Sertanejo music
Sertanejo | |
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Stylistic origins |
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Subgenres | |
Sertanejo Raiz or Música Caipira Sertanejo Romântico Sertanejo Universitário Funknejo |
Música sertaneja (Portuguese pronunciation:
Sertanejo songs have been, since the 1990s, the most played music genre on Brazilian radio, constantly topping the Brazilian music charts. Additionally, from 2000 to 2003 and since 2009, música sertaneja albums have been granted a specific category at the Latin Grammy Awards.
Many sertanejo artists are duos, at times formed by siblings, typically singing vocal harmonies, especially major thirds, and employing frequent vibrato. Men have traditionally dominated the scene, although some women such as Paula Fernandes, and Maria Cecília, and Simone & Simaria have achieved mainstream success in the 21st century.
A subgenre, called "sertanejo universitário" (college sertanejo), has developed from the mid-2000s on, consisting of a more stripped-down, acoustic-oriented use of the guitars influenced by Western pop music. It has grown very popular among Brazilian youth nationwide and has dominated the sertanejo scene.
Background
"Sertanejo" is derived from
First era
It was at the end of the 1920s that Brazilian country music as we know it today came into being. It was born from recordings made by journalist and writer Cornélio Pires of "tales" and fragments of traditional songs in the interior of the state of São Paulo in the countryside of Minas Gerais, north and west of Paraná, Goiás and Mato Grosso southeast. At the time of these pioneering recordings, the genre was known as música caipira, whose lyrics evoke the lifestyle of the country man (often in opposition to man's life in the city) and the bucolic beauty of the landscape and romantic countryside (currently this type of composition is classified as "sertanejo de raiz" (roots sertanejo), with emphasized words in daily life and manner of singing). Beyond Cornelio Pires and his "Caipira Gang" stood out in this trend, recording at a later time, duo Mandi and Sorocabinha, Alvarenga and Ranchinho, and Florencio Torres, Tonico and Tinoco, Vieira and Vieirinha, among others, and popular songs like "Sergio Forero", by Cornelio Pires, "Bonde Camarão" by Cornelio Pires and Mariano, "Sertão do Laranjinha" by Pires and Ariovaldo and "Cabocla Teresa", by João Pires and Ariovaldo Pacifico.
Second era
A new phase in the history of sertanejo music began after the Second World War, with the addition of new styles (of duets with various intervals and the mariachi-style), genres (initially guarânia and Paraguayan polka, and later, the Mexican corrido and ranchera) and instruments (such as the accordion and harp). The theme gradually shifted to love and romance, however, a certain autobiographical character was kept.
Some highlights of this era were the duos
Third era
The introduction of the electric guitar and pop music influences by duo
At that time, sertanejo music was usually performed in circuses, rodeos, and AM radio stations. Early as the 1980s, this penetration extended to FM radio and also on television – either in weekly programs on Sunday morning or even making it into soap operas soundtracks or special one-off TV programs.
During the 1980s, there was a mass commercial exploitation of sertanejo, coupled in some cases, to a rereading of international hits and even the Jovem Guarda's. In this new romantic trend of country music countless artists emerged, almost always in pairs, among which, Trio Parada Dura, Chitãozinho & Xororó, Leandro e Leonardo, Zeze Di Camargo e Luciano, Chrystian & Ralf, João Paulo & Daniel, Chico Rey & Parana, João Mineiro and Marciano, Gian and Giovani, Rick & Renner, Gilberto e Gilmar, Alan e Aladim, along with some female singers, such as Roberta Miranda, Aula Miranda and Nalva Aguiar. Some of the successes of this phase are "Fio de Cabelo", by Marciano and Darci Rossi, "Apartmento 37 ", Leo Canhoto, "Pense em Mim, " Douglas in May, "Entre Tapas e Beijos", Nilton Lamas and Antonio Bueno and "Evidências", by Jose Augusto and Paulo Sérgio Valle.
Against this trend of more commercial country music, names like the duo Pena Branca e Xavantinho reappeared, adapting to the language of MPB success of guitars, and new artists emerged like
Fourth era
This section may be confusing or unclear to readers. (July 2020) |
Starts recycling
Sertanejo universitário
Sertanejo universitário | |
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Stylistic origins | |
Cultural origins | Early 2000s, Brazil (Central-West Region) |
Sertanejo Universitário is a Brazilian musical style that comes from a mix of Sertanejo, segments of freestyle with touches of beats coming from arrocha and vanerão. It is considered the third segment in the evolution of música sertaneja, coming after sertanejo raíz and sertanejo romântico, very popular between the decades of the 1980s and 1990s. Simple songs dominate the style, and those sung by two singers of the genre, who are overwhelmingly young and considered "College Kids (Universitario)." Instead of traditional accordions and violins, synthesizers and electric guitars started to be used more frequently in this style of music. This variation differentiates itself from sertanejo as it has more elements of pop, and informal language.[citation needed]
This subgenre is sung, and is more popular with, people attending college, this being the reason behind the name of this variation. This is the style of music played at university parties, like "
This specific style has found favour internationally. Besides the massive success of "
Origins
The style had surged during the middle of the first decade of 2000, through the experience of sertanejo singers that had fused the traditional rhythms with other musical elements. One of the first duos to develop the style were João Bosco and Vinícius. The eruption onto the national scene was in 2005, when the single "Leilão", of the duo César Menotti and Fabiano became a hit.
