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Style of Brazilian music; music genre

Bossa nova
Stylistic origins	Samba[nb 1] [nb 2] Jazz
Cultural origins	Late 1950s, Southward Zone of Rio de Janeiro, Brazil
Derivative forms	Samba-jazz Sambalanço Sambass

Bossa nova (Portuguese pronunciation: [ˈbɔsɐ ˈnɔvɐ] ( listen )) is a style of samba developed in the tardily 1950s and early on 1960s in Rio de Janeiro, Brazil.^[3] It is mainly characterized by a "different beat"^{[nb 3]} that altered the harmonies with the introduction of anarchistic chords and an innovative syncopation of traditional samba from a single rhythmic division.^{[five] [half-dozen]} The "bossa nova beat" is feature of a samba manner and not of an democratic genre.^{[7] [8]}

Co-ordinate to the Brazilian journalist Ruy Castro, the bossa beat – which was created by the drummer Milton Assistant – was "an extreme simplification of the beat of the samba school", as if all instruments had been removed and only the tamborim had been preserved.^[9] In line with this thesis, musicians such as Baden Powell, Roberto Menescal, and Ronaldo Bôscoli also claim that this beat is related to the tamborim of the samba school.^[ten] I of the major innovations of bossa nova was the way to synthesize the rhythm of samba on the classical guitar.^{[3] [8]} According to musicologist Gilberto Mendes, the bossa nova was 1 of the "three rhythmic phases of samba", in which the "bossa beat" had been extracted by João Gilberto from the traditional samba.^[seven] According to the author Walter Garcia, the synthesis performed past Gilberto's guitar was a reduction of the "batucada" of samba, a stylization produced from one of the percussion instruments: the thumb stylized a surdo; the index, center and ring fingers phrased like a tamborim.^[8]

In 1959, soundtrack to the picture show "Black Orpheus" (Orpheu Negro) was released, which included the futurity jazz standard Manhã de Carnaval, "The Morning of the Funfair". The bossa nova moving ridge came to renew samba and to contribute to the modernization of Brazilian music, being a watershed.^[eleven] The style emerged at the fourth dimension when samba-canção^{[nb 4]} was the dominant rhythm in the Brazilian music scene.^{[thirteen] [14]} Its first appearance was on the anthology Canção do Amor Demais, in which the singer Elizeth Cardoso recorded ii compositions by the duo Antônio Carlos Jobim and Vinicius de Moraes, "Outra Vez" and "Chega de Saudade", which were accompanied by João Gilberto'southward guitar. It was the first time that the Bahian musician presented the beat of his guitar that would become characteristic of the style.^[iii] By accompanying Cardoso's vocalization, Gilberto innovated in the way of pacing the rhythm, accentuating the weak times, in order to carry out a synthesis of the crush of samba to guitar.^{[three] [xv]}

In 1959, João Gilberto's bossa album was released, containing the tracks "Chega de Saudade" and "Bim Bom".^[15] Considered the landmark of the birth of bossa nova,^{[3] [15]} it also featured Gilberto'due south innovative way of singing samba, which was inspired by Dorival Caymmi.^{[16] [17]} With the LP Chega de Saudade, released in 1959, Gilberto consolidated the bossa nova every bit a new style of playing samba.^{[3] [5]} His innovative way of playing and singing samba, combined with the harmonies of Antônio Carlos Jobim and the lyrics of Vinicius de Moraes, found immediate resonance amid musicians who were looking for new approaches to samba in Rio de Janeiro,^{[3] [18]} many of them were influenced by American jazz.^[nineteen] In 1964 João Gilberto and Stan Getz released "Getz/Gilberto" album. Then, it emerged an artistic movement effectually Gilberto and others professional person artists such as Jobim, Moraes and Baden Powell, among others, which attracted young apprentice musicians from the South Zone of Rio – such as Carlos Lyra, Roberto Menescal, Ronaldo Bôscoli and Nara Leão.^{[eighteen] [20]} Jorge Ben wrote "Mas que Nada" in 1963, and Sergio Mendes & Brazil 66 gained bosa rock hit "Mas que Nada" in 1966.^[21] Information technology was inducted to the Latin Grammy Hall of Fame. In 1960s, The states jazz artists such as Stan Getz, Hank Mobley, Zoot Sims, Paul Wintertime and Quincy Jones recorded bossa jazz albums.

