Relevant bibliographies by topics / Brazilian contemporary music

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Brazilian contemporary music'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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Journal articles on the topic "Brazilian contemporary music"

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Barbosa, Lívia, Letícia Veloso, and Veranise Dubeux. "Music and Youth in Brazilian Contemporary Society." International Review of Social Research 2, no. 1 (2012): 29–46. http://dx.doi.org/10.1515/irsr-2012-0003.

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Abstract: Based on qualitative and quantitative research with 1,080 youth in the Brazilian cities of Rio de Janeiro, São Paulo, and Porto Alegre, this article analyzes the role of music in the constitution of young people's everyday lives. Focusing on how youth obtain, store, and listen to music, as well as on how they describe the presence of music in their lives, we argue that music – facilitated by digital technology – permeates and gives meaning to young people's lives in a way more pervasive than ever before, to the extent that, in their words, it constitutes the ‘soundtrack’ of each indi
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Araujo, Samuel, and Charles A. Perrone. "Masters of Contemporary Brazilian Song." Ethnomusicology 35, no. 2 (1991): 277. http://dx.doi.org/10.2307/924740.

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Saull, Jordan P. "Contemporary Carioca: Technologies of mixing in a Brazilian Music Scene." IASPM@Journal 4 (February 18, 2014): 137–39. http://dx.doi.org/10.5429/2079-3871(2014)v4i1.17en.

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Fairley, Jan. "Masters of Contemporary Brazilian Song MPB 1965–1985." Popular Music 10, no. 2 (1991): 231–37. http://dx.doi.org/10.1017/s0261143000004530.

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Menezes, Flo. "La voie du syncrétisme : sur la musique électroacoustique au Brésil." Circuit 17, no. 2 (2007): 55–64. http://dx.doi.org/10.7202/016839ar.

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This text deals with certain aspects of the birth of electroacoustic music in Brazil, by making links between Brazilian contemporary music and economic, political and social circumstances of the country’s history. After describing the emergence of a cannibalistic movement in Brazilian culture, i.e., of musical nationalism, the author seeks to situate the first attempts in the genre and to shed light on the circumstances surrounding the establishment of the first centre of research and production of electroacoustic music in Brazil: Studio panaroma in São Paulo.
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Olsen, Dale A. "The Music of BrazilMasters of Contemporary Brazilian Song: MPB 1965-1985." Hispanic American Historical Review 70, no. 4 (1990): 679–80. http://dx.doi.org/10.1215/00182168-70.4.679.

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Magaldi, Cristina. "Adopting imports: new images and alliances in Brazilian popular music of the 1990s." Popular Music 18, no. 3 (1999): 309–29. http://dx.doi.org/10.1017/s0261143000008898.

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Anyone visiting Brazil today in search of an idealised ‘Brazilian Sound’ might, at first, be disappointed with the popular music scene. The visitor will soon realise that established musical styles such as bossa nova and MPB (Música Popular Brazileira (Brazilian Popular Music)), with their well-defined roles within the Brazilian social and political scene of the 1960s, 1970s, and early 1980s, have lost their immediate appeal with some contemporary audiences, and especially with Brazilian urban youth. In the 1990s, Brazilian radio and TV are saturated with a variety of new local genres that bor
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Dromey, Christopher. "NEW HORIZONS IN BRAZILIAN CONTEMPORARY MUSIC: GRUPO NOVO HORIZONTE DE SÃO PAULO, 1988–99." Tempo 72, no. 284 (2018): 52–67. http://dx.doi.org/10.1017/s0040298217001267.

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AbstractBrazil's foremost ensemble of the late twentieth century, Grupo Novo Horizonte de São Paulo, transformed Brazilian contemporary music by cultivating a new mixed-chamber repertory and giving sustained support to a generation of emerging composers. That this cosmopolitan group took, then outgrew, the Pierrot ensemble as its cornerstone signals the medium it forged: a localized, evolving spectacle with a richly internationalist heritage. This article offers a panoramic view of the musical, intercultural and historical contexts that underpin Grupo Novo Horizonte's practices and legacy. Ana
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Perrone, Charles A. "From Noigandres to "Milagre da Alegria": The Concrete Poets and Contemporary Brazilian Popular Music." Latin American Music Review / Revista de Música Latinoamericana 6, no. 1 (1985): 58. http://dx.doi.org/10.2307/779965.

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Moore, Tom. "Contemporary Carioca: Technologies of Mixing in a Brazilian Music Scene (review)." Notes 69, no. 2 (2012): 317–19. http://dx.doi.org/10.1353/not.2012.0166.

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Dissertations / Theses on the topic "Brazilian contemporary music"

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Barancoski, Ingrid 1962. "The interaction of Brazilian national identity and contemporary musical language: The stylistic development in selected piano works by Marlos Nobre." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/288735.

