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Journal articles on the topic 'Sertaneja music'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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1

Reily, Suzel Ana. "Música sertaneja and migrant identity: the stylistic development of a Brazilian genre." Popular Music 11, no. 3 (1992): 337–58. http://dx.doi.org/10.1017/s0261143000005183.

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Música sertaneja could be considered the Brazilian counterpart to American ‘country’ music. What defines the genre is not its rhythmic patterns, which vary considerably, but a performance style involving duplas (duos) singing in parallel thirds to the accompaniment of a guitar and a viola. Having developed out of southeastern traditional genres, it is the popular musical style that most appeals to migrants from these regions now living in the industrial centres of Greater São Paulo. Although today música sertaneja is primarily an urban phenomenon, the style also reaches audiences throughout th

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2

França, Vera Regina Veiga, and Vanrochris Vieira. "Sertanejo universitário: expressão e valores de jovens urbanos no Brasil contemporâneo // Sertanejo universitário: expression and values of urban youths in contemporary Brazil." Contemporânea Revista de Comunicação e Cultura 13, no. 1 (2015): 106. http://dx.doi.org/10.9771/contemporanea.v13i1.13138.

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A migração da música caipira, profundamente enraizada no mundo rural, para o meio urbano, no Brasil, deu origem à música sertaneja. Nos últimos anos, tem surgido uma nova variação deste gênero, o sertanejo universitário, voltado mais especificamente para um público jovem e caracterizado pela mistura melódica e pelo afastamento do cenário e dos valores da tradição rural. As temáticas exploram a importância do dinheiro para garantir conquistas sexuais, o universo das “baladas” (festas noturnas frequentadas pelos jovens), a sensualidade. Tais músicas têm alcançado um estrondoso sucesso de público

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3

Qi, Nan, and Durval Cesetti. "Transformative Music Learning Experiences." Per Musi, no. 39 (September 12, 2019): 1–22. http://dx.doi.org/10.35699/2317-6377.2019.5324.

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This article uses the story of a Chinese immigrant in Brazil and his love of música sertaneja as a starting point to discuss his adaptation to a new society and the way in which his music learning played an important role in this process. Anchored in the ideals of Narrative Inquiry and inspired by Mezirow's Transformative Learning Theory, the article then extrapolates from this unique story to present a broad discussion that includes ideas about music education, immigration, identity, individual and social transformation, empowerment, and self-definition. The article concludes with reflections

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4

Faria, Luciana Carolina Fernandes, and João Pedro Turino Silva. "A MÚSICA SERTANEJA COMO REFLEXO DE TRANSFORMAÇÕES DOS LUGARES DE ESCUTA." Colloquium Socialis 4, no. 1 (2020): 1–8. http://dx.doi.org/10.5747/cs.2020.v04.n1.s085.

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This article aims to analyze and compare Brazilian country music from different decades in order to identify which elements have been preserved, which have changed over time and the possible associations between these transformations and the increase in the urban population. For this, two country songs were selected, one from 1926 and the other from 2028, in order to identify which musical elements have been transformed and which have been preserved over the time and under the influence of the rural exodus process. Through bibliographic research, we found that our country has undergone through

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5

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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6

Dent, Alexander Sebastian. "Cross‐Cultural “Countries”: Covers, Conjuncture, and the Whiff of Nashville inMúsica Sertaneja(Brazilian Commercial Country Music)." Popular Music and Society 28, no. 2 (2005): 207–27. http://dx.doi.org/10.1080/03007760500045345.

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7

Silva, Ricardo Duarte Gomes da. "UM OLHAR FEMININO NA MÚSICA SERTANEJA: ASPECTOS DO DISCURSO E DOS VALORES DO FEMINEJO / A FEMALE GAZE IN BRAZILIAN COUNTRY MUSIC: ASPECTS OF FEMINEJO DISCOURSE AND VALUES." Brazilian Journal of Development 7, no. 2 (2021): 18616–28. http://dx.doi.org/10.34117/bjdv7n2-481.

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8

Menezes, Roniere Silva. "Cantigas de Sagarana na voz de Celso Adolfo." O Eixo e a Roda: Revista de Literatura Brasileira 28, no. 1 (2019): 329–52. http://dx.doi.org/10.17851/2358-9787.28.1.329-352.

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Resumo: Este trabalho tem como intuito discutir o papel das quadras populares presentes no livro Sagarana, de Guimarães Rosa, e refletir a respeito das canções do álbum Remanso de rio largo, de Celso Adolfo. O CD foi criado a partir de cantigas e narrativas do livro. No âmbito literário e musical, os textos ligam-se à vida cotidiana, à memória coletiva, ao imaginário popular, a experiências partilhadas. Revelam, em sua simplicidade, a sabedoria, a sutileza e a força lírica que embasam a expressão artística sertaneja. Ideias de herança, inacabamento e reinvenção contribuem para pensarmos nas cr

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9

Martins, José de Souza. "A música sertaneja entre o pão e o circo." TRAVESSIA - revista do migrante, no. 7 (August 30, 1990): 13–16. http://dx.doi.org/10.48213/travessia.i7.162.