Etymology [edit]

In Brazil, the give-and-take "bossa" is one-time-fashioned slang for something done with particular amuse, natural flair or innate ability. Equally early as 1932, Noel Rosa used the word in a samba:

"O samba, a prontidão eastward outras bossas são nossas coisas, são coisas nossas." ("Samba, readiness and other bossas are our things, are things from us.")

The phrase bossa nova means literally "new trend" or "new wave".^[23] The verbal origin of the term "bossa nova" remained unclear for many decades, according to some authors. Within the creative embankment civilization of the late 1950s in Rio de Janeiro, the term "bossa" was used to refer to whatsoever new "tendency" or "fashionable wave". In his volume Bossa Nova, Brazilian writer Ruy Castro asserts that "bossa" was already in employ in the 1950s by musicians every bit a discussion to characterize someone's knack for playing or singing idiosyncratically.^[24] Castro claims that the term "bossa nova" might have get-go been used in public for a concert given in 1957 by the Grupo Universitário Hebraico do Brasil (Hebrew University Group of Brazil). The authorship of the term "bossa nova" is attributed to the and so-immature announcer Moyses Fuks, who was promoting the consequence.^[25] That group consisted of Sylvia Telles, Carlos Lyra, Nara Leão, Luiz Eça, Roberto Menescal, and others. Mr. Fuks's description, fully supported by about of the bossa nova members, only read "HOJE. SYLVIA TELLES E UM GRUPO BOSSA NOVA" ("Today. Sylvia Telles and a 'Bossa Nova' grouping"), since Sylvia Telles was the most famous musician in the group at that time. In 1959, Nara Leão too participated in more than one embryonic brandish of bossa nova. These include the 1st Festival de Samba Session, conducted by the student union of Pontifícia Universidade Católica. This session was chaired by Carlos Diegues (afterward a prominent Picture palace Novo film director), a police force student whom Leão ultimately married.^[26]

Instruments [edit]

Classical guitar [edit]

Bossa nova is nearly commonly performed on the nylon-string classical guitar, played with the fingers rather than with a pick. Its purest grade could exist considered unaccompanied guitar with vocals, equally created, pioneered, and exemplified by João Gilberto. Even in larger, jazz-like arrangements for groups, at that place is almost always a guitar that plays the underlying rhythm. Gilberto basically took one of the several rhythmic layers from a samba ensemble, specifically the tamborim, and practical it to the picking hand. According to Brazilian musician Paulo Bitencourt, João Gilberto, known for his eccentricity and obsessed by the idea of finding a new way of playing the guitar, sometimes locked himself in the bathroom, where he played one and the same chord for many hours in a row.^[27]

Drums and percussion [edit]

As in samba, the surdo plays an ostinato effigy on the downbeat of beat 1, the "ah" of beat out i, the downbeat of beat ii and the "ah" of beat out two. The clave design sounds very similar to the two-three or three-two son clave of Cuban styles such as mambo but is different in that the "ii" side of the clave is pushed by an 8th notation. Also important in the percussion section for bossa nova is the cabasa, which plays a steady sixteenth-annotation pattern. These parts are easily adaptable to the drum fix, which makes bossa nova a rather popular Brazilian style for drummers.

Structure [edit]

Certain other instrumentations and vocals are also part of the structure of bossa nova:

Bossa nova and samba [edit]

Bossa nova has at its core a rhythm based on samba. Samba combines the rhythmic patterns and feel originating in former African slave communities. Samba's emphasis on the second beat carries through to bossa nova (to the degree that it is often notated in 2/four fourth dimension). However, dissimilar samba, bossa nova has no dance steps to back-trail it.^[28] When played on the guitar, in a unproblematic one-bar pattern, the pollex plays the bass notes on i and 2, while the fingers pluck the chords in unison on the two eighth notes of beat one, followed by the 2nd sixteenth note of beat two. 2-measure patterns ordinarily contain a syncopation into the 2d measure. Overall, the rhythm has a "swaying" feel rather than the "swinging" feel of jazz. Every bit bossa nova composer Carlos Lyra describes it in his vocal "Influência do Jazz", the samba rhythm moves "side to side" while jazz moves "front to back". Bossa nova was also influenced by the dejection, but because the most famous bossa novas lack the 12-bar structure characteristic of classic blues, likewise as the statement, repetition and rhyming resolution of lyrics typical of the genre, bossa nova'due south affinity with the blues frequently passes unnoticed.^[29]

