country, and as such, it has had a history. Only a story in which the past was remade according to the present." 3002:– this one linked to the Cacique de Ramos pagodes. On this way opened by Fundo de Quintal, in 1985 the collective studio album called "Raça Brasileira" was released, which revealed to the general public singers such as 1046: 696: 1461:

in percussion -, which combined standards of the international song at that time with popular instruments in Brazilian music, such as the cavaquinho. The Orquestra Brasileira was notable for the success of the program

3021:

The novelty of the pagode in the Brazilian music scene occurred at a time of major reorganization of the music industry in the country, whose investments in the first half of the 1980s had been concentrated mainly on

2029:

Under the influence of the strong penetration of these imported genres, the post-war samba-canção itself was influenced by these rhythms. In certain cases, the change occurred through a musical treatment based on the

3850:"Of the samba groups that broke out at that time, they all had musical differences. Because when a group started playing, everyone already knew who that group was. Each of these groups had a sound, a characteristic." 13550: 13325: 281:, as well as other Afro-Brazilian and Indigenous folk traditions, such as the traditional Samba de Caboclo, it is considered one of the most important cultural phenomena in Brazil and one of the country's symbols. 1047: 708: 13308: 2382:

in Brazil, which were frequently disseminated at these "bailes blacks". This also generated a new debate among the Brazilian music critic about the foreign influence on Brazilian music and also on samba itself.

2466:

to the general public. It was the birth of the professional artistic career of one of the most expressive voices in the samba history, characterized by a repertoire aimed at the African music matrixes, such as

1067: 1313:. This orchestral pattern was mainly printed by European arrangers, among them Simon Bountman, Romeu Ghipsmanm, Isaac Kolman and Arnold Gluckman, conductors whose erudite formation ended up giving a European 1284:

and sponsored by the daily Mundo Sportivo -, because it differentiated schools from carnival ranchos with the appreciation of batucadas, which would definitely mark the aesthetic bases of samba from then on.

1795:. Not by chance, Zuza Homem de Mello and Jairo Severiano consider that this samba style was truly inaugurated with the second version of the song "No rancho fundo", with melody by Ary Barroso and lyrics by 1692:, especially in musical comedies, being an integral part of the soundtrack, the plot or even the main theme of the cinematographic work. The good public acceptance of the short film "A Voz do Carnaval" (by 1025: 2563:, Brazilian music at that time experienced the emergence of a new generation of post-bossa-nova artists who, reknowed in the scope of the "Brazilian song festivals" era, became the embryo of the so-called 1696:) paved the way for several other cinematographic works related to rhythm, many of which had a strong presence of radio idol singers in the cast, such as "Alô, Alô, Brasil! ", which had sisters Carmen and 746: 1366: 532:, but also the peculiarity of each region in which they were settlers. In the twentieth century, the term was gaining new meanings, as for a "circle dance similar to batuque" and a "genre of popular song 1068: 3038:– who, in 1984, became the first samba singer to surpass the mark of 1 million copies sold on a single LP -, the moment was not promising for samba in the commercial scope. Very popular performers like 549: 1220:

To avoid police harassment and gain social legitimacy, Estácio's samba musicians decided to link their batucadas to carnival samba and organized themselves in what they christened as samba schools.

2415:

In 1962, the "Carta do samba" ("The samba letter") was made public, a document written by the writer Édison Carneiro that expressed the need to preserve traditional features of samba, such as the

2362:

of suburban clubs in Rio de Janeiro frequented by people with low purchasing power throughout the 1940s and 1950s and which also became a fad among upper-middle-class people in the 1960s, and the

1367: 13359: 1641:, two of the most common themes in the tradition of the urban Carioca samba. Musical contests were also instituted through which public opinion elected its favorite composers and performers. 595:

in addition to the little one danced exclusively by women. In their research on Bahian samba, Roberto Mendes and Waldomiro Junior examined that some elements from other cultures, such as the

231: 3273:. A characteristic common to all these artists was the significant amount of live album releases instead of traditional studio albums. This gained even more strength with the development of 1026: 802:. In the early 1890s, Rio had more than half a million inhabitants, of whom only half were born in the city, while the other part came from the old Brazilian imperial provinces, mainly from 614:

city, until its middle course – and traditionally divided between samba de bumbo – with only instruments percussion, with bumbo – and batuque de umbigada – with tambu, quinjengue and guaiá.

327:, which greatly contributed to the diffusion and popularization of the genre and its song singers. Thus, samba has achieved major projection throughout Brazil and has become one of the main 694: 11456:

A radiodifusão sonora do samba urbano carioca: uma retrospectiva crítica das principais representações construídas acerca desse gênero musical em programas radiofônicos do Rio de Janeiro

13779: 744: 13376: 1110:, the poor strata of Rio de Janeiro faced serious economic issues related to their survival in the federal capital, such as the imposition of new taxes resulting from the provision of 1039: 2147:, was characterized by great effervescence on the Brazilian music scene, especially in Rio de Janeiro. Although it lost its status as the country's capital after the inauguration of 1300:

Between 1931 and 1940 samba was the most recorded genre music in Brazil, with almost 1/3 of the total repertoire – 2,176 sambas songs in a universe of 6,706 compositions. Sambas and

13879:

Pimentel, João (21 May 2010). "A nova geração de cantoras que se apresentam no bairro grava seus primeiros discos ao mesmo tempo" (in Brazilian Portuguese). Rio de Janeiro: O Globo.

13961: 485:, the word only became known at the end of the 19th century, when it was linked to rural festivities, to the area of Black people and to the "north" of the country, that is, the 13660: 12918: 1594:

and others. The recording results were edited in the United States on several 78 rpm discs. Another privileged space for the white, rich elite in the Brazilian society was the

695: 599:

and the Portuguese viola, were gradually incorporated into the singing and rhythm of African batuques, whose most well-known variants were samba corrido and the samba chulado.

2829: 1829:, released as choro in 1917, received lyrics and ended up relaunched two decades later, in the voice of Orlando Silva, with great commercial success. In the following decade, 13342: 985:, performers who became references when creating a new way of interpreting the most natural and spontaneous samba, without so many ornaments, as opposed to the tradition of 11583: 1411:, who identified the media as a tool of public interest for economic, educational, cultural or political purposes, as well as for the national integration of the country. 13512: 13393: 2191:, released in 1959, and triggered the emergence of an artistic movement around Gilberto and others professional artists such as Antonio Carlos Jobim, Vinicius de Moraes, 1511: 14334: 11656: 3354:

rhythm and varied tempo, the urban samba is played by percussion instruments and accompanied by string instruments. In certain areas, other wind instruments were added.

2480: 745: 13745: 13182: 13220: 2948:. Among the innovations of this new samba and marked by refinement in melodies and innovations in harmony and percussion with the accompaniment of instruments such as 2533: 13677: 1407:

whose programming was basically limited to broadcast educational content or classical music. This panorama changed radically in the 1930s, with the political rise of

14543: 14501: 14140: 13274: 3014:

sambas, this LP, as well as the works since 1979 by Beth Carvalho, Almir Guineto and the group Fundo de Quintal, formed the new sub-genre that ended up being called

2584: 13944: 12975: 13111: 2872:, a singer who would be noteworthy in the following decade with sambas similar to the partido-alto and themed in the world and in the underworld of Rio's favelas. 2851:

beat (using the palm of the hand in the center of the instrument for snapping), a greater tone harmony (usually played by a set of percussion instruments normally

2183:. A Bahian-born living in Rio, Gilberto radically changed the way of interpreting samba until then, changing the harmonies with the introduction of unconventional 1179:

At that time, samba did not work for carnival groups to walk on the street as we see today. I started noticing that there was this thing. The samba was like this:

1060: 977:

The solidification of the electric recording system made it possible for the recording industry to launch new sambas by singers with less powerful voices, such as

12448: 908: 2751:

and Martinho da Vila consolidated themselves as two of the great names of success in the samba in the 1970s, which also saw the emergence of singers-songwriters

2516:, boosted the creation of other groups composed only by sambistas with direct or indirect ties with the samba schools in the following years, such as the groups 2187:

and revolutionizing the classic syncope of the genre with a unique rhythmic division. These formal Gilbertian experiences were consolidated in the studio album

13145: 3195: 1741: 842:

Among the most well-known Bahian aunts in Rio, were the Tias Sadata, Bibiana, Fê, Rosa Olé, Amélia do Aragão, Veridiana, Mônica, Perciliana de Santo Amaro and

11856: 5426: 14877: 12737: 2992: 814:, this Afro-Bahian diaspora community in the country's capital settled in the vicinity of the Rio de Janeiro port area and, after the urban reforms of Mayor 13128: 13077: 12671: 12030: 2203:, among others, which attracted young amateur musicians from the South Zone of Rio – almost all from the middle class and with university degrees – such as 14743: 13621: 11926: 11506: 11477: 5087: 3328: 3175: 2875:

The 1970s were also a time of major changes in Rio de Janeiro samba schools, and the music industry began to invest in the annual production of LPs of the

2274: 885: 425: 1537: 15168: 13978: 13533: 13461: 3259: 2506: 2263: 1752: 13643: 13026: 1584: 870: 296:, and also to a "music genre". This process of establishing itself as a musical genre began in the 1910s and it had its inaugural landmark in the song " 3710:

At the time of the mechanical recordings, the singers needed to be equipped with an almost operatic timbre to have their voice captured by the studios.

3331:

declared in 2007 the modern Carioca samba and its matrixes samba de terreiro, partido-alto and samba-enredo as Intangible Cultural Heritage in Brazil.

2930: 2768: 1646: 13874:

Pimentel, João (12 September 2006). "Novas promessas fogem ao passadismo do bairro boêmio carioca" (in Brazilian Portuguese). Rio de Janeiro: O Globo.

15422: 15417: 14302: 13094: 12772: 12297: 11454: 3210: 931: 288:

at least since the 19th century, the word "samba" was originally used to designate a "popular dance". Over time, its meaning has been extended to a "

13410: 12992: 11729: 2814: 1359: 15178: 13884:

Pimentel, João (2 February 2011). "A união da voz com as várias vertentes da música brasileira" (in Brazilian Portuguese). Rio de Janeiro: O Globo.

3294: 3086:

keep traditional and informal aspects of matrixes of urban samba. For example, the studio recordings of a large part of these samba bands, such as

2495: 2444: 2242:, and the partnership between Vinicius de Moraes and Baden Powell, the latter two signing a fertile partnership that resulted in the studio album " 1902: 1728:

Publications devoted to the topic disseminated a broad conceptual terminology, including denominations later enshrined in new sub-genres – such as

1018: 13604: 13291: 3314: 3229: 3127: 1522: 11834: 2803: 15317: 14446: 12512: 3621: 1685:, a character created by the cartoonist to express the Brazilian way, would have been inspired by the figure of the sambista Paulo da Portela. 4236:. Ministério da Educação e Cultura, Departamento de Assuntos Culturais, Fundação Nacional de Arte, Campanha de Defesa do Folclore Brasileiro. 2479:

and sambas of the rural tradition. The music ensemble to accompany Clementina in this show was composed by Paulinho da Viola, Elton Medeiros,

2311:

closer together, initially based on the piano-bass-drums musical ensemble and later broader formations. Also under this context, the composer

926:

and, on 27 November of that year, declared himself as its author in the National Library, where it was registered as "carnival samba" called "

12362:

O estúdio não é o fundo de quintal: convergências na produção musical em meio às dicotomias do movimento do pagode nas décadas de 1980 e 1990

7317: 3931:"Samba de Roda e Identidade: um estudo comparativo da identidade regional mediada e catalisada pelo samba no Recôncavo e no Portal do Sertão" 3100: 1936: 14517: 14222: 13858: 11634: 11612: 11018:

Macedo, Marcio José de (2007). "Anotações para uma História dos Bailes Negros em São Paulo". In Barbosa, Marcio; Ribeiro, Esmeralda (eds.).

3723:: "Samba is that for a long time. 'The police chief / on the phone sent me to warn / That in Carioca / There is a roulette wheel to play'." 15385: 15288: 3757:

In a testimony to Muniz Sodré, Ismael Silva reports on her partnerships with Francisco Alves: "One day, in a hospital, I was approached by

14598: 1913: 15276: 11685: 7326: 3631: 3248: 2378:. The "bailes blacks" ("black balls") experienced their peak notably in Rio and São Paulo in the 1970s, a time of great diffusion of the 2285: 2230:

in several countries, while new songs and albums were recorded, including with foreign artists. Several of these works – with the samba "

12450:

A, B, C, D do Samba: Construção da identidade vocal no samba – papel das cantoras Alcione, Beth Carvalho, Clara Nunes e Dona Ivone Lara

12224: 456:

There is no consensus among experts on the etymology of the term "samba". A traditionalist view defends that the etymon comes from the

12627: 11707: 3567: 3178:

and Crowley Broadcast Analysis, the pagode corresponded to only 9% of the radio audience in Brazil in 2019, too far from the dominant

855: 385:

rhythm, with various stanzas of declaratory verses. Its traditional instrumentation is composed of percussion instruments such as the

12929: 11984: 662:. Gradually, these exclusive celebrations of the black people were being disconnected from Catholicism ceremonies and changed to the 13762: 3719:

In an interview recorded by journalist Sérgio Cabral in the late 1960s, Donga and Ismael Silva disagreed about what would be samba.

3094:. The use of these pop music instruments was less or more common to each group, but their purpose was the same, that is, the use of 2111:, one of the great names of the new style of samba that would stylistically mark the genre and Brazilian music in the coming years. 570:

Brazil. The folklorist Oneida Alvarenga was the first expert to list primitive popular dances of the type: coco, tambor de crioula,

14482:"Paulinho da Viola: O samba, o chorinho, a carreira, a política das gravadoras e o carnaval são os temas tratados nesta entrevista" 13852:

Pimentel, João (27 March 2007). "Belo painel de uma turma criativa e talentosa" (in Brazilian Portuguese). Rio de Janeiro: O Globo.

13199: 3735:: "If you swear / That you love me / I can regenerate / But if it is / to pretend to be a woman / The orgy like that I won't let." 1121:

As a result, these homeless residents were temporarily occupying slopes in the vicinity of these old demolished buildings, such as

421: 14318: 12008: 1669:. When the Vargas regime approached the United States, DIP made an agreement to broadcast Brazilian radio programs on hundreds of 1567:

became the stage for elegant carnival balls attended by the high society. Having contact with the popular genre through samba and

15161: 13427: 11592: 2002:, which occupied a significant part of radio programming, proliferated in clubs and dance halls in Rio de Janeiro and São Paulo. 14577: 3562: 1498:

sambistas from Estácio and others hills of Rio. This meeting resulted in friendships and partnerships between Noel and names as

14808:, documentary in Portuguese with English subtitles on the history of samba in Brazil with particular emphasis on Rio de Janeiro 14662: 14481: 12958: 2426:

One of the major expressions of this "resistance samba" in the first half of the 1960s was Zicartola, a bar opened by sambista

2014:, a genre that was gaining more and more appreciation among some musicians from Rio de Janeiro, especially those who worked in 1821:– at first called choro-canção or choro-cantado – was a syncopated hybrid sub-genre of samba with the instrumental music genre 1625:

became a representative of Brazilian singularities, and samba, with its mestizo origin, ended up linked to the construction of

500:

history, the terms "batuque" or "samba" were used in any manifestation of African origins that brought together dances (mainly

15809: 14721: 12403:"O Último Malandro" em síncope: Imaginação social, malandro e cidadania nas canções de Moreira da Silva (1930–1945, 1951–1954) 11665: 2462:

The following year, the composer Hermínio Bello de Carvalho produced Rosa de Ouro, a musical that launched the sixty-year-old

11955: 11398: 854:

as well as by influential intellectuals and politicians from Rio de Janeiro society. Among some of its members regulars were

270:

communities of Bahia in the late 19th century and early 20th century, having continued its development on the communities of

13711: 14157: 13495: 12176: 3054:

pulled the drop in sales of records of the genre. Disgusted by the little recognition and interest in promoting his work,

540:", released as "samba carnavalesco" ("carnival samba") and regarded as the founding landmark of the Modern Carioca Samba. 14760: 5461:"Co-option, Cultural Resistance, and Afro-Brazilian Identity: A History of the "Pagode" Samba Movement in Rio de Janeiro" 1473:

In this golden age of radio broadcasting in Brazil, a new generation of composers from the middle class emerged, such as

11909: 15856: 15154: 13637:

Meirelles, Cecília (18 January 1942). "Samba e Educação" (in Brazilian Portuguese). Rio de Janeiro: A Manhã. p. 9.

12457: 2764: 1564: 1245: 14174: 11928:

Pelos pobres! As campanhas pela construção de habitações populares e o discurso sobre as favelas na Primeira República

3748:

If the samba musician were part of a copyright regulatory agency, he would also be able to receive through this means.

1118:, whose widening or opening of roads required the destruction of several tenements and popular housing in the region. 12603: 11485:(Master) (in Brazilian Portuguese). Rio de Janeiro: Federal University of the State of Rio de Janeiro. Archived from 11182: 11008: 10922: 10901: 6128: 4208: 4018: 3950: 2778:(sister of Chico Buarque), with a rescue effort for samba and sambistas from samba schools. Among the new composers, 2435:, revived the careers of former composers then ostracized from the music industry. In February 1964, the year of the 4255: 1183:. It was not possible. How would a bloc get out on the street like that? Then, we started making a samba like this: 436:

proclaimed Samba Junino, also known as Samba Duro, an urban variation of Samba to be part of its Cultural Heritage.

13907: 11864: 1386:

The sambista Noel Rosa was the first major figure in samba to bring the genre closer to the Brazilian middle class.

1293:". For musicians such as Donga and Sinhô, samba was synonymous with maxixe – a kind of the last Brazilian stage of 1209:

in marking the cadence of the samba, making it a more syncopated rhythm. It was, therefore, a break with the samba

529: 12249:

Palmeira do mangue não vive na areia de Copacabana: a formação de uma esfera pública popular em fins dos anos 1920

11273:

Velloso, Mônica Pimenta (1982). "Cultura e poder político no Estado Novo: uma configuração do campo intelectual".

2436: 2144: 14884: 14238: 12752: 12360: 2979:. In its first works, Fundo de Quintal gave visibility not only to this new samba, but also to composers such as 2834: 1868:), to which the singer added spoken comments, generally humorous in character, alluding to the theme. The singer 930:". Shortly after, the score was used in three recordings at Casa Edison record label. One of them interpreted by 13254: 11935: 11515: 11486: 806:. In search of better living conditions, this influx of black Bahians to Rio lands increased considerably after 14629: 12896: 12382: 12200: 11812: 11322: 3897: 3626: 3182:(Brazilian country music genre), whose slice represented about one third of the radio audience in the country. 2614:

Clara Nunes, the first Brazilian female singer to surpass the mark of 100 thousand copies sold for a single LP.

2367: 1054:

Composed by Ismael Silva, Nilson Bastos and Francisco Alves; recorded by Francisco Alves and Mário Reis in 1931

687: 587: 12880: 12086:"Desde que o samba é samba: a questão das origens no debate historiográfico sobre a música popular brasileira" 11836:

Voz-ruído na canção popular brasileira: a expressividade das vozes femininas do samba-canção da década de 1950

1248:, Deixa Falar was a pioneer in spreading the term in its quest to establish a different organization from the 304:

as "samba", this pioneering style was much more connected from the rhythmic and instrumental point of view to

13927: 13587: 4041: 1609:

The consolidation of samba among Brazilian elites was also influenced by the valorization of the ideology of

1516: 10809: 10747:

Pereira Passos: um Haussmann tropical; a renovação urbana da cidade do Rio de Janeiro no início do século XX

4915: 428:

declared Carioca samba and three of its matrixes – samba de terreiro, partido-alto and samba de enredo – as

15353: 3095: 2485: 1155: 645:, but it was not always that way, as in its origins practicing samba was defiance against the government. 586:

One of the most important forms of dance in the constitution of the choreography of the Carioca Samba, the

316: 15397: 12783: 12319: 11535: 11460: 2628: 2564: 2235: 15871: 14663:"As Re-invenções e Re-significações do samba no período que cerca a inauguração da Bossa Nova: 1952–1967" 14012: 13890: 12723:(in Brazilian Portuguese) (4). Rio de Janeiro: Federal University of the State of Rio de Janeiro: 207–230 12534: 12336: 3145: 2156: 1548: 1506:. Among singers, in addition to Noel himself, a new generation of performers broke out, such as Jonjoca, 1269: 1201:

built by Ismael Silva tried to explain the rhythmic change operated by the sambistas of Estácio with the

830:. Black women from Salvador and Bahia's Recôncavo, the "Tias Baianas" ("Bahian aunts") founded the first 823: 737: 14286: 14123: 12406:(Master) (in Brazilian Portuguese). Rio de Janeiro: Federal University of Rio de Janeiro. Archived from 2222:

Consolidated in the following years as a type of concert samba, non-dancing, and comparable to American

15861: 14785:

Wisnik, José Miguel (1987). "Algumas questões de música e política no Brasil". In Bosi, Alfredo (ed.).

13796: 3691:, there was permanent cultural contact between the Bahian community and the local elites of the period. 3171: 2589: 2366:, a dance style born in the São Paulo suburban parties in the 1960s, mixing steps from samba, rock and 2003: 1603: 525: 13326:"'Aquarela do Brasil' chega aos 80 anos com cores esmaecidas por retratar país irreal de era ufanista" 12863: 2315:

emerged with his peculiar and hybrid way of playing samba, mixing elements of bossa nova and American

1142: 1094:

The sambista Ismael Silva was one of the great composers of Estácio's samba that emerged in the 1920s.

464:

in 1830. The term was documented in the publication in a note opposing the sending of soldiers to the

312: 15677: 15199: 14398: 14254: 13309:"Ary Barroso é o autor da música brasileira mais gravada, mas lista reitera a soberania de Tom Jobim" 13009: 11459:(PhD) (in Brazilian Portuguese). Rio de Janeiro: Federal University of Rio de Janeiro. Archived from 2926: 2559:

In addition to the strength of Jovem Guarda, a movement catapulted by the eponymous program shown by

2119: 1637:) took action to order sambas that would exalt the work and censor lyrics that addressed bohemia and 1102:

The sambista Heitor dos Prazeres participated in the foundation of the first Brazilian samba schools.

794:. In the middle of the 19th century, more than half the population of the city – then capital of the 606:, another primitive modality of known rural samba developed, practiced basically in cities along the 14270: 14206: 14190: 2155:– a term by which a new style of rhythmic accompaniment and interpretation of samba spread from the 913: 339:

abundant categorizations, some of which denote solid and well-accepted derivative strands – such as

14106: 13728: 12134: 11591:(Master) (in Brazilian Portuguese). Campinas: University of Campinas. pp. 1–10. Archived from 11559: 5039: 3290: 2529: 2192: 2188: 1846: 1327: 1107: 815: 752:

Composed by Pixinguinha and Cícero de Almeida, recorded by Patrício Teixeira and Trio T.B.T in 1932

562: 486: 14604: 13780:"Autores de 'Você abusou', Antonio Carlos e Jocafi, têm dia de estrela após show de Stevie Wonder" 12247: 11751: 7314: 5040:"Samba Junino, Patrimônio Cultural da Cidade de Salvador: Uma Abordagem Histôrica e Contemporânea" 3003: 1990:

However, the period between the second half of the 1940s and the end of the 1950s – well known as

819: 15125: 14686: 12337:"O samba de exaltação: Convergências e conflitos na construção discursiva da identidade nacional" 11569:(in Brazilian Portuguese). Rio de Janeiro: Instituto do Patrimônio Histórico e Artístico Nacional 3616: 3200: 2656: 2521: 2328: 1980: 1884:

The composer Lupicínio Rodrigues, author of some of the great classics of the samba-canção style.

1746: 1681:

visited Portela samba school during his visit to Brazil in 1941, from which he hypothesized that

1499: 1172: 1106:

Between the end of the 19th century and the beginning of the 20th century, in the context of the

989:. These recordings followed an aesthetic pattern characterized by structural similarities to the 835: 311:

Samba was modernly structured as a musical genre only in the late 1920s from the neighborhood of

293: 248:(sometimes also called rural samba), amongst many other forms of samba, mostly originated in the 200: 20: 14857: 12717:"Reflexões sobre a construção dos discursos e dos sentidos sobre. "gafieiras" no Rio de Janeiro" 11614:

Pois é, pra quê: Sidney Miller e Sérgio Ricardo entre a crise a transformação da MPB (1967–1974)

3174:, only 11 were from samba – and all from pagode. In another survey, carried out jointly between 2779: 2664:

charts, and the growth of the international repertoire on the soap opera soundtracks, mainly on

2168: 2108: 1125:(mainly occupied by former residents of the Cabeça de Porco tenement and former soldiers of the 1122: 15799: 15271: 14846: 13694: 12716: 10749:(in Brazilian Portuguese). Rio de Janeiro: Secretaria Municipal de Cultura, Turismo e Esportes. 3636: 3079: 2997: 1241: 1115: 626: 622: 449: 249: 35: 28: 24: 15481: 14934: 14852: 13995: 13836: 13444: 13203: 11897: 11172: 10996: 4010: 3758: 2048: 1971: 1720:

Ary Barroso became one of the major composers of samba in the "golden age" of Brazilian music.

1454: 1331: 982: 918:(popularly known as Vagalume). It was in this environment that Vagalume, then a columnist for 12926:

Estudos radiofônicos no Brasil: 25 anos do grupo de pesquisa rádio e mídia sonora da Intercom

10912: 10891: 3998: 3243:(former Só Pra Contrariar). In the following decade, it was the turn of Xande de Pilares and 2517: 2395:

The sambista Cartola experienced the resurgence of his musical career in the 1960s and 1970s.

2279: 2231: 1556: 1252:

of that time and also the first carnival association to use the group in the future known as

300:", launched in 1917. Despite being identified by its creators, the public, and the Brazilian 14089: 12230: 11274: 1542: 1138: 14462: 14069: 14049: 14029: 13816: 13567: 13162: 13129:"Nova cara do pagode, Ferrugem fura bolha do sertanejo e renova ritmo que andava esquecido" 12425:"Quando canta o Brasil: Uma análise das reestilizações ocorridas com o samba nos anos 1950" 12226:

Nas trilhas de Radamés: a contribuição musical de Radamés Gnattali para o cinema brasileiro

12186:(in Brazilian Portuguese). Brasília: Instituto do Patrimônio Histórico e Artístico Nacional 11294: 3974:

A Iminência do Samba: análise do processo de criação da coreografia O Samba do Criolo Doido

3286: 3264: 2511: 2268: 2255: 2136: 2040: 1757: 1688:

The rise of samba as a popular musical genre in Brazil also relied on its dissemination in

1630: 1482: 1033:

Composed by Homero Dornelas, recorded by Bando de Tangarás; hit in the Rio carnival of 1930

799: 637:

In its beginnings, Samba was heavily criminalized by the Brazilian government. Born in the

15412: 15373: 14414: 12841: 12825: 12120:(Master) (in Brazilian Portuguese). São Paulo: Pontifical Catholic University of São Paulo 11963:(Master) (in Brazilian Portuguese). Niterói: Federal Fluminense University. Archived from 11792: 11779: 11687:

Nem do Morro, Nem da Cidade: As Transformações do Samba e a Indústria Cultural (1920–1945)

11406:(Master) (in Brazilian Portuguese). Niterói: Federal Fluminense University. Archived from 11323:"Festas religiosas no Rio de Janeiro: perspectivas de controle e tolerância no século XIX" 10840:(in Brazilian Portuguese) (2ª ed.). Rio de Janeiro: Livraria Francisco Alves Editora. 3221: 3167: 3123: 3071: 2006:

has also come to occupy a large part of the programming of Brazilian radio stations. With

1951: 1814:

for a more lively return to the beginning. Its format was also consolidated in the 1930s.

1589: 875: 603: 8: 15789: 15743: 15712: 15669: 14581: 12629:

Mediações culturais, identidade nacional e samba na Revista da Música Popular (1954–1956)

3244: 3220:, and some singers who left their original samba groups to launch a solo career, such as 3149:

Xande de Pilares, a sambista who emerged as the Grupo Revelação singer-songwriter leader.

3091: 3027: 2935: 2773: 2622:

Beth Carvalho, the singer who gave visibility to the "backyard pagodes" in Rio's suburbs.

2463: 1651: 1458: 1175:

about the innovations introduced by him and his companions in the new urban samba in Rio:

811: 724: 509: 363:

The modern samba that emerged at the beginning of the 20th century is predominantly in a

285: 224: 15244: 12864:"As tias baianas tomam contam do pedaço: espaço e identidade cultural no Rio de Janeiro" 12706: 12693: 12593: 12580: 12387:(Master) (in Brazilian Portuguese). Rio de Janeiro: Federal University of Rio de Janeiro 12068: 11157:(in Brazilian Portuguese). Translated by Eduardo Francisco Alves. Rio de Janeiro: Zahar. 3111: 2056: 1450: 904: 591: 566: 15120: 14729:(PhD) (in Brazilian Portuguese). São Paulo: Pontifical Catholic University of São Paulo 14560: 12635:(Master) (in Brazilian Portuguese). Florianópolis: Federal University of Santa Catarina 12156: 12052: 11934:(PhD) (in Brazilian Portuguese). Niterói: Federal Fluminense University. Archived from 11514:(PhD) (in Brazilian Portuguese). Niterói: Federal Fluminense University. Archived from 11369: 11347: 5488: 5069: 4179: 3688: 3215: 3062:

label in 1984 and only returned to having an album released at the end of that decade.

3059: 2677: 2606:

Guilherme de Brito and Nelson Cavaquinho formed one of the great partnerships of samba.

2407: 2172: 2036: 1928: 1838: 1674: 1572: 1433: 1404: 936: 663: 642: 324: 195: 14350: 14289:(in Brazilian Portuguese). Portal da Discografia Brasileira (Instituto Moreira Salles) 14273:(in Brazilian Portuguese). Portal da Discografia Brasileira (Instituto Moreira Salles) 14257:(in Brazilian Portuguese). Portal da Discografia Brasileira (Instituto Moreira Salles) 12721:

Anais do IV SIMPOM 2016 – Simposio Brasileiro de Estudantes de Pós-graduados em Música

2819: 2443:'s debut album, which included sambas by traditional samba composers such as Cartola, 2212: 15730: 15555: 15493: 15239: 15012: 14946: 14805: 13061:"Os bastidores de 'Chega de Saudade', clássico de João Gilberto que completa 60 anos" 12976:"A incrível história da gravadora que lançou Cartola, Leci Brandão e Paulo Vanzolini" 12811:(PhD) (in Brazilian Portuguese). Rio de Janeiro: Federal University of Rio de Janeiro 12177:"Matrizes do Samba no Rio de Janeiro: Partido Alto, Samba de Terreiro e Samba-Enredo" 12160: 11863:(in Brazilian Portuguese) (3). Campinas: University of Campinas: 1–10. Archived from 11373: 11178: 11004: 10918: 10897: 6124: 5480: 5434: 5073: 5061: 4963: 4237: 4214: 4204: 4171: 4132: 4014: 3946: 3641: 3299: 3132: 3055: 2748: 2724: 2500: 2455: 2449: 2432: 2355: 2060: 2052: 1924: 1907: 1775: 1729: 1626: 1576: 1421: 1310: 1163: 1130: 959: 942: 791: 787: 513: 429: 352: 332: 127: 14796:

by McGowan, Chris and Pessanha, Ricardo. 2nd edition. Temple University Press. 1998.

14670:

XVII Congresso da Associação Nacional de Pesquisa e Pós-Graduação em Música (ANPPOM)

14485: 14366: 14028:

Souza, Tarik de; Maria, Cleusa; Cezimbra, Marcia; Aragão, Diana (14 December 1986).

