Música popular brasileira
Brazilian popular music | |
---|---|
Native name | Música popular brasileira (MPB) |
Stylistic origins | Bossa nova • samba • samba-canção • baião • jazz • rock • Brazilian regional styles |
Cultural origins | Mid-to-late 1960's, Brazil |
Música popular brasileira (Portuguese pronunciation: [ˈmuzikɐ popuˈlaʁ bɾaziˈlejɾɐ], Popular Brazilian Music) or MPB is a trend in post-bossa nova urban popular music in Brazil that revisits typical Brazilian styles such as samba, samba-canção and baião and other Brazilian regional music, combining them with foreign influences, such as jazz and rock.
This movement has produced and is represented by many Brazilian artists, such as
Variations within MPB were the short-lived but influential artistic movement known as tropicália, and the music of samba rock.[1]
MPB songs are in part characterized by their harmonic complexity and their elaborate lyrics, which call back to a connection between Brazil's popular music and
Many of the albums on Rolling Stone Brazil's list of the 100 greatest Brazilian albums fall under the MPB style.[4]
History
MPB, loosely understood as a "style", debuted in the mid-1960s, with the acronym being applied to types of non-electric music that emerged following the beginning, rise and evolution of bossa nova. MPB artists and audiences were largely connected to the intellectual and student population, causing later MPB to be known as "university music."[5][6] Over time, the definition of MPB expanded to include a wider variety of music that was popular in Brazil, including rock music, which was not initially under the umbrella due to its foreign origins.[2][7]
Initial Success
Like bossa nova, MPB was an attempt to produce a "national" Brazilian music that drew from traditional styles. MPB made a considerable impact in the 1960s, thanks largely to several televised music festivals. The beginning of MPB is often associated with
Thanks to an economic boom in Brazil through the 1960s and '70s, an expanding working and middle class had greater access to television, which became a substantial vehicle for the consumption and spread of MPB. Musical showcases such as Festival de Música Popular Brasileira turned out to be a massive success, and the stations
MPB in Telenovelas
Brazilian telenovelas in the early 1970s featured MPB hits by big-name artists of the time such as Elis Regina, Gilberto Gil, and Caetano Veloso among others in the soundtracks of the shows. The telenovelas were huge commercial successes, with CDs of the soundtracks regularly topping sales charts. As time passed and MPB diversified, telenovela soundtracks followed suit, featuring MPB artists but also including newly popular songs considered outside the style, such as rock music and more mainstream pop. Despite concerns at the time about the telenovelas having too large of a role in shaping the Brazilian pop music that became mainstream, they have become one of the only public outlets that still continuously broadcast MPB up to the present day. Because the widespread success of Brazilian telenovelas enabled them to reach an international market, their soundtracks, many of which include MPB songs, have also been commercially successful abroad.[3][2]
MPB after the 1960s
In the wake of increased government censorship on artforms such as music in the early 1970s, artists became much more limited in the music they could produce, and those who refused to conform to the standards set by the law risked exile. As a result, the number of innovative artists and songs that were broadcast dropped, and likewise, the program ratings. However, efforts by television stations as well as record companies for music that met the standard set by the music festivals of the '60s continued, with the television festival Abertura being one such example. While Abertura featured many up-and-coming artists, press commentary rarely considered them to be as good as MPB from the '60s. From this emerged a debate about the role of television in broadcasting song and performance. On one side, some television producers attached a duty to revitalizing the creativity within the Brazilian popular music scene. Critics of this argued that the best of the current creative pool had already been exhausted by the music festivals and that the continuous output of MPB served as a greater detriment to the industry than a benefit. Despite this, attempts by television and record companies at recreating the music festivals of the '60s continued with various programs into the '80s, which was met with only modest success. In the early 2000s, the company IBM organized some Internet-based festivals with votes cast online by the audience rather than by a jury. This fared better than the television attempts two decades before but did not achieve the sweeping success of programs from the 1960s.[7][3][2]
See also
References
- ISBN 978-1846701269.
- ^ ISBN 978-1-107-17576-1.
- ^ a b c d Stroud, Sean; Hawkins, Stan; Burns, Lori (2008). The Defence of Tradition in Brazilian Popular Music: Politics, Culture and the Creation of Música Popular Brasileira. Taylor and Francis Group. pp. 1–109.
- ^ Anexo:Lista dos 100 maiores discos da música brasileira pela Rolling Stone Brasil(in Portuguese)
- ^ UOL, 500 anos de Música brasileira(in Portuguese)
- ^ Performance da música indígena no Brasil (in Portuguese)
- ^ a b Dunn, Christopher; Avelar, Idelber (2011). Brazilian Popular Music and Citizenship. Duke University Press. pp. 64–73.