Vocals [edit]

Aside from the guitar style, João Gilberto's other innovation was the project of the singing voice. Prior to bossa nova, Brazilian singers employed flippant, nearly operatic styles. Now, the feature nasal vocal product of bossa nova is a peculiar trait of the caboclo folk tradition of northeastern Brazil.^{[thirty] [31]}

Themes and lyrics [edit]

The lyrical themes establish in bossa nova include women, honey, longing, homesickness, nature. Bossa Nova was often apolitical. The musical lyrics of the tardily 1950s depicted the easy life of the middle to upper-form Brazilians, though the majority of the population was in the working class. In conjunction with political developments of the early 1960s (especially the 1964 military coup d'état), the popularity of bossa nova was eclipsed by Música popular brasileira, a musical genre that appeared around the mid-1960s, featuring lyrics that were more politically charged, referring explicitly to working class struggle.

Notable bossa nova recordings [edit]

Albums [edit]

• João Gilberto

• Chega de Saudade (recorded 1959)
• O Amor, o Sorriso eastward a Flor (recorded 1960)
• Getz/Gilberto with Stan Getz (recorded 18 & nineteen March 1963, released 1964)

• Luiz Bonfá

• Luiz Bonfá Plays and Sings Bossa Nova (recorded Dec, 1962)

• Antônio Carlos Jobim

• The Composer of Desafinado Plays (recorded 9 & ten May 1963)
• The Wonderful Globe of Antônio Carlos Jobim (recorded 1965)
• Wave (1967)
• Tide (1970)

• OST "Black Orpheus(Orpheu Negro)",^{[32] [33]} 1959
• Nova — Carlos Lyra — on Phillips, 1960
• A Bossa dos Cariocas — Bone Cariocas—on Phillips, 1962
• Trio — Tamba Trio—on Phillips, 1962
• Big Band Bossa Nova — Oscar Castro Neves—on Audio Fidelity, 1962
• News from Brazil Bossa Nova — Eliana & Booker Pitman, 1963
• A Bossa Muito Moderna de Donato —J oão Donato—on Polydor, 1963
• Baden Powell à Vontade — Baden Powell(Brazil)—on Elenco, 1964
• Menina Rica — Carlos Lyra and Dulce Nunes—on CBS, 1964
• Zimbo Trio — Zimbo Trio—on RGE, 1964
• Entre Nós — Walter Wanderley —on Phillips, 1964
• Opinião de Nara — Nara Leão —on Phillips, 1964
• Milton Assistant Trio — Milton Assistant Trio— on Odeon, 1965
• Elis — Elis Regina — on Phillips, 1966

Songs [edit]

• Manhã de Carnaval, The morning of the carnival - Luiz Bonfa (1959), From Film "Black Orpheus" (Orpheu Negro)
• The Girl From Ipanema - Astrud Gilberto(1963)^[34]
• Agua de Beber - Astrud Gilberto
• So Squeamish (Summertime Samba) - Astrud Gilberto
• Wave - Antônio Carlos Jobim
• Mas que Zero - Sergio Mendes & Brazil 66(1966)
• Summertime Samba - Walter Wanderley
• One Note Samba - João Gilberto
• Felicidade - Antônio Carlos Jobim
• Desafinado - João Gilberto

See besides [edit]

• "Blame It on the Bossa Nova" – Eydie Gorme, 1963
• Cha-cha-chá
• Nat King Cole
• Perry Como
• Rumba
• Tango music

Notes [edit]