13478: 12456:(Master) (in Brazilian Portuguese). Brasília: University of Brasília. Archived from 12346:(in Brazilian Portuguese). Juiz de Fora: Federal University of Juiz de Fora: 103–119 12102: 12085: 11992:

XVII Congresso da Associação Nacional de Pesquisa e Pós-Graduação em Música (ANPPOM)

11664:(Master) (in Brazilian Portuguese). Campinas: University of Campinas. Archived from 11444: 11427: 4958: 4941: 3914: 2652: 1894: 1856:

emerged, a sub-genre marked by a markedly syncopated rhythm and sudden stops called

1467: 1408: 617:

Essentially made up of two parts (choir and solo) usually performed on the fly, the

15738: 15637: 15606: 15601: 15596: 15476: 15090: 15059: 15054: 15049: 14929: 14638: 14580:(in Brazilian Portuguese). Rio de Janeiro: Instituto Moreira Salles. Archived from 13221:"Gravação de 'Chega de Saudade' foi um parto, mas elevou à eternidade som sem nome" 12837: 12803: 12701: 12588: 12556: 12309: 12146: 12097: 12063: 11797: 11787: 11439: 11400:

Um samba de várias notas: Estado, imprensa e carnaval no Rio de Janeiro (1932–1935)

11359: 5472: 5051: 4953: 4163: 4122: 4006: 3977: 3938: 3909: 3319: 3234: 3031: 2972: 2917:), Terreirão da Tia Doca (with the rehearsals of the Portela old guard sambists in 2869: 2740: 2716: 2697: 2681: 2572: 2538: 2525: 2332: 2251: 2208: 2164: 1976: 1955: 1869: 1701: 1689: 1645:

to Latin American countries has become frequent. At the end of 1937, the sambistas

1580: 1533: 1527: 1306: 919: 881: 795: 728: 497: 289: 15234: 13343:"Disco com sambas de enredo faz 50 anos sem a força e vendas de antigos Carnavais" 12649: 12269: 11964: 11407: 4115:

LICERE – Revista do Programa de Pós-graduação Interdisciplinar em Estudos do Lazer

3047: 2910: 2808: 2756: 2411:

Paulinho da Viola and Martinho da Vila started their musical careers in the 1960s.

2180: 1880: 774: 521: 15866: 15773: 15621: 15616: 15591: 15498: 15407: 15402: 15322: 15221: 15186: 15146: 15074: 15069: 15044: 14951: 13060: 13043: 12229:(PhD) (in Brazilian Portuguese). Campinas: University of Campinas. Archived from 12038:(Master) (in Brazilian Portuguese). Vitória: Federal University of Espírito Santo 11814:

Samba-Jazz aquém e além da Bossa Nova: três arranjos para Céu e Mar de Johnny Alf

11177:(in Brazilian Portuguese) (2ª ed.). Rio de Janeiro: Zahar (published 2005). 10720:

O livro de ouro da MPB: a história de nossa música popular de sua origem até hoje

7321: 5427:"Her name is Rio: Aunt Ciata, the guardian of samba who created Carnival culture" 4127: 4110: 3611: 3274: 3240: 3179: 3051: 3030:. Although some samba artists had some commercial success in the period, such as 2825: 2752: 2744: 2732: 2705: 2491: 2307:

also emerged, consolidated with the success of bossa nova that brought samba and

2176: 2096: 2076: 2023: 1853: 1763: 1693: 1598:, which peaked in Brazil during the 1930s and 1940s. In addition to working with 1438: 941:

with the accompaniment of classical guitar, cavaquinho and clarinet. Released in

900: 654: 505: 493: 457: 433: 328: 267: 142: 101: 39: 13360:"Disco gravado em 1966 por Paulinho da Viola e Elton Medeiros é reeditado em LP" 13237: 12542:(Master) (in Brazilian Portuguese). Uberlândia: Federal University of Uberlândia 12135:"A configuração de um ícone de nacionalidade: as tias baianas no Rio de Janeiro" 10990:(in Brazilian Portuguese) (2ª ed.). Rio de Janeiro: Civilização Brasileira. 3930: 2988: 2760: 2196: 2140: 1967: 1682: 15851: 15804: 15266: 15261: 15002: 14870: 14335:"História dos cassinos no Brasil é tema de reportagem especial da Rádio Senado" 12898:

Música e disco no Brasil: a trajetória da indústria entre as décadas de 80 e 90

12581:"A formalização da derrota: sobre "Eles" e "A voz do morto", de Caetano Veloso" 12520:(Master of Music) (in Brazilian Portuguese). São Paulo: University of São Paulo 12477: 12314: 12270:"A invenção do Brasil como terra do samba: os sambistas e sua afirmação social" 10893:

Auxílio luxuoso: Samba símbolo nacional, geração Noel Rosa e indústria cultural

7615: 3942: 3603: 3310: 3206: 3105: 3023: 3007: 2971:

The debut of this kind of samba in the recording studios occurred in 1980 with

2787: 2701: 2640: 2359: 2243: 2104: 1941: 1830: 1796: 1697: 1599: 1507: 1486: 1446: 1394:

Carmen Miranda was the first samba singer to promote the genre internationally.

1249: 1126: 1111: 994: 978: 659: 548: 482: 378: 305: 301: 271: 97: 15229: 14625:"Undesired Presences: Samba, Improvisation, and Afro-Politics in 1970s Brazil" 13377:"Discos para descobrir em casa – 'Nelson Cavaquinho', Nelson Cavaquinho, 1972" 12993:"Madrinha: a importância de Beth Carvalho como desbravadora do samba e do Rio" 12424: 11388:

Abreu, Mauricio de; Vaz, Lilian Fessler (1991). "Sobre as origens da favela".

2735:

also debuted with solo works in the phonographic market. The same happened in

2552: 1281: 896: 607: 15845: 15697: 15642: 15611: 15524: 15390: 15312: 15307: 15293: 15254: 15135: 15095: 15064: 14977: 14697:(26). Uberlândia: Federal University of Uberlândia (published 2015): 121–135. 13275:"Ninguém mais ouve um álbum inteiro, só o brasileiro. "Culpa" é do sertanejo" 13112:"Funk passou por boom em 2019, mas rádios continuam dominadas por sertanejos" 12151: 12112: 11802: 11786:(in Brazilian Portuguese) (66). São Paulo: University of São Paulo: 172–198. 11709:

Um samba sem poluição": o partido-alto de Candeia em Partido em 5 Vols I e II

11636:

O canônico em xeque na MPB: processos de legitimação e ideário de modernidade

5484: 5438: 5065: 4967: 4241: 4175: 4136: 3589: 3410: 3382: 3368: 3278: 3247:, former vocalists of Revelação and Exaltasamba respectively, and of singers 3154: 3039: 2980: 2976: 2689: 2636: 2568: 2476: 2399: 2351: 2320: 2200: 2100: 2092: 2072: 1610: 1478: 1416: 1334:

were adepts of this practicea, having acquired sambas from composers such as

1290: 1168: 990: 927: 779: 575: 571: 537: 320: 297: 81: 15429: 14744:"Considerado o primeiro samba de sucesso, 'Pelo telefone' completa cem anos" 14430: 14382: 13945:"Espetáculo 'Opinião', de 1964, volta para abrir programação sobre ditadura" 11364: 5155: 5122: 5120: 5056: 4218: 3396: 3163: 3119: 3087: 2795: 2727:

were released. Two other composers already established in this environment,

2163:

critic, this new sub-genre was officially inaugurated with the composition "

1918: 1098: 259:

Samba is a broad term for many of the rhythms that compose the better known

15794: 15763: 15647: 15534: 15503: 15488: 15281: 15130: 15100: 14987: 14956: 14941: 14824: 14544:"Primeiro samba faz hoje 100 anos e ganha exposição na Biblioteca Nacional" 12700:(in Brazilian Portuguese) (87). São Paulo: University of São Paulo: 28–39. 12587:(in Brazilian Portuguese) (61). São Paulo: University of São Paulo: 56–81. 11288:(in Brazilian Portuguese). Vol. 2 (1 ed.). Rio de Janeiro: Zahar. 3982: 3523: 3424: 3253: 3075: 3011: 2984: 2957: 2945: 2922: 2918: 2876: 2843: 2715:

In the stronghold of traditional samba, the first LPs of veteran composers

2709: 2644: 2610: 2602: 2576: 2420: 2336: 2324: 2290: 2184: 2064: 1889: 1807: 1784: 1737: 1705: 1666: 1662: 1198: 971: 851: 827: 618: 356: 348: 205: 185: 155: 147: 13746:"Raça Negra, Só Pra Contrariar e Salgadinho resgatam pagode dos anos 1990" 13534:"Ídolo do 'sambão-joia', Agepê foi o primeiro a vender 1 milhão de discos" 13183:"Após auge nos anos 30 e 40, antigos cassinos abrigam de hotel a convento" 12657:(Master) (in Brazilian Portuguese). Niterói: Federal Fluminense University 12651:

Rosa de ouro: Luta e representação política na obra de Clementina de Jesus

12566:(in Brazilian Portuguese). Araraquara: São Paulo State University: 207–210 12255:(Master) (in Brazilian Portuguese). Araraquara: São Paulo State University 11585:

Os alicerces da folia: a linha de baixo na passagem do maxixe para o samba

10422: 8044: 8042: 8040: 8038: 8036: 8034: 7360: 4109:

Nigri, Bruno Silva; Debortoli, José Alfredo Oliveira (30 September 2015).

2896:

The sambista Jorge Aragão, who was part of Fundo de Quintal first line-up.

2736: 2597: 2440: 2216: 1947: 1656:

and Heitor dos Prazeres participated in a caravan of Brazilian artists to

831: 807: 611: 278: 15830: 15814: 15519: 15378: 15368: 15329: 14972: 13678:"Concerto no Carnegie Hall, que lançou bossa nova nos EUA, será recriado" 5117: 4263: 3225: 3153:

During the second half of the 1990s, the increase in the illegal sale of

3115: 3043: 2791: 2693: 2632: 2416: 2379: 2375: 2340: 2300: 2204: 2080: 1984: 1842: 1826: 1818: 1792: 1774:

Established in the radio era as one of the main sub-genres of samba, the

1767: 1733: 1678: 1614: 1552: 1494: 1474: 1236: 962:, musical compositions – under the pretext of ensuring that there was no 923: 866: 621:

was – and still is – the most traditional sung variant of rural samba in

263: 132: 14799: 13962:"A partir dos anos 1970, o partido alto conquista o mercado fonográfico" 13622:"Dez anos sem Dorival Caymmi, mestre nas canções praieiras e nos sambas" 13513:"Dom Salvador, o pianista que inventou o samba funk e o Brasil esqueceu" 13146:"Sertanejo corresponde a quase um terço da audiência de rádio no Brasil" 13027:"Madrinha do samba, sem Beth talvez não houvesse Zeca, Jorge ou Arlindo" 12032:

Concorrência e pirataria na indústria fonográfica a partir dos anos 1990

11031:(in Brazilian Portuguese). Vol. 2 (1ª ed.). São Paulo: Art Ed. 10202: 10200: 10198: 2148: 1875: 1390: 860: 508:

instruments. At the end of the 19th century, "samba" was present in the

19:

This article is about the Brazilian music genre. For the Rio dance, see

15753: 15748: 15720: 15560: 15529: 15466: 15343: 15338: 15300: 15017: 14982: 14919: 14603:(doctorate). Providence, Rhode Island: Brown University. Archived from 14175:"Luan Santana é o artista mais ouvido da década nas rádios brasileiras" 12928:(in Brazilian Portuguese). São Paulo: Intercom: 461–464. Archived from 12782:(in Brazilian Portuguese). Rio de Janeiro: Intercom: 14. Archived from 12384:

O samba carioca no século XXI: Renovando a tradição na esfera midiática

11883:

Matos, Cláudia Neiva de (2011). "Bezerra da Silva, singular e plural".

8031: 5151: 3481: 3306: 2965: 2860: 2363: 2304: 2259: 2152: 2131:

The composer Antonio Carlos Jobim, author of classic bossa nova sambas.

1657: 1618: 1425: 1257: 963: 890: 761: 469: 410: 340: 190: 137: 117: 14794:

The Brazilian Sound: Samba, Bossa Nova and the Popular Music of Brazil

14672:(in Brazilian Portuguese). São Paulo: São Paulo State University: 1–14 14303:"'Garota de Ipanema' completa 50 anos de sucesso e disputas judiciais" 12679:(Master) (in Brazilian Portuguese). São Paulo: University of São Paulo 12479:

Lost Batucada: The Art of Deixa Falar, Portela and Mestre Oscar Bigode

12298:"Entre o trabalho e a orgia: os vaivéns do samba nos anos 1930 e 1940" 11994:(in Brazilian Portuguese). São Paulo: São Paulo State University: 1–14 11842:(Master) (in Brazilian Portuguese). São Paulo: University of São Paulo 11737:(Master) (in Brazilian Portuguese). São Paulo: University of São Paulo 11715:(Master) (in Brazilian Portuguese). São Paulo: University of São Paulo 11642:(Master) (in Brazilian Portuguese). São Paulo: University of São Paulo 11620:(Master) (in Brazilian Portuguese). São Paulo: University of São Paulo 5492: 5460: 4183: 2618: 2068: 1082: 974:

as one of the first successful singers of the new popular song genre.

15687: 14643: 14624: 14600:

Voices of Samba: Music and The Brazilian Racial Imaginary (1955–1988)

14484:(in Brazilian Portuguese). Roda Viva. 6 February 1989. Archived from 13551:"Responsáveis pelas rodas de samba contam como tem sido a quarentena" 13078:"Pagode 90 humanizou o homem negro, mas deixou a negra fora da festa" 12826:"Entre ruptura e retomada: crítica à memória dominante da bossa nova" 11164:

Feitiço decente: transformações do samba no Rio de Janeiro, 1917–1933

10952:

Sob a Verdade Oficial: Ideologia, Propaganda e Censura no Estado Novo

10410: 10195: 2783: 2660: 2655:, and also in the segment of sentimental songs, drawn sales champion 2648: 2312: 2223: 2123:

The composer João Gilberto, considered the "architect" of bossa nova.

2084: 2031: 2015: 1912:, of lesser-known sambistas but active in their communities, such as 1833:

would popularize chorinho, a kind of fast-moving instrumental samba.

1803: 1788: 1490: 1442: 1322: 1317:

in the counter-metric rhythm and batucada of the samba from Estacio.

1301: 1272:– gave a more "marching" characteristic to the samba of the parades. 1151: 986: 955: 847: 843: 15692: 12514:

Aprendiz de samba: oralidade, corporalidade e as estruturas do ritmo

12434:(in Brazilian Portuguese). Salvador: Federal University of Bahia: 11 12114:

Da roda ao auditório: uma transformação do samba pela Rádio Nacional

12016:(Master) (in Brazilian Portuguese). Campinas: University of Campinas 11257:

Pequena História da Música Popular (da Modinha á Canção de Protesto)

11194:

Uma história da música popular brasileira: das origens à modernidade

4198: 4151: 2386: 2103:, among others. The modern samba-canção was also part of a phase of 15461: 14914: 13644:"Bossa nova completa 60 anos: conheça a história do gênero musical" 13481:(in Brazilian Portuguese) (249 ed.). São Paulo: Revista Fapesp 12904:(PhD) (in Brazilian Portuguese). São Paulo: University of São Paulo 12890:(in Brazilian Portuguese). Rio de Janeiro: Fundação Getúlio Vargas. 11693:(PhD) (in Brazilian Portuguese). São Paulo: University of São Paulo 10896:(in Brazilian Portuguese). São Paulo: Anna Blume (published 2003). 10858:(in Brazilian Portuguese). Rio de Janeiro: Coleção Memória Carioca. 5476: 4167: 3646: 3518: 3508: 3503: 3463: 3451: 3402: 3374: 3270: 2904:

The sambista Zeca Pagodinho, one of the main singers of the pagode.

2856: 2848: 2665: 2560: 2296: 2239: 2088: 2007: 1991: 1932: 1716: 1493:, who have built successful careers in this media. Grown up in the 1453:

and with a team of musicians such as the sambistas João da Baiana,

1314: 1276: 1265: 1147: 596: 517: 501: 394: 386: 382: 71: 15358: 14687:"Do samba carioca urbano e industrial ao samba nacional e mestiço" 14013:"Cem anos depois, 'Pelo Telefone' ainda ajuda a explicar o Brasil" 13859:"Martinho da Vila fala de sua estréia na música no Festival de 67" 13260:(in Brazilian Portuguese). Campinas: Jornal da Unicamp. p. 12 11857:"Transformações na Indústria Fonográfica Brasileira nos anos 1970" 3597: 3498: 3475: 3469: 3430: 3416: 3035: 2914: 2685: 2347:

that had just arrived in the Brazilian music market at that time.

2335:. And at the end of the 1960s, samba-funk emerged, led by pianist 2127: 1261: 846:. A place for meetings around religion, cuisine, dance and music, 398: 390: 236:) is a name or prefix used for several rhythmic variants, such as 15702: 15539: 15249: 15194: 14992: 14656:(in Brazilian Portuguese). São Paulo: Edição particular do autor. 14337:(in Brazilian Portuguese). Brasília: Agência Senado. 3 March 2016 13588:"João Gilberto, a longa e lenta agonia do inventor da bossa nova" 12368:(PhD) (in Brazilian Portuguese). Campinas: University of Campinas 12201:"A Gênese do Samba-Rock: por um mapeamento genealógico do gênero" 11820:(PhD) (in Brazilian Portuguese). Campinas: University of Campinas 11508:

No tempo do rádio: Radiodifusão e cotidiano no Brasil (1923–1960)

11029:

Enciclopédia da música brasileira – erudita, folclórica e popular

10849:(in Brazilian Portuguese) (2ª ed.). Rio de Janeiro: Funarte. 10606: 10604: 10602: 9682: 9680: 8968: 8966: 8964: 4505: 4503: 4423: 4421: 3976:(Thesis). EDUFU – Editora da Universidade Federal de Uberlandia. 3528: 2949: 2900: 2892: 2728: 2720: 2472: 2427: 2227: 2019: 1963: 1959: 1811: 1622: 1503: 1335: 1253: 1129:) and Morro de Santo Antonio (especially by ex-combatants of the 552:

Hilário Jovino Ferreira founded the first carnival rancho in Rio.

15682: 13605:"100 anos de samba: Um passeio pelo gênero ao longo das décadas" 13394:"Discos para descobrir em casa – 'Sambas', Dorival Caymmi, 1955" 13095:"Brasil é o país que mais escuta música 'ao vivo' no mundo todo" 12773:"Mussum, Os Originais do Samba e a sonoridade do pagode carioca" 11898:"Gêneros na canção popular: os casos do samba e do samba canção" 11205:(in Brazilian Portuguese) (2 ed.). Rio de Janeiro: Gryphus. 10398: 8703: 8701: 8699: 8194: 8192: 7823: 7821: 7819: 7115: 7113: 7111: 7069: 6591: 6589: 5038:

Melo, Gustavo José Jaques de; Lühning, Ângela Elisabeth (2018).

4758: 4756: 4754: 4150:

Behague, Gerard; fr Oliveira Pinto, Tiago; Simon, Artur (1993).

3162:. Samba groups of huge commercial success in the 1990s, such as 2403:

Clementina de Jesus recorded her first LP only at the age of 65.

2391: 56: 15471: 15206: 14924: 14841: 13044:"Projeto nacionalista de Getúlio Vargas se beneficiou do samba" 12917:

Vicente, Eduardo; De Marchi, Leonardo; Gambaro, Daniel (2016).

11658:

Sobre mundialização da industria fonografica Brasil: anos 70–90

11112:(in Brazilian Portuguese) (2ª ed.). Rio de Janeiro: Zahar. 11058:(in Brazilian Portuguese) (6ª ed.). São Paulo: Editora 34. 10885:(in Brazilian Portuguese). São Paulo: Instituto Moreira Salles. 10722:(in Brazilian Portuguese). Rio de Janeiro: Ediouro Publicações. 9301: 8790: 8788: 7569: 7567: 7467: 7465: 7098: 7096: 7081: 6764: 6762: 6367: 6365: 5465:

Latin American Music Review / Revista de Música Latinoamericana

5246: 5244: 4598: 4596: 3159: 3015: 1999: 1595: 1090: 1000: 638: 474: 417: 344: 260: 122: 14468:(in Brazilian Portuguese). Diário de Pernambuco. 4 August 1830 11891:(2). Juiz de Fora: Federal University of Juiz de Fora: 99–114. 11214:(in Brazilian Portuguese). Rio de Janeiro: Mauad Editora Ltda. 11201:

Silva, Marília T. Barboza da; Oliveira Filho, Artur L (1998).

10599: 10013: 9932: 9821: 9692: 9677: 8961: 8896: 7995: 7792: 7537: 7232: 7230: 7144: 7142: 7140: 6732: 4898: 4896: 4883: 4881: 4583: 4581: 4579: 4500: 4418: 2747:

studio albums. Revealed in the previous decade, the sambistas

1256:, a unit made up of percussion instruments such as the surdo, 15768: 15363: 15348: 15211: 14241:(in Brazilian Portuguese). O Estado de S.Paulo. 6 August 1955 12849:

Vaz, Lilian Fessler (1986). "Notas sobre o Cabeça de Porco".

11003:(in Brazilian Portuguese). São Paulo: Sesc (published 2019). 10968:

Ramos, Fernão; Miranda, Luis Felipe, eds. (1997). "Cinédia".

10316: 10314: 10301: 10299: 10147: 10137: 10135: 10133: 10131: 10129: 9721: 9719: 9580: 9578: 9401: 9399: 9362: 9360: 9358: 9356: 9354: 9352: 9279: 9277: 9150: 9148: 9146: 9133: 9131: 9106: 9104: 8696: 8653: 8189: 8177: 8144: 8132: 8120: 7865: 7863: 7838: 7836: 7816: 7734: 7732: 7554: 7552: 7205: 7203: 7201: 7199: 7197: 7195: 7193: 7108: 7045: 6973: 6921: 6919: 6917: 6853: 6851: 6849: 6698: 6696: 6694: 6610: 6608: 6606: 6604: 6586: 6510: 6508: 6506: 6469: 6467: 6280: 6278: 6265: 6263: 6238: 6236: 5849: 4751: 4149: 3799: 3513: 3457: 3388: 2961: 2953: 2852: 2468: 2371: 2316: 2308: 1995: 1865: 1822: 1779: 1778:

style emerged among professional musicians who played in the

1568: 1470:, one of the most popular in the history of Brazilian radio. 1375:

Composed by Assis Valente, recorded by Carmen Miranda in 1939

1294: 1206: 967: 803: 786:

A political and socio-cultural epicenter of Brazil, based on

580: 512:, designating different types of popular dances performed by 406: 402: 253: 93: 12673:"A filha da Dona Leci": estudo da trajetória de Leci Brandão 10856:

Escolas de samba – sujeitos celebrantes e objetos celebrados

9797: 9763: 9761: 9289: 9226: 8800: 8785: 8577: 8575: 8573: 8287: 8285: 8209: 8207: 8077: 8075: 8073: 8071: 8069: 7985: 7983: 7981: 7979: 7848: 7564: 7462: 7401: 7399: 7125: 7093: 6948: 6946: 6759: 6644: 6576: 6574: 6362: 6031: 6029: 5743: 5741: 5408: 5406: 5381: 5379: 5354: 5352: 5325: 5241: 4868: 4866: 4838: 4836: 4811: 4809: 4807: 4805: 4792: 4790: 4788: 4729: 4727: 4725: 4658: 4656: 4593: 4370: 4368: 4366: 4364: 4362: 4349: 4347: 2010:

in evidence, some radio stations made great publicity about

15758: 14778:

O samba agora vai: a farsa da música brasileira no exterior

14107:"Iphan declara samba carioca patrimônio cultural do Brasil" 13661:"Como um valentão criou uma nova forma de pular o Carnaval" 13590:(in Brazilian Portuguese). Rio de Janeiro: Folha de S.Paulo 13202:(in Brazilian Portuguese). Folha de S.Paulo. Archived from 11731:

Bumbos em batuques: estudo do vocabulário do samba de bumbo

11121:(in Brazilian Portuguese). São Paulo: Companhia das Letras. 11020:

Bailes: Soul, Samba-Rock, Hip Hop e Identidade em São Paulo

10831:(in Brazilian Portuguese). São Paulo: Companhia das Letras. 10248: 9785: 9748: 9746: 9091: 9089: 8560: 8558: 8360: 8219: 8108: 8019: 7782: 7780: 7501: 7348: 7227: 7137: 6904: 6902: 6810: 5573: 5571: 4893: 4878: 4576: 4458: 4456: 4454: 4452: 4450: 4448: 4385: 4383: 4065: 4063: 4061: 4059: 3867: 3865: 2544: 2350:

The period was also characterized by the profusion of some

2344: 2139:'s inauguration in 1956, until the political crisis in the 2011: 1382: 1075:

Composed by Bide and Marçal, recorded by Mario Reis in 1933

14223:"Carmen Miranda, no rádio, antes de ficar "americanizada"" 14158:"Primeira transmissão de rádio no Brasil completa 90 anos" 13908:"João Gilberto, an Architect of Bossa Nova, Is Dead at 88" 13063:(in Brazilian Portuguese). Rio de Janeiro: BBC News Brasil 10640: 10350: 10311: 10296: 10236: 10126: 10078: 9989: 9922: 9920: 9716: 9590: 9575: 9505: 9503: 9428: 9396: 9349: 9313: 9274: 9143: 9128: 9101: 9014: 8884: 8599: 8587: 8497: 8495: 8248: 8246: 7911: 7860: 7833: 7804: 7729: 7656: 7654: 7639: 7627: 7549: 7338: 7336: 7190: 7057: 6997: 6914: 6875: 6846: 6749: 6747: 6691: 6679: 6632: 6601: 6503: 6491: 6464: 6440: 6416: 6392: 6338: 6275: 6260: 6248: 6233: 5975: 5948: 5900: 5753: 5728: 5726: 5687: 5665: 5663: 5364: 5291: 5289: 5132: 4334: 4332: 4092: 4090: 4088: 4086: 4084: 4082: 4080: 4078: 3935:

Territórios da Bahia: regionalização, cultura e identidade

3812:

and the pandeiro acting in the marking of the base rhythm.

2114: 1927:– a composer who would establish a great partnership with 1872:

consolidated himself as the great name of this sub-genre.

1621:. From an image of a symbol of national backwardness, the 444: 14818:

Rhythms of Resistance: African Musical Heritage in Brazil

14763:(in Brazilian Portuguese). São Paulo: O Estado de S.Paulo 14563:(in Brazilian Portuguese). Rio de Janeiro: Agência Brasil 14546:(in Brazilian Portuguese). Rio de Janeiro: Agência Brasil 14518:"Samba do Rio de Janeiro é Patrimônio Cultural do Brasil" 14447:"Os campeões de audiência no auditório da Rádio Nacional" 14319:"'Garota de Ipanema' completa 50 anos de sucesso mundial" 14139:

Vianna, Luiz Fernando; Martini, Paula (4 December 2016).

13763:"Clementina. De uma voz do povo emerge o canto ancestral" 13430:(in Brazilian Portuguese). São Paulo: O Estado de S.Paulo 13294:(in Brazilian Portuguese). São Paulo: O Estado de S.Paulo 12961:(in Brazilian Portuguese). São Paulo: O Estado de S.Paulo 11348:"Quando o Rio era black: Soul musicno Brasil dos anos 70" 11299:(in Brazilian Portuguese). São Paulo: Itaú Cultural. 2020 10545: 10497: 10090: 10066: 9944: 9833: 9758: 9641: 9214: 9038: 9002: 8978: 8836: 8812: 8773: 8570: 8507: 8468: 8282: 8231: 8204: 8066: 7976: 7964: 7954: 7952: 7950: 7603: 7452: 7450: 7411: 7396: 7259: 7215: 7178: 7166: 6943: 6887: 6571: 6134: 6053: 6041: 6026: 5999: 5912: 5888: 5765: 5738: 5648: 5638: 5636: 5634: 5590: 5588: 5586: 5558: 5556: 5403: 5376: 5349: 5313: 5214: 5105: 5021: 5019: 4863: 4853: 4851: 4833: 4802: 4785: 4739: 4722: 4653: 4613: 4611: 4547: 4520: 4518: 4490: 4488: 4359: 4344: 4319: 4317: 2842:

Another bet of the phonographic industry of the time was

2673: 2179:

and the other with the singer, songwriter, and guitarist

1845:. From the huge success of the first version recorded by 1670: 1551:. Her popularity was such that she even performed at the 895:, as well as some journalists and intellectuals, such as 14862: 14780:(in Brazilian Portuguese). Rio de Janeiro: JCM Editores. 14520:(in Brazilian Portuguese). Portal Iphan. 10 October 2017 14027: 13553:(in Brazilian Portuguese). Brasília: Correio Braziliense 12771:

Trotta, Felipe da Costa; Silva, Caroline Dabela (2015).

12751:. Edinburgh: University of Edinburgh: 44. Archived from 12738:"The Invention of Samba and National Identity in Brazil" 11296:

Enciclopédia Itaú Cultural de Arte e Cultura Brasileiras

11268:(in Brazilian Portuguese). São Paulo: Livraria Santanna. 10867:(in Brazilian Portuguese). Porto Alegre: Sagra Luzzatto. 10589: 10587: 10461: 10206: 9979: 9977: 9975: 9973: 9971: 9743: 9665: 9418: 9416: 9414: 9262: 9086: 9026: 8951: 8949: 8947: 8628: 8626: 8555: 8350: 8348: 8167: 8165: 8163: 8161: 8159: 8007: 7777: 7767: 7765: 7763: 7761: 7759: 7744: 7719: 7717: 7690: 7678: 7435: 7372: 7249: 7247: 7245: 6963: 6961: 6899: 6798: 6720: 6669: 6667: 6665: 6663: 6661: 6659: 6520: 6428: 6197: 5777: 5711: 5568: 5526: 5499: 5337: 4989: 4700: 4698: 4445: 4380: 4056: 3862: 2026:

were also part of the repertoire of nightclub pianists.

1579:

with the sambistas Cartola, Zé da Zilda, Zé Espinguela,

1575:

promoted a musical meeting between the American maestro

1341: 528:, not only by the diversity of the ethnic groups of the 14255:"Discografia Brasileira: 'Pelo Telefone' (com Bahiano)" 13693:

Moraes, José Geraldo Vince de Moraes (27 August 2016).

13566:

Lopes da Gama, Miguel do Sacramento (3 February 1838).

13292:"Desorganização prejudicou bossa nova no Carnegie Hall" 12780:

XXXVIII Congresso Brasileiro de Ciências da Comunicação

10574: 10572: 10338: 10284: 10001: 9917: 9704: 9500: 9452: 9204: 9202: 9074: 8824: 8674: 8672: 8670: 8668: 8492: 8444: 8432: 8396: 8372: 8321: 8297: 8243: 8054: 7875: 7651: 7591: 7579: 7384: 7333: 7295: 7283: 6774: 6744: 6547: 6537: 6535: 6452: 6404: 6382: 6380: 6314: 6187: 6185: 6101: 6065: 6016: 6014: 5965: 5963: 5924: 5839: 5837: 5723: 5660: 5609: 5607: 5605: 5603: 5543: 5541: 5516: 5514: 5301: 5286: 4775: 4773: 4771: 4710: 4685: 4683: 4475: 4473: 4471: 4408: 4406: 4404: 4402: 4400: 4398: 4329: 4278: 4075: 3798:

The disc label, however, only showed the indication of

2598:

Samba and the expansion of the Brazilian music industry

14706:(in Brazilian Portuguese). Rio de Janeiro: Selo Negro. 14225:(in Brazilian Portuguese). Rádios EBC. 15 October 2015 13462:"N.Y. goes Bossa Nova for historic Joao Gilberto show" 12916: 12881:"Os intelectuais e a política cultural do Estado Novo" 12874:(6). Rio de Janeiro: Fundação Getúlio Vargas: 207–228. 12028: 11752:"Show Opinião: quando a MPB entra em cena (1964–1965)" 11171:

Saroldi, Luiz Carlos; Moreira, Sonia Virginia (2003).

