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Moacir Santos
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Rota Infinito
Em "Rota Infinito: Moacir Santos e a composição autoral", Sergio Gaia discute os principais procedimentos criativos utilizados pelo grande compositor pernambucano em quatro de suas obras: Coisa n.2, Coisa n.3, Bluishmen e Amalgamation, representando diferentes fases criativas do maestro Moacir. Servindo-se de variado repertório analítico e contando com instigantes discussões históricas e estéticas, Gaia oferece uma obra altamente relevante para músicos, compositores e para o público em geral. Como parte extra do livro, há ainda a bela "Suíte Ouro Negro – do Sertão à Califórnia", composição do próprio autor a partir dos processos criativos de Moacir Santos e que pode ser ouvida em site linkado à obra. Dessa forma, o livro não apenas lança um olhar amplo sobre Moacir Santos enquanto criador, como também oferece meios pelos quais a análise abre caminhos para novas criações autorais.
The Tide Was Always High
"Published with the assistance of the Getty Foundation"--Title page
The Brazilian Sound
At the second International Song Festival in 1967, Milton Nascimento had three songs accepted for competition. He had no intention of performing them--he hated the idea of intense competition. In fact, Nascimento might never have appeared at all if Eumir Deodato hadn't threatened not to write the arrangements for his songs if he didn't perform at least two of them. Nascimento went on to win the festival's best performer award, all three of his songs were included soon afterward on his first album, and the rest is history. This is only one anecdote from The Brazilian Sound, an encyclopedic survey of Brazilian popular music that ranges over samba, bossa nova, MPB, jazz and instrumental music a...
Ebony
EBONY is the flagship magazine of Johnson Publishing. Founded in 1945 by John H. Johnson, it still maintains the highest global circulation of any African American-focused magazine.
Africanness in Action
In Africanness in Action, author Juan Diego Díaz examines musicians' agency, constructions of blackness and Africanness, musical structure, performance practices, and rhetoric in Brazil, and provides a model for the study of African-derived music in other diasporic locales.
Vinicius de Moraes
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The New Latin American Cinema
During the 1967 festival of Latin American Cinema in Viña del Mar, Chile, a group of filmmakers who wanted to use film as an instrument of social awareness and change formed the New Latin American Cinema. Nearly three decades later, the New Cinema has produced an impressive body of films, critical essays, and manifestos that uses social theory to inform filmmaking practices. This book explores the institutional and aesthetic foundations of the New Latin American Cinema. Zuzana Pick maps out six areas of inquiry—history, authorship, gender, popular cinema, ethnicity, and exile—and explores them through detailed discussions of nearly twenty films and their makers, including Camila (María Luisa Bemberg), The Guns (Ruy Guerra), and Frida (Paul Leduc). These investigations document how the New Latin American Cinema has used film as a tool to change society, to transform national expressions, to support international differences, and to assert regional autonomy.
South American Cinema
Originally issued in hardcover in 1996 by Garland Publishing, this important reference work is now available in paperback for a wider audience. A distinguished team of contributors has compiled entries on 140 significant South American feature films from the silent era until 1994. The entries discuss each film's subject matter, critical reception, and social and political contexts, as well as its production, distribution, and exhibition history, including technical credits. The entries are grouped by country and arranged chronologically. Both fiction and documentary films (some no longer in existence) are included, as well as extensive title, name, and subject indexes and glossaries of film and foreign terms.