1. ^ "The center of bossa nova remains, as for samba, the song. His intuition is lyrical and, fifty-fifty in the most sophisticated products, demands that one believes in a kind of spontaneity. Jazz, whose fundamental intuition is of a technical nature, privileges the chord".^[i]
2. ^ "The dissonance in jazz is a metaphor, that is, a notation that replaces the original note, reinforcing in some way its meaning; dissonance for João Gilberto is litote, denial of the negation of a consonance. The syncope of jazz confirms the stiff beat tempo; João Gilberto's relativizes it, creates a temporary suspension. Jazz's timbre emphasizes the melodic line, João Gilberto's is moderate and replaces it".^[ii]
3. ^ This "different beat" led, for example, the samba composer Cartola to express himself in one of his musical encounters with the young bossa nova musician Carlos Lyra: "In that location is a footling scrap of difficulty for him in the old every bit well equally for me in the modernistic".^[4]
4. ^ A slower tempo samba featured by a dominance of the melodic line over the master rhythmic^[12]

References [edit]

1. ^ Mammi 1992, pp. 63–64.
2. ^ Mammi 1992, p. 67.
3. ^ ^{a b c d e f g} EBC 2018. sfn error: no target: CITEREFEBC2018 (help)
4. ^ Carvalho 1986, p. 39.
5. ^ ^{a b} Ratliff 2019.
6. ^ Lopes & Simas 2015, p. 46.
7. ^ ^{a b} Lopes & Simas 2015, p. 48.
8. ^ ^{a b c} Garcia 2019.
9. ^ Castro 2008, p. 9. sfn error: no target: CITEREFCastro2008 (help)
10. ^ Garcia 1999, p. 21. sfn error: no target: CITEREFGarcia1999 (help)
11. ^ Silva 2017, p. 34.
12. ^ Tatit 1996, p. 23.
13. ^ Severiano 2009, p. 273.
14. ^ Matos 2015, p. 130. sfn error: no target: CITEREFMatos2015 (help)
15. ^ ^{a b c} Castro 2018.
16. ^ Machado 2011, p. 36.
17. ^ Caymmi 2001, p. 377.
18. ^ ^{a b} Marcondes 1977, pp. 106–107.
19. ^ Silva 2017, p. 133-137.
20. ^ Lopes & Simas 2015, pp. 46–47.
21. ^ Azevedo, Zeca. "Every bit 100 Maiores Músicas Brasileiras – "Mas que Zero"". Rolling Stone Brasil. Spring. Retrieved 24 July 2021.
22. ^ Blatter, Alfred (2007). Revisiting music theory: a guide to the practice, p.28. ISBN 0-415-97440-ii.
23. ^ "Definition of Bossa Nova". Merriam-Webster. Retrieved 19 June 2017. Origin and Etymology: Portuguese, literally, 'new trend'. Outset Known Utilise: 1962
24. ^ Castro, Ruy (transl. by Lysa Salsbury). Bossa Nova: The Story of the Brazilian Music That Seduced the World. 2000. 1st English language edition. A Capella Books, an imprint of Chicago Review Press, Inc. ISBN 1-55652-409-9 First published in Brasil by Companhia das Letras (1990)
25. ^ "Moyses Fuks"
26. ^ "Nara Leão"
27. ^ Bitencourt, Paulo. "What is Bossa Nova?". bitencourt.net . Retrieved 23 February 2015.
28. ^ "Step one, pour yourself a drink", Mark Collin, The Guardian, 27 June 2008
29. ^ "Blues and Samba: Another Side of Bossa Nova History" article by Bryan McCann, from the Luso-Brazilian Review, cited in the Project MUSE (in Portuguese)
30. ^ "Caboclos refers to the mixed-race population (Indians or Africans 'imported' to the region during the slave era, and Europeans) who generally live forth the Amazon'due south riverbanks." From "Two Cases on Participatory Municipal Planning on natural-resources management in the Brazilian Amazon", by GRET – Groupe de Recherche et d'Échanges Technologiques, France (in English)
31. ^ Oxford Music Online commodity (subscription simply)
32. ^ Youssefnia, Julia (19 July 2007). "Black Orpheus".
33. ^ Eli Kooris (sixteen August 2002). "Review: Black Orpheus (1959)". The Austin Chronicle . Retrieved 15 July 2021.
34. ^ "The Daughter From Ipanema". OldieLyrics. Retrieved 15 July 2021.