10776:(in Brazilian Portuguese). São Paulo: Editora Moderna. 10684:"IMMuB – O maior catálogo online da música brasileira" 10616: 10428: 10416: 10362: 10260: 10054: 10042: 9905: 9629: 9619: 9617: 9602: 9563: 9551: 9464: 9372: 9337: 8920: 8908: 8643: 8641: 8543: 8531: 8456: 8333: 8309: 8098: 8096: 8094: 8092: 8090: 7947: 7513: 7489: 7477: 7447: 7423: 7366: 7154: 6559: 6221: 5866: 5864: 5675: 5631: 5583: 5553: 5185: 5183: 5181: 5179: 5016: 4979: 4977: 4848: 4643: 4641: 4628: 4626: 4608: 4566: 4564: 4562: 4537: 4535: 4533: 4515: 4485: 4433: 4314: 14126:(in Brazilian Portuguese). Recife: Diário do Comércio 13185:(in Brazilian Portuguese). Curitiba: Folha de S.Paulo 12919:"O rádio musical no Brasil: elementos para um debate" 11428:"Setenta anos depois: direitos autorais em Noel Rosa" 11266:

Panorama da Música Popular Brasileira na Belle Époque

11241:(in Brazilian Portuguese). Lisboa: Caminho Editorial. 10934:

Bim Bom: a contradição sem conflitos de João Gilberto

10847:

Figuras e Coisas da Música Popular Brasileira. Vol. 1

10683: 10664: 10652: 10628: 10584: 10439: 10437: 10272: 10224: 10212: 10102: 10032: 10030: 10028: 9968: 9956: 9893: 9653: 9527: 9440: 9411: 9325: 9189: 9187: 9160: 9062: 9050: 8990: 8944: 8749: 8623: 8408: 8345: 8270: 8258: 8156: 7935: 7899: 7887: 7756: 7714: 7666: 7242: 7033: 7009: 6985: 6958: 6834: 6822: 6656: 6290: 6209: 6146: 5800: 5798: 5796: 5794: 5792: 5391: 4695: 4668: 4290: 3877: 1876:

Samba-canção hegemony and influences of foreign music

1783:

Peixoto, released in the revue and on disc by singer

1321:

occurred in the partnership between Ismael Silva and

1141:

and housing Morro do São Carlos, the neighborhood of

14461: 14141:"Samba-joia era romântico e se aproximava do bolero" 13977:

Saboia, Gabriel; Martini, Paula (23 November 2016).

13960:

Saboia, Gabriel; Martini, Paula (25 November 2016).

13008:

Baltar, Anderson; Bryan, Guilherme (November 2016).

12611:

XXIX Congresso Brasileiro de Ciências da Comunicação

11146:

Danças de matriz africana: antropologia do movimento

11144:

Sabino, Jorge; Lody, Raul Giovanni da Motta (2011).

11085:(in Brazilian Portuguese). Rio de Janeiro: Objetiva. 10914:

O "it verde e amarelo" de Carmen Miranda (1930-1946)

10569: 10449: 10386: 10374: 9384: 9238: 9199: 8872: 8860: 8848: 8737: 8665: 8480: 8420: 8384: 7702: 7525: 7271: 6931: 6786: 6708: 6620: 6532: 6479: 6377: 6350: 6326: 6302: 6182: 6158: 6089: 6077: 6011: 5987: 5960: 5936: 5834: 5699: 5600: 5538: 5511: 5204: 5202: 5200: 5198: 5126: 5044:

Pontos de Interrogação — Revista de Crítica Cultural

5006: 5004: 4821: 4768: 4680: 4468: 4395: 4302: 3579: 3572:) is the largest online catalog of Brazilian music. 3329:

National Institute of Historic and Artistic Heritage

426:

National Institute of Historic and Artistic Heritage

381:

varied with the conscious use of a sung chorus to a

14814:

by Alma Guillermoprieto. Jonathan Cape London 1990.

14504:(in Brazilian Portuguese). Portal Uai. 10 July 2018 14090:""Kid Morengueira" gostava de atirar na bossa nova" 13646:(in Brazilian Portuguese). Brasília: Agência Brasil 12836:(11). São Paulo: University of São Paulo: 221–239. 12084:Napolitano, Marcos; Wasserman, Maria Clara (2000). 12083: 11780:"Nara Leão: entre a bossa nova e a canção engajada" 11139:(in Brazilian Portuguese). Rio de Janeiro: Funarte. 11094:(in Brazilian Portuguese). Rio de Janeiro: Funarte. 10963:(in Brazilian Portuguese). Rio de Janeiro: Funarte. 10876:(in Brazilian Portuguese). Rio de Janeiro: Sarapuí. 10814:(in Brazilian Portuguese). São Paulo: Itaú Cultural 10794:(in Brazilian Portuguese). Rio de Janeiro: Lidador. 10731:(in Brazilian Portuguese). Rio de Janeiro: Funarte. 10533: 10521: 10509: 10473: 10326: 10183: 10171: 10159: 9881: 9869: 9857: 9845: 9773: 9731: 9614: 9539: 9515: 9488: 9476: 9116: 8932: 8725: 8713: 8684: 8638: 8611: 8519: 8087: 8048: 6863: 5861: 5822: 5810: 5276: 5274: 5261: 5259: 5231: 5229: 5176: 4974: 4942:"Samba de roda, patrimônio imaterial da humanidade" 4638: 4623: 4559: 4530: 3898:"Samba de roda, patrimônio imaterial da humanidade" 2839:, authors of the world famous samba "Você abusou". 2763:, who was already a member of the composer wing of 2627:of the Brazilian market were: the consolidation of 2567:. One of those most notable names was the composer 2343:of samba and the four beats to the bar of American 2107:'s career and the beginning of the musical work of 1802:Basically, Carnaval was reserved for the launch of 850:'s home was frequented both by samba musicians and 702:

Considered the landmark of samba as a musical genre

15176: 14715:(in Brazilian Portuguese). Rio de Janeiro: Pallas. 14502:"Primeira gravação da Bossa Nova completa 60 anos" 13861:(in Brazilian Portuguese). Rio de Janeiro: O Globo 13714:(in Brazilian Portuguese). Rio de Janeiro: O Globo 13624:(in Brazilian Portuguese). Rio de Janeiro: O Globo 13607:(in Brazilian Portuguese). Rio de Janeiro: O Globo 13536:(in Brazilian Portuguese). Rio de Janeiro: O Globo 13411:"Samba carioca vira patrimônio cultural do Brasil" 13046:(in Brazilian Portuguese). São Paulo: USP Notícias 12995:(in Brazilian Portuguese). Rio de Janeiro: O Globo 12978:(in Brazilian Portuguese). Rio de Janeiro: O Globo 12536:Pirataria musical: entre o ilícito e o alternativo 12062:(in Brazilian Portuguese) (87). São Paulo: 56–73. 11148:(in Brazilian Portuguese). Rio de Janeiro: Pallas. 11076:(in Brazilian Portuguese). Salvador: Fundação ADM. 11022:(in Brazilian Portuguese). São Paulo: Quilombhoje. 10981:(in Brazilian Portuguese). Rio de Janeiro: Pallas. 10936:(in Brazilian Portuguese). São Paulo: Paz e Terra. 10917:(in Brazilian Portuguese). São Paulo: Anna Blume. 10767:(in Brazilian Portuguese). Rio de Janeiro: Lumiar. 10758:(in Brazilian Portuguese). Rio de Janeiro: Lumiar. 10485: 10434: 10114: 10025: 9809: 9184: 7923: 6170: 5876: 5789: 5619: 4916:"UNESCO – Samba de Roda of the Recôncavo of Bahia" 4005:, University of Illinois Press, pp. 111–121, 2880:first and second division of Rio carnival parades 14449:(in Brazilian Portuguese). Rádios EBC. 8 May 2015 14399:"IMMuB: Banda do 1º Batalhão da Polícia da Bahia" 13996:"Ecad diz que projeto do MinC é inconstitucional" 12613:(in Brazilian Portuguese). Brasília: Intercom: 14 12532: 11279:(in Brazilian Portuguese). Rio de Janeiro: Zahar. 11250:(in Brazilian Portuguese). São Paulo: Editora 34. 11223:(in Brazilian Portuguese). São Paulo: Editora 34. 11196:(in Brazilian Portuguese). São Paulo: Editora 34. 11166:(in Brazilian Portuguese). Rio de Janeiro: Zahar. 11067:(in Brazilian Portuguese). São Paulo: Publifolha. 11049:(in Brazilian Portuguese). São Paulo: Editora 34. 10954:(in Brazilian Portuguese). São Paulo: Marco Zero. 10945:(in Brazilian Portuguese). São Paulo: Editora 34. 10557: 10404: 9250: 7021: 5195: 5001: 4196: 74:and rural traditional rhythms dances, especially 15843: 14829:by Marc A. Hertzman. Duke University Press 2013. 14746:(in Brazilian Portuguese). Rio de Janeiro: Extra 14723:Os desafinados: sambas e bambas no "Estado Novo" 14500: 13782:(in Brazilian Portuguese). Rio de Janeiro: Extra 11765:. Assis/Franca: São Paulo State University: 1–33 10803:(in Brazilian Portuguese). Rio de Janeiro: Agir. 8659: 6121:Revisiting music theory: a guide to the practice 5271: 5256: 5226: 5164: 2929:) and, mainly, the pagode of the carnival block 2828:, Benito Di Paula and Agepê, as well as the duo 2175:, released in 1958 in two versions: one sung by 75: 12498:Salgado, Álvaro (1941). "Radiodifusão social". 12283:(1). Franca: São Paulo State University: 81–113 11545:(in Brazilian Portuguese). São Paulo: Celacc: 9 11065:Enciclopedia da Musica Brasileira Samba e Choro 11054:Mello, Zuza Homem de; Severiano, Jairo (2015). 11045:Mello, Zuza Homem de; Severiano, Jairo (1997). 10836:Domingues, Henrique Foreis (Almirante) (1977). 10790:Candeia Filho, Antonio; Araujo, Isnard (1978). 10785:(in Brazilian Portuguese). São Paulo: Mameluco. 10740:(in Brazilian Portuguese). Porto Alegre: Globo. 9172: 8761: 810:. Called "Pequena Africa" ("Little Africa") by 524:) that assumed its own characteristics in each 15447: 14333: 14143:(in Brazilian Portuguese). Rio de Janeiro: CBN 13981:(in Brazilian Portuguese). Rio de Janeiro: CBN 13979:"Na década de 1930, o samba conquista o rádio" 13976: 13964:(in Brazilian Portuguese). Rio de Janeiro: CBN 13959: 13197: 12959:"Martinho da Vila celebra 45 anos de carreira" 12824:Vargas, Herom; Bruck, Mozahir Salomão (2017). 12145:(9). Campinas: University of Campinas: 44–73. 12133:Neto, Francisco Antonio Nunes (15 July 2019). 12010:Para Animar a Festa: A Música de Jorge Ben Jor 11567:Centro Nacional de Folclore e Culturar Popular 11230:O cancionista: composição de canções no Brasil 11170: 11103:(in Brazilian Portuguese). São Paulo: Símbolo. 11092:Tia Ciata e a pequena Africa no Rio de Janeiro 11053: 11044: 9791: 9686: 7798: 7543: 7354: 7236: 7148: 7075: 7051: 6979: 6595: 5855: 5250: 4762: 4108: 3622:Latin Grammy Award for Best Samba/Pagode Album 2887: 1673:radio network. Under this context, the samba " 1235:According to Ismael Silva – also a founder of 15162: 14878: 14109:(in Brazilian Portuguese). Rio de Janeiro: G1 13930:(in Brazilian Portuguese). Jornal de Brasília 13565: 13476: 12308:(1). Campinas: University of Campinas: 6–29. 11292: 11259:(in Brazilian Portuguese). Petrópolis: Vozes. 10789: 9803: 7063: 5138: 5111: 1399:decisive role in popularizing it nationwide. 1150:, to the favelas and suburbs of Rio, such as 782:", considered the founding landmark of samba. 769: 14801:Samba on Your Feet by Eduardo Montes-Bradley 14789:(in Brazilian Portuguese). São Paulo: Ática. 14704:Enciclopédia brasileira da diáspora africana 14516: 14321:(in Brazilian Portuguese). DW. 2 August 2012 14317: 13428:"Um rio que continua a passar na nossa vida" 13092: 12625: 12604:"O Rádio e o Cinema no Brasil nos anos 1930" 11582:Carvalho, José Alexandre Leme Lopes (2006). 11239:História Social da Música Popular Brasileira 11232:(in Brazilian Portuguese). São Paulo: Edusp. 11128:Cacique de Ramos: Uma História que deu Samba 11071: 11035: 10972:(in Brazilian Portuguese). São Paulo: Senac. 10551: 8779: 7854: 6768: 6650: 6371: 5370: 4995: 3140: 1445:. The most important samba singers, such as 1001:Samba do Estácio, the genesis of urban samba 790:, Rio de Janeiro was strongly influenced by 731:with accompaniment by Gente do Morro in 1930 432:in Brazil. Also, in 2018, the prefecture of 14827:: A New History of Race and Music in Brazil 14445: 14287:"Discografia Brasileira: Moleque Vagabundo" 14221: 14092:(in Brazilian Portuguese). Folha de S.Paulo 14075:(in Brazilian Portuguese). Jornal do Brasil 14055:(in Brazilian Portuguese). Jornal do Brasil 14035:(in Brazilian Portuguese). Jornal do Brasil 13998:(in Brazilian Portuguese). Folha de S.Paulo 13994:Sanches, Pedro Alexandre (13 August 2004). 13947:(in Brazilian Portuguese). Folha de S.Paulo 13839:(in Brazilian Portuguese). Folha de S.Paulo 13822:(in Brazilian Portuguese). Jornal do Brasil 13748:(in Brazilian Portuguese). Folha de S.Paulo 13680:(in Brazilian Portuguese). Folha de S.Paulo 13663:(in Brazilian Portuguese). Folha de S.Paulo 13531: 13498:(in Brazilian Portuguese). Folha de S.Paulo 13447:(in Brazilian Portuguese). Folha de S.Paulo 13426:França, Pedro Henrique (10 December 2007). 13290:Entini, Carlos Eduardo (21 November 2012). 13240:(in Brazilian Portuguese). Folha de S.Paulo 13223:(in Brazilian Portuguese). Folha de S.Paulo 13168:(in Brazilian Portuguese). Jornal do Brasil 13148:(in Brazilian Portuguese). Folha de S.Paulo 13131:(in Brazilian Portuguese). Folha de S.Paulo 13114:(in Brazilian Portuguese). Folha de S.Paulo 13097:(in Brazilian Portuguese). Folha de S.Paulo 13007: 12823: 12770: 12585:Revista do Instituto de Estudos Brasileiros 12446: 11784:Revista do Instituto de Estudos Brasileiros 11263: 11072:Mendes, Roberto; Júnior, Waldomiro (1976). 10997:"O amplo e diversificado universo do samba" 10792:Escola de Samba: árvore que esqueceu a raiz 10503: 10467: 10153: 9752: 9698: 8366: 8013: 7327:Georgetown Journal of International Affairs 6908: 5220: 5037: 4152:"Capoeira, Samba, Candomble, Bahia, Brasil" 3632:List of English words of Niger-Congo origin 3305:the Lapa carioca movement, emerged such as 1464:Um milhão de melodias (One million melodies 1213:irradiated from the Bahian aunts meetings. 1171:, which can be evidenced in a testimony by 561:During a folkloric research mission in the 448:"Batuque" (1835), a painting by the German 439: 15169: 15155: 14885: 14871: 14305:(in Brazilian Portuguese). G1. 4 July 2012 14050:"O pagode camerístico do Fundo de Quintal" 13726: 13586:Martínez, Chema García (31 January 2018). 13548: 13408: 13252: 13181:Carazzai, Estelita Hass (16 August 2016). 13093:Brêda, Lucas; Mariani (12 November 2019). 12601: 12485:(Master). Helsinki: University of Helsinki 12335:Pereira, Maria Fernanda de França (2012). 12132: 12050: 12006: 11982: 11200: 11143: 10985: 10880: 10871: 10862: 10610: 10320: 10305: 10242: 10141: 10084: 10019: 9995: 9938: 9926: 9827: 9767: 9725: 9596: 9584: 9458: 9434: 9405: 9366: 9319: 9232: 9220: 9154: 9137: 9110: 9020: 8972: 8902: 8890: 8842: 8818: 8806: 8605: 8593: 8581: 8213: 8081: 7989: 7970: 7917: 7869: 7842: 7810: 7738: 7645: 7633: 7609: 7573: 7558: 7265: 7209: 7102: 7087: 7003: 6881: 6685: 6638: 6614: 6580: 6514: 6446: 6398: 6284: 6254: 6035: 5981: 5954: 5894: 5771: 5759: 5693: 5654: 5577: 5412: 5385: 5358: 5343: 5319: 5150: 5025: 4842: 4815: 4796: 4745: 4733: 4662: 4587: 4553: 4509: 4462: 4427: 4374: 4284: 4231: 4069: 4042:"O samba-de-roda baiano em tempo e espaço" 3871: 3359:Main percussion instruments of urban samba 3334: 3327:In the institutional field, the Brazilian 2323:that would even take samba songs such as " 2018:. In a samba-canção rhythm, many boleros, 1711: 954:traditional improvisations in meetings at 669: 55: 14642: 14480: 14271:"Discografia Brasileira: 'Pelo Telefone'" 14205: 14189: 14160:(in Brazilian Portuguese). Agência Brasil 13856: 13851: 13765:(in Brazilian Portuguese). Brasil de Fato 13636: 13391: 13374: 13357: 13340: 13306: 13160: 13041: 12714: 12705: 12670:Sousa, Fernanda Kalianny Martins (2016). 12592: 12313: 12150: 12101: 12067: 12029:Nascimento, Harrison Floriano do (2005). 11801: 11791: 11727: 11443: 11392:(in Brazilian Portuguese). Salvador: 489. 11363: 11191: 11155:Dicionário Grovede música: edição concisa 11126:Pereira, Carlos Alberto Messeder (2003). 11116: 11040:(in Brazilian Portuguese). Brasília: UnB. 11026: 10999:. In Stroeter, Guga; Mori, Elisa (eds.). 10853: 10835: 10744: 10735: 10622: 10266: 10048: 9911: 9671: 9647: 9635: 9470: 9378: 8984: 8926: 8914: 8707: 8537: 8513: 8474: 8291: 8237: 8225: 8198: 8183: 8150: 8138: 8126: 8114: 7827: 7621: 7519: 7507: 7441: 7390: 7221: 7184: 7160: 7119: 6952: 6893: 6738: 6526: 6140: 6047: 6005: 5918: 5783: 5747: 5717: 5331: 5295: 5055: 4957: 4602: 4389: 4126: 4096: 3981: 3913: 3158:records and their sub-genres, especially 2921:), of Pagode of Arlindinho (organized by 2079:, the second group had as main exponents 1958:. Missing for many years, samba composer 1571:circles meetings, the renowned conductor 14191:"Billboard: Constant Rain (Chove Chuva)" 14155: 13883: 13878: 13873: 13731:(in Brazilian Portuguese). Jornal da USP 13709: 13697:(in Brazilian Portuguese). Jornal da USP 13585: 13573:(in Brazilian Portuguese). O Carapuceiro 13494:Giron, Luís Antônio (25 November 2016). 13445:"Literatura "enquadra" Bezerra da Silva" 13323: 13198:Carvalho, Mario Cesar (22 August 2004). 13180: 13058: 12735: 12475: 12295: 12267: 12246:Paiva, Carlos Eduardo Amaral de (2009). 12198: 11953: 11832: 11777: 11683: 11581: 11557: 11533: 11475: 11452: 11387: 11254: 11245: 11236: 11161: 11074:Chula: Comportamento traduzido em canção 10986:Lopes, Nei; Simas, Luiz Antonio (2015). 10959:Guimarães, Francisco (Vagalume) (1978). 10958: 10865:Rádio: o veículo, a história e a técnica 10811:Zicartola: memórias de uma casa de samba 10798: 10780: 10670: 10634: 10593: 9659: 9307: 9295: 9283: 9268: 9095: 9080: 9008: 8794: 8755: 8632: 8564: 8501: 8450: 8438: 8402: 8378: 8327: 8303: 8252: 8060: 8025: 8001: 7893: 7750: 7696: 7684: 7660: 7483: 7471: 7378: 7253: 7131: 6925: 6840: 6753: 6726: 6702: 6553: 6497: 6473: 6434: 6422: 6344: 6269: 6242: 6203: 6113: 6071: 5930: 5906: 5458: 5397: 5307: 5088:"FGM – Prefeitura Municipal do Salvador" 4939: 4902: 4887: 4704: 4617: 4524: 4494: 4439: 4353: 4338: 4323: 3996: 3928: 3895: 3883: 3184: 3144: 2899: 2891: 2617: 2609: 2601: 2406: 2398: 2390: 2126: 2118: 1879: 1715: 1389: 1381: 1264:, which – when joining the already used 1097: 1089: 1081: 773: 648: 547: 443: 422:Intangible Cultural Heritage of Humanity 14759:Siqueira, Ethevaldo (30 October 2010). 14121: 13993: 13926:Reis, Aquiles Rique (7 February 2018). 13905: 13814: 13794: 13675: 13235: 12956: 12894: 12878: 12861: 12805:Samba e mercado de música nos anos 1990 12497: 12422: 12334: 12053:"A música brasileira na década de 1950" 11854: 11610: 11543:Gestão de Projetos Culturais (GESTCULT) 11504: 11396: 11345: 11272: 11221:Tem mais samba: das raízes à eletrônica 11125: 11027:Marcondes, Marcos Antônio, ed. (1977). 10949: 10883:Samba de sambar do Estácio: 1928 a 1931 10771: 10762: 10726: 10455: 10344: 10254: 10060: 10007: 9608: 9509: 9390: 9343: 9244: 9044: 8878: 8743: 8678: 8462: 8339: 8315: 7958: 7881: 7531: 7495: 7456: 7429: 7417: 7405: 7342: 7301: 7172: 6816: 6792: 6780: 6565: 6458: 6320: 6059: 5732: 5681: 5669: 5642: 5594: 5562: 5424: 4011:10.5622/illinois/9780252044021.003.0007 3971: 2387:Traditional samba as "resistance music" 2246:", with positive international impact. 2115:Bossa nova, the new revolution in samba 1432:This expansion of radio as a medium of 277:Having its roots in the Afro-Brazilian 15844: 14429: 14413: 14397: 14381: 14365: 14349: 14172: 14138: 13891:"Bossa Nova, cartão-postal brasileiro" 13888: 13777: 13743: 13727:Napolitano, Marcos (25 October 2018). 13712:"Dona Ivone Lara, a baluarte do samba" 13692: 13658: 13641: 13619: 13602: 13532:Lima, Natasha Correa (3 August 2017). 13510: 13477:Garcia, Lauro Lisboa (November 2016). 13459: 13442: 13425: 13289: 13253:Cruz, Maria Alice (27 November 2011). 13218: 13126: 13109: 13075: 13024: 12990: 12973: 12801: 12578: 12554: 12533:Santos, Christiano Rangel dos (2010). 12510: 12399: 12380: 12222: 12111:Neto, João de Lira Cavalcante (2018). 11985:"O samba esquema novo de Jorge Benjor" 11924: 11749: 11705: 11632: 11283: 11017: 10988:Dicionário da História Social do Samba 10931: 10910: 10826: 10807: 10658: 10646: 10578: 10539: 10527: 10515: 10479: 10368: 10356: 10332: 10189: 10177: 10165: 9887: 9875: 9863: 9851: 9779: 9737: 9623: 9482: 9446: 9331: 9166: 9122: 9056: 9032: 8996: 8938: 8731: 8719: 8690: 8647: 8617: 8549: 8525: 8354: 8264: 8102: 7941: 7905: 7786: 7039: 7015: 6857: 6828: 6227: 6215: 6152: 5870: 5828: 5816: 5625: 4872: 4689: 4674: 4039: 3739:: "This is not samba, it is a marcha." 3074:, although there were also names from 2940:, in the suburban area of Leopoldina. 2354:samba styles. These were the cases of 1665:, which had at least one broadcast to 15150: 14866: 14787:Cultura brasileira, temas e situações 14559:Arrigoni, Marília (15 October 2015). 14104: 14087: 14067: 14047: 14010: 13834: 13815:Pereira, Adilson (27 February 2001). 13760: 13659:Mendes, Mauricio (25 November 2016). 13493: 13409:Figueiredo, Talita (9 October 2017). 13143: 12842:10.11606/issn.1982-8160.v11i3p221-239 12745:Working Papers in Nationalism Studies 12691: 12669: 12647: 12555:Santos, Maria de Lourdes dos (2005). 12358: 12245: 12174: 11954:Monteiro, Bianca Miucha Cruz (2010). 11895: 11882: 11833:Gonzalez, Rafaela Rohsbacker (2017). 11810: 11793:10.11606/issn.2316-901x.vo166p172-198 11778:Gerolamo, Ismael de Oliveira (2017). 11750:Garcia, Miliandre (3 December 2018). 11425: 11320: 11227: 11218: 11209: 11152: 11107: 11098: 11089: 11080: 11062: 11036:Máximo, João; Didier, Carlos (1990). 10994: 10976: 10940: 10889: 10854:Fernandes, Nelson da Nobrega (2001). 10844: 10765:As escolas de samba do Rio de Janeiro 10753: 10717: 10491: 10443: 10392: 10380: 10290: 10278: 10230: 10218: 10120: 10108: 10096: 10072: 10036: 9983: 9962: 9950: 9899: 9839: 9815: 9710: 9533: 9422: 9208: 9193: 9068: 8955: 8866: 8854: 8830: 8486: 8426: 8414: 8390: 8276: 8171: 7929: 7771: 7723: 7708: 7672: 7624:, pp. 160–162, 592–593, 625–627. 7289: 7277: 6991: 6967: 6937: 6804: 6714: 6673: 6626: 6541: 6485: 6410: 6386: 6356: 6332: 6308: 6296: 6191: 6164: 6107: 6095: 6083: 6020: 5993: 5969: 5942: 5882: 5843: 5804: 5705: 5613: 5547: 5532: 5520: 5505: 5425:Miranda, Beatriz (17 February 2021). 5208: 5189: 5010: 4983: 4857: 4827: 4779: 4716: 4647: 4632: 4570: 4541: 4479: 4412: 4308: 4296: 4232:Motta Lody, Raul Giovanni da (1977). 3492: 2847:characterized by a highly percussive 2303:stood out. In this same environment, 1931:– and also of new composers, such as 1635:Departamento de Imprensa e Propaganda 1342:Radio era and popularization of samba 405:accompaniment – whose inspiration is 223: 61:Samba circle in Rio de Janeiro (1936) 15438: 14654:Carmen Miranda – A cantora do Brasil 14351:"IMMuB: A fina flor do partido alto" 14285: 14269: 14253: 14237: 14173:Xavier, Fernanda (14 January 2020). 14070:"Pagodes: a nova geografia do samba" 14048:Souza, Tarik de (15 February 1985). 13925: 13857:Pimentel, João (29 September 2007). 13837:"Mercado do disco cai com populares" 13511:Kassel, Matthew (19 November 2018). 13341:Ferreira, Mauro (12 February 2018). 13272: 13200:"Brasil brasileiro nasce com Vargas" 12447:Rechetnicou, Mirian Marques (2018). 12400:Portes, Isabelle dos Santos (2014). 12223:Onofre, Cintia Campolina de (2011). 12139:PROA: Revista de Antropologia e Arte 12110: 12007:Nascimento, Alam D’Ávila do (2008). 11983:Nascimento, Alam D’Ávila do (2007). 11654: 11479:Das Rodas de Samba às Redes do Samba 11397:Almeida, Paula Cresciulo de (2013). 11313: 11174:Rádio Nacional: o Brasil em sintonia 11134: 11130:(in Brazilian Portuguese). E-Papers. 10563: 9569: 9557: 9545: 9521: 9494: 9256: 7367:Vicente, DeMarchi & Gambaro 2016 7330:2001:2(2). Retrieved 26 April 2014. 7027: 6869: 5280: 5265: 5235: 5170: 5157:Brasil, Brasil – Samba to Bossa Nova 3997:Sandroni, Carlos (15 October 2021), 3563:Instituto Memória Musical Brasileira 3445: 3440: 653:During colonial Brazil, many public 13729:"A cena musical brasileira de 1968" 13710:Moutinho, Marcelo (17 April 2018). 13676:Menezes, Thales de (6 April 2017). 13307:Ferreira, Mauro (6 February 2020). 13161:Caballero, Mara (29 October 1985). 12848: 12707:10.11606/issn.2316-9036.v0i87p28-39 12648:Silva, Luciana Leonardo da (2011). 12626:Silva, Rodrigo José Brasil (2012). 12594:10.11606/issn.2316-901X.v0i61p56-81 12579:Santos, Daniela Vieira dos (2015). 12511:Santos, Arildo Colares dos (2018). 12210:(in Brazilian Portuguese). Salvador 12069:10.11606/issn.2316-9036.v0i87p56-73 10967: 10808:Castro, Maurício Barros de (2016). 7597: 7585: 6176: 1154:, and the suburban neighborhood of 319:and other parts of Rio through its 13: 14742:Ricardo, Igor (27 November 2016). 14542:Abdala, Vitor (27 November 2016). 14534: 14301: 14122:Vanucci, Cesar (19 October 2019). 13942: 13778:Paixão, Sara (30 September 2011). 13549:Lima, Irlam Rocha (29 June 2020). 13324:Ferreira, Mauro (19 August 2019). 13025:Baltar, Anderson (30 April 2019). 12991:Araujo, Bernardo (30 April 2019). 11855:Machado, Gustavo Barletta (2006). 11655:Dias, Marcia Regina Tosta (1997). 11248:Música Popular — Um Tema em Debate 9178: 8767: 5144: 4111:"O Samba no Contexto do Candomblé" 3281:that became popular in the 2010s. 2790:stood out, in addition to the duo 2575:entered "Menina moça", a stylized 2143:government that culminated in the 1613:in vogue with the construction of 1348: 1007: 808:the abolition of slavery in Brazil 760:Problems playing these files? See 676: 632: 556: 14: 15883: 14834: 14820:by Peter Fryer. Pluto Press 2000. 14576:Bocskay, Stephen (30 July 2012). 14030:"A revolução do fundo de quintal" 13695:"O centenário de 'Pelo telefone'" 13603:Máximo, João (27 November 2016). 13358:Ferreira, Mauro (23 April 2018). 13110:Brêda, Lucas (27 December 2019). 13059:Bernardo, André (19 March 2019). 12199:Oliveira, Luciana Xavier (2006). 11633:Dantas, Laura Figueiredo (2016). 11119:Uma história do samba: As origens 10970:Enciclopédia do Cinema Brasileiro 4200:Samba : resistance in motion 3627:List of Brazilian musicians#Samba 3018:by the Brazilian music industry. 2991:– all members of the group – and 2358:, a dance style developed in the 2327:" and "Chove Chuva", released by 14858:Samba & Pagode Semba/history 14840: 14433:(in Brazilian Portuguese). IMMuB 14417:(in Brazilian Portuguese). IMMuB 14415:"IMMuB: Isto que é partido alto" 14401:(in Brazilian Portuguese). IMMuB 14385:(in Brazilian Portuguese). IMMuB 14369:(in Brazilian Portuguese). IMMuB 14353:(in Brazilian Portuguese). IMMuB 14105:Uchôa, Alícia (9 October 2017). 14011:Silva, Fernando (28 June 2016). 13889:Prange, Astrid (9 August 2018). 13761:Nuzzi, Vitor (7 February 2017). 13460:Garcia, Adriana (20 June 2008). 13443:Garcez, Bruno (5 October 1999). 13375:Ferreira, Mauro (19 July 2020). 13144:Brêda, Lucas (5 February 2020). 13042:Benevides, André (26 May 2004). 12879:Velloso, Mônica Pimenta (1987). 12862:Velloso, Mônica Pimenta (1989). 12802:Trotta, Felipe da Costa (2006). 12736:Stockle, Julia Santiago (1994). 12694:"A bossa dançante do sambalanço" 12359:Pinto, Waldir de Amorim (2013). 12175:Nogueira, Nilcemar, ed. (2014). 11910:Federal University of Uberlândia 11896:Matos, Cláudia Neiva de (2013). 11728:Frugiuele, Mario Santin (2015). 11426:Arbix, Daniel do Amaral (2008). 11352:História: Questões & Debates 11108:Naves, Santuza Cambraia (2004). 10863:Ferraretto, Luiz Arthur (2001). 10676: 7307: 3844: 3835: 3825: 3815: 3805: 3792: 3782: 3773: 3764: 3751: 3742: 3713: 3704: 3694: 3681: 3596: 3582: 3423: 3409: 3395: 3381: 3367: 3172:Crowley Official Broadcast Chart 2254:with keyboard, electric guitar, 1364: 1065: 1044: 1023: 742: 713: 692: 492:For many years of the Brazilian 14713:Novo Dicionário Banto do Brasil 14367:"IMMuB: Bambas do partido alto" 14156:Virgilio, Paulo (7 July 2012). 14068:Souza, Tarik de (15 May 1983). 14015:(in Brazilian Portuguese). Vice 13744:Nobile, Lucas (10 April 2013). 13642:Melito, Leandro (17 May 2018). 13392:Ferreira, Mauro (14 May 2020). 13255:"O 'sambão-joia' pede passagem" 13127:Brêda, Lucas (12 August 2019). 12974:Aragão, Helena (1 March 2019). 12103:10.1590/S0102-01882000000100007 11957:Sinhô: a poesia do Rei do Samba 11684:Fenerick, José Adriano (2002). 11445:10.1590/S1808-24322008000100010 11001:Uma árvore da música brasileira 10911:Garcia, Tânia da Costa (2004). 10881:Franceschi, Humberto M (2010). 10872:Franceschi, Humberto M (2002). 10745:Benchimol, Jaime Larry (1990). 10736:Alvarenga, Oneyda, ed. (1960). 8049:Napolitano & Wasserman 2000 5452: 5418: 5080: 5031: 4959:10.1590/s0103-40142010000200023 4933: 4908: 4248: 4225: 4190: 4143: 4102: 3915:10.1590/S0103-40142010000200023 3672: 3663: 2739:with the releases of the first 1700:, Francisco Alves, Mário Reis, 420:declared Samba de Roda part of 409:– such as classical guitar and 14761:"O rádio antes e depois da TV" 14630:Latin American Research Review 14177:(in Brazilian Portuguese). RIC 13943:Sá, Nelson (8 February 2014). 13620:Máximo, João (8 August 2018). 13413:(in Brazilian Portuguese). UOL 13277:(in Brazilian Portuguese). UOL 13163:"O samba como era nas escolas" 13080:(in Brazilian Portuguese). UOL 13076:Borges, Pedro (5 April 2019). 13029:(in Brazilian Portuguese). UOL 13012:(in Brazilian Portuguese). UOL 12957:Antunes, Pedro (9 July 2012). 12381:Pontes, Fábio Cezanne (2011). 12344:II Jornada de Ciências Sociais 12090:Revista Brasileira de História 11706:Ferraz, Igor de Bruyn (2018). 11276:Estado Novo: ideologia e poder 4033: 3999:"When Did Samba Become Samba?" 3990: 3965: 3922: 3889: 2631:stimulated by artists such as 2437:Brazilian military coup d'état 2329:Sérgio Mendes & Brazil '66 1420:music in the Brazil – whether 970:shows, a place that enshrined 23:. For the ballroom dance, see 1: 14776:Tinhorão, José Ramos (1969). 14661:Gomes, Marcelo Silva (2007). 14652:Cardoso Júnior, Abel (1978). 13893:(in Brazilian Portuguese). DW 13835:Perez, Luis (10 April 2000). 13795:Pareles, Jon (23 July 1986). 13396:(in Brazilian Portuguese). G1 13379:(in Brazilian Portuguese). G1 13362:(in Brazilian Portuguese). G1 13345:(in Brazilian Portuguese). G1 13328:(in Brazilian Portuguese). G1 13311:(in Brazilian Portuguese). G1 12506:. Rio de Janeiro: DIP: 79–93. 11925:Mattos, Romulo Costa (2008). 11811:Gomes, Marcelo Silva (2010). 11390:IV Encontro Nacional da ANPUR 11284:Vianna, Hermano, ed. (1995). 11255:Tinhorão, José Ramos (1974). 11246:Tinhorão, José Ramos (1997). 11237:Tinhorão, José Ramos (1990). 11063:Mello, Zuza Homem de (2000). 10801:Antologia do Negro Brasileiro 10718:Albin, Ricardo Cravo (2003). 3929:Carvalho, Caê Garcia (2015), 3652: 2975:, musical group sponsored by 2765:Estação Primeira de Mangueira 2252:instrumental musical ensemble 1203:bum bum paticumbum pugurumdum 1185:bum bum paticumbum pugurumdum 424:, and in 2007, the Brazilian 80:and other African rhythms of 14720:Paranhos, Adalberto (2005). 13906:Ratliff, Ben (6 July 2019). 13273:Dias, Tiago (3 March 2020). 12557:"Radiodifusão na Era Vargas" 12296:Paranhos, Adalberto (2012). 12268:Paranhos, Adalberto (2003). 11611:Concagh, Tiago Bosi (2017). 11153:Sadie, Stanley, ed. (1994). 11101:Do Batuque à escola de samba 11056:A Canção no Tempo – Volume 2 11047:A Canção no Tempo – Volume 1 10979:Partido-alto: samba de bamba 10941:Giron, Luís Antônio (2001). 10890:Frota, Wander Nunes (2005). 4203:. Indiana University Press. 4128:10.35699/1981-3171.2015.1140 4052:(1): 53–66 – via UFRJ. 3937:, EDUFBA, pp. 259–298, 3856: 2157:South Zone of Rio de Janeiro 2004:Music from the United States 1415:to the increase in sales of 7: 14693:(in Brazilian Portuguese). 14124:"A aquarela musical de Ary" 14088:Tatit, Luiz (7 June 2000). 13928:"A eterna Aracy de Almeida" 13219:Castro, Ruy (9 July 2018). 12870:(in Brazilian Portuguese). 12853:(in Brazilian Portuguese). 12832:(in Brazilian Portuguese). 12715:Spielmann, Daniela (2016). 12602:Schvarzman, Sheila (2006). 12502:(in Brazilian Portuguese). 12304:(in Brazilian Portuguese). 12279:(in Brazilian Portuguese). 12141:(in Brazilian Portuguese). 12092:(in Brazilian Portuguese). 12051:Napolitano, Marcos (2010). 11904:(in Brazilian Portuguese). 11887:(in Brazilian Portuguese). 11761:(in Brazilian Portuguese). 11434:(in Brazilian Portuguese). 11354:(in Brazilian Portuguese). 11346:Alberto, Paulina L (2016). 11329:(in Brazilian Portuguese). 10943:Mario Reis: O fino do samba 10727:Alencar, Edigar de (1981). 