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Alguns equivocos cercam a existencia da chamada musica sertaneja como manifestacao cultural popular, que encerra, alem disso, algumas ciladas politicas. E comum o entendimento de que se trata da mais popular dentre as formas de expressao musical popular. Os divulgadores da musica sertaneja, que sao, geralmente, tambem, os seus manipuladores, costumam insistir na ideia de que se trata da musica brasileira mais genuina. Supoem e, sobretudo, querem fazer supor que se trata de musica autentica, originada do que existe de mais puro na sociedade brasileira, que seria o mundo rural. O engano e comple

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10

Santos, Elizete Ignácio dos. "Modernization and its discontents: discourses on the transformation of caipira into sertanejo music." Vibrant: Virtual Brazilian Anthropology 8, no. 1 (2011): 291–321. http://dx.doi.org/10.1590/s1809-43412011000100011.

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This paper intends to study how three journalists, while writing about caipira and sertanejo music, managed to articulate conceptions of roots and authenticity in support of a genre that would be considered as a genuinely Brazilian one. Throughout each one’s approach, it’s possible to notice an updating of the myth of three races, through different perceptions of brazil’s discovery and colonization present in social imaginary representations and used in the discourses of several intellectuals. Furthermore there is an analysis of their understanding of the transformations undergone by caipira m

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11

Letícia Stori Mendes, Ana, Dayane Priscila Paulis, and Rafael Egidio Leal e Silva. "A REPRESENTAÇÃO DA MULHER EM MÚSICAS FEMININAS DE SERTANEJO UNIVERSITÁRIO: PODEMOS FALAR DE ESTEREÓTIPOS MACHISTAS?" Colloquium Socialis 2, no. 4 (2018): 13–17. http://dx.doi.org/10.5747/cs.2018.v02.n4.s052.

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This work aims to investigate how the culture of machismo materializes in the current society through the manifestations of mass culture as the music of the sertanejo-university style, especially the songs of feminine character, sung and composed by women. Three current songs were reproduced by women of different authors, being: "Amante não tem lar" by Marília Mendonça, "A culpa é dele", also by Marília Mendonça and finally "Quem ensinou fui eu" by Maiaraand Maraisa. It is still verified that the culture of machismo and female objectification is still present in our society and are presented i

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12

Coração, Cláudio Rodrigues, and William David Vieira. "Convergências e apaziguamentos na música pop: quando funk, axé music e sertanejo se encontram na linha evolutiva da MPB // Convergences and appeasement in pop music: when funk, axé music and sertanejo meet each other in the evolutionary line of MPB." Contemporânea Revista de Comunicação e Cultura 18, no. 3 (2021): 69. http://dx.doi.org/10.9771/contemporanea.v18i3.30547.

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Neste artigo, analisamos movimentos de entrada executados por determinados artistas de gêneros e cenas musicais distintos na chamada linha evolutiva da MPB . Tais ocorrências revelam tensões mercadológicas e de representatividade na fonografia brasileira e também o esvaziamento destas. Travamos metodologicamente nossa investigação partindo da concepção de pretensão à legitimidade cultural, acionada aqui como referência à conquista de espaço desses gêneros e cenas. Esclarecem esses movimentos de convergência e apaziguamento das tensões os videoclipes das canções Cheguei Pra Te Amar, com Ivete S

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13

Vaz de Melo, Gabriel Borges, Ana Flávia Machado, and Lucas Resende de Carvalho. "Music consumption in Brazil: an analysis of streaming reproductions." PragMATIZES - Revista Latino-Americana de Estudos em Cultura 10, no. 19 (2020): 141. http://dx.doi.org/10.22409/pragmatizes.v10i19.40565.

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Music is one of the cultural segments that most adapts and innovates, as observed in the recent rise of streaming services. The consumption of digital music has altered the dynamics of the market and the way people enjoy it. The aim of this article is to show trends and tastes of Brazilian individuals, taking into account musical genres. For this purpose, it uses data of playlists collected from the Spotify streaming platform through its API. The results show that genres such as sertanejo universitário and international pop have great national reach. However, other national genres and artists

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14

Godoi Barroso, Bruno, and Fernando Miramontes Forattini. "Brazilian 'Sertaneja'/Countryside Music and the Formation and Expression of Brazilian Rural and Migrant Culture." SSRN Electronic Journal, 2020. http://dx.doi.org/10.2139/ssrn.3737024.

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15

Dias, Saulo Alves, and Juliana Marilia Coli. "Da Rádio Gazeta para o Selo Chantecler." Per Musi, no. 37 (March 26, 2018). http://dx.doi.org/10.35699/2317-6377.2017.5177.

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No ano de 1959, sob a direção do maestro Armando Belardi, diretor artístico da Rádio Gazeta de São Paulo, realizou-se um marco importante para a indústria fonográfica brasileira: a produção para a gravação da ópera Il Guarany de Carlos Gomes, no Teatro Municipal de São Paulo, na íntegra e com elenco brasileiro. Neste trabalho, apresentamos alguns aspectos históricos/sociais da produção e realização desta ópera, partindo de fontes documentais da imprensa escrita e da memória de alguns protagonistas deste processo, que nos traz à tona a engenhosa estratégia mercadológica envolvendo a Rádio/Jorna

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