Sources [edit]

• Carvalho, Hermínio Bello de (1986). Mudando de Conversa (in Brazilian Portuguese) (1ª ed.). São Paulo: Martins Fontes.
• Caymmi, Stella (2001). Dorival Caymmi: o mar e o tempo (in Brazilian Portuguese) (1ª ed.). São Paulo: Editora 34.
• Lopes, Nei; Simas, Luiz Antonio (2015). Dicionário da História Social do Samba (in Brazilian Portuguese) (2ª ed.). Rio de Janeiro: Civilização Brasileira.
• Machado, Regina Stela Barcelos (2011). A voz na canção popular brasileira: um estudo sobre a Vanguarda Paulista (in Brazilian Portuguese) (1ª ed.). São Paulo: Atelie Editorial.
• Marcondes, Marcos Antônio, ed. (1977). Enciclopédia da música brasileira - erudita, folclórica e pop (in Brazilian Portuguese) (1ª ed.). São Paulo: Art Ed.
• Severiano, Jairo (2009). Uma história da música popular brasileira: das origens à modernidade (in Brazilian Portuguese). São Paulo: Editora 34.
• Tatit, Luiz (1996). O cancionista: composição de canções no Brasil (in Brazilian Portuguese). São Paulo: Edusp.
• Mammi, Lorenzo (November 1992). "João Gilberto east a Utopia Social da Bossa Nova" (PDF). Novos Estudos Cebrap (in Brazilian Portuguese). São Paulo (34): 63–70.
• Matos, Cláudia Neiva de (2013). "Gêneros na canção popular: os casos do samba e do samba-canção". Artcultura (in Brazilian Portuguese). Uberlândia: Federal University of Uberlândia (published 2015). 15 (27): 121–132.
• Silva, Rafael Mariano Camilo da (2017). Desafinado: dissonâncias nos discursos acerca da influência practice Jazz na Bossa Nova (Master) (in Brazilian Portuguese). Uberlândia: Federal University of Uberlândia. Retrieved 7 August 2020.
• Castro, Ruy (9 July 2018). "Gravação de 'Chega de Saudade' foi um parto, mas elevou à eternidade som sem nome" (in Brazilian Portuguese). Folha de S.Paulo. Retrieved 7 August 2020.
• Garcia, Walter (22 July 2019). "Batucada do samba cabia na mão de João Gilberto" (in Brazilian Portuguese). Folha de S.Paulo. Retrieved eighteen September 2020.
• Ratliff, Ben (6 July 2019). "João Gilberto, an Architect of Bossa Nova, Is Expressionless at 88". The New York Times . Retrieved 7 Baronial 2020.
• "60 anos de Bossa Nova" (in Brazilian Portuguese). EBC. 2018. Retrieved 18 September 2020.

Farther reading [edit]

• Castro, Ruy (transl. by Lysa Salsbury). Bossa Nova: The Story of the Brazilian Music That Seduced the Earth. 2000. 1st English language linguistic communication edition. A Capella Books, an imprint of Chicago Review Press, Inc. ISBN 1-55652-409-9 Beginning published in Brasil by Companhia das Letras. 1990.
• De Stefano, Gildo, Il popolo del samba, La vicenda e i protagonisti della storia della musica popolare brasiliana, Preface by Chico Buarque de Hollanda, Introduction by Gianni Minà, RAI-ERI, Rome 2005, ISBN 8839713484
• De Stefano, Gildo, Saudade Bossa Nova: musiche, contaminazioni eastward ritmi del Brasile, Preface past Chico Buarque, Introduction past Gianni Minà, Logisma Editore, Firenze 2017, ISBN 978-88-97530-88-half dozen
• McGowan, Chris and Pessanha, Ricardo. The Brazilian Audio: Samba, Bossa Nova and the Pop Music of Brazil. 1998. second edition. Temple University Press. ISBN ane-56639-545-three
• Perrone, Charles A. Masters of Gimmicky Brazilian Song: MPB 1965–1985. Austin: University of Texas Press, 1989.
• Mei, Giancarlo. Canto Latino: Origine, Evoluzione east Protagonisti della Musica Popolare del Brasile. 2004. Stampa Alternativa-Nuovi Equilibri. Preface past Sergio Bardotti; afterword by Milton Nascimento. (in Italian)

External links [edit]

Wikimedia Commons has media related to Bossa nova.

• "It's 20 years ago bossa nova was released to the world at Carnegie Hall in New York" past Rénato Sergio, Manchete magazine, 1982 (in Portuguese)

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