10429:Floriano do Nascimento 2005 10417:Floriano do Nascimento 2005 4040:Zamith, Rosa Maria (1995). 3575: 2888:Pagode, a new samba renewal 274:in the early 20th century. 10: 15888: 12868:Revista Estudos Históricos 12315:10.20396/muspop.v1i1.12874 12096:(39). São Paulo: 167–189. 11534:Campolim, Douglas (2009). 11327:Revista Estudos Históricos 11110:Da bossa nova à tropicália 10995:Lopes, Nei (29 May 2020). 10705: 9792:Saboia & Martini 2016b 9687:Mello & Severiano 2015 7799:Mello & Severiano 1997 7544:Mello & Severiano 1997 7149:Saboia & Martini 2016a 7076:Saroldi & Moreira 2005 7052:Saroldi & Moreira 2005 6980:Saroldi & Moreira 2005 6596:Mello & Severiano 1997 5856:Mello & Severiano 1997 5251:Mello & Severiano 1997 5092:cultura.salvador.ba.gov.br 4763:Mello & Severiano 1997 4197:Browning, Barbara (1995). 3943:10.7476/9788523220129.0011 3010:. Especially prioritizing 2145:1964 Brazilian coup d'état 1970:, who took him to sing on 1962:was found washing cars in 1852:At the turn of the 1940s, 1275:In 1929, the sambista and 834:terreiros, introduced the 818:, in the neighborhoods of 770:Birth in a Bahian terreiro 96:, and early 20th century, 33: 18: 15857:Brazilian styles of music 15823: 15782: 15729: 15711: 15668: 15630: 15584: 15577: 15548: 15512: 15454: 15398:Música popular brasileira 15220: 15185: 15113: 15083: 15037: 15030: 15001: 14965: 14907: 14900: 14892: 14623:Bocskay, Stephen (2017). 14597:Bocskay, Stephen (2012). 14207:"Billboard: Mas Que Nada" 13568:"Os gostos extravagantes" 13519:(in Brazilian Portuguese) 13236:Cometti, Douglas (2004). 12895:Vicente, Eduardo (2002). 12851:Revista do Rio de Janeiro 12423:Ribeiro, Juliana (2010). 12302:Música Popular em Revista 11558:Carneiro, Edison (2012). 11438:(1). São Paulo: 207–230. 11333:. Rio de Janeiro: 183–203 11264:Vasconcelos, Ary (1977). 11192:Severiano, Jairo (2009). 11162:Sandroni, Carlos (2001). 10950:Goulart, Silvana (1990). 10874:A Casa Edison e seu tempo 10799:Carneiro, Edison (2005). 10738:Musica Popular Brasileira 10690:(in Brazilian Portuguese) 9804:Candeia & Isnard 1978 5459:Galinsky, Philip (1996). 5127:Diário de Pernambuco 1830 4940:Sandroni, Carlos (2010). 4256:"Full Guide on Candomblé" 3896:Sandroni, Carlos (2010). 3141:Samba in the 21st century 2490:, Jair do Cavaquinho and 2481:Anescarzinho do Salgueiro 2055:and interpreters such as 1935:. The samba de breque by 1766:-, as well as registered 1164:the phonograph recordings 221:Portuguese pronunciation: 181: 176: 113: 108: 88: 66: 54: 49: 14561:"Rádio Nacional 80 anos" 14431:"IMMuB: Raça Brasileira" 13010:"Agoniza, mas não morre" 12949: 12152:10.20396/proa.v9i1.17278 11358:(2). Curitiba: 183–203. 11219:Souza, Tarik de (2003). 11137:Araci Cortes: linda flor 11038:Noel Rosa: Uma Biografia 10781:Caldeira, Jorge (2007). 10710: 10552:Brêda & Mariani 2019 6769:Máximo & Didier 1990 6651:Máximo & Didier 1990 6372:Máximo & Didier 1990 6119:Blatter, Alfred (2007). 5371:Mendes & Junior 2008 3657: 3556: 1954:enshrined the sambas by 1565:Municipal Theater of Rio 1108:First Brazilian Republic 543: 440:Etymology and definition 169:sambalanço, among others 34:Not to be confused with 15126:Helsinki Samba Carnaval 12476:Reijonen, Olli (2017). 11476:Benzecry, Lena (2008). 11453:Benzecry, Lena (2015). 11365:10.5380/his.v63i2.46702 11203:Cartola, os tempos idos 11099:Muniz, José Jr (1976). 11090:Moura, Roberto (1983). 10932:Garcia, Walter (1999). 10772:Cabral, Sergio (1996). 10763:Cabral, Sergio (1996). 10756:Batuque É Um Privilégio 10504:Trotta & Silva 2015 10468:Baltar & Bryan 2016 10154:Trotta & Silva 2015 8367:Vargas & Bruck 2017 7315:"The Politics of Samba" 5057:10.30620/p.i..v8i2.5917 3731:: "So, what is samba?" 3617:Samba (Brazilian dance) 3335:Urban samba instruments 2830:Antônio Carlos e Jocáfi 2708:, among others, and of 2659:; the establishment of 2585:Velha Guarda da Portela 2528:with the young artists 2262:and performers such as 1946:also stood out and, in 1712:New sub-genres of samba 1532:, Dilermando Pinheiro, 1443:philharmonic orchestras 1131:Brazilian Naval Revolts 869:, Heitor dos Prazeres, 836:cowrie-shell divination 670:The urban Carioca samba 520:, catereté, candomblé, 292:-like circle dance", a 266:that originated in the 201:samba (Brazilian dance) 21:Samba (Brazilian dance) 16:Brazilian musical genre 15513:Fusion genres of Samba 15272:Brazilian thrash metal 13496:"Bem mais de cem anos" 11321:Abreu, Martha (1994). 11212:Samba, o dono do corpo 11135:Ruiz, Roberto (1984). 11081:Motta, Nelson (2000). 10611:Lopes & Simas 2015 10405:Rangel dos Santos 2010 10321:Lopes & Simas 2015 10306:Lopes & Simas 2015 10243:Lopes & Simas 2015 10142:Lopes & Simas 2015 10085:Lopes & Simas 2015 10020:Lopes & Simas 2015 9996:Lopes & Simas 2015 9939:Lopes & Simas 2015 9828:Lopes & Simas 2015 9726:Lopes & Simas 2015 9597:Lopes & Simas 2015 9585:Lopes & Simas 2015 9435:Lopes & Simas 2015 9406:Lopes & Simas 2015 9367:Lopes & Simas 2015 9320:Lopes & Simas 2015 9310:, pp. 41–42, 111. 9233:Lopes & Simas 2015 9221:Lopes & Simas 2015 9155:Lopes & Simas 2015 9138:Lopes & Simas 2015 9111:Lopes & Simas 2015 9021:Lopes & Simas 2015 8973:Lopes & Simas 2015 8843:Lopes & Simas 2015 8819:Lopes & Simas 2015 8807:Lopes & Simas 2015 8606:Lopes & Simas 2015 8594:Lopes & Simas 2015 8582:Lopes & Simas 2015 7918:Lopes & Simas 2015 7870:Lopes & Simas 2015 7843:Lopes & Simas 2015 7811:Lopes & Simas 2015 7739:Lopes & Simas 2015 7646:Lopes & Simas 2015 7634:Lopes & Simas 2015 7610:Lopes & Simas 2015 7574:Lopes & Simas 2015 7266:Lopes & Simas 2015 7210:Lopes & Simas 2015 7103:Lopes & Simas 2015 7088:Lopes & Simas 2015 6882:Lopes & Simas 2015 6686:Lopes & Simas 2015 6615:Lopes & Simas 2015 6581:Silva & Filho 1998 6515:Lopes & Simas 2015 6447:Lopes & Simas 2015 6399:Lopes & Simas 2015 6285:Lopes & Simas 2015 6255:Lopes & Simas 2015 6036:Lopes & Simas 2015 5982:Lopes & Simas 2015 5895:Lopes & Simas 2015 5772:Lopes & Simas 2015 5760:Lopes & Simas 2015 5694:Lopes & Simas 2015 5578:Lopes & Simas 2015 5413:Lopes & Simas 2015 5386:Lopes & Simas 2015 5359:Lopes & Simas 2015 5344:Sabino & Lody 2011 5320:Lopes & Simas 2015 4843:Lopes & Simas 2015 4816:Lopes & Simas 2015 4797:Lopes & Simas 2015 4746:Lopes & Simas 2015 4734:Lopes & Simas 2015 4663:Lopes & Simas 2015 4554:Lopes & Simas 2015 4510:Lopes & Simas 2015 4463:Lopes & Simas 2015 4428:Lopes & Simas 2015 4375:Lopes & Simas 2015 4285:Lopes & Simas 2015 4262:. 2022. Archived from 4070:Lopes & Simas 2015 3983:10.14393/ufu.di.2019.3 3972:Barbosa, Luiz (2016). 3872:Lopes & Simas 2015 3637:Samba (ballroom dance) 3190: 3150: 2905: 2897: 2712:of Rio samba schools. 2684:, Originals of Samba, 2623: 2615: 2607: 2439:, it was released the 2412: 2404: 2396: 2132: 2124: 1885: 1721: 1395: 1387: 1353: 1233: 1195: 1103: 1095: 1087: 1012: 783: 681: 627:Greater Rio de Janeiro 553: 453: 450:Johann Moritz Rugendas 308:than to samba itself. 76: 29:Samba (disambiguation) 27:. For other uses, see 25:Samba (ballroom dance) 15810:São Tomé and Príncipe 15423:Música Sertaneja Raiz 14942:Samba de partido-alto 13817:"Náufragos do pagode" 13797:"Jorge Ben of Brazil" 12692:Souza, Tarik (2010). 12564:Estudos de Sociologia 11536:"Batuque de umbigada" 11505:Calabre, Lia (2008). 11210:Sodré, Muniz (1998). 10838:No Tempo de Noel Rosa 10783:A construção do samba 10754:Bolão, Oscar (2009). 8660:Estadão Conteúdo 2018 8004:, pp. 46, 75–79. 5129:, pp. 2098–2099. 3188: 3148: 3004:Jovelina Pérola Negra 2903: 2895: 2859:and accompanied by a 2621: 2613: 2605: 2577:samba de partido-alto 2518:Os Originais do Samba 2410: 2402: 2394: 2232:The Girl from Ipanema 2130: 2122: 1888:After the end of the 1883: 1864:, Brazilian term for 1817:Also from that time, 1719: 1619:Getulio Vargas regime 1557:Franklin D. Roosevelt 1393: 1385: 1352: 1222: 1211:tan tantan tan tantan 1181:tan tantan tan tantan 1177: 1101: 1093: 1085: 1011: 960:mechanical recordings 777: 680: 649:Roots of Rio Carnival 625:. Originating in the 590:practiced in Bahia's 551: 504:), songs and uses of 447: 315:and soon extended to 156:samba de partido-alto 92:Late 19th century in 14853:Samba Pagode history 14849:at Wikimedia Commons 14383:"IMMuB: Banda Odeon" 12758:on 26 September 2020 11228:Tatit, Luiz (1996). 10845:Efegê, Jota (2007). 10827:Castro, Ruy (2015). 10729:Nosso Sinhô do Samba 7090:, pp. 100, 182. 6741:, pp. 639, 649. 6204:Abreu & Vaz 1991 4512:, pp. 138, 182. 4430:, pp. 219, 254. 3727:: "This is maxixe." 3239:(former Soweto) and 3189:Samba female dancers 3034:, Almir Guineto and 2780:Paulo Cesar Pinheiro 2380:American black music 2341:two beats to the bar 2256:acoustic bass guitar 2169:Antonio Carlos Jobim 2137:Juscelino Kubitschek 2109:Antonio Carlos Jobim 1901:Geraldo Pereira and 1123:Morro da Providência 993:and, mainly, to the 623:Rio de Janeiro State 565:of 1938, the writer 462:Diário de Pernambuco 238:samba urbano carioca 15179:Lusophone countries 14711:Lopes, Nei (2012). 14702:Lopes, Nei (2004). 11463:on 26 December 2021 11286:O Mistério do Samba 11117:Neto, Lira (2017). 10977:Lopes, Nei (2005). 10774:MPB na era no rádio 10649:, pp. 227–232. 10613:, pp. 169–170. 10431:, pp. 159–160. 10359:, pp. 158–159. 10257:, pp. 238–239. 10099:, pp. 126–127. 10075:, pp. 179–180. 10022:, pp. 207–208. 9953:, pp. 177–178. 9941:, pp. 243–244. 9842:, pp. 251–252. 9830:, pp. 211–214. 9298:, pp. 105–106. 8975:, pp. 301–302. 8905:, pp. 67, 114. 8797:, pp. 172–198. 8710:, pp. 106–107. 8201:, pp. 160–162. 8186:, pp. 785–786. 8153:, pp. 524–526. 8141:, pp. 822–823. 8129:, pp. 602–603. 8051:, pp. 167–189. 7830:, pp. 684–685. 7600:, pp. 117–119. 7588:, pp. 130–131. 7474:, pp. 236–237. 7369:, pp. 461–464. 7355:Cesar Carvalho 2004 7320:10 May 2013 at the 7237:Agência Senado 2016 7134:, pp. 191–192. 7122:, pp. 489–490. 6860:, pp. 207–210. 6819:, pp. 244–245. 5535:, pp. 110–111. 5508:, pp. 184–185. 5334:, pp. 130–171. 4905:, pp. 153–154. 4890:, pp. 296–297. 4875:, pp. 107–109. 4605:, pp. 708–709. 4003:A Respectable Spell 3918:– via Scielo. 3759:Alcebíades Barcelos 3687:Despite the strong 3293:and Semente group, 3092:electronic keyboard 2993:Luiz Carlos da Vila 2464:Clementina de Jesus 2135:The period between 2049:Lupicínio Rodrigues 2037:sentimental ballads 1972:Rádio Mayrink Veiga 1860:(from English word 1459:Heitor dos Prazeres 1040:"O que será de mim" 909:Francisco Guimarães 812:Heitor dos Prazeres 725:Heitor dos Prazeres 510:Portuguese language 487:Brazilian Northeast 351:, samba de breque, 286:Portuguese language 242:urban Carioca samba 15872:Samba music genres 15121:Brazilian Carnival 14966:Main fusion genres 14685:Lima, Ari (2013). 14584:on 27 January 2021 13912:The New York Times 13801:The New York Times 13517:The New York Times 12935:on 14 October 2020 12233:on 20 October 2021 11908:(27). Uberlândia: 11432:Revista Direito GV 10829:A noite do meu bem 9701:, pp. 33, 47. 8028:, pp. 11, 81. 7064:Lisboa Garcia 2016 6807:, pp. 98–100. 5139:Lopes da Gama 1838 5112:Itaú Cultural 2020 4719:, pp. 10, 15. 3689:racial segregation 3533:Brass instruments 3493:In some sub-genres 3191: 3176:Kantar Ibope Media 3151: 2906: 2898: 2624: 2616: 2608: 2413: 2405: 2397: 2339:, which mixed the 2275:Pedrinho Rodrigues 2173:Vinicius de Moraes 2133: 2125: 1929:Guilherme de Brito 1886: 1839:Aquarela do Brasil 1722: 1675:Aquarela do Brasil 1573:Heitor Villa-Lobos 1434:mass communication 1396: 1388: 1354: 1338:and Ismael Silva. 1311:string instruments 1152:Morro da Mangueira 1104: 1096: 1088: 1013: 784: 682: 664:Brazilian Carnival 554: 454: 325:radio broadcasting 196:Brazilian Carnival 152:samba de exaltação 15862:Culture of Brazil 15839: 15838: 15664: 15663: 15660: 15659: 15656: 15655: 15573: 15572: 15569: 15568: 15556:Samba de Gafieira 15240:Brazilian hip hop 15200:Batidão romântico 15144: 15143: 15109: 15108: 15026: 15025: 15013:Samba de Gafieira 14845:Media related to 12857:(2). Niterói: 35. 12463:on 6 January 2022 11803:20.500.12733/2166 11671:on 8 October 2018 11314:Papers and theses 10293:, pp. 86–87. 10207:Souza et al. 1986 10156:, pp. 10–11. 9713:, pp. 91–92. 9572:, pp. 47–51. 9560:, pp. 45–46. 9286:, pp. 41–42. 9235:, pp. 72–75. 9047:, pp. 55–56. 9035:, pp. 42–43. 8833:, pp. 31–32. 8809:, pp. 19–20. 8780:Revista Veja 2012 8228:, pp. 20–21. 8117:, pp. 85–89. 7855:Brasil Silva 2008 7789:, pp. 72–73. 7576:, pp. 63–64. 7510:, pp. 75–78. 7420:, pp. 79–93. 7408:, pp. 30–35. 7292:, pp. 74–75. 7175:, pp. 63–67. 7105:, pp. 82–83. 7078:, pp. 60–61. 6928:, pp. 67–69. 6705:, pp. 70–71. 6500:, pp. 47–49. 6476:, pp. 50–51. 6425:, pp. 44–46. 6413:, pp. 39–41. 6347:, pp. 46–47. 6272:, pp. 91–92. 6245:, pp. 84–85. 6110:, pp. 31–32. 6062:, pp. 18–19. 5909:, pp. 31–33. 5046:(in Portuguese). 4996:Portal Iphan 2007 4946:Estudos Avançados 4860:, pp. 22–44. 4590:, pp. 52–53. 4356:, pp. 17–18. 3902:Estudos avançados 3642:Samba de Gafieira 3553: 3552: 3446:Basic instruments 3313:, in addition to 3277:, a platform for 3168:Só Pra Contrariar 3124:Só Pra Contrariar 3056:Paulinho da Viola 2962:four-string banjo 2952:(in place of the 2749:Paulinho da Viola 2725:Nelson Cavaquinho 2507:Os Cinco Crioulos 2456:Nelson Cavaquinho 2433:Paulinho da Viola 2368:Caribbean rhythms 2356:Samba de Gafieira 2061:Dalva de Oliveira 2053:Herivelto Martins 1998:and, especially, 1952:Demônios da Garoa 1925:Nelson Cavaquinho 1753:samba-de-terreiro 1627:national identity 1577:Leopold Stokowski 1422:phonograph record 1370: 1360:"Uva de caminhão" 1148:urban train lines 1070: 1049: 1028: 747: 718: 697: 430:cultural heritage 333:national identity 214: 213: 160:samba de terreiro 67:Stylistic origins 15879: 15739:Cante Alentejano 15582: 15581: 15575: 15574: 15482:Pagode romântico 15452: 15451: 15445: 15444: 15436: 15435: 15394: 15326: 15297: 15285: 15245:Brasília hip hop 15171: 15164: 15157: 15148: 15147: 15035: 15034: 15005: 14935:Pagode romântico 14905: 14904: 14887: 14880: 14873: 14864: 14863: 14844: 14790: 14781: 14772: 14770: 14768: 14755: 14753: 14751: 14738: 14736: 14734: 14728: 14716: 14707: 14698: 14681: 14679: 14677: 14667: 14657: 14648: 14646: 14644:10.25222/larr.71 14619: 14617: 14615: 14609: 14593: 14591: 14589: 14572: 14570: 14568: 14555: 14553: 14551: 14529: 14527: 14525: 14513: 14511: 14509: 14497: 14495: 14493: 14477: 14475: 14473: 14467: 14458: 14456: 14454: 14442: 14440: 14438: 14426: 14424: 14422: 14410: 14408: 14406: 14394: 14392: 14390: 14378: 14376: 14374: 14362: 14360: 14358: 14346: 14344: 14342: 14330: 14328: 14326: 14314: 14312: 14310: 14298: 14296: 14294: 14282: 14280: 14278: 14266: 14264: 14262: 14250: 14248: 14246: 14239:"Carmen Miranda" 14234: 14232: 14230: 14218: 14216: 14214: 14202: 14200: 14198: 14186: 14184: 14182: 14169: 14167: 14165: 14152: 14150: 14148: 14135: 14133: 14131: 14118: 14116: 14114: 14101: 14099: 14097: 14084: 14082: 14080: 14074: 14064: 14062: 14060: 14054: 14044: 14042: 14040: 14034: 14024: 14022: 14020: 14007: 14005: 14003: 13990: 13988: 13986: 13973: 13971: 13969: 13956: 13954: 13952: 13939: 13937: 13935: 13922: 13920: 13918: 13902: 13900: 13898: 13885: 13880: 13875: 13870: 13868: 13866: 13853: 13848: 13846: 13844: 13831: 13829: 13827: 13821: 13811: 13809: 13807: 13791: 13789: 13787: 13774: 13772: 13770: 13757: 13755: 13753: 13740: 13738: 13736: 13723: 13721: 13719: 13706: 13704: 13702: 13689: 13687: 13685: 13672: 13670: 13668: 13655: 13653: 13651: 13638: 13633: 13631: 13629: 13616: 13614: 13612: 13599: 13597: 13595: 13582: 13580: 13578: 13572: 13562: 13560: 13558: 13545: 13543: 13541: 13528: 13526: 13524: 13507: 13505: 13503: 13490: 13488: 13486: 13479:"A era do rádio" 13473: 13471: 13469: 13456: 13454: 13452: 13439: 13437: 13435: 13422: 13420: 13418: 13405: 13403: 13401: 13388: 13386: 13384: 13371: 13369: 13367: 13354: 13352: 13350: 13337: 13335: 13333: 13320: 13318: 13316: 13303: 13301: 13299: 13286: 13284: 13282: 13269: 13267: 13265: 13259: 13249: 13247: 13245: 13232: 13230: 13228: 13215: 13213: 13211: 13194: 13192: 13190: 13177: 13175: 13173: 13167: 13157: 13155: 13153: 13140: 13138: 13136: 13123: 13121: 13119: 13106: 13104: 13102: 13089: 13087: 13085: 13072: 13070: 13068: 13055: 13053: 13051: 13038: 13036: 13034: 13021: 13019: 13017: 13004: 13002: 13000: 12987: 12985: 12983: 12970: 12968: 12966: 12944: 12942: 12940: 12934: 12923: 12913: 12911: 12909: 12903: 12891: 12885: 12875: 12858: 12845: 12820: 12818: 12816: 12810: 12798: 12796: 12794: 12788: 12777: 12767: 12765: 12763: 12757: 12742: 12732: 12730: 12728: 12711: 12709: 12688: 12686: 12684: 12678: 12666: 12664: 12662: 12656: 12644: 12642: 12640: 12634: 12622: 12620: 12618: 12608: 12598: 12596: 12575: 12573: 12571: 12561: 12551: 12549: 12547: 12541: 12529: 12527: 12525: 12519: 12507: 12500:Cultura Política 12494: 12492: 12490: 12484: 12472: 12470: 12468: 12462: 12455: 12443: 12441: 12439: 12429: 12419: 12417: 12415: 12396: 12394: 12392: 12377: 12375: 12373: 12367: 12355: 12353: 12351: 12341: 12331: 12329: 12327: 12318:. Archived from 12317: 12292: 12290: 12288: 12277:Revista História 12274: 12264: 12262: 12260: 12254: 12242: 12240: 12238: 12219: 12217: 12215: 12205: 12195: 12193: 12191: 12181: 12171: 12169: 12167: 12154: 12129: 12127: 12125: 12119: 12107: 12105: 12080: 12078: 12076: 12071: 12057: 12047: 12045: 12043: 12037: 12025: 12023: 12021: 12015: 12003: 12001: 11999: 11989: 11979: 11977: 11975: 11969: 11962: 11950: 11948: 11946: 11940: 11933: 11921: 11919: 11917: 11892: 11879: 11877: 11875: 11869: 11851: 11849: 11847: 11841: 11829: 11827: 11825: 11819: 11807: 11805: 11795: 11774: 11772: 11770: 11759:Revista História 11756: 11746: 11744: 11742: 11736: 11724: 11722: 11720: 11714: 11702: 11700: 11698: 11692: 11680: 11678: 11676: 11670: 11663: 11651: 11649: 11647: 11641: 11629: 11627: 11625: 11619: 11607: 11605: 11603: 11597: 11590: 11578: 11576: 11574: 11564: 11560:"Carta do samba" 11554: 11552: 11550: 11540: 11530: 11528: 11526: 11520: 11513: 11501: 11499: 11497: 11491: 11484: 11472: 11470: 11468: 11449: 11447: 11422: 11420: 11418: 11412: 11405: 11393: 11384: 11382: 11380: 11367: 11342: 11340: 11338: 11308: 11306: 11304: 11289: 11280: 11269: 11260: 11251: 11242: 11233: 11224: 11215: 11206: 11197: 11188: 11167: 11158: 11149: 11140: 11131: 11122: 11113: 11104: 11095: 11086: 11083:Noites Tropicais 11077: 11068: 11059: 11050: 11041: 11032: 11023: 11014: 10991: 10982: 10973: 10964: 10961:Na roda do samba 10955: 10946: 10937: 10928: 10907: 10886: 10877: 10868: 10859: 10850: 10841: 10832: 10823: 10821: 10819: 10804: 10795: 10786: 10777: 10768: 10759: 10750: 10741: 10732: 10723: 10700: 10699: 10697: 10695: 10680: 10674: 10668: 10662: 10656: 10650: 10644: 10638: 10632: 10626: 10620: 10614: 10608: 10597: 10591: 10582: 10576: 10567: 10561: 10555: 10549: 10543: 10537: 10531: 10525: 10519: 10513: 10507: 10501: 10495: 10489: 10483: 10477: 10471: 10465: 10459: 10453: 10447: 10441: 10432: 10426: 10420: 10414: 10408: 10402: 10396: 10390: 10384: 10378: 10372: 10366: 10360: 10354: 10348: 10342: 10336: 10330: 10324: 10318: 10309: 10303: 10294: 10288: 10282: 10276: 10270: 10264: 10258: 10252: 10246: 10240: 10234: 10228: 10222: 10216: 10210: 10204: 10193: 10187: 10181: 10175: 10169: 10163: 10157: 10151: 10145: 10139: 10124: 10118: 10112: 10106: 10100: 10094: 10088: 10082: 10076: 10070: 10064: 10058: 10052: 10046: 10040: 10034: 10023: 10017: 10011: 10005: 9999: 9993: 9987: 9981: 9966: 9960: 9954: 9948: 9942: 9936: 9930: 9924: 9915: 9909: 9903: 9897: 9891: 9885: 9879: 9873: 9867: 9861: 9855: 9849: 9843: 9837: 9831: 9825: 9819: 9813: 9807: 9801: 9795: 9789: 9783: 9777: 9771: 9765: 9756: 9753:Correa Lima 2017 9750: 9741: 9735: 9729: 9723: 9714: 9708: 9702: 9699:Rechetnicou 2018 9696: 9690: 9684: 9675: 9669: 9663: 9657: 9651: 9645: 9639: 9633: 9627: 9621: 9612: 9606: 9600: 9594: 9588: 9582: 9573: 9567: 9561: 9555: 9549: 9543: 9537: 9531: 9525: 9519: 9513: 9507: 9498: 9492: 9486: 9480: 9474: 9468: 9462: 9456: 9450: 9444: 9438: 9432: 9426: 9420: 9409: 9403: 9394: 9388: 9382: 9376: 9370: 9364: 9347: 9341: 9335: 9329: 9323: 9317: 9311: 9305: 9299: 9293: 9287: 9281: 9272: 9266: 9260: 9254: 9248: 9242: 9236: 9230: 9224: 9218: 9212: 9206: 9197: 9191: 9182: 9176: 9170: 9164: 9158: 9152: 9141: 9135: 9126: 9120: 9114: 9108: 9099: 9093: 9084: 9078: 9072: 9066: 9060: 9054: 9048: 9042: 9036: 9030: 9024: 9018: 9012: 9011:, pp. 2–10. 9006: 9000: 8994: 8988: 8982: 8976: 8970: 8959: 8953: 8942: 8936: 8930: 8924: 8918: 8912: 8906: 8900: 8894: 8888: 8882: 8876: 8870: 8864: 8858: 8852: 8846: 8840: 8834: 8828: 8822: 8816: 8810: 8804: 8798: 8792: 8783: 8777: 8771: 8765: 8759: 8753: 8747: 8741: 8735: 8729: 8723: 8717: 8711: 8705: 8694: 8688: 8682: 8676: 8663: 8657: 8651: 8645: 8636: 8630: 8621: 8615: 8609: 8603: 8597: 8591: 8585: 8579: 8568: 8562: 8553: 8547: 8541: 8535: 8529: 8523: 8517: 8511: 8505: 8499: 8490: 8484: 8478: 8472: 8466: 8460: 8454: 8448: 8442: 8436: 8430: 8424: 8418: 8412: 8406: 8400: 8394: 8388: 8382: 8376: 8370: 8364: 8358: 8352: 8343: 8337: 8331: 8325: 8319: 8313: 8307: 8301: 8295: 8289: 8280: 8274: 8268: 8262: 8256: 8250: 8241: 8235: 8229: 8223: 8217: 8211: 8202: 8196: 8187: 8181: 8175: 8169: 8154: 8148: 8142: 8136: 8130: 8124: 8118: 8112: 8106: 8100: 8085: 8079: 8064: 8058: 8052: 8046: 8029: 8023: 8017: 8014:Rádios EBC 2015b 8011: 8005: 7999: 7993: 7987: 7974: 7968: 7962: 7956: 7945: 7939: 7933: 7927: 7921: 7915: 7909: 7903: 7897: 7891: 7885: 7879: 7873: 7867: 7858: 7852: 7846: 7840: 7831: 7825: 7814: 7808: 7802: 7796: 7790: 7784: 7775: 7769: 7754: 7748: 7742: 7736: 7727: 7721: 7712: 7706: 7700: 7694: 7688: 7682: 7676: 7670: 7664: 7658: 7649: 7643: 7637: 7631: 7625: 7619: 7613: 7607: 7601: 7595: 7589: 7583: 7577: 7571: 7562: 7556: 7547: 7541: 7535: 7529: 7523: 7517: 7511: 7505: 7499: 7493: 7487: 7481: 7475: 7469: 7460: 7454: 7445: 7439: 7433: 7427: 7421: 7415: 7409: 7403: 7394: 7388: 7382: 7376: 7370: 7364: 7358: 7352: 7346: 7340: 7331: 7311: 7305: 7299: 7293: 7287: 7281: 7275: 7269: 7263: 7257: 7251: 7240: 7234: 7225: 7219: 7213: 7207: 7188: 7182: 7176: 7170: 7164: 7158: 7152: 7146: 7135: 7129: 7123: 7117: 7106: 7100: 7091: 7085: 7079: 7073: 7067: 7061: 7055: 7049: 7043: 7037: 7031: 7025: 7019: 7013: 7007: 7001: 6995: 6989: 6983: 6977: 6971: 6965: 6956: 6950: 6941: 6935: 6929: 6923: 6912: 6909:Rádios EBC 2015a 6906: 6897: 6891: 6885: 6879: 6873: 6867: 6861: 6855: 6844: 6838: 6832: 6826: 6820: 6814: 6808: 6802: 6796: 6790: 6784: 6778: 6772: 6766: 6757: 6751: 6742: 6736: 6730: 6724: 6718: 6712: 6706: 6700: 6689: 6683: 6677: 6671: 6654: 6648: 6642: 6636: 6630: 6624: 6618: 6612: 6599: 6593: 6584: 6578: 6569: 6563: 6557: 6551: 6545: 6539: 6530: 6524: 6518: 6512: 6501: 6495: 6489: 6483: 6477: 6471: 6462: 6456: 6450: 6444: 6438: 6432: 6426: 6420: 6414: 6408: 6402: 6396: 6390: 6384: 6375: 6369: 6360: 6354: 6348: 6342: 6336: 6330: 6324: 6318: 6312: 6306: 6300: 6294: 6288: 6282: 6273: 6267: 6258: 6252: 6246: 6240: 6231: 6225: 6219: 6213: 6207: 6201: 6195: 6189: 6180: 6174: 6168: 6162: 6156: 6150: 6144: 6138: 6132: 6117: 6111: 6105: 6099: 6093: 6087: 6081: 6075: 6069: 6063: 6057: 6051: 6045: 6039: 6033: 6024: 6018: 6009: 6003: 5997: 5991: 5985: 5979: 5973: 5967: 5958: 5952: 5946: 5940: 5934: 5928: 5922: 5916: 5910: 5904: 5898: 5892: 5886: 5880: 5874: 5868: 5859: 5853: 5847: 5841: 5832: 5826: 5820: 5814: 5808: 5802: 5787: 5781: 5775: 5769: 5763: 5757: 5751: 5745: 5736: 5730: 5721: 5715: 5709: 5703: 5697: 5691: 5685: 5679: 5673: 5667: 5658: 5652: 5646: 5640: 5629: 5623: 5617: 5611: 5598: 5592: 5581: 5575: 5566: 5560: 5551: 5545: 5536: 5530: 5524: 5518: 5509: 5503: 5497: 5496: 5456: 5450: 5449: 5447: 5445: 5422: 5416: 5410: 5401: 5395: 5389: 5383: 5374: 5368: 5362: 5356: 5347: 5341: 5335: 5329: 5323: 5317: 5311: 5305: 5299: 5293: 5284: 5278: 5269: 5263: 5254: 5248: 5239: 5233: 5224: 5221:Vasconcelos 1977 5218: 5212: 5206: 5193: 5187: 5174: 5168: 5162: 5161: 5148: 5142: 5136: 5130: 5124: 5115: 5109: 5103: 5102: 5100: 5098: 5084: 5078: 5077: 5059: 5035: 5029: 5023: 5014: 5008: 4999: 4993: 4987: 4981: 4972: 4971: 4961: 4937: 4931: 4930: 4928: 4926: 4912: 4906: 4900: 4891: 4885: 4876: 4870: 4861: 4855: 4846: 4840: 4831: 4825: 4819: 4813: 4800: 4794: 4783: 4777: 4766: 4760: 4749: 4743: 4737: 4731: 4720: 4714: 4708: 4702: 4693: 4687: 4678: 4672: 4666: 4660: 4651: 4645: 4636: 4630: 4621: 4615: 4606: 4600: 4591: 4585: 4574: 4568: 4557: 4551: 4545: 4539: 4528: 4522: 4513: 4507: 4498: 4492: 4483: 4477: 4466: 4460: 4443: 4437: 4431: 4425: 4416: 4410: 4393: 4387: 4378: 4372: 4357: 4351: 4342: 4336: 4327: 4321: 4312: 4306: 4300: 4299:, pp. 9–10. 4294: 4288: 4282: 4276: 4275: 4273: 4271: 4252: 4246: 4245: 4234:Samba de Caboclo 4229: 4223: 4222: 4194: 4188: 4187: 4147: 4141: 4140: 4130: 4106: 4100: 4094: 4073: 4067: 4054: 4053: 4037: 4031: 4030: 4029: 4027: 3994: 3988: 3987: 3985: 3969: 3963: 3962: 3961: 3959: 3926: 3920: 3919: 3917: 3893: 3887: 3881: 3875: 3869: 3851: 3848: 3842: 3839: 3833: 3829: 3823: 3819: 3813: 3809: 3803: 3796: 3790: 3786: 3780: 3777: 3771: 3768: 3762: 3755: 3749: 3746: 3740: 3717: 3711: 3708: 3702: 3698: 3692: 3685: 3679: 3676: 3670: 3667: 3606: 3601: 3600: 3592: 3587: 3586: 3585: 3571: 3486:Classical guitar 3441: 3427: 3413: 3399: 3385: 3371: 3353: 3352: 3351: 3350: 3323: 3303: 3268: 3257: 3238: 3219: 3204: 3137:, among others. 3136: 3112:Negritude Júnior 3109: 3032:Bezerra da Silva 3028:children's music 3001: 2973:Fundo de Quintal 2939: 2931:Cacique de Ramos 2913:'s residence in 2877:sambas de enredo 2870:Bezerra da Silva 2838: 2823: 2812: 2777: 2769:Cristina Buarque 2741:Adoniran Barbosa 2682:Martinho da Vila 2593: 2573:Martinho da Vila 2547:, among others. 