Brazilian Music

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Track 1: Amor maior - Higher Love (starts
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Brazilian music & best of Brazil music. A relaxing collection of Brazilian jazz music and Brasil music. This original Brazilian music collection is a musical expression of love for tropic shores and natural surroundings. Perfect for lunch or dinner parties or just chilling out.

Featured in the Brazilian collection are:

Track 1: Amor maior - Higher Love (starts at 00:00 )
Track 2: Exuberante - Bountiful (starts at 02:42 )
Track 3: By Your Side (starts at 07:54 )
Track 4: Perto de você - Close to you (starts at 10:53 )
Track 5: Endless Summer - Extended Edition (starts at 16:46 )
Track 6: Glide with me (starts at 37:43 )
Track 7: A glória do amor - Glory of love (starts at 40:43 )
Track 8: Halos of Eternity (starts at 46:28 )
Track 9: Apaixonado por Ipanema - In love with Ipanema (starts at 49:29 )
Track 10: Ipanema à noite - Ipanema by night (starts at 54:17 )
Track 11: Apenas um sonho - Just a dream (starts at 59:02 )
Track 12: Luar sobre o mar - Moonlight Over The Sea (starts at 01:03:01 )
Track 13: Memoir of Summer (starts at 01:06:08 )
Track 14: Oh meu doce Rio - Oh My Sweet Rio (starts at 01:09:02 )
Track 15: Mais uma vez - One more time (starts at 01:12:43 )
Track 16: Uma noite no céu - One night in heaven (starts at 1:18:35 )
Track 17: Paradise in Fernando de Noronha (starts at 01:22:58 )
Track 18: Pathway To Haven (starts at 01:28:03 )
Track 19: Rejubilar - Rejoice (starts at 01:33:35 )
Track 20: Sacopenapã / Copacabana (starts at 01:36:19 )
Track 21: Sons da floresta - Sounds Of Forest (starts at 01:39:20 )
Track 22: Starry Nights (starts at 01:42:42 )
Track 23: Sussurros do mar- Whispers of sea (starts at 01:45:55 )
Track 24: Uma noite para recordar - A Night To Remember (starts at 01:48:58 )
Track 25: Sweet Lullaby (stars at 01:52:03 )

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From Wikipedia, the free encyclopedia
"Urubu Malandro", recorded in 1930 by Pixinguinha in the flute
Choro "Harmonia Selvagem" composed by Dante Santoro. Recorded by Dante Santoro (flute) in 1938.
"Atraente", composed by Chiquinha Gonzaga, recorded by Pixinguinha (saxophone) and Benedito Lacerda (flute).
Carmen Miranda and Mário Reis, released in 1934


^ "Prêmio Shell de Música – Shell Brasil" . Archived from the original on 24 February 2014 . Retrieved 13 February 2014 .

^ Olsen, D.A.; Sheehy, D.E. (1998). Brazil:Central and Southern Areas in Garland Encyclopedia of World Music Volume 2 (digital) . Retrieved from Music Online: The Garland Encyclopedia of World Music database: Routledge. ISBN 0415994047 .

^ apud Padre Noel Berthold, in: "Trevisan, Armindo", in A Escultura dos Sete Povos . Brasília: Editora Movimento / Instituto Nacional do Livro, 1978. (Portuguese)

^ Mariz, Vasco. História da Música no Brasil . Rio de Janeiro: Nova Fronteira, 2005. 6ª ed. (Portuguese)

^ Castagna, Paulo. Encarte do CD Gabriel Fernandes da Trindade – Duetos Concertantes . São Paulo: Paulus, 1995. (Portuguese)

^ Music . Fmpsd.ab.ca. Retrieved on 23 November 2011. Archived 10 March 2005 at the Wayback Machine

^ Childhood Secrets * . bn.br

^ Ernesto Nazareth – Rei do Choro . Chiquinhagonzaga.com. Retrieved on 23 November 2011.

^ "Polkas and Tangos" . Archived from the original on 29 May 2007 . Retrieved 29 May 2007 .

^ Livingston-Isenhour, T.; Garcia, T. G. C. (2005). Choro: A Social History of a Brazilian Popular Music . Bloomington, Indiana: Indiana University Press. ISBN 0253345413 .

^ A nação das cantoras . Veja.abril.com.br. Retrieved on 23 November 2011.

^ Butler, Rhett (15 September 2001). "Best Bands: And Our Winners Are" . Time . Archived from the original on 12 December 2007.

