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The Garland Handbook Of Latin American Music

The Garland Handbook Of Latin American Music. Part Three: Nations and Musical Traditions, South America, Brazil, Central and Southern Areas. Cultural Heritage. Pre-Colombian Little known of musical traditions

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The Garland Handbook Of Latin American Music

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  1. The Garland Handbook Of Latin American Music Part Three: Nations and Musical Traditions, South America, Brazil, Central and Southern Areas

  2. Cultural Heritage • Pre-Colombian • Little known of musical traditions • Existing written accounts reflect biased perspective of European missionaries, chroniclers • European • Roman Catholic Church • Condition of Church in Brazil impacted social organization, religious, and musical activities, and development of Christianity in Central and Southern Brazil • Christian festivities primary context for socializing, music making • Jesuit missionaries greatly impacted local indigenous musical traditions

  3. Musical Instruments • Common Instruments • Idiophones • Ganzá (shaker) • Rêco-rêco (scraper) • Afoxé (friction rattle) • Agogô (double bell) • Membranophones • Pandeiro (tambourine) • Caixa (medium, double-headed drum with or without snare) • Tamborim (small, single-headed frame drum) • Repique, or Repinique (medium size single-headed drum) • Atabaque (conical drum) • Surdo (bass drum)

  4. Musical Instruments • Common instruments (cont.) • Aerophones • Gaita (acccordion) • Chordophones • Viola (guitar with five single or double course strings) • Violão (guitar) • Cavaquinho (small, four-stringed guitar like instrument) • Bandolim (small mandolin-like instrument) • Rabeca (folk derived violin)

  5. Central and Southern Brazilian Music • Musical development (Colonial period) • Linked with economic and social development of region • Gold and coffee booms • Brought outside influences • Fostered development of urban life • In Rio • Reflected political and musical influence of Portugal (and Europe in general) • Centered around the Church • Provided context for first known Brazilian musical forms • Lundu and Modinha (attributed to Domingos Caldas Barbosa—1739-1800)

  6. Contemporary Brazilian Music • Contexts and genres • Reflect processes of inter-cultural interaction (as elsewhere in the Americas), as well as distinct character of region • Rural genres and contexts • Associated with religious events (popular) • i.e., the saint Gonçalo dance, folias de reis, and ternos • The music and its use generally reflect function and meaning of event (i.e., the toadas used by folias de reis and saint Gonçalo dance) • Urban genres and contexts • Previously reflected class distinctions • Samba—once marginalized, now emblematic of Brazilian culture • Development reflects social, economic, political events and developments • Contemporary genres include bossa nova and Brazilian popular music (MPB)

  7. Contemporary Brazilian Music • Music among rural immigrant communities in Brazilian urban centers • Serves as means of mediating experience of immigration, creating solidarity, and expressing particular identity and values • How does this relate to other immigrant communities in Latin America? • (See also Music of Immigrant Groups, pp. 90-99)

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