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Marlos Nobre (b. Recife, Brazil, 1939) is one of the most prominent Brazilian contemporary composers. He is the recipient of twenty-six national and international awards, and has received commissions from prestigious institutions and organizations. Nobre was influenced by the folk music of Northeast Brazil, where he was born and grew up. A national identity is evident in his music, although the composer does not use familiar patterns from national idioms. The musical texture of his works is filled with rhythmic ostinatos, syncopations, cross-rhythms, and irregular displaced accents inserted in
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Silva, Dario Rodrigues. "A obra pianística de Marisa Resende : processo de construção da performance através da interação entre intérprete e compositora." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/114679.

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O trabalho investiga o processo de construção das performances das obras para piano solo da compositora carioca Marisa Rezende (1944), considerando a interação entre intérprete e compositora. Até o momento, a obra pianística de Marisa Rezende é constituída pelas obras Ressonâncias (1983), Contrastes (2001) e Miragem (2011). Através da documentação de seu processo de construção da performance das obras, das mensagens eletrônicas trocadas com Marisa Rezende, e do material documentado em áudio e vídeo proveniente do trabalho presencial realizado com a compositora, o autor avalia o impacto que ess
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Menezes, Potiguara Curione. "Processos composicionais, usos e concepções de elementos da cultura brasileira em três peças do final do século XX: uma abordagem analítico-comparativa." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-13032013-130354/.

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O intento deste trabalho é investigar e comparar processos composicionais utilizados na música brasileira contemporânea no final do século XX. O período de recorte, de 1980 até 2000, foi escolhido por se situar após a dissolução da principal oposição ideológica vivida no século passado, a querela nacionalismo versus vanguarda. Como objeto de estudo, foram tomadas três peças de compositores atuais das mais variadas tendências: Ginga (1994), de Marisa Rezende - para flauta, clarineta, fagote, violoncelo, trombone, contrabaixo e piano; Diálogos (1988), de Rodolfo Coelho de Souza - para marimba e
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Ramos, Pamela Daiany dos Santos. "A colaboração compositor-intérprete na construção de uma interpretação para a peça Round about Debussy de Flávio Oliveira." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/97735.

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Este trabalho concentra-se na colaboração com o compositor Flávio Oliveira durante o processo de construção de uma interpretação para Round about Debussy. A autora discute os limites da notação musical no contexto do estilo do compositor, focalizando os elementos estilísticos que escapam a notação musical. Apoiada por material documentado em áudio/vídeo coletados nos encontros com o compositor, bem como uma entrevista semiestruturada com Oliveira, a autora apresenta e discute exemplos à luz das observações e sugestões feitas pelo compositor.<br>This dissertation focuses on the collaboration wi
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PAVAN, Beatriz Carneiro. "O cravo na música de Câmera contemporânea brasileira." Universidade Federal de Goiás, 2009. http://repositorio.bc.ufg.br/tede/handle/tde/2721.

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Made available in DSpace on 2014-07-29T16:25:14Z (GMT). No. of bitstreams: 1 PRELIMINARES.pdf: 24591 bytes, checksum: b9b5fb200776da574fa28d6a5495fbb7 (MD5) Previous issue date: 2009-03-30<br>This work discusses the role of the harpsichord in Brazilian contemporary music particularly in chamber music. After a brief contextualization of harpsichord in Brazilian chamber music, the work develops in five main parts, namely: part 1 a description of the harpsichord since its origins in the monochord of Pythagoras until the models constructed in present time; part 2 the harpsichord s mechanism
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Aguiar, Beatriz Alessio de. "Os sete estudos para piano de Gilberto Mendes." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-05072009-222040/.

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O presente trabalho aborda os 7 Estudos para piano de Gilberto Mendes, utilizando a análise voltada para questões interpretativas. Ao conjugar esse objetivo com o de registrar as técnicas composicionais utilizadas, procuramos relacioná-los com algumas obras anteriores buscando, assim, um maior entendimento da linguagem deste que é considerado um dos maiores compositores brasileiros da atualidade. Reunido esse grupo de obras, e observando-as segundo esses critérios, procuramos elaborar um trabalho que possa servir de incentivo a posteriores pesquisas sobre Mendes e o repertório brasileiro conte
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Rahmeier, Pieter. "Suíte para Violão de Ernst Mahle: uma edição crítica e de performace." Universidade Federal de Goiás, 2014. http://repositorio.bc.ufg.br/tede/handle/tede/3067.

