Samba
Samba ( [ sɐbɐ ] ) denotes a Brazilian music style, which is usually associated with the city of Rio de Janeiro, but it is played and danced in various forms in almost all of Brazil. Samba is the generic term for various types of music such as Samba enredo the carnival parades, which played in the small circle samba pagode, the traditional, rural samba de roda, or ballads Samba Canção.
History
Origin
The Afro-Brazilian, as is generally the Afro-American music, was brought by the slaves to Brazil and is thus based on traditional African music styles. Since the slaves came from very different African regions and cultures, these musical traditions, however, have not preserved in pure form, but mingled with each other, so that created specific manifestations of the African musical heritage.
It is believed that the roots of Samba are in the Congo and Zambezi area. From the former Portuguese colony of Angola comes the dance and music style Semba. The assumption that the Brazilian Samba name goes back to Semba is obvious but not guaranteed. The Samba Batucada should - be due to the accompanied by percussion music dance Rowdy - even conceptually. Today, it is largely replaced by the Samba. In addition, the Lundu and the Jongo be precursors of Samba.
The verb sambar means in Portuguese " samba dancing " also.
The Choro in Rio in 1900
With the choro developed in 1870 in Rio de Janeiro, the first national Brazilian style of music that was country-wide dissemination by the invention of the record. It was created from a fusion of the Portuguese Fado, popular European dance music like polka, waltz, mazurka, Xote and quadrilles, with Afro Brazilian music, such as the Lundu. At the same time, the Brazilian tango maxixe was - even before the Argentine, with whom he has little in common - and was also played by the Choro Ensemble. After Brazilian independence in 1889 took military and brass bands Choros into their repertoire. It was played and danced mainly in the lower middle class. Its heyday he lived 1870-1920, but is maintained until today. Most Chorokompositionen are characterized by a relatively high pace, a typical samba melody and rhythm structure and improvisations on the theme of the composition. Choro ensembles consisted traditionally of two guitars, a cavaquinho and a flute as a solo instrument. This was supplemented later by the pandeiro and often other percussion instruments, clarinet and mandolin ( Bandolim ). Since the late 1950s, the Bass function is performed often by a seven- Guitar ( violão de sete cordas ).
Rise of Modern Samba
In its modern form, the Samba was built around 1920 in Rio de Janeiro. During this time the choro orchestra lost its importance, jazz bands and salon orchestra came on, the foxtrot, Maxixes, Marchas and Samba played. Samba originated from the mixture of choro with the Batuques that were played in the suburbs of Rio.
1917 had been received from the Banda Odeon, the first Samba on record: Pelo phones ( "By Phone "). The song was a hit in the carnival. With Pixinguinha a musician was of particular importance for the breakthrough of Samba, who already had a prominent position in the choro scene.
In 1928, the first Samba school called Deixa Falar was in Rio ( " Let them talk " ) founded shortly followed by the Primeira de Mangueira Estação which still exists today, most traditional samba school in Brazil. So that the music was an important voice of the lower layers Rios, which mainly belonged to the black population. This style samba de morro was called, the samba from the hills, bringing the favelas of Rio were meant.
However, Samba also held in the white, middle-class circles feeder. The Samba Canção emphasized more the melody had a much slower pace and geschliffenere texts. With the advent of radio, the Samba spread very quickly and was in the 1930s, the musical pulse generator in the country. 1939 Ary Barroso wrote the famous title Aquarela do Brasil, which was also known in the short form Brazil and countless interpretations experienced. In the same year the samba singer Carmen Miranda went to the USA, where she rose to become the highest paid actress and singer of Hollywood.