2542: 2526:Aracy de Almeida 2515: 2504: 2489: 2453: 2333:Billboard charts 2294: 2283: 2272: 2209:Roberto Menescal 2189:Chega de Saudade 2165:Chega de Saudade 2057:Nelson Gonçalves 2041:American culture 1956:Adoniran Barbosa 1945: 1922: 1911: 1870:Moreira da Silva 1761: 1750: 1702:Dircinha Batista 1690:Brazilian cinema 1655: 1647:Paulo da Portela 1593: 1549:Hollywood cinema 1546: 1534:Aracy de Almeida 1531: 1520: 1451:Radamés Gnatalli 1372: 1371: 1351: 1231: 1193: 1169:countermetricity 1072: 1071: 1051: 1050: 1030: 1029: 1010: 940: 920:Jornal do Brasil 917: 905:Mário de Andrade 894: 879: 864: 798:– was formed by 796:Brazilian Empire 778:Donga recorded " 749: 748: 729:Benedito Lacerda 720: 719: 709:"Primeira Linha" 699: 698: 679: 567:Mário de Andrade 563:Northeast Region 530:African diaspora 377: 376: 375: 374: 235: 234: 233: 227: 225:[ˈsɐ̃bɐ] 222: 89:Cultural origins 79: 59: 47: 46: 15887: 15886: 15882: 15881: 15880: 15878: 15877: 15876: 15842: 15841: 15840: 15835: 15819: 15778: 15774:Portuguese rock 15725: 15707: 15652: 15626: 15565: 15544: 15508: 15499:Samba de breque 15448:Rio urban samba 15434: 15408:Sertanejo music 15388: 15320: 15291: 15279: 15216: 15181: 15175: 15145: 15140: 15105: 15079: 15022: 15003: 14997: 14961: 14957:Samba de enredo 14952:Samba de breque 14901:Rio urban samba 14896: 14891: 14837: 14832: 14784: 14775: 14766: 14764: 14758: 14749: 14747: 14741: 14732: 14730: 14726: 14719: 14710: 14701: 14684: 14675: 14673: 14665: 14660: 14651: 14622: 14613: 14611: 14610:on 4 March 2020 14607: 14596: 14587: 14585: 14575: 14566: 14564: 14558: 14549: 14547: 14541: 14537: 14535:Further reading 14532: 14523: 14521: 14507: 14505: 14491: 14489: 14488:on 3 March 2016 14471: 14469: 14465: 14452: 14450: 14436: 14434: 14420: 14418: 14404: 14402: 14388: 14386: 14372: 14370: 14356: 14354: 14340: 14338: 14324: 14322: 14308: 14306: 14292: 14290: 14276: 14274: 14260: 14258: 14244: 14242: 14228: 14226: 14212: 14210: 14196: 14194: 14180: 14178: 14163: 14161: 14146: 14144: 14129: 14127: 14112: 14110: 14095: 14093: 14078: 14076: 14072: 14058: 14056: 14052: 14038: 14036: 14032: 14018: 14016: 14001: 13999: 13984: 13982: 13967: 13965: 13950: 13948: 13933: 13931: 13916: 13914: 13896: 13894: 13864: 13862: 13842: 13840: 13825: 13823: 13819: 13805: 13803: 13785: 13783: 13768: 13766: 13751: 13749: 13734: 13732: 13717: 13715: 13700: 13698: 13683: 13681: 13666: 13664: 13649: 13647: 13627: 13625: 13610: 13608: 13593: 13591: 13576: 13574: 13570: 13556: 13554: 13539: 13537: 13522: 13520: 13501: 13499: 13484: 13482: 13467: 13465: 13450: 13448: 13433: 13431: 13416: 13414: 13399: 13397: 13382: 13380: 13365: 13363: 13348: 13346: 13331: 13329: 13314: 13312: 13297: 13295: 13280: 13278: 13263: 13261: 13257: 13243: 13241: 13226: 13224: 13209: 13207: 13206:on 16 July 2018 13188: 13186: 13171: 13169: 13165: 13151: 13149: 13134: 13132: 13117: 13115: 13100: 13098: 13083: 13081: 13066: 13064: 13049: 13047: 13032: 13030: 13015: 13013: 12998: 12996: 12981: 12979: 12964: 12962: 12952: 12947: 12938: 12936: 12932: 12921: 12907: 12905: 12901: 12883: 12814: 12812: 12808: 12792: 12790: 12786: 12775: 12761: 12759: 12755: 12740: 12726: 12724: 12682: 12680: 12676: 12660: 12658: 12654: 12638: 12636: 12632: 12616: 12614: 12606: 12569: 12567: 12559: 12545: 12543: 12539: 12523: 12521: 12517: 12488: 12486: 12482: 12466: 12464: 12460: 12453: 12437: 12435: 12427: 12413: 12411: 12410:on 5 April 2023 12390: 12388: 12371: 12369: 12365: 12349: 12347: 12339: 12325: 12323: 12322:on 11 July 2020 12286: 12284: 12272: 12258: 12256: 12252: 12236: 12234: 12213: 12211: 12203: 12189: 12187: 12179: 12165: 12163: 12123: 12121: 12117: 12074: 12072: 12055: 12041: 12039: 12035: 12019: 12017: 12013: 11997: 11995: 11987: 11973: 11971: 11970:on 27 July 2020 11967: 11960: 11944: 11942: 11941:on 23 July 2020 11938: 11931: 11915: 11913: 11873: 11871: 11867: 11845: 11843: 11839: 11823: 11821: 11817: 11768: 11766: 11754: 11740: 11738: 11734: 11718: 11716: 11712: 11696: 11694: 11690: 11674: 11672: 11668: 11661: 11645: 11643: 11639: 11623: 11621: 11617: 11601: 11599: 11595: 11588: 11572: 11570: 11562: 11548: 11546: 11538: 11524: 11522: 11521:on 23 July 2020 11518: 11511: 11495: 11493: 11489: 11482: 11466: 11464: 11416: 11414: 11413:on 21 July 2020 11410: 11403: 11378: 11376: 11336: 11334: 11316: 11311: 11302: 11300: 11185: 11011: 10925: 10904: 10817: 10815: 10713: 10708: 10703: 10693: 10691: 10682: 10681: 10677: 10669: 10665: 10657: 10653: 10645: 10641: 10633: 10629: 10621: 10617: 10609: 10600: 10592: 10585: 10577: 10570: 10562: 10558: 10550: 10546: 10538: 10534: 10526: 10522: 10514: 10510: 10502: 10498: 10490: 10486: 10478: 10474: 10466: 10462: 10454: 10450: 10442: 10435: 10427: 10423: 10415: 10411: 10403: 10399: 10391: 10387: 10379: 10375: 10367: 10363: 10355: 10351: 10343: 10339: 10331: 10327: 10319: 10312: 10304: 10297: 10289: 10285: 10277: 10273: 10265: 10261: 10253: 10249: 10241: 10237: 10229: 10225: 10217: 10213: 10205: 10196: 10188: 10184: 10176: 10172: 10164: 10160: 10152: 10148: 10140: 10127: 10119: 10115: 10107: 10103: 10095: 10091: 10083: 10079: 10071: 10067: 10059: 10055: 10047: 10043: 10035: 10026: 10018: 10014: 10006: 10002: 9994: 9990: 9982: 9969: 9961: 9957: 9949: 9945: 9937: 9933: 9927:Rocha Lima 2020 9925: 9918: 9910: 9906: 9898: 9894: 9886: 9882: 9874: 9870: 9862: 9858: 9850: 9846: 9838: 9834: 9826: 9822: 9814: 9810: 9802: 9798: 9790: 9786: 9778: 9774: 9768:Alice Cruz 2011 9766: 9759: 9751: 9744: 9736: 9732: 9724: 9717: 9709: 9705: 9697: 9693: 9685: 9678: 9670: 9666: 9658: 9654: 9646: 9642: 9634: 9630: 9622: 9615: 9607: 9603: 9595: 9591: 9583: 9576: 9568: 9564: 9556: 9552: 9544: 9540: 9532: 9528: 9520: 9516: 9512:, pp. 2–8. 9508: 9501: 9493: 9489: 9481: 9477: 9469: 9465: 9459:Napolitano 2018 9457: 9453: 9445: 9441: 9433: 9429: 9421: 9412: 9404: 9397: 9389: 9385: 9377: 9373: 9365: 9350: 9342: 9338: 9330: 9326: 9318: 9314: 9306: 9302: 9294: 9290: 9282: 9275: 9267: 9263: 9255: 9251: 9243: 9239: 9231: 9227: 9219: 9215: 9207: 9200: 9192: 9185: 9177: 9173: 9165: 9161: 9153: 9144: 9136: 9129: 9121: 9117: 9109: 9102: 9094: 9087: 9079: 9075: 9067: 9063: 9055: 9051: 9043: 9039: 9031: 9027: 9019: 9015: 9007: 9003: 8995: 8991: 8983: 8979: 8971: 8962: 8954: 8945: 8937: 8933: 8925: 8921: 8913: 8909: 8903:Nascimento 2008 8901: 8897: 8893:, pp. 8–9. 8891:Nascimento 2007 8889: 8885: 8877: 8873: 8865: 8861: 8853: 8849: 8841: 8837: 8829: 8825: 8817: 8813: 8805: 8801: 8793: 8786: 8778: 8774: 8766: 8762: 8754: 8750: 8742: 8738: 8730: 8726: 8718: 8714: 8706: 8697: 8689: 8685: 8677: 8666: 8658: 8654: 8646: 8639: 8631: 8624: 8616: 8612: 8604: 8600: 8592: 8588: 8580: 8571: 8563: 8556: 8548: 8544: 8536: 8532: 8524: 8520: 8512: 8508: 8500: 8493: 8485: 8481: 8473: 8469: 8461: 8457: 8449: 8445: 8437: 8433: 8425: 8421: 8413: 8409: 8401: 8397: 8389: 8385: 8377: 8373: 8365: 8361: 8353: 8346: 8338: 8334: 8326: 8322: 8314: 8310: 8302: 8298: 8290: 8283: 8275: 8271: 8263: 8259: 8251: 8244: 8236: 8232: 8224: 8220: 8214:Napolitano 2010 8212: 8205: 8197: 8190: 8182: 8178: 8170: 8157: 8149: 8145: 8137: 8133: 8125: 8121: 8113: 8109: 8101: 8088: 8082:Napolitano 2010 8080: 8067: 8059: 8055: 8047: 8032: 8024: 8020: 8012: 8008: 8000: 7996: 7990:Napolitano 2010 7988: 7977: 7971:Napolitano 2010 7969: 7965: 7957: 7948: 7940: 7936: 7928: 7924: 7916: 7912: 7904: 7900: 7892: 7888: 7880: 7876: 7868: 7861: 7853: 7849: 7841: 7834: 7826: 7817: 7809: 7805: 7797: 7793: 7785: 7778: 7770: 7757: 7749: 7745: 7737: 7730: 7722: 7715: 7707: 7703: 7695: 7691: 7683: 7679: 7671: 7667: 7659: 7652: 7644: 7640: 7632: 7628: 7620: 7616: 7608: 7604: 7596: 7592: 7584: 7580: 7572: 7565: 7561:, pp. 1–9. 7559:Schvarzman 2006 7557: 7550: 7542: 7538: 7530: 7526: 7518: 7514: 7506: 7502: 7494: 7490: 7482: 7478: 7470: 7463: 7455: 7448: 7440: 7436: 7428: 7424: 7416: 7412: 7404: 7397: 7389: 7385: 7377: 7373: 7365: 7361: 7353: 7349: 7341: 7334: 7322:Wayback Machine 7312: 7308: 7300: 7296: 7288: 7284: 7276: 7272: 7264: 7260: 7252: 7243: 7235: 7228: 7220: 7216: 7208: 7191: 7183: 7179: 7171: 7167: 7159: 7155: 7147: 7138: 7130: 7126: 7118: 7109: 7101: 7094: 7086: 7082: 7074: 7070: 7062: 7058: 7050: 7046: 7038: 7034: 7026: 7022: 7014: 7010: 7004:Ferraretto 2001 7002: 6998: 6990: 6986: 6978: 6974: 6966: 6959: 6951: 6944: 6936: 6932: 6924: 6915: 6907: 6900: 6892: 6888: 6880: 6876: 6868: 6864: 6856: 6847: 6839: 6835: 6827: 6823: 6815: 6811: 6803: 6799: 6791: 6787: 6779: 6775: 6767: 6760: 6752: 6745: 6737: 6733: 6725: 6721: 6713: 6709: 6701: 6692: 6684: 6680: 6672: 6657: 6649: 6645: 6639:Franceschi 2002 6637: 6633: 6625: 6621: 6613: 6602: 6594: 6587: 6579: 6572: 6564: 6560: 6552: 6548: 6540: 6533: 6525: 6521: 6513: 6504: 6496: 6492: 6484: 6480: 6472: 6465: 6457: 6453: 6445: 6441: 6433: 6429: 6421: 6417: 6409: 6405: 6397: 6393: 6385: 6378: 6370: 6363: 6355: 6351: 6343: 6339: 6331: 6327: 6319: 6315: 6307: 6303: 6295: 6291: 6283: 6276: 6268: 6261: 6253: 6249: 6241: 6234: 6226: 6222: 6214: 6210: 6202: 6198: 6190: 6183: 6175: 6171: 6163: 6159: 6151: 6147: 6139: 6135: 6118: 6114: 6106: 6102: 6094: 6090: 6082: 6078: 6070: 6066: 6058: 6054: 6046: 6042: 6034: 6027: 6019: 6012: 6004: 6000: 5992: 5988: 5980: 5976: 5968: 5961: 5955:Franceschi 2002 5953: 5949: 5941: 5937: 5929: 5925: 5917: 5913: 5905: 5901: 5893: 5889: 5881: 5877: 5869: 5862: 5854: 5850: 5842: 5835: 5827: 5823: 5815: 5811: 5803: 5790: 5782: 5778: 5770: 5766: 5758: 5754: 5746: 5739: 5731: 5724: 5716: 5712: 5704: 5700: 5692: 5688: 5680: 5676: 5668: 5661: 5655:Nunes Neto 2019 5653: 5649: 5641: 5632: 5624: 5620: 5612: 5601: 5593: 5584: 5576: 5569: 5561: 5554: 5546: 5539: 5531: 5527: 5519: 5512: 5504: 5500: 5457: 5453: 5443: 5441: 5423: 5419: 5411: 5404: 5396: 5392: 5384: 5377: 5369: 5365: 5357: 5350: 5342: 5338: 5330: 5326: 5318: 5314: 5306: 5302: 5294: 5287: 5279: 5272: 5264: 5257: 5249: 5242: 5234: 5227: 5219: 5215: 5207: 5196: 5188: 5177: 5169: 5165: 5149: 5145: 5137: 5133: 5125: 5118: 5110: 5106: 5096: 5094: 5086: 5085: 5081: 5036: 5032: 5026:Figueiredo 2007 5024: 5017: 5009: 5002: 4994: 4990: 4982: 4975: 4952:(69): 373–388. 4938: 4934: 4924: 4922: 4914: 4913: 4909: 4901: 4894: 4886: 4879: 4871: 4864: 4856: 4849: 4841: 4834: 4826: 4822: 4814: 4803: 4795: 4786: 4778: 4769: 4761: 4752: 4744: 4740: 4732: 4723: 4715: 4711: 4703: 4696: 4688: 4681: 4673: 4669: 4661: 4654: 4646: 4639: 4631: 4624: 4616: 4609: 4601: 4594: 4588:Franceschi 2010 4586: 4577: 4569: 4560: 4552: 4548: 4540: 4531: 4523: 4516: 4508: 4501: 4493: 4486: 4478: 4469: 4461: 4446: 4438: 4434: 4426: 4419: 4411: 4396: 4388: 4381: 4373: 4360: 4352: 4345: 4337: 4330: 4322: 4315: 4307: 4303: 4295: 4291: 4283: 4279: 4269: 4267: 4254: 4253: 4249: 4230: 4226: 4211: 4195: 4191: 4156:Ethnomusicology 4148: 4144: 4107: 4103: 4095: 4076: 4068: 4057: 4038: 4034: 4025: 4023: 4021: 3995: 3991: 3970: 3966: 3957: 3955: 3953: 3927: 3923: 3908:(69): 373–388. 3894: 3890: 3882: 3878: 3870: 3863: 3859: 3854: 3849: 3845: 3840: 3836: 3830: 3826: 3820: 3816: 3810: 3806: 3797: 3793: 3787: 3783: 3778: 3774: 3769: 3765: 3756: 3752: 3747: 3743: 3718: 3714: 3709: 3705: 3699: 3695: 3686: 3682: 3677: 3673: 3668: 3664: 3660: 3655: 3612:Music of Brazil 3602: 3595: 3588: 3583: 3581: 3578: 3565: 3559: 3554: 3495: 3448: 3438: 3437: 3436: 3433: 3428: 3419: 3414: 3405: 3400: 3391: 3386: 3377: 3372: 3361: 3360: 3349: 3344: 3343: 3342: 3341: 3340: 3339:With basically 3337: 3317: 3297: 3291:Teresa Cristina 3275:streaming media 3262: 3251: 3241:Alexandre Pires 3232: 3213: 3211:Turma do Pagode 3198: 3196:Grupo Revelação 3143: 3130: 3103: 3072:São Paulo state 3052:Roberto Ribeiro 2995: 2933: 2890: 2855:, pandeiro and 2832: 2826:Gilson de Souza 2817: 2806: 2771: 2753:Roberto Ribeiro 2745:Paulo Vanzolini 2733:Dona Ivone Lara 2706:Benito de Paula 2600: 2587: 2536: 2509: 2498: 2492:Nelson Sargento 2483: 2447: 2389: 2288: 2277: 2266: 2213:Ronaldo Boscoli 2177:Elizeth Cardoso 2117: 2083:, Lúcio Alves, 2077:Elizeth Cardoso 1939: 1916: 1905: 1878: 1854:samba de breque 1847:Francisco Alves 1764:samba de breque 1755: 1744: 1742:samba-exaltação 1714: 1694:Adhemar Gonzaga 1649: 1600:games of chance 1587: 1540: 1538:Marília Batista 1525: 1514: 1439:Brazilian music 1426:live recordings 1380: 1379: 1378: 1377: 1376: 1373: 1365: 1362: 1355: 1349: 1344: 1328:Francisco Alves 1315:symphonic sound 1250:carnival blocks 1232: 1229: 1194: 1191: 1112:public services 1080: 1079: 1078: 1077: 1076: 1073: 1066: 1063: 1061:"Agora é Cinza" 1057: 1056: 1055: 1052: 1045: 1042: 1036: 1035: 1034: 1031: 1024: 1021: 1014: 1008: 1003: 934: 911: 901:Manuel Bandeira 888: 873: 858: 792:African culture 772: 767: 766: 758: 756: 755: 754: 753: 750: 743: 740: 738:"Samba de fato" 734: 733: 732: 727:, recording by 721: 714: 711: 705: 704: 703: 700: 693: 690: 688:"Pelo Telefone" 683: 677: 672: 651: 635: 633:Criminalization 604:São Paulo State 559: 557:Rural tradition 546: 526:Brazilian state 442: 373: 368: 367: 366: 365: 364: 357:samba de enredo 284:Present in the 229: 228: 220: 210: 172: 148:samba de enredo 143:samba de breque 70:Afro-Brazilian 62: 43: 32: 17: 12: 11: 5: 15885: 15875: 15874: 15869: 15864: 15859: 15854: 15837: 15836: 15834: 15833: 15827: 15825: 15821: 15820: 15818: 15817: 15812: 15807: 15802: 15797: 15792: 15786: 15784: 15780: 15779: 15777: 15776: 15771: 15766: 15761: 15756: 15751: 15746: 15741: 15735: 15733: 15727: 15726: 15724: 15723: 15717: 15715: 15709: 15708: 15706: 15705: 15700: 15695: 15690: 15685: 15680: 15674: 15672: 15666: 15665: 15662: 15661: 15658: 15657: 15654: 15653: 15651: 15650: 15645: 15640: 15634: 15632: 15628: 15627: 15625: 15624: 15619: 15614: 15609: 15604: 15599: 15594: 15588: 15586: 15579: 15571: 15570: 15567: 15566: 15564: 15563: 15558: 15552: 15550: 15549:Ballroom dance 15546: 15545: 15543: 15542: 15537: 15532: 15527: 15522: 15516: 15514: 15510: 15509: 15507: 15506: 15501: 15496: 15491: 15486: 15485: 15484: 15479: 15469: 15464: 15458: 15456: 15455:Main subgenres 15449: 15442: 15433: 15432: 15427: 15426: 15425: 15420: 15418:Música Caipira 15415: 15405: 15400: 15395: 15383: 15382: 15381: 15376: 15371: 15361: 15356: 15351: 15346: 15341: 15336: 15335: 15334: 15333: 15332: 15315: 15305: 15304: 15303: 15298: 15286: 15274: 15267:Brazilian rock 15264: 15262:Brazilian jazz 15259: 15258: 15257: 15252: 15247: 15237: 15232: 15226: 15224: 15218: 15217: 15215: 15214: 15209: 15204: 15203: 15202: 15191: 15189: 15183: 15182: 15174: 15173: 15166: 15159: 15151: 15142: 15141: 15139: 15138: 15133: 15128: 15123: 15117: 15115: 15111: 15110: 15107: 15106: 15104: 15103: 15098: 15093: 15087: 15085: 15081: 15080: 15078: 15077: 15072: 15067: 15062: 15057: 15052: 15047: 15041: 15039: 15032: 15028: 15027: 15024: 15023: 15021: 15020: 15015: 15009: 15007: 15004:Ballroom dance 14999: 14998: 14996: 14995: 14990: 14985: 14980: 14975: 14969: 14967: 14963: 14962: 14960: 14959: 14954: 14949: 14944: 14939: 14938: 14937: 14932: 14922: 14917: 14911: 14909: 14908:Main subgenres 14902: 14898: 14897: 14890: 14889: 14882: 14875: 14867: 14861: 14860: 14855: 14850: 14836: 14835:External links 14833: 14831: 14830: 14821: 14815: 14809: 14797: 14791: 14782: 14773: 14756: 14739: 14717: 14708: 14699: 14682: 14658: 14649: 14620: 14594: 14578:"Samba e Raça" 14573: 14556: 14538: 14536: 14533: 14531: 14530: 14514: 14498: 14478: 14463:"Ordem do dia" 14459: 14443: 14427: 14411: 14395: 14379: 14363: 14347: 14331: 14315: 14299: 14283: 14267: 14251: 14235: 14219: 14203: 14187: 14170: 14153: 14136: 14119: 14102: 14085: 14065: 14045: 14025: 14008: 13991: 13974: 13957: 13940: 13923: 13903: 13886: 13881: 13876: 13871: 13854: 13849: 13832: 13812: 13792: 13775: 13758: 13741: 13724: 13707: 13690: 13673: 13656: 13639: 13634: 13617: 13600: 13583: 13563: 13546: 13529: 13508: 13491: 13474: 13457: 13440: 13423: 13406: 13389: 13372: 13355: 13338: 13321: 13304: 13287: 13270: 13250: 13233: 13216: 13195: 13178: 13158: 13141: 13124: 13107: 13090: 13073: 13056: 13039: 13022: 13005: 12988: 12971: 12953: 12951: 12948: 12946: 12945: 12914: 12892: 12876: 12859: 12846: 12821: 12799: 12789:on 18 May 2021 12768: 12733: 12712: 12689: 12667: 12645: 12623: 12599: 12576: 12552: 12530: 12508: 12495: 12473: 12444: 12420: 12397: 12378: 12356: 12332: 12293: 12265: 12243: 12220: 12196: 12172: 12130: 12108: 12081: 12048: 12026: 12004: 11980: 11951: 11922: 11893: 11880: 11870:on 11 May 2021 11861:Revista Sonora 11852: 11830: 11808: 11775: 11747: 11725: 11703: 11681: 11652: 11630: 11608: 11598:on 7 July 2021 11579: 11555: 11531: 11502: 11492:on 14 May 2021 11473: 11450: 11423: 11394: 11385: 11343: 11317: 11315: 11312: 11310: 11309: 11290: 11281: 11270: 11261: 11252: 11243: 11234: 11225: 11216: 11207: 11198: 11189: 11183: 11168: 11159: 11150: 11141: 11132: 11123: 11114: 11105: 11096: 11087: 11078: 11069: 11060: 11051: 11042: 11033: 11024: 11015: 11009: 10992: 10983: 10974: 10965: 10956: 10947: 10938: 10929: 10923: 10908: 10902: 10887: 10878: 10869: 10860: 10851: 10842: 10833: 10824: 10805: 10796: 10787: 10778: 10769: 10760: 10751: 10742: 10733: 10724: 10714: 10712: 10709: 10707: 10704: 10702: 10701: 10675: 10663: 10651: 10639: 10627: 10623:Pimentel 2007b 10615: 10598: 10583: 10568: 10556: 10544: 10532: 10520: 10508: 10496: 10484: 10472: 10460: 10448: 10433: 10421: 10409: 10397: 10385: 10373: 10371:, p. 153. 10361: 10349: 10347:, p. 165. 10337: 10325: 10323:, p. 157. 10310: 10308:, p. 142. 10295: 10283: 10281:, p. 247. 10271: 10267:Roda Viva 1989 10259: 10247: 10245:, p. 156. 10235: 10233:, p. 125. 10223: 10221:, p. 180. 10211: 10194: 10182: 10170: 10158: 10146: 10144:, p. 208. 10125: 10113: 10111:, p. 127. 10101: 10089: 10087:, p. 209. 10077: 10065: 10053: 10049:Caballero 1985 10041: 10024: 10012: 10010:, p. 138. 10000: 9998:, p. 207. 9988: 9986:, p. 126. 9967: 9965:, p. 178. 9955: 9943: 9931: 9916: 9912:Ferreira 2018a 9904: 9902:, p. 104. 9892: 9880: 9868: 9856: 9844: 9832: 9820: 9808: 9796: 9784: 9772: 9757: 9742: 9730: 9728:, p. 155. 9715: 9703: 9691: 9689:, p. 209. 9676: 9672:Marcondes 1977 9664: 9652: 9650:, p. 137. 9648:Marcondes 1977 9640: 9636:Ferreira 2020c 9628: 9613: 9601: 9599:, p. 154. 9589: 9587:, p. 153. 9574: 9562: 9550: 9538: 9536:, p. 256. 9526: 9514: 9499: 9487: 9475: 9471:Ferreira 2018b 9463: 9451: 9439: 9437:, p. 133. 9427: 9425:, p. 184. 9410: 9408:, p. 104. 9395: 9383: 9379:Pimentel 2007a 9371: 9369:, p. 152. 9348: 9336: 9324: 9322:, p. 144. 9312: 9300: 9288: 9273: 9271:, p. 128. 9261: 9249: 9237: 9225: 9213: 9198: 9183: 9171: 9159: 9157:, p. 103. 9142: 9140:, p. 151. 9127: 9115: 9113:, p. 203. 9100: 9098:, p. 111. 9085: 9073: 9071:, p. 129. 9061: 9049: 9037: 9025: 9023:, p. 270. 9013: 9001: 8989: 8987:, p. 627. 8985:Spielmann 2016 8977: 8960: 8958:, p. 116. 8943: 8931: 8927:Billboard 1967 8919: 8915:Billboard 1966 8907: 8895: 8883: 8871: 8859: 8847: 8835: 8823: 8811: 8799: 8784: 8772: 8760: 8748: 8736: 8724: 8712: 8708:Marcondes 1977 8695: 8683: 8664: 8652: 8637: 8622: 8610: 8608:, p. 266. 8598: 8596:, p. 255. 8586: 8569: 8567:, p. 100. 8554: 8552:, p. 358. 8542: 8538:Ferreira 2020b 8530: 8518: 8516:, p. 291. 8514:Severiano 2009 8506: 8491: 8479: 8477:, p. 292. 8475:Severiano 2009 8467: 8455: 8443: 8431: 8419: 8417:, p. 153. 8407: 8395: 8383: 8371: 8369:, p. 234. 8359: 8344: 8332: 8320: 8308: 8296: 8294:, p. 685. 8292:Marcondes 1977 8281: 8279:, p. 142. 8269: 8257: 8242: 8240:, p. 273. 8238:Severiano 2009 8230: 8226:Marcondes 1977 8218: 8203: 8199:Marcondes 1977 8188: 8184:Marcondes 1977 8176: 8174:, p. 115. 8155: 8151:Marcondes 1977 8143: 8139:Marcondes 1977 8131: 8127:Marcondes 1977 8119: 8115:Marcondes 1977 8107: 8086: 8065: 8053: 8030: 8018: 8006: 7994: 7975: 7963: 7946: 7934: 7922: 7920:, p. 256. 7910: 7898: 7886: 7884:, p. 114. 7874: 7872:, p. 268. 7859: 7857:, p. 123. 7847: 7845:, p. 287. 7832: 7828:Marcondes 1977 7815: 7813:, p. 257. 7803: 7801:, p. 146. 7791: 7776: 7774:, p. 130. 7755: 7753:, p. 149. 7743: 7741:, p. 267. 7728: 7726:, p. 129. 7713: 7701: 7699:, p. 152. 7689: 7687:, p. 150. 7677: 7675:, p. 128. 7665: 7650: 7648:, p. 149. 7638: 7636:, p. 229. 7626: 7622:Marcondes 1977 7614: 7602: 7590: 7578: 7563: 7548: 7546:, p. 178. 7536: 7524: 7520:Ferreira 2020a 7512: 7508:Marcondes 1977 7500: 7488: 7476: 7461: 7446: 7442:Marcondes 1977 7434: 7422: 7410: 7395: 7391:Meirelles 1942 7383: 7381:, p. 103. 7371: 7359: 7347: 7345:, p. 103. 7332: 7306: 7304:, p. 108. 7294: 7282: 7270: 7258: 7241: 7226: 7224:, p. 237. 7222:Marcondes 1977 7214: 7212:, p. 125. 7189: 7187:, p. 376. 7185:Marcondes 1977 7177: 7165: 7161:Benevides 2004 7153: 7136: 7124: 7120:Marcondes 1977 7107: 7092: 7080: 7068: 7056: 7044: 7032: 7020: 7008: 7006:, p. 105. 6996: 6994:, p. 102. 6984: 6972: 6970:, p. 157. 6957: 6955:, p. 640. 6953:Marcondes 1977 6942: 6930: 6913: 6898: 6896:, p. 639. 6894:Marcondes 1977 6886: 6884:, p. 281. 6874: 6862: 6845: 6833: 6821: 6809: 6797: 6785: 6783:, p. 272. 6773: 6771:, p. 210. 6758: 6743: 6739:Marcondes 1977 6731: 6729:, p. 168. 6719: 6707: 6690: 6688:, p. 100. 6678: 6676:, p. 114. 6655: 6653:, p. 209. 6643: 6641:, p. 292. 6631: 6619: 6617:, p. 150. 6600: 6585: 6570: 6558: 6546: 6531: 6527:Fernandes 2001 6519: 6517:, p. 117. 6502: 6490: 6478: 6463: 6461:, p. 241. 6451: 6449:, p. 116. 6439: 6437:, p. 230. 6427: 6415: 6403: 6401:, p. 180. 6391: 6376: 6374:, p. 138. 6361: 6349: 6337: 6325: 6323:, p. 242. 6313: 6301: 6299:, p. 385. 6289: 6287:, p. 124. 6274: 6259: 6257:, p. 123. 6247: 6232: 6230:, p. 248. 6220: 6208: 6206:, p. 489. 6196: 6181: 6169: 6157: 6145: 6143:, p. 287. 6141:Benchimol 1990 6133: 6123:, p. 28. 6112: 6100: 6088: 6076: 6064: 6052: 6050:, p. 649. 6048:Marcondes 1977 6040: 6025: 6010: 6008:, p. 205. 6006:Marcondes 1977 5998: 5986: 5984:, p. 148. 5974: 5959: 5957:, p. 221. 5947: 5935: 5923: 5921:, p. 720. 5919:Marcondes 1977 5911: 5899: 5887: 5875: 5860: 5848: 5833: 5821: 5809: 5788: 5784:Marcondes 1977 5776: 5764: 5762:, p. 219. 5752: 5750:, p. 236. 5748:Marcondes 1977 5737: 5735:, p. 222. 5722: 5718:Almirante 1977 5710: 5698: 5696:, p. 290. 5686: 5674: 5672:, p. 215. 5659: 5647: 5645:, p. 216. 5630: 5618: 5616:, p. 113. 5599: 5597:, p. 209. 5582: 5567: 5565:, p. 208. 5552: 5550:, p. 111. 5537: 5525: 5523:, p. 110. 5510: 5498: 5477:10.2307/780347 5471:(2): 120–149. 5451: 5417: 5415:, p. 252. 5402: 5390: 5388:, p. 250. 5375: 5363: 5361:, p. 263. 5348: 5336: 5332:Alvarenga 1960 5324: 5322:, p. 253. 5312: 5310:, p. 329. 5300: 5296:Lira Neto 2017 5285: 5270: 5255: 5240: 5225: 5213: 5194: 5175: 5163: 5143: 5131: 5116: 5104: 5079: 5050:(2): 179–198. 5030: 5015: 5000: 4988: 4973: 4932: 4920:ich.unesco.org 4907: 4892: 4877: 4862: 4847: 4845:, p. 220. 4832: 4830:, p. 215. 4820: 4818:, p. 271. 4801: 4799:, p. 269. 4784: 4782:, p. 127. 4767: 4765:, p. 241. 4750: 4748:, p. 279. 4738: 4736:, p. 183. 4721: 4709: 4694: 4679: 4677:, p. 151. 4667: 4665:, p. 235. 4652: 4637: 4622: 4607: 4603:Marcondes 1977 4592: 4575: 4558: 4556:, p. 276. 4546: 4529: 4514: 4499: 4484: 4482:, p. 126. 4467: 4444: 4432: 4417: 4415:, p. 112. 4394: 4392:, p. 105. 4390:Frugiuele 2015 4379: 4377:, p. 247. 4358: 4343: 4341:, p. 109. 4328: 4313: 4311:, p. 130. 4301: 4289: 4277: 4247: 4224: 4209: 4189: 4168:10.2307/851729 4142: 4121:(3): 275–304. 4101: 4099:, p. 684. 4097:Marcondes 1977 4074: 4072:, p. 254. 4055: 4032: 4019: 3989: 3964: 3951: 3921: 3888: 3876: 3874:, p. 182. 3860: 3858: 3855: 3853: 3852: 3843: 3834: 3824: 3814: 3804: 3791: 3781: 3772: 3763: 3750: 3741: 3712: 3703: 3693: 3680: 3671: 3661: 3659: 3656: 3654: 3651: 3650: 3649: 3644: 3639: 3634: 3629: 3624: 3619: 3614: 3608: 3607: 3604:Society portal 3593: 3577: 3574: 3558: 3555: 3551: 3550: 3546: 3545: 3544: 3543: 3540: 3537: 3531: 3526: 3521: 3516: 3511: 3506: 3501: 3494: 3491: 3489: 3488: 3487: 3484: 3479: 3473: 3467: 3461: 3455: 3447: 3444: 3439: 3435: 3434: 3429: 3422: 3420: 3415: 3408: 3406: 3401: 3394: 3392: 3387: 3380: 3378: 3373: 3366: 3363: 3362: 3358: 3357: 3356: 3345: 3336: 3333: 3324:in São Paulo. 3311:Diogo Nogueira 3295:Nilze Carvalho 3285:especially in 3207:Sorriso Maroto 3155:cassette tapes 3142: 3139: 3122:, Raça Negra, 3080:Rio de Janeiro 3024:Brazilian rock 3008:Zeca Pagodinho 2889: 2886: 2788:Wilson Moreira 2702:Jair Rodrigues 2657:Roberto Carlos 2653:Maria Bethania 2641:Caetano Veloso 2629:MPB production 2599: 2596: 2496:A Voz do Morro 2445:Elton Medeiros 2388: 2385: 2360:ballroom dance 2244:Os Afro-sambas 2236:Sérgio Ricardo 2159:became known. 