Sean Stroud examines how and why Musica Popular Brasileira (MPB) has come to have such a high status, and why the musical tradition (including MPB) within Brazil has been defended with such vigour for so long. He emphasizes the importance of musical nationalism as an underlying ideology to discussions about Brazilian popular music since the 1920s, and the key debate on so-called 'cultural invasion' in Brazil. The roles of those responsible for the construction of the idea of MPB are examined in detail.Stroud analyses the increasingly close relationship that has developed between television and popular music in Brazil with particular reference to the post-1972 televised song festivals. He goes on to consider the impact of the Brazilian record industry in the light of theories of cultural imperialism and globalization and also evaluates governmental intervention relating to popular music in the 1970s. The importance of folklore and tradition in popular music that is present in both Mario de Andrade and Marcus Pereira's efforts to 'musically map' Brazil is clearly emphasized. Stroud contrasts these two projects with Hermano Vianna and Itau Cultural's similar ventures at the end of the twentieth century that took a totally different view of musical 'authenticity' and tradition.Stroud concludes that the defence of musical traditions in Brazil is inextricably bound up with nationalistic sentiments and a desire to protect and preserve. MPB is the musical expression of the Brazilian middle class and has traditionally acted as a cultural icon because it is associated with notions of 'quality' by certain sectors of the media.
Author(s): Sean Stroud
Year: 2008
Language: English
Pages: 222
Contents......Page 6
General Editor’s Preface......Page 8
Acknowledgements......Page 10
Introduction......Page 12
1 Musical Nationalism and the ‘Cultural Invasion’ Debate......Page 20
2 Inventing the Idea of MPB......Page 50
3 Television and Popular Music......Page 76
4 Cultural Imperialism, Globalization, and the Brazilian Record Industry......Page 100
5 The State as Cultural Mediator: The Política Nacional de Cultura, FUNARTE and the Projecto Pixinguinha......Page 122
6 Musical Mapping: Locating and Defending the Regional......Page 142
7 Reconsidering Musical Tradition: Música do Brasil and Rumos Itaú Cultural Música......Page 170
Conclusion......Page 190
Bibliography......Page 198
B......Page 216
C......Page 217
E......Page 218
G......Page 219
M......Page 220
P......Page 222
R......Page 223
S......Page 224
V......Page 225
Z......Page 226
