African Influences in Brazilian Music Slave Trade 1538
![African Influences in Brazilian Music African Influences in Brazilian Music](https://slidetodoc.com/presentation_image/5df7a599c85815d1b6b8659e79346900/image-1.jpg)
African Influences in Brazilian Music
![Slave Trade • 1538 -1850: approx. 3. 5 million slaves from Ghana, Nigeria, Angola, Slave Trade • 1538 -1850: approx. 3. 5 million slaves from Ghana, Nigeria, Angola,](http://slidetodoc.com/presentation_image/5df7a599c85815d1b6b8659e79346900/image-2.jpg)
Slave Trade • 1538 -1850: approx. 3. 5 million slaves from Ghana, Nigeria, Angola, Congo, Mozambique (incl. Yoruba, Ewe, Fon). • 1850: slave trade abolished • 1871: Law of the Free Womb • 1888: Slavery abolished
![General Characteristics of West African/Afro-Brazilian Music • • • Dense textures Interlock Rhythmic complexity General Characteristics of West African/Afro-Brazilian Music • • • Dense textures Interlock Rhythmic complexity](http://slidetodoc.com/presentation_image/5df7a599c85815d1b6b8659e79346900/image-3.jpg)
General Characteristics of West African/Afro-Brazilian Music • • • Dense textures Interlock Rhythmic complexity (polyrhythm) Open-ended forms Structure based on melodic/rhythmic ostinato patterns • Music as means of communal participation
![Candomblé Candomblé](http://slidetodoc.com/presentation_image/5df7a599c85815d1b6b8659e79346900/image-4.jpg)
Candomblé
![Aspects of Candomblé • Afro-Brazilian religion • Worship of hierarchy of orixás: deities • Aspects of Candomblé • Afro-Brazilian religion • Worship of hierarchy of orixás: deities •](http://slidetodoc.com/presentation_image/5df7a599c85815d1b6b8659e79346900/image-5.jpg)
Aspects of Candomblé • Afro-Brazilian religion • Worship of hierarchy of orixás: deities • Ceremonies: involves dancing, drumming, singing (in Yoruban), to invite orixás to manifest (spirit possession) • Musical characteristics: – – – Call and response Polyrhythms Open-ended forms Specific rhythms for each orixá Hierarchy of drums
![Master Drummer • Candomblé: three drums (atabaque) in hierarchical relationship; directed by master drummer Master Drummer • Candomblé: three drums (atabaque) in hierarchical relationship; directed by master drummer](http://slidetodoc.com/presentation_image/5df7a599c85815d1b6b8659e79346900/image-6.jpg)
Master Drummer • Candomblé: three drums (atabaque) in hierarchical relationship; directed by master drummer • Is oldest male initiate, lead singer, plays any drum he desires; responsible for facilitating spirit possession • Plays improvised patterns against rhythmic ostinato patterns of other drums • Drums considered sacred: “drum baptism”
![Capoeira Afro-Brazilian art form combining music, dance and martial arts Capoeira Afro-Brazilian art form combining music, dance and martial arts](http://slidetodoc.com/presentation_image/5df7a599c85815d1b6b8659e79346900/image-7.jpg)
Capoeira Afro-Brazilian art form combining music, dance and martial arts
![Capoeira • Instruments: – Berimbau: musical bow with shaker – Pandeiro: similar to tambourine, Capoeira • Instruments: – Berimbau: musical bow with shaker – Pandeiro: similar to tambourine,](http://slidetodoc.com/presentation_image/5df7a599c85815d1b6b8659e79346900/image-8.jpg)
Capoeira • Instruments: – Berimbau: musical bow with shaker – Pandeiro: similar to tambourine, played with hands – Atabaque drums: similar to conga drums, played with hands – Agógô: double-headed cowbell, struck with stick
![Roda de Capoeira • Jogar = body play – Ginga = basic movement • Roda de Capoeira • Jogar = body play – Ginga = basic movement •](http://slidetodoc.com/presentation_image/5df7a599c85815d1b6b8659e79346900/image-9.jpg)
Roda de Capoeira • Jogar = body play – Ginga = basic movement • Tocar = musical play – Lead berimbau plays “toques” (rhythmic patterns) – Directs course of the “game” • Brincar = verbal play (improvised song lyrics with stock refrains) • Malícia=cunning, trickery (ex. Benção)