2116: 2113: 2105:Dorival Caymmi 1966:by journalist 1903:Wilson Batista 1895:Radio Nacional 1877: 1874: 1831:Waldir Azevedo 1797:Lamartine Babo 1713: 1710: 1698:Aurora Miranda 1585:João da Baiana 1555:for President 1508:Castro Barbosa 1487:Lamartine Babo 1468:Rádio Nacional 1447:Carmen Miranda 1409:Getúlio Vargas 1405:radio stations 1374: 1363: 1358: 1357: 1356: 1347: 1346: 1345: 1343: 1340: 1295:European polka 1227: 1197:The intuitive 1189: 1127:War of Canudos 1074: 1064: 1059: 1058: 1053: 1043: 1038: 1037: 1032: 1022: 1017: 1016: 1015: 1006: 1005: 1004: 1002: 999: 987:belcanto style 979:Carmen Miranda 871:João da Baiana 816:Pereira Passos 771: 768: 757: 751: 741: 736: 735: 722: 712: 707: 706: 701: 691: 686: 685: 684: 675: 674: 673: 671: 668: 660:Rio de Janeiro 650: 647: 634: 631: 558: 555: 545: 542: 514:African slaves 483:Rio de Janeiro 468:ountryside of 441: 438: 379:time signature 369: 302:music industry 272:Rio de Janeiro 268:Afro-Brazilian 250:Rio de Janeiro 212: 211: 209: 208: 203: 198: 193: 188: 182: 179: 178: 174: 173: 171: 170: 167: 166:samba de chula 164: 161: 158: 153: 150: 145: 140: 135: 130: 125: 120: 114: 111: 110: 106: 105: 98:Rio de Janeiro 90: 86: 85: 68: 64: 63: 60: 52: 51: 15: 9: 6: 4: 3: 2: 15884: 15873: 15870: 15868: 15865: 15863: 15860: 15858: 15855: 15853: 15850: 15849: 15847: 15832: 15829: 15828: 15826: 15822: 15816: 15813: 15811: 15808: 15806: 15803: 15801: 15800:Guinea-Bissau 15798: 15796: 15793: 15791: 15788: 15787: 15785: 15781: 15775: 15772: 15770: 15767: 15765: 15762: 15760: 15757: 15755: 15752: 15750: 15747: 15745: 15742: 15740: 15737: 15736: 15734: 15732: 15728: 15722: 15719: 15718: 15716: 15714: 15710: 15704: 15701: 15699: 15696: 15694: 15691: 15689: 15686: 15684: 15681: 15679: 15676: 15675: 15673: 15671: 15667: 15649: 15646: 15644: 15641: 15639: 15638:Bahian pagode 15636: 15635: 15633: 15629: 15623: 15620: 15618: 15615: 15613: 15610: 15608: 15607:Samba de roda 15605: 15603: 15602:Samba-corrido 15600: 15598: 15597:Samba-chulado 15595: 15593: 15590: 15589: 15587: 15583: 15580: 15576: 15562: 15559: 15557: 15554: 15553: 15551: 15547: 15541: 15538: 15536: 15533: 15531: 15528: 15526: 15523: 15521: 15518: 15517: 15515: 15511: 15505: 15502: 15500: 15497: 15495: 15492: 15490: 15487: 15483: 15480: 15478: 15477:Bahian pagode 15475: 15474: 15473: 15470: 15468: 15465: 15463: 15460: 15459: 15457: 15453: 15450: 15446: 15443: 15441: 15437: 15431: 15428: 15424: 15421: 15419: 15416: 15414: 15411: 15410: 15409: 15406: 15404: 15401: 15399: 15396: 15392: 15387: 15384: 15380: 15377: 15375: 15372: 15370: 15367: 15366: 15365: 15362: 15360: 15357: 15355: 15352: 15350: 15347: 15345: 15342: 15340: 15337: 15331: 15328: 15327: 15324: 15319: 15316: 15314: 15311: 15310: 15309: 15306: 15302: 15299: 15295: 15290: 15287: 15283: 15278: 15275: 15273: 15270: 15269: 15268: 15265: 15263: 15260: 15256: 15255:Vigilante rap 15253: 15251: 15248: 15246: 15243: 15242: 15241: 15238: 15236: 15233: 15231: 15228: 15227: 15225: 15223: 15219: 15213: 15210: 15208: 15205: 15201: 15198: 15197: 15196: 15193: 15192: 15190: 15188: 15184: 15180: 15172: 15167: 15165: 15160: 15158: 15153: 15152: 15149: 15137: 15136:Samba de roda 15134: 15132: 15129: 15127: 15124: 15122: 15119: 15118: 15116: 15112: 15102: 15099: 15097: 15094: 15092: 15091:Bahian pagode 15089: 15088: 15086: 15082: 15076: 15073: 15071: 15068: 15066: 15063: 15061: 15060:Samba de roda 15058: 15056: 15055:Samba-corrido 15053: 15051: 15050:Samba-chulado 15048: 15046: 15043: 15042: 15040: 15036: 15033: 15029: 15019: 15016: 15014: 15011: 15010: 15008: 15006: 15000: 14994: 14991: 14989: 14986: 14984: 14981: 14979: 14976: 14974: 14971: 14970: 14968: 14964: 14958: 14955: 14953: 14950: 14948: 14945: 14943: 14940: 14936: 14933: 14931: 14930:Bahian pagode 14928: 14927: 14926: 14923: 14921: 14918: 14916: 14913: 14912: 14910: 14906: 14903: 14899: 14895: 14888: 14883: 14881: 14876: 14874: 14869: 14868: 14865: 14859: 14856: 14854: 14851: 14848: 14843: 14839: 14838: 14828: 14826: 14822: 14819: 14816: 14813: 14810: 14807: 14803: 14802: 14798: 14795: 14792: 14788: 14783: 14779: 14774: 14762: 14757: 14745: 14740: 14725: 14724: 14718: 14714: 14709: 14705: 14700: 14696: 14692: 14688: 14683: 14671: 14664: 14659: 14655: 14650: 14645: 14640: 14636: 14632: 14631: 14626: 14621: 14606: 14602: 14601: 14595: 14583: 14579: 14574: 14562: 14557: 14545: 14540: 14539: 14519: 14515: 14503: 14499: 14487: 14483: 14479: 14464: 14460: 14448: 14444: 14432: 14428: 14416: 14412: 14400: 14396: 14384: 14380: 14368: 14364: 14352: 14348: 14336: 14332: 14320: 14316: 14304: 14300: 14288: 14284: 14272: 14268: 14256: 14252: 14240: 14236: 14224: 14220: 14208: 14204: 14192: 14188: 14176: 14171: 14159: 14154: 14142: 14137: 14125: 14120: 14108: 14103: 14091: 14086: 14071: 14066: 14051: 14046: 14031: 14026: 14014: 14009: 13997: 13992: 13980: 13975: 13963: 13958: 13946: 13941: 13929: 13924: 13913: 13909: 13904: 13892: 13887: 13882: 13877: 13872: 13860: 13855: 13850: 13838: 13833: 13818: 13813: 13802: 13798: 13793: 13781: 13776: 13764: 13759: 13747: 13742: 13730: 13725: 13713: 13708: 13696: 13691: 13679: 13674: 13662: 13657: 13645: 13640: 13635: 13623: 13618: 13606: 13601: 13589: 13584: 13569: 13564: 13552: 13547: 13535: 13530: 13518: 13514: 13509: 13497: 13492: 13480: 13475: 13463: 13458: 13446: 13441: 13429: 13424: 13412: 13407: 13395: 13390: 13378: 13373: 13361: 13356: 13344: 13339: 13327: 13322: 13310: 13305: 13293: 13288: 13276: 13271: 13256: 13251: 13239: 13234: 13222: 13217: 13205: 13201: 13196: 13184: 13179: 13164: 13159: 13147: 13142: 13130: 13125: 13113: 13108: 13096: 13091: 13079: 13074: 13062: 13057: 13045: 13040: 13028: 13023: 13011: 13006: 12994: 12989: 12977: 12972: 12960: 12955: 12954: 12931: 12927: 12920: 12915: 12900: 12899: 12893: 12889: 12882: 12877: 12873: 12869: 12865: 12860: 12856: 12852: 12847: 12843: 12839: 12835: 12831: 12827: 12822: 12807: 12806: 12800: 12785: 12781: 12774: 12769: 12754: 12750: 12746: 12739: 12734: 12722: 12718: 12713: 12708: 12703: 12699: 12695: 12690: 12675: 12674: 12668: 12653: 12652: 12646: 12631: 12630: 12624: 12612: 12605: 12600: 12595: 12590: 12586: 12582: 12577: 12565: 12558: 12553: 12538: 12537: 12531: 12516: 12515: 12509: 12505: 12501: 12496: 12481: 12480: 12474: 12459: 12452: 12451: 12445: 12433: 12426: 12421: 12409: 12405: 12404: 12398: 12386: 12385: 12379: 12364: 12363: 12357: 12345: 12338: 12333: 12321: 12316: 12311: 12307: 12303: 12299: 12294: 12282: 12278: 12271: 12266: 12251: 12250: 12244: 12232: 12228: 12227: 12221: 12209: 12202: 12197: 12185: 12178: 12173: 12162: 12158: 12153: 12148: 12144: 12140: 12136: 12131: 12116: 12115: 12109: 12104: 12099: 12095: 12091: 12087: 12082: 12070: 12065: 12061: 12054: 12049: 12034: 12033: 12027: 12012: 12011: 12005: 11993: 11986: 11981: 11966: 11959: 11958: 11952: 11937: 11930: 11929: 11923: 11911: 11907: 11903: 11899: 11894: 11890: 11886: 11881: 11866: 11862: 11858: 11853: 11838: 11837: 11831: 11816: 11815: 11809: 11804: 11799: 11794: 11789: 11785: 11781: 11776: 11764: 11760: 11753: 11748: 11733: 11732: 11726: 11711: 11710: 11704: 11689: 11688: 11682: 11667: 11660: 11659: 11653: 11638: 11637: 11631: 11616: 11615: 11609: 11594: 11587: 11586: 11580: 11568: 11561: 11556: 11544: 11537: 11532: 11517: 11510: 11509: 11503: 11488: 11481: 11480: 11474: 11462: 11458: 11457: 11451: 11446: 11441: 11437: 11433: 11429: 11424: 11409: 11402: 11401: 11395: 11391: 11386: 11375: 11371: 11366: 11361: 11357: 11353: 11349: 11344: 11332: 11328: 11324: 11319: 11318: 11298: 11297: 11291: 11287: 11282: 11278: 11277: 11271: 11267: 11262: 11258: 11253: 11249: 11244: 11240: 11235: 11231: 11226: 11222: 11217: 11213: 11208: 11204: 11199: 11195: 11190: 11186: 11184:9788574193335 11180: 11176: 11175: 11169: 11165: 11160: 11156: 11151: 11147: 11142: 11138: 11133: 11129: 11124: 11120: 11115: 11111: 11106: 11102: 11097: 11093: 11088: 11084: 11079: 11075: 11070: 11066: 11061: 11057: 11052: 11048: 11043: 11039: 11034: 11030: 11025: 11021: 11016: 11012: 11010:9788594932181 11006: 11002: 10998: 10993: 10989: 10984: 10980: 10975: 10971: 10966: 10962: 10957: 10953: 10948: 10944: 10939: 10935: 10930: 10926: 10924:9788574194509 10920: 10916: 10915: 10909: 10905: 10903:9788571108813 10899: 10895: 10894: 10888: 10884: 10879: 10875: 10870: 10866: 10861: 10857: 10852: 10848: 10843: 10839: 10834: 10830: 10825: 10813: 10812: 10806: 10802: 10797: 10793: 10788: 10784: 10779: 10775: 10770: 10766: 10761: 10757: 10752: 10748: 10743: 10739: 10734: 10730: 10725: 10721: 10716: 10715: 10689: 10685: 10679: 10672: 10671:Pimentel 2006 10667: 10661:, p. 97. 10660: 10655: 10648: 10643: 10636: 10635:Pimentel 2010 10631: 10624: 10619: 10612: 10607: 10605: 10603: 10595: 10594:Pimentel 2011 10590: 10588: 10580: 10575: 10573: 10565: 10560: 10553: 10548: 10541: 10536: 10529: 10524: 10517: 10512: 10505: 10500: 10493: 10488: 10481: 10476: 10469: 10464: 10457: 10452: 10445: 10440: 10438: 10430: 10425: 10419:, p. 80. 10418: 10413: 10407:, p. 20. 10406: 10401: 10395:, p. 18. 10394: 10389: 10383:, p. 87. 10382: 10377: 10370: 10365: 10358: 10353: 10346: 10341: 10334: 10329: 10322: 10317: 10315: 10307: 10302: 10300: 10292: 10287: 10280: 10275: 10268: 10263: 10256: 10251: 10244: 10239: 10232: 10227: 10220: 10215: 10208: 10203: 10201: 10199: 10191: 10186: 10179: 10174: 10167: 10162: 10155: 10150: 10143: 10138: 10136: 10134: 10132: 10130: 10122: 10117: 10110: 10105: 10098: 10093: 10086: 10081: 10074: 10069: 10063:, p. 97. 10062: 10057: 10050: 10045: 10038: 10033: 10031: 10029: 10021: 10016: 10009: 10004: 9997: 9992: 9985: 9980: 9978: 9976: 9974: 9972: 9964: 9959: 9952: 9947: 9940: 9935: 9928: 9923: 9921: 9913: 9908: 9901: 9896: 9889: 9884: 9877: 9872: 9865: 9860: 9853: 9848: 9841: 9836: 9829: 9824: 9817: 9812: 9806:, p. 50. 9805: 9800: 9793: 9788: 9781: 9776: 9770:, p. 12. 9769: 9764: 9762: 9754: 9749: 9747: 9739: 9734: 9727: 9722: 9720: 9712: 9707: 9700: 9695: 9688: 9683: 9681: 9674:, p. 67. 9673: 9668: 9661: 9660:Moutinho 2018 9656: 9649: 9644: 9637: 9632: 9625: 9620: 9618: 9611:, p. 76. 9610: 9605: 9598: 9593: 9586: 9581: 9579: 9571: 9566: 9559: 9554: 9548:, p. 45. 9547: 9542: 9535: 9530: 9524:, p. 44. 9523: 9518: 9511: 9506: 9504: 9497:, p. 40. 9496: 9491: 9484: 9479: 9472: 9467: 9460: 9455: 9449:, p. 67. 9448: 9443: 9436: 9431: 9424: 9419: 9417: 9415: 9407: 9402: 9400: 9392: 9387: 9380: 9375: 9368: 9363: 9361: 9359: 9357: 9355: 9353: 9346:, p. 32. 9345: 9340: 9334:, p. 12. 9333: 9328: 9321: 9316: 9309: 9308:Benzecry 2015 9304: 9297: 9296:Benzecry 2015 9292: 9285: 9284:Benzecry 2015 9280: 9278: 9270: 9269:Benzecry 2015 9265: 9258: 9253: 9246: 9241: 9234: 9229: 9223:, p. 33. 9222: 9217: 9211:, p. 34. 9210: 9205: 9203: 9195: 9190: 9188: 9180: 9175: 9169:, p. 10. 9168: 9163: 9156: 9151: 9149: 9147: 9139: 9134: 9132: 9124: 9119: 9112: 9107: 9105: 9097: 9096:Benzecry 2015 9092: 9090: 9083:, p. 24. 9082: 9081:Carneiro 2012 9077: 9070: 9065: 9059:, p. 20. 9058: 9053: 9046: 9041: 9034: 9029: 9022: 9017: 9010: 9009:Oliveira 2006 9005: 8999:, p. 18. 8998: 8993: 8986: 8981: 8974: 8969: 8967: 8965: 8957: 8952: 8950: 8948: 8940: 8935: 8928: 8923: 8916: 8911: 8904: 8899: 8892: 8887: 8880: 8875: 8869:, p. 62. 8868: 8863: 8857:, p. 84. 8856: 8851: 8845:, p. 43. 8844: 8839: 8832: 8827: 8821:, p. 42. 8820: 8815: 8808: 8803: 8796: 8795:Gerolamo 2017 8791: 8789: 8781: 8776: 8769: 8764: 8757: 8756:Martínez 2018 8752: 8745: 8740: 8733: 8728: 8721: 8716: 8709: 8704: 8702: 8700: 8692: 8687: 8680: 8675: 8673: 8671: 8669: 8661: 8656: 8649: 8644: 8642: 8634: 8633:Bernardo 2019 8629: 8627: 8619: 8614: 8607: 8602: 8595: 8590: 8584:, p. 46. 8583: 8578: 8576: 8574: 8566: 8565:Benzecry 2015 8561: 8559: 8551: 8546: 8539: 8534: 8527: 8522: 8515: 8510: 8504:, p. 64. 8503: 8502:Gonzalez 2017 8498: 8496: 8489:, p. 12. 8488: 8483: 8476: 8471: 8465:, p. 97. 8464: 8459: 8453:, p. 60. 8452: 8451:Gonzalez 2017 8447: 8441:, p. 63. 8440: 8439:Gonzalez 2017 8435: 8429:, p. 11. 8428: 8423: 8416: 8411: 8405:, p. 53. 8404: 8403:Tinhorão 1997 8399: 8393:, p. 10. 8392: 8387: 8381:, p. 61. 8380: 8379:Gonzalez 2017 8375: 8368: 8363: 8357:, p. 40. 8356: 8351: 8349: 8342:, p. 92. 8341: 8336: 8330:, p. 57. 8329: 8328:Gonzalez 2017 8324: 8318:, p. 85. 8317: 8312: 8306:, p. 60. 8305: 8304:Tinhorão 1997 8300: 8293: 8288: 8286: 8278: 8273: 8267:, p. 72. 8266: 8261: 8255:, p. 56. 8254: 8253:Gonzalez 2017 8249: 8247: 8239: 8234: 8227: 8222: 8216:, p. 66. 8215: 8210: 8208: 8200: 8195: 8193: 8185: 8180: 8173: 8168: 8166: 8164: 8162: 8160: 8152: 8147: 8140: 8135: 8128: 8123: 8116: 8111: 8104: 8099: 8097: 8095: 8093: 8091: 8084:, p. 67. 8083: 8078: 8076: 8074: 8072: 8070: 8063:, p. 94. 8062: 8061:Benzecry 2015 8057: 8050: 8045: 8043: 8041: 8039: 8037: 8035: 8027: 8026:Benzecry 2015 8022: 8015: 8010: 8003: 8002:Benzecry 2015 7998: 7992:, p. 65. 7991: 7986: 7984: 7982: 7980: 7973:, p. 64. 7972: 7967: 7961:, p. 12. 7960: 7955: 7953: 7951: 7944:, p. 17. 7943: 7938: 7931: 7926: 7919: 7914: 7908:, p. 81. 7907: 7902: 7895: 7894:Ferreira 2019 7890: 7883: 7878: 7871: 7866: 7864: 7856: 7851: 7844: 7839: 7837: 7829: 7824: 7822: 7820: 7812: 7807: 7800: 7795: 7788: 7783: 7781: 7773: 7768: 7766: 7764: 7762: 7760: 7752: 7751:Tinhorão 1974 7747: 7740: 7735: 7733: 7725: 7720: 7718: 7711:, p. 23. 7710: 7705: 7698: 7697:Tinhorão 1974 7693: 7686: 7685:Tinhorão 1974 7681: 7674: 7669: 7663:, p. 55. 7662: 7661:Gonzalez 2017 7657: 7655: 7647: 7642: 7635: 7630: 7623: 7618: 7612:, p. 64. 7611: 7606: 7599: 7594: 7587: 7582: 7575: 7570: 7568: 7560: 7555: 7553: 7545: 7540: 7533: 7528: 7521: 7516: 7509: 7504: 7498:, p. 69. 7497: 7492: 7485: 7484:Paranhos 2012 7480: 7473: 7472:Tinhorão 1990 7468: 7466: 7459:, p. 22. 7458: 7453: 7451: 7444:, p. 86. 7443: 7438: 7432:, p. 10. 7431: 7426: 7419: 7414: 7407: 7402: 7400: 7392: 7387: 7380: 7379:Caldeira 2007 7375: 7368: 7363: 7356: 7351: 7344: 7339: 7337: 7329: 7328: 7323: 7319: 7316: 7310: 7303: 7298: 7291: 7286: 7280:, p. 74. 7279: 7274: 7268:, p. 57. 7267: 7262: 7255: 7254:Carazzai 2016 7250: 7248: 7246: 7238: 7233: 7231: 7223: 7218: 7211: 7206: 7204: 7202: 7200: 7198: 7196: 7194: 7186: 7181: 7174: 7169: 7162: 7157: 7150: 7145: 7143: 7141: 7133: 7132:Fenerick 2002 7128: 7121: 7116: 7114: 7112: 7104: 7099: 7097: 7089: 7084: 7077: 7072: 7065: 7060: 7054:, p. 62. 7053: 7048: 7042:, p. 48. 7041: 7036: 7029: 7024: 7018:, p. 40. 7017: 7012: 7005: 7000: 6993: 6988: 6982:, p. 39. 6981: 6976: 6969: 6964: 6962: 6954: 6949: 6947: 6940:, p. 77. 6939: 6934: 6927: 6926:Benzecry 2015 6922: 6920: 6918: 6910: 6905: 6903: 6895: 6890: 6883: 6878: 6872:, p. 97. 6871: 6866: 6859: 6854: 6852: 6850: 6842: 6841:Virgilio 2012 6837: 6831:, p. 71. 6830: 6825: 6818: 6813: 6806: 6801: 6794: 6789: 6782: 6777: 6770: 6765: 6763: 6756:, p. 29. 6755: 6754:Vagalume 1978 6750: 6748: 6740: 6735: 6728: 6727:Fenerick 2002 6723: 6717:, p. 95. 6716: 6711: 6704: 6703:Benzecry 2008 6699: 6697: 6695: 6687: 6682: 6675: 6670: 6668: 6666: 6664: 6662: 6660: 6652: 6647: 6640: 6635: 6629:, p. 86. 6628: 6623: 6616: 6611: 6609: 6607: 6605: 6598:, p. 67. 6597: 6592: 6590: 6583:, p. 82. 6582: 6577: 6575: 6568:, p. 37. 6567: 6562: 6556:, p. 84. 6555: 6554:Paranhos 2003 6550: 6544:, p. 46. 6543: 6538: 6536: 6529:, p. 72. 6528: 6523: 6516: 6511: 6509: 6507: 6499: 6498:Reijonen 2017 6494: 6488:, p. 42. 6487: 6482: 6475: 6474:Reijonen 2017 6470: 6468: 6460: 6455: 6448: 6443: 6436: 6435:Tinhorão 1974 6431: 6424: 6423:Reijonen 2017 6419: 6412: 6407: 6400: 6395: 6389:, p. 60. 6388: 6383: 6381: 6373: 6368: 6366: 6359:, p. 33. 6358: 6353: 6346: 6345:Reijonen 2017 6341: 6335:, p. 55. 6334: 6329: 6322: 6317: 6311:, p. 54. 6310: 6305: 6298: 6293: 6286: 6281: 6279: 6271: 6270:Tinhorão 1997 6266: 6264: 6256: 6251: 6244: 6243:Paranhos 2003 6239: 6237: 6229: 6224: 6218:, p. 59. 6217: 6212: 6205: 6200: 6194:, p. 25. 6193: 6188: 6186: 6179:, p. 35. 6178: 6173: 6167:, p. 24. 6166: 6161: 6155:, p. 53. 6154: 6149: 6142: 6137: 6130: 6129:0-415-97440-2 6126: 6122: 6116: 6109: 6104: 6098:, p. 24. 6097: 6092: 6086:, p. 31. 6085: 6080: 6074:, p. 40. 6073: 6072:Gonzalez 2017 6068: 6061: 6056: 6049: 6044: 6038:, p. 53. 6037: 6032: 6030: 6023:, p. 85. 6022: 6017: 6015: 6007: 6002: 5996:, p. 78. 5995: 5990: 5983: 5978: 5972:, p. 82. 5971: 5966: 5964: 5956: 5951: 5945:, p. 81. 5944: 5939: 5933:, p. 66. 5932: 5931:Monteiro 2010 5927: 5920: 5915: 5908: 5907:Vagalume 1978 5903: 5897:, p. 83. 5896: 5891: 5884: 5879: 5872: 5867: 5865: 5858:, p. 53. 5857: 5852: 5846:, p. 27. 5845: 5840: 5838: 5830: 5825: 5818: 5813: 5806: 5801: 5799: 5797: 5795: 5793: 5786:, p. 66. 5785: 5780: 5774:, p. 99. 5773: 5768: 5761: 5756: 5749: 5744: 5742: 5734: 5729: 5727: 5720:, p. 47. 5719: 5714: 5708:, p. 27. 5707: 5702: 5695: 5690: 5684:, p. 79. 5683: 5678: 5671: 5666: 5664: 5657:, p. 46. 5656: 5651: 5644: 5639: 5637: 5635: 5627: 5622: 5615: 5610: 5608: 5606: 5604: 5596: 5591: 5589: 5587: 5580:, p. 27. 5579: 5574: 5572: 5564: 5559: 5557: 5549: 5544: 5542: 5534: 5529: 5522: 5517: 5515: 5507: 5502: 5494: 5490: 5486: 5482: 5478: 5474: 5470: 5466: 5462: 5455: 5440: 5436: 5432: 5428: 5421: 5414: 5409: 5407: 5399: 5398:Campolim 2009 5394: 5387: 5382: 5380: 5373:, p. 54. 5372: 5367: 5360: 5355: 5353: 5346:, p. 54. 5345: 5340: 5333: 5328: 5321: 5316: 5309: 5308:Carneiro 2005 5304: 5298:, p. 90. 5297: 5292: 5290: 5282: 5277: 5275: 5267: 5262: 5260: 5253:, p. 41. 5252: 5247: 5245: 5237: 5232: 5230: 5223:, p. 25. 5222: 5217: 5210: 5205: 5203: 5201: 5199: 5192:, p. 77. 5191: 5186: 5184: 5182: 5180: 5172: 5167: 5159: 5158: 5153: 5147: 5140: 5135: 5128: 5123: 5121: 5113: 5108: 5093: 5089: 5083: 5075: 5071: 5067: 5063: 5058: 5053: 5049: 5045: 5041: 5034: 5027: 5022: 5020: 5012: 5007: 5005: 4997: 4992: 4986:, p. 23. 4985: 4980: 4978: 4969: 4965: 4960: 4955: 4951: 4947: 4943: 4936: 4921: 4917: 4911: 4904: 4903:Carvalho 2006 4899: 4897: 4889: 4888:Tinhorão 1990 4884: 4882: 4874: 4869: 4867: 4859: 4854: 4852: 4844: 4839: 4837: 4829: 4824: 4817: 4812: 4810: 4808: 4806: 4798: 4793: 4791: 4789: 4781: 4776: 4774: 4772: 4764: 4759: 4757: 4755: 4747: 4742: 4735: 4730: 4728: 4726: 4718: 4713: 4706: 4705:Stockler 2011 4701: 4699: 4692:, p. 34. 4691: 4686: 4684: 4676: 4671: 4664: 4659: 4657: 4650:, p. 38. 4649: 4644: 4642: 4635:, p. 87. 4634: 4629: 4627: 4620:, p. 85. 4619: 4618:Paranhos 2003 4614: 4612: 4604: 4599: 4597: 4589: 4584: 4582: 4580: 4573:, p. 36. 4572: 4567: 4565: 4563: 4555: 4550: 4544:, p. 39. 4543: 4538: 4536: 4534: 4527:, p. 47. 4526: 4525:Reijonen 2017 4521: 4519: 4511: 4506: 4504: 4497:, p. 80. 4496: 4495:Sandroni 2001 4491: 4489: 4481: 4476: 4474: 4472: 4465:, p. 11. 4464: 4459: 4457: 4455: 4453: 4451: 4449: 4442:, p. 44. 4441: 4440:Reijonen 2017 4436: 4429: 4424: 4422: 4414: 4409: 4407: 4405: 4403: 4401: 4399: 4391: 4386: 4384: 4376: 4371: 4369: 4367: 4365: 4363: 4355: 4354:Benzecry 2015 4350: 4348: 4340: 4339:Paranhos 2003 4335: 4333: 4326:, p. 43. 4325: 4324:Benzecry 2015 4320: 4318: 4310: 4305: 4298: 4293: 4286: 4281: 4266:on 9 May 2023 4265: 4261: 4257: 4251: 4243: 4239: 4235: 4228: 4220: 4216: 4212: 4210:0-253-32867-5 4206: 4202: 4201: 4193: 4185: 4181: 4177: 4173: 4169: 4165: 4161: 4157: 4153: 4146: 4138: 4134: 4129: 4124: 4120: 4116: 4112: 4105: 4098: 4093: 4091: 4089: 4087: 4085: 4083: 4081: 4079: 4071: 4066: 4064: 4062: 4060: 4051: 4047: 4043: 4036: 4022: 4020:9780252044021 4016: 4012: 4008: 4004: 4000: 3993: 3984: 3979: 3975: 3968: 3954: 3952:9788523220129 3948: 3944: 3940: 3936: 3932: 3925: 3916: 3911: 3907: 3903: 3899: 3892: 3886:, p. 86. 3885: 3884:Fenerick 2002 3880: 3873: 3868: 3866: 3861: 3847: 3838: 3828: 3818: 3808: 3801: 3795: 3785: 3776: 3767: 3760: 3754: 3745: 3738: 3734: 3730: 3726: 3722: 3716: 3707: 3697: 3690: 3684: 3675: 3666: 3662: 3648: 3645: 3643: 3640: 3638: 3635: 3633: 3630: 3628: 3625: 3623: 3620: 3618: 3615: 3613: 3610: 3609: 3605: 3599: 3594: 3591: 3590:Brazil portal 3580: 3573: 3569: 3564: 3549: 3541: 3538: 3535: 3534: 3532: 3530: 3527: 3525: 3522: 3520: 3517: 3515: 3512: 3510: 3507: 3505: 3502: 3500: 3497: 3496: 3490: 3485: 3483: 3480: 3477: 3474: 3471: 3468: 3465: 3462: 3459: 3456: 3453: 3450: 3449: 3443: 3442: 3432: 3426: 3421: 3418: 3412: 3407: 3404: 3398: 3393: 3390: 3384: 3379: 3376: 3370: 3365: 3364: 3355: 3348: 3332: 3330: 3325: 3321: 3316: 3315:Fabiana Cozza 3312: 3308: 3301: 3296: 3292: 3288: 3282: 3280: 3279:digital music 3276: 3272: 3266: 3261: 3255: 3250: 3246: 3242: 3236: 3231: 3227: 3223: 3217: 3212: 3208: 3202: 3197: 3187: 3183: 3181: 3177: 3173: 3169: 3165: 3161: 3156: 3147: 3138: 3134: 3129: 3125: 3121: 3117: 3113: 3107: 3102: 3097: 3093: 3089: 3083: 3081: 3077: 3073: 3067: 3063: 3061: 3057: 3053: 3049: 3048:João Nogueira 3045: 3041: 3040:Beth Carvalho 3037: 3033: 3029: 3025: 3019: 3017: 3013: 3009: 3005: 2999: 2994: 2990: 2986: 2982: 2981:Almir Guineto 2978: 2977:Beth Carvalho 2974: 2969: 2967: 2963: 2959: 2955: 2951: 2947: 2941: 2937: 2932: 2928: 2924: 2920: 2916: 2912: 2911:João Nogueira 2902: 2894: 2885: 2881: 2878: 2873: 2871: 2867: 2862: 2858: 2854: 2850: 2845: 2840: 2836: 2831: 2827: 2821: 2816: 2810: 2805: 2799: 2797: 2793: 2789: 2785: 2781: 2775: 2770: 2766: 2762: 2758: 2757:João Nogueira 2754: 2750: 2746: 2742: 2738: 2734: 2730: 2726: 2722: 2718: 2713: 2711: 2710:sambas-enredo 2707: 2703: 2699: 2695: 2691: 2690:Beth Carvalho 2687: 2683: 2679: 2675: 2669: 2667: 2662: 2658: 2654: 2650: 2646: 2642: 2638: 2637:Chico Buarque 2634: 2630: 2620: 2612: 2604: 2595: 2594:samba group. 2591: 2586: 2580: 2578: 2574: 2570: 2569:Chico Buarque 2566: 2562: 2557: 2554: 2548: 2546: 2540: 2535: 2534:Sidney Miller 2531: 2527: 2523: 2519: 2513: 2508: 2502: 2497: 2493: 2487: 2482: 2478: 2474: 2470: 2465: 2460: 2457: 2451: 2446: 2442: 2438: 2434: 2429: 2424: 2422: 2418: 2409: 2401: 2393: 2384: 2381: 2377: 2373: 2369: 2365: 2361: 2357: 2353: 2352:partner dance 2348: 2346: 2342: 2338: 2334: 2330: 2326: 2322: 2318: 2314: 2310: 2306: 2302: 2298: 2292: 2287: 2281: 2276: 2270: 2265: 2261: 2257: 2253: 2247: 2245: 2241: 2237: 2233: 2229: 2228:were reissued 2225: 2220: 2218: 2214: 2210: 2206: 2202: 2201:Sylvia Telles 2198: 2194: 2190: 2186: 2185:guitar chords 2182: 2181:João Gilberto 2178: 2174: 2170: 2166: 2160: 2158: 2154: 2150: 2146: 2142: 2138: 2129: 2121: 2112: 2110: 2106: 2102: 2101:Sylvia Telles 2098: 2094: 2093:Dolores Duran 2090: 2086: 2082: 2078: 2074: 2073:Cauby Peixoto 2070: 2066: 2062: 2058: 2054: 2050: 2044: 2042: 2038: 2033: 2027: 2025: 2021: 2017: 2013: 2009: 2005: 2001: 1997: 1993: 1988: 1986: 1982: 1978: 1973: 1969: 1965: 1961: 1957: 1953: 1949: 1943: 1938: 1934: 1930: 1926: 1920: 1915: 1909: 1904: 1898: 1896: 1891: 1882: 1873: 1871: 1867: 1863: 1859: 1855: 1850: 1848: 1844: 1840: 1834: 1832: 1828: 1824: 1820: 1815: 1813: 1809: 1808:sambas-enredo 1805: 1800: 1798: 1794: 1790: 1786: 1781: 1777: 1772: 1769: 1765: 1759: 1754: 1748: 1743: 1739: 1735: 1731: 1726: 1718: 1709: 1707: 1703: 1699: 1695: 1691: 1686: 1684: 1680: 1676: 1672: 1668: 1664: 1659: 1653: 1648: 1642: 1640: 1636: 1632: 1628: 1624: 1620: 1616: 1612: 1611:miscegenation 1607: 1605: 1601: 1597: 1591: 1586: 1582: 1578: 1574: 1570: 1566: 1560: 1558: 1554: 1550: 1544: 1539: 1535: 1529: 1524: 1523:Cyro Monteiro 1518: 1513: 1509: 1505: 1501: 1496: 1492: 1488: 1484: 1480: 1479:Ataulfo Alves 1476: 1471: 1469: 1465: 1460: 1456: 1452: 1448: 1444: 1440: 1435: 1430: 1427: 1423: 1418: 1412: 1410: 1406: 1400: 1392: 1384: 1361: 1339: 1337: 1333: 1329: 1324: 1318: 1316: 1312: 1308: 1303: 1298: 1296: 1292: 1286: 1283: 1278: 1273: 1271: 1267: 1263: 1259: 1255: 1251: 1247: 1243: 1238: 1226: 1221: 1218: 1214: 1212: 1208: 1204: 1200: 1188: 1186: 1182: 1176: 1174: 1170: 1165: 1159: 1157: 1153: 1149: 1144: 1140: 1134: 1132: 1128: 1124: 1119: 1117: 1116:center of Rio 1113: 1109: 1100: 1092: 1084: 1062: 1041: 1020: 998: 996: 992: 988: 984: 980: 975: 973: 969: 965: 961: 957: 951: 947: 944: 938: 933: 929: 928:Pelo Telefone 925: 921: 915: 910: 906: 902: 898: 892: 887: 883: 877: 872: 868: 862: 857: 853: 852:pais-de-santo 849: 845: 840: 837: 833: 829: 825: 821: 817: 813: 809: 805: 801: 797: 793: 789: 781: 780:Pelo Telefone 776: 765: 763: 739: 730: 726: 710: 689: 667: 665: 661: 656: 646: 644: 640: 630: 628: 624: 620: 615: 613: 609: 605: 600: 598: 597:Arab pandeiro 593: 589: 588:samba de roda 584: 582: 577: 573: 568: 564: 550: 541: 539: 538:Pelo Telefone 533: 531: 527: 523: 519: 515: 511: 507: 503: 499: 495: 490: 488: 484: 480: 479:O Carapuceiro 476: 471: 467: 463: 459: 451: 446: 437: 435: 431: 427: 423: 419: 414: 412: 408: 404: 400: 396: 392: 388: 384: 380: 372: 361: 358: 354: 350: 346: 342: 336: 334: 331:of Brazilian 330: 326: 322: 321:commuter rail 318: 314: 309: 307: 303: 299: 298:Pelo Telefone 295: 291: 287: 282: 280: 275: 273: 269: 265: 262: 257: 255: 251: 247: 246:samba de roda 243: 239: 232: 226: 218: 207: 206:samba schools 204: 202: 199: 197: 194: 192: 189: 187: 184: 183: 180: 175: 168: 165: 162: 159: 157: 154: 151: 149: 146: 144: 141: 139: 136: 134: 131: 129: 126: 124: 121: 119: 116: 115: 112: 107: 103: 99: 95: 91: 87: 83: 78: 77:samba de roda 73: 69: 65: 58: 53: 48: 45: 41: 37: 30: 26: 22: 15764:Hip hop tuga 15648:Samba reggae 15622:Samba-raiado 15617:Samba junino 15592:Samba-batido 15578:Bahian samba 15535:Samba reggae 15504:Samba-enredo 15494:Samba-canção 15489:Partido alto 15439: 15318:Electrobrega 15131:Samba school 15114:Other topics 15101:Samba reggae 15075:Samba-raiado 15070:Samba junino 15045:Samba-batido 15031:Bahian samba 14988:Samba reggae 14947:Samba-canção 14893: 14825:Making Samba 14823: 14817: 14811: 14800: 14793: 14786: 14777: 14765:. Retrieved 14748:. Retrieved 14731:. Retrieved 14722: 14712: 14703: 14694: 14690: 14674:. Retrieved 14669: 14653: 14637:(1): 64–78. 14634: 14628: 14612:. Retrieved 14605:the original 14599: 14586:. Retrieved 14582:the original 14565:. Retrieved 14548:. Retrieved 14522:. Retrieved 14506:. Retrieved 14490:. Retrieved 14486:the original 14470:. Retrieved 14451:. Retrieved 14435:. Retrieved 14419:. Retrieved 14403:. Retrieved 14387:. Retrieved 14371:. Retrieved 14355:. Retrieved 14339:. Retrieved 14323:. Retrieved 14307:. Retrieved 14291:. Retrieved 14275:. Retrieved 14259:. Retrieved 14243:. Retrieved 14227:. Retrieved 14211:. Retrieved 14195:. Retrieved 14179:. Retrieved 14162:. Retrieved 14145:. Retrieved 14128:. Retrieved 14111:. Retrieved 14094:. Retrieved 14077:. Retrieved 14057:. Retrieved 14037:. Retrieved 14017:. Retrieved 14000:. Retrieved 13983:. Retrieved 13966:. Retrieved 13949:. Retrieved 13932:. Retrieved 13915:. Retrieved 13911: 13895:. Retrieved 13863:. Retrieved 13841:. Retrieved 13824:. Retrieved 13804:. Retrieved 13800: 13784:. Retrieved 13767:. Retrieved 13750:. Retrieved 13733:. Retrieved 13716:. Retrieved 13699:. Retrieved 13682:. Retrieved 13665:. Retrieved 13648:. Retrieved 13626:. Retrieved 13609:. Retrieved 13592:. Retrieved 13575:. Retrieved 13555:. Retrieved 13538:. Retrieved 13521:. Retrieved 13516: 13500:. Retrieved 13483:. Retrieved 13466:. Retrieved 13449:. Retrieved 13432:. Retrieved 13415:. Retrieved 13398:. Retrieved 13381:. Retrieved 13364:. Retrieved 13347:. Retrieved 13330:. Retrieved 13313:. Retrieved 13296:. Retrieved 13279:. Retrieved 13262:. Retrieved 13242:. Retrieved 13225:. Retrieved 13208:. Retrieved 13204:the original 13187:. Retrieved 13170:. Retrieved 13150:. Retrieved 13133:. Retrieved 13116:. Retrieved 13099:. Retrieved 13082:. Retrieved 13065:. Retrieved 13048:. Retrieved 13031:. Retrieved 13014:. Retrieved 12997:. Retrieved 12980:. Retrieved 12963:. Retrieved 12937:. Retrieved 12930:the original 12925: 12906:. Retrieved 12897: 12887: 12871: 12867: 12854: 12850: 12833: 12829: 12813:. Retrieved 12804: 12791:. Retrieved 12784:the original 12779: 12760:. Retrieved 12753:the original 12748: 12744: 12725:. Retrieved 12720: 12697: 12681:. Retrieved 12672: 12659:. Retrieved 12650: 12637:. Retrieved 12628: 12615:. Retrieved 12610: 12584: 12568:. Retrieved 12563: 12544:. Retrieved 12535: 12522:. Retrieved 12513: 12503: 12499: 12487:. Retrieved 12478: 12465:. Retrieved 12458:the original 12449: 12436:. Retrieved 12431: 12412:. Retrieved 12408:the original 12402: 12389:. Retrieved 12383: 12370:. Retrieved 12361: 12348:. Retrieved 12343: 12324:. Retrieved 12320:the original 12305: 12301: 12285:. Retrieved 12280: 12276: 12257:. Retrieved 12248: 12235:. Retrieved 12231:the original 12225: 12212:. Retrieved 12207: 12188:. Retrieved 12184:Dossiê Iphan 12183: 12164:. Retrieved 12142: 12138: 12122:. Retrieved 12113: 12093: 12089: 12073:. Retrieved 12059: 12040:. Retrieved 12031: 12018:. Retrieved 12009: 11996:. Retrieved 11991: 11972:. Retrieved 11965:the original 11956: 11943:. Retrieved 11936:the original 11927: 11914:. Retrieved 11905: 11901: 11888: 11884: 11872:. Retrieved 11865:the original 11860: 11844:. Retrieved 11835: 11822:. Retrieved 11813: 11783: 11767:. Retrieved 11762: 11758: 11739:. Retrieved 11730: 11717:. Retrieved 11708: 11695:. Retrieved 11686: 11673:. Retrieved 11666:the original 11657: 11644:. Retrieved 11635: 11622:. Retrieved 11613: 11600:. Retrieved 11593:the original 11584: 11571:. Retrieved 11566: 11547:. Retrieved 11542: 11523:. Retrieved 11516:the original 11507: 11494:. Retrieved 11487:the original 11478: 11465:. Retrieved 11461:the original 11455: 11435: 11431: 11415:. Retrieved 11408:the original 11399: 11389: 11377:. Retrieved 11355: 11351: 11335:. Retrieved 11330: 11326: 11301:. Retrieved 11295: 11285: 11275: 11265: 11256: 11247: 11238: 11229: 11220: 11211: 11202: 11193: 11173: 11163: 11154: 11145: 11136: 11127: 11118: 11109: 11100: 11091: 11082: 11073: 11064: 11055: 11046: 11037: 11028: 11019: 11000: 10987: 10978: 10969: 10960: 10951: 10942: 10933: 10913: 10892: 10882: 10873: 10864: 10855: 10846: 10837: 10828: 10816:. Retrieved 10810: 10800: 10791: 10782: 10773: 10764: 10755: 10746: 10737: 10728: 10719: 10692:. Retrieved 10687: 10678: 10666: 10654: 10642: 10630: 10618: 10581:, p. 8. 