Development in the Bossa Nova
In the late 1950s, increasingly penetrated elements of the Bolero, Foxtrot and the Cha -Cha -Cha to Samba, who lost his typical characteristics at this time more and more. This decline was a trigger for a musical revolution: the Bossa Nova. Unlike the street samba bossa nova emerged in the urban middle class in the context of bourgeois intellectualism. Inform the style was especially João Gilberto to play both with his soft singing as well as his style of guitar. The restrained vocals turned his operetta bel canto style, which had prevailed in the Samba -1950s, into its opposite. The initial impetus for the international breakthrough of the Bossa Nova was the film Orfeu Negro, who received an Oscar and a Golden Palm in Cannes 1959. The film was based on a play by Vinícius de Moraes, who wrote for four generations of musicians texts to Samba pieces. He moved the ancient myth of Orpheus in the presence of the Carnival of Rio de Janeiro. The film music composed Tom Jobim and Luiz Bonfá whose theme songs A Felicidade and Manhã de Carnaval should be classics of Bossa Nova. In addition, the street Samba Carnival attracts over again through the film. Vinícius de Moraes and Tom Jobim wrote the song together also Garota de Ipanema, which has become as Girl from Ipanema the most famous bossa nova song, and was interpreted by many Brazilian and American musicians. A similarly large success came in Sérgio Mendes Mas Que Nada with the song. After the Cuban influence on the music of the USA had subsided after the revolution in 1953, now Brazil was the main catalyst for the North American Latin Jazz with Bossa Nova. Since the 1990s, the bossa nova experienced a renaissance through new interpretations such as by Bebel Gilberto and adaptations in electronic music.
Samba in the street carnival
In the 1950s, the street carnival samba schools supplanted the bourgeois carnival in Rio's center. Today the carnival is considered in Rio ( Carnaval carioca ) as the biggest beer festival in the world. The parade of samba schools called Desfile, each with several hundred musicians and dancers will be broadcast nationwide and is musically devoted to the Samba enredo. Each samba school performs on a topic ( enredo ). Playing wind instruments is prohibited by statute, the only melodic instrument is the cavaquinho, which accompanies the singing. The highlight is the collection of groups in the 60,000 -seat Sambódromo, which was built by Oscar Niemeyer in 1984. Here, the jury has its headquarters and evaluates the different groups according to strictly defined criteria. The top ranked school and the composer of the winning samba enjoy high prestige throughout Brazil, those schools with the lowest score must " descend ", however, and are replaced by others in the following year.
The 44 samba schools Rios are well-organized clubs with some several thousand members who take over the preparation, the samples but also social tasks in their respective district or favela. Due to the high cost of removals with the elaborate costumes and allegorically decorated floats and because of the great tourist interest of the Carnival in Rio is heavily commercialized and there are some mafia connections that use the samba schools for money laundering.
Variants of the Samba
Samba de roda and Samba de caboclo are among the most pristine versions of Samba. In these styles the Atabaque is traditionally used, which is closely related to the Cuban Conga and goes back to African hand drums. Meanwhile, the conga is also widespread in Brazil. Samba de roda is also a round dance. Where Afro-Brazilian culture mixed with indigenous influences, one uses the term caboclo, also known hybrids with Indian ancestors. One such variant is the Samba de caboclo. However, the actual influence of indigenous music to the Samba is very low.
(: Tantan Rebolo and Repique de mão Surdo de mão ) where it is accompanied by the smaller percussion instruments pandeiro and tamborim Pagoda When the voices of Surdos be on hand drums. An important role is played as a melodic instrument, the cavaquinho and vocals. This form of Samba is often played in a social gathering and rarely on a stage.
Samba enredo is the modern Samba Carnival in Rio and in São Paulo, but also at the Carnival in Recife and other cities. For several decades, there is a samba enredo a development which instruments to tune higher and play the Samba always faster. This trend has been made possible because since the 1970s the former natural heads were replaced with nylon skins. In addition, can only enforce unreinforced denominated instruments in the carnival parade, so that the pandeiro and the friction drum Cuíca are not very often found today in the big samba schools. Dominate Repiniques, Caxias ( snares ), the tuned in three different pitches Surdos, Tamborims, Agogos, Chocalhos (shaker ) and the whistle Apito. The music groups ( Baterias ) are always led by a richly decorated dance formation and may include several hundred musicians.
