Brazilian Bass Music

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Bass Live /// Brazilian Bass Music Live Mix
Brazilian Bass Music 2021 : Vintage Culture , Alok , Cat Dealers & Dubdogz
Rock Pop Classics | Brazilian Bass Music Remix
R&B, Rap & Hip-Hop | Brazilian Bass Music Remix
EDM , Progressive House & Electro House classics | Brazilian Bass Music Remix
Pop Music | Brazilian Bass Music Remix

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Flypside - Someday (Flowavez Remix)
Gnarls Barkley - Crazy ( DiPER Remix )
Corinne Bailey Rae - Put Your Records On (Carol Fávero Remix)
Bbno$ & Y2k - Lalala (Gabe Pereira Remix)
CEVITH, Bernax, Deki - One World (Club Mix)
David Guetta ft SIA - Titanium (Cat Dealers & Felguk Remix) [Full Version]
https://www.youtube.com/channel/UChc0j9Sm6c_zhCs4hN8Se3w
Roveda - Your Eyes
Просмотров: 8,8 тыс. · 2 …
Rednod - Into You Now (Lyrics)
Просмотров: 8 тыс. · 4 нед. …
https://m.youtube.com/watch?v=QMsGEo1V7rY
Перевести · 19.07.2019 · Brazilian Bass Mix 2019 | #1 | The Best of Brazilian Bass 2019 by Adrian Noble. Watch later.
https://m.soundcloud.com/brazilianbassmusicoff
Перевести · Welcome to Brazilian Bass Music, based on the beautiful and positive taste of bass culture Please send your demo submissions and business inquiries to BrazilianBassMusic@outlook.com. Brazilian Bass Music’s tracks Roveda - Your Eyes (Extended Mix) by Brazilian Bass Music …
https://open.spotify.com/playlist/3R5Clr5b7ahXrtgq4MIvVC
Перевести · Brazilian Bass 2021 - Alok - Vintage Culture - Cat Dealers - Dubdogz - Bhaskar - Vinne - Sevenn By Future House Music Heartbeat Wankelmut , Bhaskar , Diskover , Willemijn May
https://m.youtube.com/watch?v=VPB5oh98OFU
Перевести · 25.09.2017 · Brazilian Bass Music Mix - Bass Boosted by T.E.SFollow Us: https://www.youtube.com/channel/UCq97IjsFqLWJOeGoBLyhDmg?view_as=subscriber …
https://m.youtube.com/watch?v=ieZ4SpKyaAU
Перевести · 26.03.2019 · This Brazilian Bass pack is he... Download Here: https://hypeddit.com/link/55rzix Audentity Records proudly presents its first Brazilian Bass Music sample pack.
https://splice.com/sounds/audentity/audentity-brazilian-bass-music-3
Перевести · Brazilian Bass is a subgenre of House that was pioneered by the likes of Brazilian producer Alok. Other artists of this genre include: Vintage Culture, Tiesto, Sevenn, Shapeless, Vinne, Dynoro and others. Brazilian Bass music …
widefuture.com/2017/01/11/brazilian-bass-learn-more-about-this-genre-of-music
Перевести · 11.01.2017 · After succeeding in Brazil, the Brazilian Bass emerged big time mostly because of the Brazilian DJ and producer, Alok. His solid performance in Tomorrowland Brazil’s main stage, his releases on Spinnin’ Records and Armada Music (Alok and Bruno Martini’s “Hear Me Now” and Alok and Liu’s “All I Want”), and the growth of the label he owns, Up Club ...
https://en.m.wikipedia.org/wiki/Brazilian_Bass
Origins
Little is known of the music of Brazil before the area's first encounter with Portuguese explorers on 22 April 1500. During the colonial period, documents detail the musical activities of the major Roman Catholic cathedrals and the parlors of the upper classes, but data about musical life outside these domains are sparse. Some information is available in writings left by such travellers as Jean de Léry, who lived in Brazil from 1557 to 1558 and produced the first known transcriptions o…
Origins
Little is known of the music of Brazil before the area's first encounter with Portuguese explorers on 22 April 1500. During the colonial period, documents detail the musical activities of the major Roman Catholic cathedrals and the parlors of the upper classes, but data about musical life outside these domains are sparse. Some information is available in writings left by such travellers as Jean de Léry, who lived in Brazil from 1557 to 1558 and produced the first known transcriptions of native American music: two chants of the Tupinambá, near Rio de Janeiro.

