The Social History of the Brazilian Samba

by Lisa Shaw

Overview

First published in 1999, this volume examines the impact of political, social and cultural developments on the nation’s most popular musical form, samba, in the context of the period 1930-45, one of huge social change in Brazil, with the introduction of industrialization under the authoritarian regime of Getúlio Vargas. She looks at the context in which the songs were written, the life styles and social positions of the composers (sambistas), and their relationship to political and commercial structures.

By studying samba lyrics we can obtain a clear picture of samba lyrics we can obtain a clear picture of samba’s shifting status as it was transformed from the music of working-class blacks and was appropriated by mainstream middle-class culture. The final chapters of the book focus on the lyrics of three influential sambistas: Ataúlfo Alves, Noel Rosa and Ari Barroso, and look at the manner in which their songs both comply with and flout tradition and authority.

Product Details

ISBN-13:	9780429680397
Publisher:	Taylor & Francis
Publication date:	07/25/2019
Series:	Routledge Revivals
Sold by:	Barnes & Noble
Format:	eBook
Pages:	222
File size:	613 KB

About the Author

Lisa Shaw is Reader in Portuguese and Brazilian Studies at the University of Liverpool. She is author of The Social History of the Brazilian Samba (1999), co-author of Popular Cinema in Brazil (2004) and co-editor of Latin American Cinema: Essays on Modernity, Gender and National Identity (2005).

Table of Contents

1. Samba: its Roots and Conventions. 2. The Vargas Regime (1930-45). 3. Samba and the Nascent Music Industry. 4. The Sambas of Ataúlfo Alves (1909-69). 5. The Sambas of Noel Rosa (1910-69). 6. The Sambas of Ari Barroso (1903-64).

Editorial Reviews

The author examines the impact of political, social and cultural developments on the nation's most popular musical form, the samba. She looks at the context in which the songs were written, the life styles and social positions of the composers, and their relationship to political and commercial structures in order to give a picture of samba's shifting status as it was transformed from the music of working-class blacks and was appropriated by mainstream middle-class culture. The final chapters focus on the lyrics of Alves, Rosa, and Barroso, showing how their songs both comply with and flout tradition and authority. Annotation c. Book News, Inc., Portland, OR (booknew.com)

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