Samba batucada is played in a similar Samba enredo, usually around 10 to 20 musicians and without vocals. Partial loud instruments are used less, about the Ganzá instead of Chocalhos. The smaller cast enables its players to play solos more and improvise or to vary.
Samba Canção is usually a slow, ballad-like song - version of samba, which was popular in the 1940s to 1960s. Other variants are the Sambolero, a mix of Samba and Bolero, Samba Choro or Samba de Breque.
A more recent development is the Samba radio or Funkeado. This innovative musical trends of the 1990s were heavily influenced by funk and rap and fused these styles with the Samba. Well-known bands from Rio are Funk'n Lata, whose musicians have learned in the Mangueira Samba School, and Monobloco.
In Salvador da Bahia, the samba - reggae developed from the local Samba tradition and reggae influences from the 1970s and 1980s. It is usually no longer counted among the samba styles. Known groups include Olodum, Timbalada or the more traditional Ilê Aiyê. Rio de Janeiro and São Paulo are the two centers of both the samba and the Brazilian entertainment industry and the economic center of the country. For this reason, the music radiates from this region on the whole of Brazil. This also applies to the Samba, which can be therefore considered as a regional music, such as a national musical style. Samba forms are available in almost all regions of Brazil, as also occurs in Carnival in Recife or Olinda in Pernambuco samba groups. Samba influences can be in varying degrees also in almost all styles of Música Popular Brasileira ( MPB) account.
Music and dance
Traditionally, in the Afro- Brazilian culture dance generally an integral part of musical culture, both are therefore traditionally inseparable. Even when Desfile in carnival it is unthinkable that a Bateria marched without dance formation. In the samba schools are equal, the music and the dance formation.
The very simplified form of the Samba dance that reached the European and North American dance schools in the 1950s and was included in the tournament program of Latin American dances in 1959, has little in common with the original Brazilian dance form.
Samba and politics
In the 1970s, developed in the poorest parts of the city of Salvador da Bahia (Brazil ) bloco afro -called drum groups. Groups such as Olodum Ilê Aiyê and established itself as a political expression of black self-confidence, as forms of resistance against increasing economic exclusion. "Afro block " had a mobilizing function in strikes, rallies and demonstrations. Samba groups today often take part in political demonstrations, like the bands from the global anti-capitalist Rhythms of Resistance network.
Samba in Germany
The first samba schools in Germany were founded in the late 1970s, since the 1980s there was a boom. In Germany especially, a native of the Northeast of Brazil Samba - reggae is played today. For most German groups is Samba - other than for the Samba Schools in Brazil - just a rhythm among many. Strongholds of the German Samba are Cologne, Berlin, Hamburg, Munich and Bremen.
The largest samba dance outside Brazil is the Samba Festival Coburg, which takes place annually around 100 groups and attracts over 200,000 visitors over three days in July 1992. In Bremen draw on the Saturday before Shrove Monday than 100 samba groups through the city. The Bremen carnival was launched in 1985 by the Swiss artist Janine Jaeggi. In Berlin since 1996 on the last weekend of September, the Samba Syndrom takes place under the supervision of the State Academy of Music in Berlin. Also at the Berlin Carnival of Cultures take at Pentecost numerous samba groups participate. The Samba Festival Bad Wildungen takes place in the first week of September since 2001 every two years. The four-day festival, with more than 50,000 visitors and about 50 groups among the largest in Europe and is organized by the Samba group Sempre Samba.
Like most German groups considered these events and for all, that they are not limited to the Samba, even if they refer to themselves as "Samba Festival". Instead, they cover the whole spectrum of Brazilian and others transferred in Brazilian percussion rhythms.
Others
- Samba in art music by Darius Milhaud (1892-1974): Mouvement de samba in Scaramouche for two pianos.
- In Japan since 1981 takes place on the Asakusa Samba Carnival. About 500,000 spectators watch in the streets of Tokyo, the performances of costumed dancers and BATERIAS.