Further registration of musical activity in Brazil came from the activities of two Jesuit priests in 1549. Ten years later, they had already founded settlements for indigenous people (the Reduções), with a musical-educational structure.

One century later, the Reduções of the southern Brazil, which were founded by Spaniard Jesuits, had a strong cultural development, where some music schools were founded. Some of the reports of that time show the fascination of the indigenous people for European music. The indigenous people also took part in the music, with both the construction of musical instruments and practice of vocal and instrumental performance.

The 18th-century school
In the 18th century, there was intense musical activity in all the more developed regions of Brazil, with their moderately stable institutional and educational structures. The previously few private orchestras became more common and the churches presented a great variety of music.

In the first half of this century, the most outstanding works were composed by Luís Álvares Pinto, Caetano de Mello de Jesus and Antônio José da Silva ("the Jew"), who became successful in Lisbon writing librettos for comedies, which were performed also in Brazil with music by António Teixeira.

In the second part of the 18th century, there was a great flourishing in Minas Gerais, mostly in the regions of Vila Rica (currently Ouro Preto), Mariana and Arraial do Tejuco (currently Diamantina), where the mining of gold and diamonds for the Portuguese metropolis attracted a sizable population. At this time, the first outstanding Brazilian composers were revealed, most of them mulattoes. The musical pieces were mostly sacred music. Some of the noteworthy composers of this period were Lobo de Mesquita, Manoel Dias de Oliveira, Francisco Gomes da Rocha, Marcos Coelho Neto and Marcos Coelho Neto Filho. All of them were very active, but in many cases few pieces have survived until the present day. Some of the most famous pieces of this period are the Magnificat by Manoel Dias de Oliveira and the Our Lady's Antiphon by Lobo de Mesquita. In the city of Arraial do Tejuco, nowadays Diamantina, there were ten conductors in activity. In Ouro Preto about 250 musicians were active, and in all of the territory of Minas Gerais almost a thousand musicians were active.

With the impoverishment of the mines at the end of the century, the focus of the musical activity changed to other centers, specially Rio de Janeiro and São Paulo, where André da Silva Gomes, a composer of Portuguese origin, released a great number of works and dynamized the musical life of the city.

The Classical period
A crucial factor for the changes in the musical life was the arrival of the Portuguese Royal family to Rio de Janeiro in 1808. Until then, Rio de Janeiro was musically similar to other cultural centers of Brazil but was even less important than Minas Gerais. The presence of the Portuguese Royal family, in exile, radically changed this situation, as the Capela Real of Rio de Janeiro was established.

The king John VI of Portugal brought with him to Brazil the great musical library from the House of Bragança, one of the best of Europe at that time, and ordered the arrival of musicians from Lisbon and the castrati from Italy, re-ordering the Royal Chapel. Later, John VI ordered the construction of a sumptuous theater, called the Royal Theater of São João. The secular music had the presence of Marcos Portugal, who was designated as the official composer of the household, and of Sigismund von Neukomm, who contributed with his own work and brought the works of the Austrian composers Wolfgang Amadeus Mozart and Joseph Haydn. The works of these composers strongly influenced the Brazilian music of this time.

José Maurício Nunes Garcia, the first of the great Brazilian composers, emerged at this time. With a large culture for his origin – he was poor and mulatto – he was one of the founders of the Irmandade de Santa Cecília, in Rio de Janeiro, teacher and mestre de capela of the Royal Chapel during the presence of John VI in Brazil. Nunes Garcia was the most prolific Brazilian composer of this time. He also composed the first opera written in Brazil, Le Due Gemelle (The Two Twins), with text in Italian, but the music is now lost.