^ Jeffries, Vincent. "Progress of Decadence > Review" . Allmusic . Macrovision . Retrieved 12 April 2009 . One of the best-known, if not the premier, metal bands in Brazil, Overdose had actually released several discs during the eight years prior to Progress of Decadence —the group's first record to receive international distribution.

^ Jeffries, Vincent. "Circus of Death > Review" . Allmusic . Macrovision . Retrieved 12 April 2009 . On 1999's Circus of Death , Brazil's second most famous metal band try again to emerge from beneath the shadow of Sepultura with their neo-prog thrash.

^ Rivadavia, Eduardo. "Attomica > Biography" . Allmusic . Macrovision . Retrieved 12 April 2009 . Arriving in stores in 1991, the LP's [the band's third album, Disturbing the Noise ] "ultra-speed" style cemented Attomica's standing as one of Brazil's top thrash acts; the promo clip for single "Deathraiser" was showcased on several TV video shows, including the Brazilian MTV affiliate.

^ "Maior banda de metal do mundo", Massacration anuncia turnê pelo Brasil

^ Massacration: Tosco, politicamente incorreto e absurdamente engraçado

^ 27 bandas nacionais com mulheres na formação

^ Após Rock in Rio, Nervosa é confirmada no Wacken, icônico festival de metal

^ Cangaço: banda pernambucana vence Wacken Metal Battle 2010

^ Jump up to: a b "Funk Carioca" . Sheepish.org . Retrieved 24 February 2014 .

^ Jump up to: a b Béhague, Gerard (2006). "Rap, Reggae, Rock, or Samba: The Local and the Global in Brazilian Popular Music (1985–95)". Latin American Music Review . 27 (1): 79–90. doi : 10.1353/lat.2006.0021 . JSTOR 4121698 . S2CID 191430137 .

^ https://www.bbc.co.uk/programmes/articles/4Cqlsz10pzqT4Yrqk9CfDf5/class-of-2018-are-these-the-pop-icons-of-the-future

^ Sansone, Livio (2002). "The Localization of Global Funk in Bahia and Rio" . In Perrone, Charles A.; Dunn, Christopher (eds.). Brazilian Popular Music & Globalization . London: Routledge. pp. 135–160 . ISBN 0415936950 .

^ "The rhymes by African-Americans get a translation" . Archived from the original on 9 May 2009 . Retrieved 9 May 2009 . CS1 maint: bot: original URL status unknown ( link )

^ Funk Carioca: The Beat Goes On

^ Gates, Henry Louis (2011). Black in Latin America . New York: New York University Press. p. 219. ISBN 9780814738184 . OCLC 692291843 .

^ Staff (11 January 2017). "Brazilian Bass: Learn More About This Genre of Music" . WIDE FUTURE . Retrieved 7 February 2021 .



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The music of Brazil encompasses various regional musical styles influenced by African, American, European and Amerindian forms. Brazilian music developed some unique and original styles such as forró , repente , coco de roda , axé , sertanejo , samba , bossa nova , MPB , música nativista , pagode , tropicália , choro , maracatu , embolada (coco de repente), frevo , brega , Brazilian funk , modinha and Brazilian versions of foreign musical styles, such as rock, soul , hip-hop , disco music , country music , ambient , industrial and psychedelic music, rap , classical music, fado , and gospel .

Samba has become the best form of Brazilian music worldwide, especially because of the country's carnival , although bossa nova , which had Antônio Carlos Jobim as one of its most acclaimed composers and performers, have received much attention abroad since the 1950s, when the song " Desafinado ", interpreted by João Gilberto , was first released.

The first four winners of the Shell Brazilian Music prize [1] have each left a legacy on Brazilian music and are among the representatives of Brazilian popular music: Pixinguinha (choro), Antônio Carlos Jobim (bossa nova), Dorival Caymmi (samba and samba-canção).

Instrumental music is also largely practiced in Brazil, with styles ranging from classical to popular and jazz influenced forms. Among the later, Naná Vasconcelos , Pixinguinha , Hermeto Pascoal and Egberto Gismonti are significant figures. Notable classical composers include Heitor Villa-Lobos , Carlos Gomes and Cláudio Santoro . The country also has a growing community of modern/experimental composition, including electroacoustic music .

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. [2]

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. [3] The indigenous people also took part in the music, with both the construction of musical instruments and practice of vocal and instrumental performance.

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. [4]

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.

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, [5] 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 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 .

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.
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