History
The interaction between the countryside and the cities in the academic sphere contributed to the surge of an individual style. Having violas and guitars disseminated on campuses and student residences, the old sertaneja music ending up joining the violas and guitars with modern instruments such as electric guitars, bass guitars, batteries, brass instruments, and percussion.
The initial result was a new twist to the old and classic sertaneja roots, which over the course of the years starting distancing themselves from their earlier styles, and acquiring their own identity. In this new century the musical influences of the youth in the interior also gradually became mixed with other styles, especially with pop, arrocha, and funk carioca, styles that are predominantly seen in parties organized by university students.
Rocked by great popular appeal among the youth of both sexes, the new segment has won a lot of attention in the media. Simple music and lyrics, dance beats, and refrains that are easily memorized automatically, generating a large "boom" in style, causing it to leave the restricted University environment and spread to radios and festivals all over Brazil. The repercussions and success of the genre is seen as every day new duos and sertanejo groups are on the rise.
Themes
Due to its rise after the second evolution of sertanejo (Romantic Sertanejo), this style does not come with regional lyrics and situations lived by rural people (like in Sertanejo roots). Usually, the lyrics talk about situations that ordinarily occur in the lives of young people, having a strong appeal towards themes of betrayal, drunkenness, ostentation.
Singers and songs
Sertanejo Universitario found young people in their search for growth, bringing focus to music that speaks of love and ballads. Today, new singers emerge as other adopt the style, and every day the genre becomes more and more popular. Examples of this expansion of Sertanejo Universitario is music like
Gusttavo Lima is one of the best known names in Sertanejo Universitario in Brazil.
Stylistic Origins: Sertanejo, Caipira Music, Arrocha, Forro, Brega, Tecnobrega, Pop, Embolada, and Vanerao.
Cultural Context: Interior of the South-East, Center-West, and South of Brazil.
Traditional Instruments:Guitar, Electric Guitar, Country Violin, Twelve-String Guitar, Double Bass (4 or 6 cord), Accordion, Keyboard, Piano, Drums, Percussion and Saxophone
Popularity: In all of Brazil, and in various parts of Europe, Latin America, and the United States.
Derivative forms
- Sertanejo
- Arrocha
Subgenres
- Caipira (or Sertanejo Roots)
- Romantic Sertanejo
- Sertanejo Pop, Sertanejo Arrocha
List of sertanejo artists
(selective, alphabetical order)[3]
(Artists with considerable crossover European and international success indicated with * asterisk)
- Solos
- Cristiano Araújo
- Daniel
- Marília Mendonça
- Alex Ferrari*
- Gusttavo Lima*
- Sérgio Reis
- Leo Rodriguez*
- Luan Santana*
- Paula Fernandes*
- Michel Teló*
- Duos
International sertanejo hits
(selected)
- "Ai Se Eu Te Pego!" by Michel Teló
- "Balada" by Gusttavo Lima
- "Bara Bará Bere Berê" – Three versions by Alex Ferrari, Leo Rodriguez and Michel Teló
- "Eu Quero Tchu, Eu Quero Tcha" by Flavel & Neto
- "Lê Lê Lê" by João Neto & Frederico
See also
- Latin Grammy Award for Best Sertaneja Music Album
- List of Brazilian musicians
- Música sertaneja musicians
- Pagode (music)
References
- ^ Música Sertaneja – Dicionário Cravo Albin da Música Popular Brasileira
- ^ "Música Sertaneja – Dados Artísticos – Dicionário Cravo Albin da Música Popular Brasileira". www.dicionariompb.com.br. Archived from the original on 21 September 2010.
- João Bosco & Vinícius (R$150-180m), Michel Teló (R$150m), Gusttavo Lima (R$150m), Eduardo Costa (R$120m) Archived 20 July 2012 at the Wayback Machine(in Portuguese)
External links
- Música Sertaneja – Dicionário Cravo Albin da Música Popular Brasileira
- Fazenda Country website (on Música sertaneja / Fazenda Country Facebook
- Pantanal Escapes – Music and Culture of Brazil's Pantanal Region (includes links to selected video clips)
- Sertanejo page on 1wxrld.com