Other important composers of this period are Gabriel Fernandes da Trindade, who composed the only Brazilian chamber music from the 19th century which has survived to the present times, and João de Deus de Castro Lobo, who lived in the cities of Mariana and Ouro Preto, which were decadent at this time.

This period, however, was brief. In 1821, John VI went back to Lisbon, taking with him the household, and the cultural life in Rio de Janeiro became empty. And, despite the love of Peter I of Brazil for the music – he was also author of some musical pieces like the Brazilian Independence Anthem – the difficult financial situation didn't allow many luxuries. The conflagration of the Royal Theater in 1824 was another symbol of decadence, which reached the most critical point when Peter I renounced the throne, going back to Portugal.

The Romantic period
The only composer who had a relevant work in this period was Francisco Manuel da Silva, disciple of Nunes Garcia, who succeeded him as kapellmeister. In spite of his few resources, he founded the Musical Conservatory of Rio de Janeiro. He was the author of the Brazilian National Anthem's melody. His work reflected the musical transition for the Romanticism, when the interest of the national composers was focused in the opera. The most outstanding Brazilian composer of this period was Antônio Carlos Gomes, who composed Italian-styled operas with national themes, such as Il Guarany (based on José de Alencar's novel O Guarani) and Lo Schiavo. These operas were very successful in European theaters, like the Teatro alla Scala, in Milan. Other important composer of this time is Elias Álvares Lobo, who wrote the opera A Noite de São João, the first Brazilian opera with text in Portuguese.

The opera in Brazil was very popular until the middle of the 20th century, and many opera houses were built at this time, like Teatro Amazonas in Manaus, Municipal Theater of Rio de Janeiro, Municipal Theater of São Paulo, and many others.

At the end of the 19th century, the greatest composers for the symphonic music were revealed. One of the most outstanding name of this period was Leopoldo Miguez, who followed the Wagnerian style and Henrique Oswald, who incorporated elements of the French Impressionism.

Nationalism
In the beginning of the 20th century, there was a movement for creating an authentically Brazilian music, with less influences of the European culture. In this sense, the folklore was the major font of inspiration for the composers. Some composers like Brasílio Itiberê da Cunha, Luciano Gallet and Alexandre Levy, despite having a European formation, included some typically Brazilian elements in their works. This trend reached the highest point with Alberto Nepomuceno, who used largely the rhythms and melodies from the Brazilian folklore.

An important event, later, was the Modern Art Week, in 1922, which had a large impact on concepts of national art. In this event the composer Heitor Villa-Lobos, regarded as the most outstanding name of the Brazilian nationalism, was revealed.

Villa-Lobos did researches about the musical folklore of Brazil, and mixed elements both from classical and popular music. He explored many musical genres such as concertos, symphonies, modinhas, Fados, and other symphonic, vocal and chamber music. Some of his masterworks are the ballet Uirapuru and the two series of Chôros and Bachianas Brasileiras.

Other composers of Brazilian national music of this era include Oscar Lorenzo Fernández, Radamés Gnattali, Camargo Guarnieri, Osvaldo Lacerda, Francisco Mignone, and Ernesto Nazareth.

The avant-garde movement
As a reaction against the nationalist school, who was identified as "servile" to the centralizing politics of Getúlio Vargas, in 1939 the Movimento Música Viva (Living Music Movement) appeared, led by Hans Joachim Koellreutter and by Egídio de Castro e Silva, defending the adoption of an international style, derived from the dodecaphonism of Arnold Schoenberg. This group was integrated by composers like Cláudio Santoro, César Guerra-Peixe, Eunice Catunda and Edino Krieger. Koellreutter adopted revolutionary methodes, in respect to the individuality of each student and giving to the students the freedom of creativity before the knowledge of the traditional rules for composition. The movement edited a magazine and presented a series of radio programs showing their fundaments and works of contemporary music. Later, Guerra-Peixe and Santoro followed an independent way, centered in the regional music. Other composers, who used freely the previous styles were Marlos Nobre, Almeida Prado, and Armando Albuquerque, who created their own styles.