![Samba “Tudo acaba em samba” • Afro-Brazilian urban popular song/dance form • Origins in Samba “Tudo acaba em samba” • Afro-Brazilian urban popular song/dance form • Origins in](http://slidetodoc.com/presentation_image/5df7a599c85815d1b6b8659e79346900/image-10.jpg)
Samba “Tudo acaba em samba” • Afro-Brazilian urban popular song/dance form • Origins in rural roda de samba: – Participatory – Accompanied by improvised songs and percussion instruments – Style: syncopated, call and response vocals, open-ended forms, musical interlock, diatonic melodies
![Types of Samba • Carnival samba (e. g. samba batucada and samba enredo) – Types of Samba • Carnival samba (e. g. samba batucada and samba enredo) –](http://slidetodoc.com/presentation_image/5df7a599c85815d1b6b8659e79346900/image-11.jpg)
Types of Samba • Carnival samba (e. g. samba batucada and samba enredo) – Characterized by heavy percussion, songs about themes presented in Carnival • (Year-round) samba – Characterized by light percussion and plucked string accompaniment (guitar, cavaquinho) – Songs often satiric, witty, improvised
![Samba Batucada • Instruments of the Batería: – Surdo drums (basic pulse in 2 Samba Batucada • Instruments of the Batería: – Surdo drums (basic pulse in 2](http://slidetodoc.com/presentation_image/5df7a599c85815d1b6b8659e79346900/image-12.jpg)
Samba Batucada • Instruments of the Batería: – Surdo drums (basic pulse in 2 divided among three sizes of surdo) – Pandeiro (sixteenthnote division) – Cuíca (accents) – Tamborim (syncopation) – Caíxa (snare drum)
![Samba Batucada Rhythms Samba Batucada Rhythms](http://slidetodoc.com/presentation_image/5df7a599c85815d1b6b8659e79346900/image-13.jpg)
Samba Batucada Rhythms
![Choro • Urban-popular instrumental genre • Late 19 th c. in Rio de Janeiro Choro • Urban-popular instrumental genre • Late 19 th c. in Rio de Janeiro](http://slidetodoc.com/presentation_image/5df7a599c85815d1b6b8659e79346900/image-14.jpg)
Choro • Urban-popular instrumental genre • Late 19 th c. in Rio de Janeiro • Predates Carnival samba • Considered “musicians’ music” • Performed for hire at parties • Played for pleasure in the roda de choro • Serves as “Brazilian” musical grounding for instrumentalists of all types
![Instruments of Choro • Violão (6 - and 7 string) • Cavaquinho • Pandeiro Instruments of Choro • Violão (6 - and 7 string) • Cavaquinho • Pandeiro](http://slidetodoc.com/presentation_image/5df7a599c85815d1b6b8659e79346900/image-15.jpg)
Instruments of Choro • Violão (6 - and 7 string) • Cavaquinho • Pandeiro • Melody instrument (flute, clarinet, bandolim, saxophone)
![Choro Genre • Instrumental composition in 2/4 • Based on formal structure of polka Choro Genre • Instrumental composition in 2/4 • Based on formal structure of polka](http://slidetodoc.com/presentation_image/5df7a599c85815d1b6b8659e79346900/image-16.jpg)
Choro Genre • Instrumental composition in 2/4 • Based on formal structure of polka with standard harmonic progressions • Lively tempos; syncopation • Some improvisation, importance of malícia (playful competition between soloist and accompanist)
![Choro and Villa-Lobos • Heitor Villa-Lobos (1857 -1959) • Choro is “the integral translation Choro and Villa-Lobos • Heitor Villa-Lobos (1857 -1959) • Choro is “the integral translation](http://slidetodoc.com/presentation_image/5df7a599c85815d1b6b8659e79346900/image-17.jpg)
Choro and Villa-Lobos • Heitor Villa-Lobos (1857 -1959) • Choro is “the integral translation of the Brazilian soul in the form of music”
![Choro Influence • Played guitar in roda at music store • Choro guitar style Choro Influence • Played guitar in roda at music store • Choro guitar style](http://slidetodoc.com/presentation_image/5df7a599c85815d1b6b8659e79346900/image-18.jpg)
Choro Influence • Played guitar in roda at music store • Choro guitar style permeates works – Syncopation – Active bass lines typical of 7 -string guitar in choro – Arpeggiated chords – Three sixteenth-note pickup typical of choro
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