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oapen-20.500.12657-317922021-11-09T07:55:31Z Contemporary Carioca Moehn, Frederick Music Brazil Lenine (musician) Samba Suzano bic Book Industry Communication::A The arts::AV Music::AVG Music: styles & genres::AVGW World music Brazilian popular music is widely celebrated for its inventive amalgams of styles and sounds. Cariocas, native residents of Rio de Janeiro, think of their city as particularly conducive to musical mixture. Contemporary Carioca introduces a generation of Rio-based musicians who collaboratively have reinvigorated Brazilian genres, such as samba and maracatu, through juxtaposition with international influences, including rock, techno, and funk. He describes how these artists manage their careers, having reclaimed some control from record labels. Examining the specific meanings that their fusions have in the Carioca scene, he explains that musical mixture is not only intertwined with nationalist discourses of miscegenation, but also with the experience of being middle-class in a country confronting neoliberal models of globalization. Moehn offers vivid depictions of Rio musicians as they creatively combine and reconcile local realities with global trends and exigencies. 2017-03-09 23:55 2020-03-10 03:00:29 2020-04-01T13:49:38Z 2020-04-01T13:49:38Z 2012-03-01 book 625243 OCN: 792758464 9780822394884 http://library.oapen.org/handle/20.500.12657/31792 eng application/pdf n/a 625243.pdf Duke University Press 10.26530/oapen_625243 100330 10.26530/oapen_625243 f0d6aaef-4159-4e01-b1ea-a7145b2ab14b b818ba9d-2dd9-4fd7-a364-7f305aef7ee9 9780822394884 Knowledge Unlatched (KU) Durham NC 100330 KU Select 2016 Backlist Collection Knowledge Unlatched open access
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Brazilian popular music is widely celebrated for its inventive amalgams of styles and sounds. Cariocas, native residents of Rio de Janeiro, think of their city as particularly conducive to musical mixture. Contemporary Carioca introduces a generation of Rio-based musicians who collaboratively have reinvigorated Brazilian genres, such as samba and maracatu, through juxtaposition with international influences, including rock, techno, and funk. He describes how these artists manage their careers, having reclaimed some control from record labels. Examining the specific meanings that their fusions have in the Carioca scene, he explains that musical mixture is not only intertwined with nationalist discourses of miscegenation, but also with the experience of being middle-class in a country confronting neoliberal models of globalization. Moehn offers vivid depictions of Rio musicians as they creatively combine and reconcile local realities with global trends and exigencies.
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