After 1960, the Brazilian avant-garde movement received a new wave, focusing on serial music, microtonal music, concrete music and electronic music, employing a completely new language. This movement was called Música Nova (New Music) and was led by Gilberto Mendes and Willy Corrêa de Oliveira. An important fact was the introduction of electronic music in Brazil, with the pioneering works of the carioca Jorge Antunes in 1961.

Brazilian Opera
Carlos Gomes was the first composer on non-European origin to achieve wide recognition in the classical music environment of the Golden age of Opera in Italy. Bossa Nova was created as anti-opera in a time when opera seemed to represent the art-form of the elite. [5] In recent years the style has been revived with works by Jorge Antunes, Flo Menezes, and others.

Since 2014 the International Brazilian Opera (IBOC) has been producing new works, most notably by its Artistic Director and resident composer Joao MacDowell.

Contemporary
Nowadays, Brazilian music follows the guidelines of both experimentalism and traditional music. Some of the contemporary Brazilian composers are Amaral Vieira, Sílvio Ferraz, Flo Menezes, Marcos Balter, Alexandre Lunsqui, Rodolfo Caesar, Felipe Lara, Edson Zampronha, Marcus Siqueira, Rodrigo Lima, Jorge Antunes, Roberto Victorio and João MacDowell. From the new generation of Brazilian composers, Caio Facó has achieved international recognition for his work.

Brazil has a large number of internationally recognized orchestras and performers, despite the relatively low support of the government. The most famous Brazilian orchestra is probably the São Paulo State Symphony Orchestra, currently under conductor Thierry Fischer. Other Brazilian orchestras worthy of note are the São Paulo University Symphony, the Orquestra Sinfônica Brasileira, Orquestra Filarmônica de Minas Gerais and the Petrobras Sinfônica, supported by the Brazilian state oil company Petrobras.

There are also regular operas scheduled every year in cities such as São Paulo and Rio de Janeiro. The state of São Paulo also hosts the Winter Festival in the city of Campos do Jordão.

Some of the most famous Brazilian conductors are Roberto Minczuk, John Neschling and Isaac Karabtchevsky. The instrumentalists include, among others: Roberto Szidon, Antonio Meneses, Cussy de Almeida, Gilberto Tinetti, Arnaldo Cohen, Nelson Freire, Eudóxia de Barros, Guiomar Novaes and Magda Tagliaferro. And some of the most famous Brazilian singers were, historically, Zola Amaro, Constantina Araújo and Bidu Sayão; living singers include Eliane Coelho, Kismara Pessatti, Maria Lúcia Godoy, Sebastião Teixeira, and others.

In the 1980s, a wave of Brazilian heavy metal bands gained public attention. The most commercially successful of these was Sepultura, founded in São Paulo in 1983, preceded by Dorsal Atlantica and followed by Sarcofago.

The intrusion of alien elements into Brazil's cultural system is not a destructive process. The return of a democratic government allowed for freedom of expression. The Brazilian music industry opened up to international styles and this has allowed for both foreign and local genres to co-exist and identify people. Each different style relates to the people socially, politically, and economically. "Brazil is a regionally divided country with a rich cultural and musical diversity among states. As such, musicians in the country choose to define their local heritage differently depending on where they come from." This shows how globalization has not robbed Brazil of its identity but instead given it the ability to represent its people both in Brazil and the rest of the world.

In recent years Brazilian artists have become more interested in Africa, the Caribbean and their own indigenous and folk music. While there are some artists who continue to perform rock and Western pop, there are now just as many contemporaries playing a fusion of African and European influences with those from across The Americas. Some artists have even become influenced by Asian music, noticing some parallels between music from the North-East of Brazil and music from India.
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