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Submitted by Jaqueline Silva (jtas29@gmail.com) on 2014-09-15T20:41:09Z No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Pieter Rahmeier.pdf: 12711400 bytes, checksum: a3b6201c9b1893bc5d066c80b62aa70a (MD5)<br>Approved for entry into archive by Jaqueline Silva (jtas29@gmail.com) on 2014-09-15T20:41:20Z (GMT) No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Pieter Rahmeier.pdf: 12711400 bytes, checksum: a3b6201c9b1893bc5d066c80b62aa70a (MD5)<br>Made available in DSpace on 2014-09-15T20:41:20Z (GMT
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Silva, Ederson Jose Urias Fernandes da. "Três sonatas contemporâneas brasileiras para piano: estudo analítico-interpretativo das sonatas de Marlos Nobre, João Guilherme Ripper e Roberto Victório." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-16022011-114551/.

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A presente dissertação tem o objetivo de demonstrar o uso da forma sonata por compositores brasileiros vivos. Inicialmente, será feita uma breve revisão bibliográfica do histórico de transformações pelo qual a forma sonata e também dos principais acontecimentos musicais do século XX no Brasil. Em seguida, serão analisadas sonatas de três compositores brasileiros (Marlos Nobre, João Guilherme Ripper e Roberto Victorio) e também peças de estrutura semelhante às delas (a Sonata em Si Menor de Liszt, a Sonata de Alban Berg e a peça Vattan de Roberto Victorio). Finalmente, serão dadas sugestões de
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Melo, Webert Guiduci de. "O que será que será... a visão do Brasil no projeto literário de Chico Buarque de Hollanda." Universidade Federal de Juiz de Fora, 2013. https://repositorio.ufjf.br/jspui/handle/ufjf/1169.

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Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-04-08T18:16:07Z No. of bitstreams: 1 webertguiducidemelo.pdf: 793120 bytes, checksum: d9e5aa0c6430c9d9f143393d73e4e8f4 (MD5)<br>Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-04-24T03:39:33Z (GMT) No. of bitstreams: 1 webertguiducidemelo.pdf: 793120 bytes, checksum: d9e5aa0c6430c9d9f143393d73e4e8f4 (MD5)<br>Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-04-24T03:39:45Z (GMT) No. of bitstreams: 1 webertguiducidemelo.pdf: 793120 bytes, checksum: d9
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Lovaglio, Vânia Carvalho. "Música Contemporânea em Minas Gerais: os Encontros de Compositores Latino-americanos de Belo Horizonte (1986-2002)." Universidade Federal de Uberlândia, 2010. https://repositorio.ufu.br/handle/123456789/16284.

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The aim of this work is to understand the historic process which achieved the construction of the Latin American contemporary music movement in Belo Horizonte, more specifically, the Latin American Composer s Gatherings of Belo Horizonte, held in the years 1986-1988-1992-2002 sponsored by the Fundação de Educação Artística. It was also possible to get knowledge of their artistic cultural programs (works, composers, performers) in which one can found included the production of Brazilian music and music of Minas Gerais, as well as the theoretical questions presented in form of Thematic Panels. A
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Books on the topic "Brazilian contemporary music"

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Rego, Enylton José de Sá. MPB, contemporary Brazilian popular music. Latin American Institute, University of New Mexico, 1985.

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Masters of contemporary Brazilian song. University of Texas Press, 1989.

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Perrone, Charles A. Masters of contemporary Brazilian song: MPB, 1965-1985. University of Texas Press, 1988.

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Contemporary Carioca: Technologies of mixing in a Brazilian music scene. Duke University Press, 2012.

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McGowan, Chris. The Brazilian sound: Samba, bossa nova, and the popular music of Brazil. Temple University Press, 1998.

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Ricardo, Pessanha, ed. The Brazilian sound: Samba, bossa nova, and the popular music of Brazil. Temple University Press, 1998.

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McGowan, Chris. The Brazilian sound: Samba, bossa nova, and the popular music of Brazil. Temple University Press, 2009.

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Ricardo, Pessanha, ed. The Brazilian sound: Samba, bossa nova, and the popular music of Brazil. Temple University Press, 2009.

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Ricardo, Pessanha, ed. The Brazilian sound: Samba, bossa nova, and the popular music of Brazil. Billboard Books, 1991.

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Masters of Contemporary Brazilian Song: Mpb 1965-1985. Univ of Texas Pr, 1993.

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Book chapters on the topic "Brazilian contemporary music"

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Marques, Jaqueline Soares, and Jusamara Souza. "Musical formation of popular singers in Brazil: A case study with singers who sing in pairs música sertaneja – Brazilian country music." In Contemporary Popular Music Studies. Springer Fachmedien Wiesbaden, 2019. http://dx.doi.org/10.1007/978-3-658-25253-3_19.

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Martins, Maria Lúcia Milléo. "Elizabeth Bishop and Brazilian Popular Music: From Anonymous Sambas to Contemporary Composers." In Elizabeth Bishop and the Music of Literature. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-33180-1_9.

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