10559: 10547: 10535: 10523: 10511: 10506:, p. 2. 10499: 10487: 10475: 10463: 10456:Pereira 2001 10451: 10424: 10412: 10400: 10388: 10376: 10364: 10352: 10345:Pereira 2003 10340: 10328: 10286: 10274: 10262: 10255:Vicente 2002 10250: 10238: 10226: 10214: 10185: 10173: 10161: 10149: 10116: 10104: 10092: 10080: 10068: 10061:Pereira 2003 10056: 10044: 10015: 10008:Pereira 2003 10003: 9991: 9958: 9946: 9934: 9907: 9895: 9883: 9871: 9859: 9847: 9835: 9823: 9811: 9799: 9787: 9775: 9733: 9706: 9694: 9667: 9655: 9643: 9631: 9609:Vicente 2002 9604: 9592: 9565: 9553: 9541: 9529: 9517: 9510:Machado 2006 9490: 9478: 9466: 9454: 9442: 9430: 9391:Antunes 2012 9386: 9374: 9344:Concagh 2017 9339: 9327: 9315: 9303: 9291: 9264: 9252: 9245:Sanches 2004 9240: 9228: 9216: 9174: 9162: 9118: 9076: 9064: 9052: 9045:Alberto 2016 9040: 9028: 9016: 9004: 8992: 8980: 8934: 8922: 8910: 8898: 8886: 8879:Pareles 1986 8874: 8862: 8850: 8838: 8826: 8814: 8802: 8775: 8763: 8751: 8744:Menezes 2017 8739: 8727: 8715: 8686: 8679:Ratliff 2019 8655: 8613: 8601: 8589: 8545: 8533: 8521: 8509: 8482: 8470: 8463:Cabral 1996b 8458: 8446: 8434: 8422: 8410: 8398: 8386: 8374: 8362: 8340:Cabral 1996b 8335: 8323: 8316:Cabral 1996b 8311: 8299: 8272: 8260: 8233: 8221: 8179: 8146: 8134: 8122: 8110: 8056: 8021: 8009: 7997: 7966: 7959:Calabre 2002 7937: 7925: 7913: 7901: 7889: 7882:Pereira 2012 7877: 7850: 7806: 7794: 7746: 7704: 7692: 7680: 7668: 7641: 7629: 7617: 7605: 7593: 7581: 7539: 7532:Vanucci 2019 7527: 7515: 7503: 7496:Goulart 1990 7491: 7486:, p. 9. 7479: 7457:Velloso 1987 7437: 7430:Ribeiro 2010 7425: 7418:Salgado 1941 7413: 7406:Velloso 1987 7393:, p. 9. 7386: 7374: 7362: 7350: 7343:Velloso 1982 7325: 7313:Gilman, B., 7309: 7302:Pereira 2012 7297: 7285: 7273: 7261: 7217: 7180: 7173:Almeida 2013 7168: 7156: 7127: 7083: 7071: 7059: 7047: 7035: 7023: 7011: 6999: 6987: 6975: 6933: 6889: 6877: 6865: 6836: 6824: 6817:Cabral 1996a 6812: 6800: 6793:Cometti 2004 6788: 6781:Cabral 1996a 6776: 6734: 6722: 6710: 6681: 6646: 6634: 6622: 6566:Cabral 1996a 6561: 6549: 6522: 6493: 6481: 6459:Cabral 1996a 6454: 6442: 6430: 6418: 6406: 6394: 6352: 6340: 6328: 6321:Cabral 1996a 6316: 6304: 6292: 6250: 6223: 6211: 6199: 6172: 6160: 6148: 6136: 6120: 6115: 6103: 6091: 6079: 6067: 6060:Cabral 1996a 6055: 6043: 6001: 5989: 5977: 5950: 5938: 5926: 5914: 5902: 5890: 5878: 5851: 5824: 5812: 5779: 5767: 5755: 5733:Velloso 1989 5713: 5701: 5689: 5682:Alencar 1981 5677: 5670:Velloso 1989 5650: 5643:Velloso 1989 5621: 5595:Velloso 1989 5563:Velloso 1989 5528: 5501: 5468: 5464: 5454: 5442:. Retrieved 5431:The Guardian 5430: 5420: 5400:, p. 9. 5393: 5366: 5339: 5327: 5315: 5303: 5216: 5166: 5156: 5146: 5141:, p. 1. 5134: 5107: 5095:. Retrieved 5091: 5082: 5047: 5043: 5033: 4991: 4949: 4945: 4935: 4923:. Retrieved 4919: 4910: 4823: 4741: 4712: 4707:, p. 6. 4670: 4549: 4435: 4304: 4292: 4287:, p. 9. 4280: 4268:. Retrieved 4264:the original 4259: 4250: 4233: 4227: 4199: 4192: 4159: 4155: 4145: 4118: 4114: 4104: 4049: 4045: 4035: 4024:, retrieved 4002: 3992: 3973: 3967: 3956:, retrieved 3934: 3924: 3905: 3901: 3891: 3879: 3846: 3837: 3827: 3817: 3807: 3802:music genre. 3794: 3784: 3775: 3766: 3753: 3744: 3736: 3732: 3728: 3724: 3720: 3715: 3706: 3696: 3683: 3674: 3665: 3560: 3547: 3524:Hand-repique 3478:(percussion) 3472:(percussion) 3466:(percussion) 3460:(percussion) 3454:(percussion) 3346: 3338: 3326: 3283: 3192: 3152: 3084: 3076:Minas Gerais 3068: 3064: 3060:Warner Music 3020: 3012:partido-alto 2989:Jorge Aragão 2985:Arlindo Cruz 2970: 2958:hand-repique 2946:partido-alto 2942: 2923:Arlindo Cruz 2919:Oswaldo Cruz 2907: 2882: 2874: 2865: 2844:partido-alto 2841: 2815:Luiz Américo 2800: 2761:Leci Brandão 2714: 2670: 2645:Gilberto Gil 2625: 2581: 2558: 2549: 2530:Baden Powell 2522:Ismael Silva 2461: 2425: 2421:Jovem Guarda 2414: 2349: 2337:Dom Salvador 2325:Mas que Nada 2264:Sílvio César 2248: 2221: 2197:Alaíde Costa 2193:Baden Powell 2161: 2141:João Goulart 2134: 2065:Angela Maria 2045: 2028: 2024:French songs 1989: 1981:Ismael Silva 1968:Sérgio Porto 1899: 1890:World War II 1887: 1861: 1857: 1851: 1835: 1816: 1801: 1785:Aracy Cortes 1776:samba-canção 1773: 1738:samba-enredo 1730:samba-canção 1727: 1723: 1706:Bando da Lua 1687: 1667:Nazi Germany 1663:Buenos Aires 1643: 1638: 1634: 1608: 1561: 1512:Luís Barbosa 1500:Ismael Silva 1472: 1463: 1431: 1413: 1401: 1397: 1319: 1299: 1287: 1274: 1234: 1223: 1219: 1215: 1210: 1202: 1199:onomatopoeia 1196: 1192:Ismael Silva 1184: 1180: 1178: 1173:Ismael Silva 1160: 1156:Osvaldo Cruz 1135: 1120: 1105: 1086:Samba rhythm 976: 972:Aracy Cortes 952: 948: 841: 800:black slaves 785: 759: 723:Composed by 652: 636: 619:partido alto 616: 601: 585: 560: 534: 506:Black people 491: 478: 465: 461: 455: 415: 370: 362: 353:samba-canção 349:partido alto 337: 317:Oswaldo Cruz 310: 283: 276: 264:music genres 258: 245: 241: 237: 216: 215: 186:Samba reggae 177:Other topics 128:samba-canção 44: 15831:Latin music 15631:Urban sambo 15585:Rural sambo 15520:Samba-choro 15389: [ 15379:Rasteirinha 15369:Funk melody 15330:Tecno brega 15321: [ 15292: [ 15280: [ 15177:Music from 15084:Urban sambo 15038:Rural sambo 14973:Samba-choro 14209:. Billboard 14193:. Billboard 12698:Revista USP 12060:Revista USP 11916:2 September 11293:"Batuque". 10659:Pontes 2011 10647:Trotta 2006 10579:Pontes 2011 10540:Brêda 2019b 10528:Nobile 2013 10516:Brêda 2019a 10480:Xavier 2020 10369:Trotta 2006 10357:Trotta 2006 10333:Borges 2019 10190:IMMuB 2020f 10178:Baltar 2019 10166:Araujo 2019 9888:Garcez 1999 9876:IMMuB 2020e 9864:IMMuB 2020d 9852:IMMuB 2020c 9780:Paixão 2011 9738:Vianna 2016 9624:Aragão 2019 9483:França 2007 9447:Santos 2015 9332:Dantas 2016 9167:Garcia 2018 9123:Castro 2016 9057:Ferraz 2018 9033:Ferraz 2018 8997:Macedo 2007 8939:Kassel 2018 8732:Entini 2012 8720:Prange 2018 8691:Garcia 2008 8648:Castro 2018 8618:Melito 2018 8550:Castro 2015 8526:Máximo 2018 8355:Garcia 1999 8265:Castro 2015 8103:Máximo 2016 7942:Portes 2014 7906:Portes 2014 7787:Castro 2015 7040:Onofre 2011 7016:Garcia 2004 6858:Santos 2005 6829:Castro 2015 6228:Mattos 2008 6216:Mattos 2008 6153:Mattos 2008 5871:Moraes 2016 5829:IMMuB 2020b 5817:IMMuB 2020a 5626:Mendes 2016 5444:12 December 4873:Santos 2018 4690:Vianna 1995 4675:Vianna 1995 4260:Opanije.com 3566: [ 3318: [ 3298: [ 3263: [ 3252: [ 3233: [ 3226:Exaltasamba 3214: [ 3199: [ 3131: [ 3116:Exaltasamba 3104: [ 3101:Art Popular 3044:Clara Nunes 2996: [ 2934: [ 2833: [ 2818: [ 2807: [ 2792:Aldir Blanc 2772: [ 2694:Clara Nunes 2633:Elis Regina 2588: [ 2553:Rádio Globo 2537: [ 2510: [ 2499: [ 2484: [ 2448: [ 2321:rock'n'roll 2301:Elza Soares 2289: [ 2278: [ 2267: [ 2205:Carlos Lyra 2081:Dick Farney 1985:Pixinguinha 1940: [ 1937:Jorge Veiga 1917: [ 1906: [ 1843:Ary Barroso 1827:Pixinguinha 1819:samba-choro 1793:Ary Barroso 1756: [ 1745: [ 1734:samba-choro 1679:Walt Disney 1650: [ 1639:malandragem 1631:Estado Novo 1615:nationalism 1606:, in 1940. 1588: [ 1553:White House 1541: [ 1526: [ 1515: [ 1495:Vila Isabel 1475:Ary Barroso 1282:Mario Filho 1258:tambourines 1237:Deixa Falar 1019:"Na Pavuna" 935: [ 924:sheet music 912: [ 897:João do Rio 889: [ 874: [ 867:Pixinguinha 859: [ 824:Cidade Nova 610:– from the 608:Tietê River 460:was in the 294:dance style 133:samba-choro 15846:Categories 15790:East Timor 15754:Desgarrada 15749:Chamarrita 15721:Marrabenta 15713:Mozambique 15670:Cape Verde 15643:Samba afro 15612:Samba duro 15561:Samba rock 15530:Samba-jazz 15525:Samba-funk 15467:Bossa nova 15386:Guitarrada 15344:Chamarrita 15313:Brega funk 15301:Samba rock 15289:Rock Rural 15096:Samba afro 15065:Samba duro 15018:Samba rock 14983:Samba-jazz 14978:Samba-funk 14920:Bossa nova 14691:Artcultura 11902:ArtCultura 10694:29 January 10492:Brêda 2020 10444:Perez 2000 10393:Souza 2003 10381:Pinto 2013 10291:Pinto 2013 10279:Souza 2003 10231:Lopes 2019 10219:Lopes 2005 10121:Souza 1985 10109:Lopes 2019 10097:Lopes 2019 10073:Lopes 2005 10037:Souza 1983 9984:Lopes 2019 9963:Lopes 2005 9951:Lopes 2005 9900:Matos 2011 9840:Albin 2003 9816:Lopes 2005 9711:Sousa 2016 9534:Motta 2000 9423:Lopes 2005 9209:Silva 2011 9194:Nuzzi 2017 9069:Lopes 2019 8956:Lopes 2019 8867:Gomes 2010 8855:Gomes 2010 8831:Souza 2010 8487:Naves 2004 8427:Naves 2004 8415:Albin 2003 8391:Naves 2004 8277:Albin 2003 8172:Lopes 2019 7930:Tatit 2000 7772:Matos 2013 7724:Matos 2013 7709:Tatit 1996 7673:Matos 2013 7290:Paiva 2009 7278:Paiva 2009 6992:Frota 2003 6968:Moura 1983 6938:Paiva 2009 6805:Giron 2001 6715:Sodré 1998 6674:Lopes 2019 6627:Paiva 2009 6542:Paiva 2009 6486:Paiva 2009 6411:Paiva 2009 6387:Paiva 2009 6357:Paiva 2009 6333:Paiva 2009 6309:Paiva 2009 6297:Sadie 1994 6192:Paiva 2009 6165:Paiva 2009 6108:Paiva 2009 6096:Efegê 2007 6084:Paiva 2009 6021:Paiva 2009 5994:Paiva 2009 5970:Paiva 2009 5943:Paiva 2009 5883:Arbix 2008 5844:Muniz 1976 5805:Giron 2016 5706:Paiva 2009 5614:Lopes 2019 5548:Lopes 2019 5533:Lopes 2019 5521:Lopes 2019 5506:Abreu 1994 5209:Silva 2016 5190:Moura 1983 5152:Suzy Klein 5097:31 January 5011:Uchôa 2007 4984:Iphan 2014 4925:31 January 4858:Bolão 2009 4828:Mello 2000 4780:Matos 2013 4717:Iphan 2014 4648:Paiva 2009 4633:Paiva 2009 4571:Paiva 2009 4542:Paiva 2009 4480:Matos 2013 4413:Lopes 2019 4309:Lopes 2019 4297:Iphan 2014 4270:31 January 4162:(3): 449. 4046:Interfaces 4026:31 January 3958:31 January 3653:References 3482:Cavaquinho 3307:Dudu Nobre 3245:Thiaguinho 3164:Raça Negra 3120:Katinguelê 3088:Raça Negra 2966:cavaquinho 2866:partideiro 2861:cavaquinho 2804:Luiz Ayrão 2796:João Bosco 2364:samba rock 2305:samba-jazz 2260:Ed Lincoln 2153:bossa nova 2016:nightclubs 1866:car brakes 1804:marchinhas 1683:Zé Carioca 1658:Montevideo 1617:under the 1604:Copacabana 1417:radio sets 1332:Mário Reis 1302:marchinhas 1139:Praça Onze 983:Mário Reis 964:plagiarism 762:media help 477:newspaper 470:Pernambuco 411:cavaquinho 341:bossa nova 191:Samba rock 163:samba duro 138:samba-jazz 118:Bossa nova 15815:Sri Lanka 15688:Coladeira 15277:Forrocore 13464:. Reuters 13238:"Cartola" 12161:256932355 11912:: 121–132 11374:164039280 10688:immub.org 10564:Dias 2020 9570:Dias 1997 9558:Dias 1997 9546:Dias 1997 9522:Dias 1997 9495:Dias 1997 9257:Reis 2018 7028:OESP 1955 6870:Ruiz 1984 5485:0163-0350 5439:0261-3077 5281:IMS 2019b 5266:IMS 2019a 5236:IMS 2019c 5171:Neto 2018 5074:204609201 5066:2237-9681 4968:0103-4014 4242:616494221 4176:0014-1836 4137:1981-3171 3857:Citations 3249:Mumuzinho 3180:sertanejo 3058:left the 2927:Cascadura 2784:Nei Lopes 2737:São Paulo 2649:Gal Costa 2561:TV Record 2441:Nara Leão 2331:, to the 2313:Jorge Ben 2286:Orlandivo 2224:cool jazz 2217:Nara Leão 2085:Tito Madi 2032:cool jazz 2008:big bands 1948:São Paulo 1789:Noel Rosa 1491:Noel Rosa 1483:Braguinha 1441:and also 1323:Noel Rosa 1266:pandeiros 1246:Mangueira 956:Tia Ciata 848:Tia Ciata 832:Candomblé 612:São Paulo 592:Recôncavo 279:Candomblé 261:Brazilian 109:Subgenres 15731:Portugal 15462:Batucada 15413:Funknejo 15374:Funknejo 14915:Batucada 14767:7 August 14750:7 August 14733:7 August 14676:7 August 14614:11 March 14588:11 March 14567:7 August 14550:7 August 14524:7 August 14508:7 August 14492:7 August 14472:7 August 14453:7 August 14437:7 August 14421:7 August 14405:7 August 14389:7 August 14373:7 August 14357:7 August 14341:7 August 14325:7 August 14309:7 August 14293:7 August 14277:7 August 14261:7 August 14245:7 August 14229:7 August 14213:7 August 14197:7 August 14181:7 August 14164:7 August 14147:7 August 14130:7 August 14113:7 August 14096:7 August 14079:7 August 14059:7 August 14039:7 August 14019:7 August 14002:7 August 13985:7 August 13968:7 August 13951:7 August 13934:7 August 13917:7 August 13897:7 August 13865:7 August 13843:7 August 13826:7 August 13806:7 August 13786:7 August 13769:7 August 13752:7 August 13735:7 August 13718:7 August 13701:7 August 13684:7 August 13667:7 August 13650:7 August 13628:7 August 13611:7 August 13594:7 August 13577:7 August 13557:7 August 13540:7 August 13523:7 August 13502:7 August 13485:7 August 13468:7 August 13451:7 August 13434:7 August 13417:7 August 13400:7 August 13383:7 August 13366:7 August 13349:7 August 13332:7 August 13315:7 August 13298:7 August 13281:7 August 13264:7 August 13244:7 August 13227:7 August 13210:7 August 13189:7 August 13172:7 August 13152:7 August 13135:7 August 13118:7 August 13101:7 August 13084:7 August 13067:7 August 13050:7 August 13033:7 August 13016:7 August 12999:7 August 12982:7 August 12965:7 August 12939:7 August 12908:7 August 12830:MATRIZes 12815:7 August 12793:7 August 12762:7 August 12727:7 August 12683:7 August 12661:7 August 12639:7 August 12617:7 August 12570:7 August 12546:7 August 12524:7 August 12489:7 August 12467:7 August 12438:7 August 12414:7 August 12391:7 August 12372:7 August 12350:7 August 12326:7 August 12287:7 August 12259:7 August 12237:7 August 12214:7 August 12208:Intercom 12190:7 August 12166:7 August 12124:7 August 12075:7 August 12042:7 August 12020:7 August 11998:7 August 11974:7 August 11945:7 August 11874:7 August 11846:7 August 11824:7 August 11769:7 August 11741:7 August 11719:7 August 11697:7 August 11675:7 August 11646:7 August 11624:7 August 11602:7 August 11573:7 August 11549:7 August 11525:7 August 11496:7 August 11467:7 August 11417:7 August 11379:7 August 11337:7 August 11303:7 August 10818:7 August 7598:ECB 1997 7586:ECB 1997 7318:Archived 6177:Vaz 1986 5154:(2007), 4219:31374055 3647:Sambavas 3576:See also 3542:Trombone 3519:Chocalho 3509:Bandolim 3504:Atabaque 3464:Pandeiro 3452:Tamborim 3403:Tamborim 3375:Pandeiro 3271:Dilsinho 3260:Ferrugem 3224:(former 3222:Péricles 3096:samplers 3082:states. 2968:tuning. 2960:and the 2857:tamborim 2849:pandeiro 2676:and the 2666:TV Globo 2473:curimbas 2370:such as 2297:Miltinho 2240:Edu Lobo 2149:Brasília 2089:Nora Ney 2047:such as 2020:foxtrots 1992:post-war 1933:Monsueto 1277:babalawo 1228:— 1190:— 828:Carnival 655:Catholic 643:Carnival 518:fandango 502:umbigada 498:imperial 494:colonial 434:Salvador 416:In 2005 395:tamborim 387:pandeiro 383:batucada 256:states. 104:, Brazil 102:Salvador 72:batucada 15824:Related 15703:Tabanka 15678:Batuque 15540:Sambass 15430:Vanerão 15403:Seresta 15339:Calypso 15250:Stronda 15195:Kizomba 14993:Sambass 12432:Enecult 11885:Ipotesi 10706:Sources 9179:Sá 2014 8768:G1 2012 3561:IMMuB ( 3536:Trumpet 3529:Tan-tan 2956:), the 2950:tan-tan 2729:Candeia 2721:Cartola 2698:Alcione 2428:Cartola 2417:syncopa 2069:Jamelão 1964:Ipanema 1960:Cartola 1914:Zé Keti 1858:breques 1812:bateria 1623:mestizo 1596:casinos 1504:Cartola 1336:Cartola 1270:shakers 1254:bateria 1242:Portela 1205:of the 1143:Estácio 886:Caninha 788:slavery 639:Favelas 602:In the 516:(xiba, 329:symbols 313:Estácio 290:batuque 84:origins 15867:Pagode 15693:Funaná 15472:Pagode 15222:Brazil 15207:Kuduro 15187:Angola 14925:Pagode 12159: 11372: 11181: 11007: 10921: 10900: 6127: 5493:780347 5491: 5483: 5437: 5072: 5064: 4966: 4240: 4217: 4207: 4184:851729 4182: 4174: 4135: 4017: 3949: 3832:Livre. 3733:Ismael 3725:Ismael 3701:shops. 3548: 3539:Cornet 3160:pagode 3128:Soweto 3016:pagode 2767:, and 2477:lundus 2469:jongos 2167:", by 2000:bolero 1983:, and 1950:, the 1841:", by 1780:revues 1768:scores 1466:), by 1262:cuícas 995:maxixe 943:78 rpm 932:Baiano 475:Recife 418:UNESCO 345:pagode 306:maxixe 123:pagode 15852:Samba 15805:Macau 15783:Other 15769:Pimba 15744:Chula 15698:Morna 15440:Samba 15393:] 15364:Frevo 15359:Forró 15354:Chula 15349:Choro 15325:] 15308:Brega 15296:] 15284:] 15235:Baião 15212:Semba 14894:Samba 14847:Samba 14812:Samba 14727:(PDF) 14666:(PDF) 14608:(PDF) 14466:(PDF) 14073:(PDF) 14053:(PDF) 14033:(PDF) 13820:(PDF) 13571:(PDF) 13258:(PDF) 13166:(PDF) 12950:Press 12933:(PDF) 12922:(PDF) 12902:(PDF) 12888:CPDOC 12884:(PDF) 12809:(PDF) 12787:(PDF) 12776:(PDF) 12756:(PDF) 12741:(PDF) 12677:(PDF) 12655:(PDF) 12633:(PDF) 12607:(PDF) 12560:(PDF) 12540:(PDF) 12518:(PDF) 12483:(PDF) 12461:(PDF) 12454:(PDF) 12428:(PDF) 12366:(PDF) 12340:(PDF) 12273:(PDF) 12253:(PDF) 12204:(PDF) 12180:(PDF) 12157:S2CID 12118:(PDF) 12056:(PDF) 12036:(PDF) 12014:(PDF) 11988:(PDF) 11968:(PDF) 11961:(PDF) 11939:(PDF) 11932:(PDF) 11868:(PDF) 11840:(PDF) 11818:(PDF) 11755:(PDF) 11735:(PDF) 11713:(PDF) 11691:(PDF) 11669:(PDF) 11662:(PDF) 11640:(PDF) 11618:(PDF) 11596:(PDF) 11589:(PDF) 11563:(PDF) 11539:(PDF) 11519:(PDF) 11512:(PDF) 11490:(PDF) 11483:(PDF) 11411:(PDF) 11404:(PDF) 11370:S2CID 10711:Books 5489:JSTOR 5160:, BBC 5070:S2CID 4180:JSTOR 3822:1979. 3800:choro 3737:Donga 3729:Donga 3721:Donga 3658:Notes 3570:] 3557:IMMuB 3514:Banjo 3499:Agogô 3476:Cuíca 3470:Ganzá 3458:Surdo 3431:Ganzá 3417:Cuíca 3389:Surdo 3322:] 3302:] 3267:] 3256:] 3237:] 3218:] 3203:] 3135:] 3108:] 3036:Agepê 3000:] 2964:with 2954:surdo 2938:] 2915:Méier 2853:surdo 2837:] 2822:] 2811:] 2776:] 2717:Donga 2686:Agepê 2592:] 2541:] 2514:] 2503:] 2488:] 2452:] 2376:salsa 2372:rumba 2317:blues 2309:bebop 2293:] 2282:] 2271:] 2097:Maysa 1996:Tango 1977:Donga 1944:] 1921:] 1910:] 1862:break 1823:choro 1760:] 1749:] 1654:] 1592:] 1581:Donga 1569:choro 1545:] 1530:] 1519:] 1307:brass 1291:march 1207:surdo 991:lundu 968:Revue 939:] 916:] 893:] 882:Donga 878:] 863:] 856:Sinhô 844:Ciata 820:Saúde 804:Bahia 581:jongo 576:chula 572:lundu 544:Roots 522:baião 458:Bantu 407:choro 403:surdo 399:ganzá 391:cuíca 254:Bahia 217:Samba 94:Bahia 82:bantu 50:Samba 40:Zamba 36:Sambo 15759:Fado 15683:Colá 14806:IMDb 14769:2020 14752:2020 14735:2020 14678:2020 14616:2021 14590:2021 14569:2020 14552:2020 14526:2020 14510:2020 14494:2020 14474:2020 14455:2020 14439:2020 14423:2020 14407:2020 14391:2020 14375:2020 14359:2020 14343:2020 14327:2020 14311:2020 14295:2020 14279:2020 14263:2020 14247:2020 14231:2020 14215:2020 14199:2020 14183:2020 14166:2020 14149:2020 14132:2020 14115:2020 14098:2020 14081:2020 14061:2020 14041:2020 14021:2020 14004:2020 13987:2020 13970:2020 13953:2020 13936:2020 13919:2020 13899:2020 13867:2020 13845:2020 13828:2020 13808:2020 13788:2020 13771:2020 13754:2020 13737:2020 13720:2020 13703:2020 13686:2020 13669:2020 13652:2020 13630:2020 13613:2020 13596:2020 13579:2020 13559:2020 13542:2020 13525:2020 13504:2020 13487:2020 13470:2020 13453:2020 13436:2020 13419:2020 13402:2020 13385:2020 13368:2020 13351:2020 13334:2020 13317:2020 13300:2020 13283:2020 13266:2020 13246:2020 13229:2020 13212:2020 13191:2020 13174:2020 13154:2020 13137:2020 13120:2020 13103:2020 13086:2020 13069:2020 13052:2020 13035:2020 13018:2020 13001:2020 12984:2020 12967:2020 12941:2020 12910:2020 12817:2020 12795:2020 12764:2020 12729:2020 12685:2020 12663:2020 12641:2020 12619:2020 12572:2020 12548:2020 12526:2020 12491:2020 12469:2020 12440:2020 12416:2020 12393:2020 12374:2020 12352:2020 12328:2020 12289:2020 12261:2020 12239:2020 12216:2020 12192:2020 12168:2020 12126:2020 12077:2020 12044:2020 12022:2020 12000:2020 11976:2020 11947:2020 11918:2023 11876:2020 11848:2020 11826:2020 11771:2020 11743:2020 11721:2020 11699:2020 11677:2020 11648:2020 11626:2020 11604:2020 11575:2020 11551:2020 11527:2020 11498:2020 11469:2020 11419:2020 11381:2020 11339:2020 11305:2020 11179:ISBN 11005:ISBN 10919:ISBN 10898:ISBN 10820:2020 10696:2023 6125:ISBN 5481:ISSN 5446:2023 5435:ISSN 5099:2023 5062:ISSN 4964:ISSN 4927:2023 4272:2023 4238:OCLC 4215:OCLC 4205:ISBN 4172:ISSN 4133:ISSN 4028:2023 4015:ISBN 3960:2023 3947:ISBN 3309:and 3287:Lapa 3269:and 3230:Belo 3209:and 3166:and 3078:and 3050:and 3026:and 3006:and 2868:was 2794:and 2755:and 2743:and 2731:and 2723:and 2704:and 2545:MPB4 2543:and 2524:and 2505:and 2374:and 2345:funk 2319:and 2299:and 2215:and 2171:and 2099:and 2075:and 2051:and 2022:and 2012:jazz 1923:and 1806:and 1791:and 1502:and 1489:and 1457:and 1455:Bide 1330:and 1309:and 1268:and 1260:and 1244:and 1230:Bide 981:and 907:and 884:and 822:and 496:and 401:and 252:and 100:and 15795:Goa 15230:Axé 14804:at 14639:doi 12838:doi 12702:doi 12589:doi 12310:doi 12147:doi 12098:doi 12064:doi 11798:hdl 11788:doi 11440:doi 11360:doi 5473:doi 5052:doi 4954:doi 4164:doi 4123:doi 4007:doi 3978:doi 3939:doi 3910:doi 3228:), 2925:em 2678:WEA 2674:EMI 2565:MPB 1671:CBS 1424:or 244:), 38:or 15848:: 15391:pt 15323:pt 15294:pt 15282:pt 14695:15 14689:. 14668:. 14635:52 14633:. 14627:. 13910:. 13799:. 13515:. 12924:. 12886:. 12866:. 12828:. 12778:. 12747:. 12743:. 12719:. 12696:. 12609:. 12583:. 12562:. 12430:. 12342:. 12300:. 12281:22 12275:. 12206:. 12182:. 12155:. 12137:. 12094:20 12088:. 12058:. 11990:. 11906:15 11900:. 11889:15 11859:. 11796:. 11782:. 11763:37 11757:. 11565:. 11541:. 11430:. 11368:. 11356:63 11350:. 11325:. 10686:. 10601:^ 10586:^ 10571:^ 10436:^ 10313:^ 10298:^ 10197:^ 10128:^ 10027:^ 9970:^ 9919:^ 9760:^ 9745:^ 9718:^ 9679:^ 9616:^ 9577:^ 9502:^ 9413:^ 9398:^ 9351:^ 9276:^ 9201:^ 9186:^ 9145:^ 9130:^ 9103:^ 9088:^ 8963:^ 8946:^ 8787:^ 8698:^ 8667:^ 8640:^ 8625:^ 8572:^ 8557:^ 8494:^ 8347:^ 8284:^ 8245:^ 8206:^ 8191:^ 8158:^ 8089:^ 8068:^ 8033:^ 7978:^ 7949:^ 7862:^ 7835:^ 7818:^ 7779:^ 7758:^ 7731:^ 7716:^ 7653:^ 7566:^ 7551:^ 7464:^ 7449:^ 7398:^ 7335:^ 7324:. 7244:^ 7229:^ 7192:^ 7139:^ 7110:^ 7095:^ 6960:^ 6945:^ 6916:^ 6901:^ 6848:^ 6761:^ 6746:^ 6693:^ 6658:^ 6603:^ 6588:^ 6573:^ 6534:^ 6505:^ 6466:^ 6379:^ 6364:^ 6277:^ 6262:^ 6235:^ 6184:^ 6028:^ 6013:^ 5962:^ 5863:^ 5836:^ 5791:^ 5740:^ 5725:^ 5662:^ 5633:^ 5602:^ 5585:^ 5570:^ 5555:^ 5540:^ 5513:^ 5487:. 5479:. 5469:17 5467:. 5463:. 5433:. 5429:. 5405:^ 5378:^ 5351:^ 5288:^ 5273:^ 5258:^ 5243:^ 5228:^ 5197:^ 5178:^ 5119:^ 5090:. 5068:. 5060:. 5042:. 5018:^ 5003:^ 4976:^ 4962:. 4950:24 4948:. 4944:. 4918:. 4895:^ 4880:^ 4865:^ 4850:^ 4835:^ 4804:^ 4787:^ 4770:^ 4753:^ 4724:^ 4697:^ 4682:^ 4655:^ 4640:^ 4625:^ 4610:^ 4595:^ 4578:^ 4561:^ 4532:^ 4517:^ 4502:^ 4487:^ 4470:^ 4447:^ 4420:^ 4397:^ 4382:^ 4361:^ 4346:^ 4331:^ 4316:^ 4258:. 4213:. 4178:. 4170:. 4160:37 4158:. 4154:. 4131:. 4119:18 4117:. 4113:. 4077:^ 4058:^ 4048:. 4044:. 4013:, 4001:, 3945:, 3933:, 3906:24 3904:. 3900:. 3864:^ 3568:pt 3320:pt 3300:pt 3265:pt 3258:, 3254:pt 3235:pt 3216:pt 3205:, 3201:pt 3133:pt 3126:, 3118:, 3114:, 3110:, 3106:pt 3046:, 3042:, 2998:pt 2987:, 2983:, 2936:pt 2835:pt 2824:, 2820:pt 2813:, 2809:pt 2798:. 2786:, 2782:, 2774:pt 2719:, 2700:, 2696:, 2692:, 2688:, 2668:. 2661:LP 2651:, 2647:, 2643:, 2639:, 2635:, 2590:pt 2539:pt 2532:, 2512:pt 2501:pt 2486:pt 2475:, 2471:, 2454:, 2450:pt 2295:, 2291:pt 2284:, 2280:pt 2273:, 2269:pt 2238:, 2219:. 2211:, 2207:, 2199:, 2195:, 2095:, 2091:, 2087:, 2071:, 2067:, 2063:, 2059:, 1987:. 1979:, 1942:pt 1919:pt 1908:pt 1799:. 1762:, 1758:pt 1751:, 1747:pt 1740:, 1736:, 1732:, 1704:, 1652:pt 1590:pt 1583:, 1559:. 1543:pt 1536:, 1528:pt 1521:, 1517:pt 1510:, 1485:, 1481:, 1477:, 1158:. 937:pt 914:pt 903:, 899:, 891:pt 880:, 876:pt 865:, 861:pt 583:. 574:, 489:. 413:. 397:, 393:, 389:, 355:, 347:, 343:, 15170:e 15163:t 15156:v 14886:e 14879:t 14872:v 14771:. 14754:. 14737:. 14680:. 14647:. 14641:: 14618:. 14592:. 14571:. 14554:. 14528:. 14512:. 14496:. 14476:. 14457:. 14441:. 14425:. 14409:. 14393:. 14377:. 14361:. 14345:. 14329:. 14313:. 14297:. 14281:. 14265:. 14249:. 14233:. 14217:. 14201:. 14185:. 14168:. 14151:. 14134:. 14117:. 14100:. 14083:. 14063:. 14043:. 14023:. 14006:. 13989:. 13972:. 13955:. 13938:. 13921:. 13901:. 13869:. 13847:. 13830:. 13810:. 13790:. 13773:. 13756:. 13739:. 13722:. 13705:. 13688:. 13671:. 13654:. 13632:. 13615:. 13598:. 13581:. 13561:. 13544:. 13527:. 13506:. 13489:. 13472:. 13455:. 13438:. 13421:. 13404:. 13387:. 13370:. 13353:. 13336:. 13319:. 13302:. 13285:. 13268:. 13248:. 13231:. 13214:. 13193:. 13176:. 13156:. 13139:. 13122:. 13105:. 13088:. 13071:. 13054:. 13037:. 13020:. 13003:. 12986:. 12969:. 12943:. 12912:. 12872:3 12855:1 12844:. 12840:: 12834:3 12819:. 12797:. 12766:. 12749:2 12731:. 12710:. 12704:: 12687:. 12665:. 12643:. 12621:. 12597:. 12591:: 12574:. 12550:. 12528:. 12504:6 12493:. 12471:. 12442:. 12418:. 12395:. 12376:. 12354:. 12330:. 12312:: 12306:1 12291:. 12263:. 12241:. 12218:. 12194:. 12170:. 12149:: 12143:1 12128:. 12106:. 12100:: 12079:. 12066:: 12046:. 12024:. 12002:. 11978:. 11949:. 11920:. 11878:. 11850:. 11828:. 11806:. 11800:: 11790:: 11773:. 11745:. 11723:. 11701:. 11679:. 11650:. 11628:. 11606:. 11577:. 11553:. 11529:. 11500:. 11471:. 11448:. 11442:: 11436:4 11421:. 11383:. 11362:: 11341:. 11331:7 11307:. 11187:. 11013:. 10927:. 10906:. 10822:. 10698:. 10673:. 10637:. 10625:. 10596:. 10566:. 10554:. 10542:. 10530:. 10518:. 10494:. 10482:. 10470:. 10458:. 10446:. 10335:. 10269:. 10209:. 10192:. 10180:. 10168:. 10123:. 10051:. 10039:. 9929:. 9914:. 9890:. 9878:. 9866:. 9854:. 9818:. 9794:. 9782:. 9755:. 9740:. 9662:. 9638:. 9626:. 9485:. 9473:. 9461:. 9393:. 9381:. 9259:. 9247:. 9196:. 9181:. 9125:. 8941:. 8929:. 8917:. 8881:. 8782:. 8770:. 8758:. 8746:. 8734:. 8722:. 8693:. 8681:. 8662:. 8650:. 8635:. 8620:. 8540:. 8528:. 8105:. 8016:. 7932:. 7896:. 7534:. 7522:. 7357:. 7256:. 7239:. 7163:. 7151:. 7066:. 7030:. 6911:. 6843:. 6795:. 6131:. 5885:. 5873:. 5831:. 5819:. 5807:. 5628:. 5495:. 5475:: 5448:. 5283:. 5268:. 5238:. 5211:. 5173:. 5114:. 5101:. 5076:. 5054:: 5048:8 5028:. 5013:. 4998:. 4970:. 4956:: 4929:. 4274:. 4244:. 4221:. 4186:. 4166:: 4139:. 4125:: 4050:2 4009:: 3986:. 3980:: 3941:: 3912:: 3347:4 1837:" 1289:" 1187:. 764:. 536:" 466:c 452:. 371:4 240:( 219:( 42:. 31:.

Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.

Index