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Contemporary Carioca: Technologies of Mixing in a Brazilian Music Scene

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Contemporary Carioca: Technologies of Mixing in a Brazilian Music Scene Cover

 

Synopses & Reviews

Publisher Comments:

In 1998 the journalist Mário Marques coined the music made by a group of musicians based mostly in the middle-class neighborhoods of Rio de Janeiro’s South Zone música popular carioca (MPC). The designation riffed on música popular brasileira (MPB), a label associated with major figures of urban Brazilian popular song from the mid–1960s through the 1970s. At the same time, it incorporated the term “Carioca,” a reference to someone or something from Rio. In Contemporary Carioca, the ethnomusicologist Frederick Moehn focuses on a small but influential cohort of MPC artists: Marcos Suzano, Lenine, Pedro Luís, Fernanda Abreu, and Paulinho Moska. Moehn spent many hours in recording studios and he interviewed musicians, producers, audio engineers, and industry personnel. Those conversations illuminate the inseparability of race, gender, class, place, national identity, and expressive practice in the MPC scene, and their entanglement in local discourses about technology and the aesthetics of mixture. Moehn emphasizes that musical mixture is not only intertwined with nationalist discourses of miscegenation but also with ideas about being middle-class in liberalizing Brazil. Contemporary Carioca introduces a generation of musicians who have revised key Brazilian genres, such as samba and maracatu, while adapting international influences such as rock, techno, and funk to local culture.

Synopsis:

Musica popular brasileira (MSB) emerged in Brazil in the mid-1970s. This popular genre has not received the critical attention in the U.S. given to its predecessors: samba, bossa nova, and tropicalia. This collection forms portraits of these stars and offers insights into their concern to balance Brazilian and foreign elements in their music.

Synopsis:

The ethnomusicologist Frederick Moehn introduces a generation of Rio-based musicians who build on the mand#250;sica popular brasileira (MPB) of previous decades, but who have yet to receive scholarly attention. This generation, the "children of the dictatorship," reinvigorated Brazilian genres such as samba and maracatu through juxtaposition with international influences, including rock, techno, and funk. Moehn offers vivid depictions of Rio musicians as they creatively combine and reconcile local realities with global trends and exigencies.

Synopsis:

Brazilian popular music is widely celebrated for its inventive amalgams of styles and sounds. Cariocas, native residents of Rio de Janeiro, think of their city as particularly conducive to musical mixture, given its history as a hub of Brazilian media and culture. In Contemporary Carioca, the ethnomusicologist Frederick Moehn introduces a generation of Rio-based musicians who collaboratively have reinvigorated Brazilian genres, such as samba and maracatu, through juxtaposition with international influences, including rock, techno, and funk. Moehn highlights the creativity of individual artists, including Marcos Suzano, Lenine, Pedro Luandiacute;s, Fernanda Abreu, and Paulinho Moska. He describes how these artists manage their careers, having reclaimed some control from record labels. Examining the specific meanings that their fusions have in the Carioca scene, he explains that musical mixture is not only intertwined with nationalist discourses of miscegenation, but also with the experience of being middle-class in a country confronting neoliberal models of globalization. At the same time, he illuminates the inseparability of race, gender, class, place, national identity, technology, and expressive practice in Carioca music and its making. Moehn offers vivid depictions of Rio musicians as they creatively combine and reconcile local realities with global trends and exigencies.

About the Author

Frederick Moehn is a Research Associate at the Institute for Ethnomusicology–Music and Dance of the Universidade Nova de Lisboa in Portugal.

Table of Contents

List of Illustrations ix

Preface xi

Acknowledgments xxiii

Introduction 1

1. Marcos Suzano: A Carioca Blade Runner 25

2. Lenine: Pernambuco Speaking to the World 55

3. Pedro Luand#237;s and the Wall: Tupy Astronauts 92

4. Fernanda Abreu, Garota Carioca 130

5. Paulinho Moska: Difference and Repetition 167

6. On Cannibals and Chameleons 204

Appendix 1: About the Interviews, with a List of Interviews Cited 211

Appendix 2: Introductory Aspects of Marcos Suzano's Pandeiro Method 215

Notes 219

References 245

Discography 267

Index 269

Product Details

ISBN:
9780822351559
Author:
Moehn, Frederick
Publisher:
Duke University Press
Subject:
Salsa
Subject:
anthropology;cultural anthropology
Subject:
MUSIC / Ethnomusicology
Copyright:
Edition Description:
Trade Paper
Publication Date:
20120431
Binding:
TRADE PAPER
Language:
English
Illustrations:
16 photographs, 1 map
Pages:
320
Dimensions:
9.25 x 6 in

Related Subjects

Arts and Entertainment » Music » Ethnomusicology
Arts and Entertainment » Music » Genres and Styles » Latin
Arts and Entertainment » Music » Latin America
Arts and Entertainment » Music » Recording Techniques
Arts and Entertainment » Music » World Music
Business » General
History and Social Science » Anthropology » Cultural Anthropology
History and Social Science » World History » South America

Contemporary Carioca: Technologies of Mixing in a Brazilian Music Scene New Trade Paper
0 stars - 0 reviews
$26.25 In Stock
Product details 320 pages Duke University Press - English 9780822351559 Reviews:
"Synopsis" by ,
Musica popular brasileira (MSB) emerged in Brazil in the mid-1970s. This popular genre has not received the critical attention in the U.S. given to its predecessors: samba, bossa nova, and tropicalia. This collection forms portraits of these stars and offers insights into their concern to balance Brazilian and foreign elements in their music.
"Synopsis" by ,
The ethnomusicologist Frederick Moehn introduces a generation of Rio-based musicians who build on the mand#250;sica popular brasileira (MPB) of previous decades, but who have yet to receive scholarly attention. This generation, the "children of the dictatorship," reinvigorated Brazilian genres such as samba and maracatu through juxtaposition with international influences, including rock, techno, and funk. Moehn offers vivid depictions of Rio musicians as they creatively combine and reconcile local realities with global trends and exigencies.
"Synopsis" by ,
Brazilian popular music is widely celebrated for its inventive amalgams of styles and sounds. Cariocas, native residents of Rio de Janeiro, think of their city as particularly conducive to musical mixture, given its history as a hub of Brazilian media and culture. In Contemporary Carioca, the ethnomusicologist Frederick Moehn introduces a generation of Rio-based musicians who collaboratively have reinvigorated Brazilian genres, such as samba and maracatu, through juxtaposition with international influences, including rock, techno, and funk. Moehn highlights the creativity of individual artists, including Marcos Suzano, Lenine, Pedro Luandiacute;s, Fernanda Abreu, and Paulinho Moska. He describes how these artists manage their careers, having reclaimed some control from record labels. Examining the specific meanings that their fusions have in the Carioca scene, he explains that musical mixture is not only intertwined with nationalist discourses of miscegenation, but also with the experience of being middle-class in a country confronting neoliberal models of globalization. At the same time, he illuminates the inseparability of race, gender, class, place, national identity, technology, and expressive practice in Carioca music and its making. Moehn offers vivid depictions of Rio musicians as they creatively combine and reconcile local realities with global trends and exigencies.
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