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Making Samba
In November 1916, a young Afro-Brazilian musician named Donga registered sheet music for the song "Pelo telefone" ("On the Telephone") at the National Library in Rio de Janeiro. This apparently simple act—claiming ownership of a musical composition—set in motion a series of events that would shake Brazil's cultural landscape. Before the debut of "Pelo telephone," samba was a somewhat obscure term, but by the late 1920s, the wildly popular song had helped to make it synonymous with Brazilian national music. The success of "Pelo telephone" embroiled Donga in controversy. A group of musicians claimed that he had stolen their work, and a prominent journalist accused him of selling out his people in pursuit of profit and fame. Within this single episode are many of the concerns that animate Making Samba, including intellectual property claims, the Brazilian state, popular music, race, gender, national identity, and the history of Afro-Brazilians in Rio de Janeiro. By tracing the careers of Rio's pioneering black musicians from the late nineteenth century until the 1970s, Marc A. Hertzman revises the histories of samba and of Brazilian national culture.
The Social History of the Brazilian Samba
First published in 1999, this volume examines the impact of political, social and cultural developments on the nation’s most popular musical form, samba, in the context of the period 1930-45, one of huge social change in Brazil, with the introduction of industrialization under the authoritarian regime of Getúlio Vargas. She looks at the context in which the songs were written, the life styles and social positions of the composers (sambistas), and their relationship to political and commercial structures. By studying samba lyrics we can obtain a clear picture of samba lyrics we can obtain a clear picture of samba’s shifting status as it was transformed from the music of working-class blacks and was appropriated by mainstream middle-class culture. The final chapters of the book focus on the lyrics of three influential sambistas: Ataúlfo Alves, Noel Rosa and Ari Barroso, and look at the manner in which their songs both comply with and flout tradition and authority.
XXVI Brazilian Congress on Biomedical Engineering
This volume presents the proceedings of the Brazilian Congress on Biomedical Engineering (CBEB 2018). The conference was organised by the Brazilian Society on Biomedical Engineering (SBEB) and held in Armação de Buzios, Rio de Janeiro, Brazil from 21-25 October, 2018. Topics of the proceedings include these 11 tracks: • Bioengineering • Biomaterials, Tissue Engineering and Artificial Organs • Biomechanics and Rehabilitation • Biomedical Devices and Instrumentation • Biomedical Robotics, Assistive Technologies and Health Informatics • Clinical Engineering and Health Technology Assessment • Metrology, Standardization, Testing and Quality in Health • Biomedical Signal and Image Processing • Neural Engineering • Special Topics • Systems and Technologies for Therapy and Diagnosis
Dicionário de Onomatopeias e Vocábulos Expressivos
Esta é a 2ª edição revista e ampliada do bem-sucedido Dicionário de Onomatopeias e Vocábulos Expressivos, resultado de uma pesquisa prazerosa nas letras da MPB, nas literaturas, poemas e nas histórias em quadrinhos. Esta obra está dividida em três partes: Primeira Parte, Segunda Parte e Adendo. A Primeira Parte reúne os vocábulos gerais que estão registrados nos dicionários convencionais como onomatopeia ou vocábulo expressivo, inclusive os que estão registrados como “prov.” (provavelmente) e “talvez” pelos autores e ainda os vocábulos onomatopaicos registrados como tal por autores de literaturas, livros diversos e letras da MPB. A Segunda Parte reúne os vocábulos que são muito parecidos com a onomatopeia ou com o vocábulo expressivo, mas não estão assinalados como tal nos dicionários convencionais, ou porque são de origem desconhecida ou porque são de origem estrangeira (no caso da onomatopeia, pois o vocábulo expressivo é somente da Língua Portuguesa). O Adendo apresenta vocábulos comuns que não são onomatopeias, entretanto, são usados como tal; e alguns caracteres usados especificamente nos gibis e histórias em quadrinhos.
