Samba (music)
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samba
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| Development phase: | early 20th century |
| Place of origin: | Rio de Janeiro , Brazil |
| Stylistic precursors | |
| Batuque , Semba , Choro | |
| Pioneers | |
| João Gilberto , Tom Jobim | |
| Instruments typical of the genre | |
| Pandeiro • Tamborim • Cavaquinho • Cuica • Repinique • Caixa • Surdo • Agogô • Chocalho • Shaker • Apito | |
| Stylistic successor | |
| Sambareggae , Funkeado | |
| Subgenres | |
| Pagoda • Samba de roda • Samba enredo • Samba batucada • Samba canção • Samba choro | |
Samba ([ˈsɐ̃bɐ]), (o samba, m.) Refers to a Brazilian style of music that is mostly associated with the city of Rio de Janeiro and the thematically related samba enredo of the Escolas de Samba and their world-famous desfile in Sapucaí becomes. Nevertheless, the samba has a wide variety of forms and can be found in the form of various sub-genres in different regions of Brazil. Samba is the generic term for different types of music such as the samba enredo of the carnival parades, the samba pagoda played in small groups , the traditional, rural samba de roda or the ballad-like samba canção .
history
origin
The Afro-Brazilian , as is generally the African-American music , was from the slaves brought 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 have not been preserved in their pure form, but rather mixed with each other, so that specific forms of the African musical heritage emerged. Characteristic, however, is the adoption of percussive elements and the development of a polyrhythmic structure, which is revealed in the different levels of the marcação of beat and off-beat, elementary pulsation and linha rítmica (the typical formula of the timeline pattern). In the samba enredo , for example, they are divided into the various percussion instruments of the bateria of an escola de samba - surdo 1 - 3, repique, caixa, tamborim and chocalho.
It is believed that the roots of Samba lie in the Congo and Zambezi regions . The dance and music style Semba comes from the former Portuguese colony of Angola . To this day, Angola is a very common theme in the Letras of the Sambas. The assumption that the Brazilian name Samba goes back to Semba is obvious but not certain. The samba batucada can be traced back - also conceptually - to the batuque dance accompanied by percussion music . Today it has largely been supplanted by the samba. In addition, the Lundu and the Jongo are also considered to be forerunners of Samba. The verb sambar also means “to dance samba” in Portuguese.
The choro in Rio around 1900
With the choro , the first national Brazilian music style developed around 1870 in Rio de Janeiro, which was spread across the country through the invention of the record . It emerged from a fusion of Portuguese fado , popular European dance music such as polka , waltz , mazurka , xote and quadrilles , with Afro-Brazilian music, e.g. B. the Lundu . At the same time, the Brazilian Tango Maxixe came into being - even before the Argentine one , with which it has little in common - and was also played by the choro ensembles. After Brazilian independence in 1889, military and brass bands added choros to their repertoire. It was played and danced mainly in the lower middle class. It experienced its heyday between 1870 and 1920, but is still cultivated today. Most choral compositions are characterized by a relatively high tempo, a typical Zambatian melody and rhythm structure and improvisations on the theme of the composition. Choro ensembles traditionally consisted of two guitars , a cavaquinho and a flute as a solo instrument. Later they were often supplemented by the pandeiro and other percussion instruments, clarinet and mandolin ( bandolim ). Since the late 1950s, the bass function has often been taken over by a seven-string guitar ( violão de sete cordas ).
Development of the modern samba
In its modern form, the samba originated in Rio de Janeiro around 1920. During this time, the choro orchestras lost their importance, jazz bands and salon orchestras emerged who played foxtrot , maxixes , marchas and sambas. Samba originated from the mixture of choro with the batuques that were played in the suburbs of Rio.
In 1917 the Banda Odeon recorded the first samba on record: Pelo telefone (“Through the telephone”). The song became a hit in the carnival. With Pixinguinha , a musician 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 ("Let them talk") was founded in Rio . It emerged from a previous Bloco , shortly followed by Escolas such as GRES. Estação Primeira de Mangueira or GRES. Portela, which today are among the most traditional of the Escolas. This made music an important mouthpiece for the lower classes in Rio, to which the majority of the black population belonged. This new style was called Samba do Morro , the samba from the hills, by which the favelas of Rio were meant. The inhabitants of the Morros also made up the majority of the Comunidades of the Escolas de Samba . During these times, however, the Comunidade and the various Alas were very closed to the current community structure de Escolas from external members who did not come from the associated Morro . For example, if you wanted to join the Ala dos compositores , you not only had to be connected to the samba school in a family tradition, but also passed an examination in front of the entire community of composers, in which you could prove your artistic ability, musical and poetic creativity, but also the ability to be reckoned with the special artistic style of Escola in one's own compositions. If you were then accepted into the Ala dos compositore s, you were not allowed to participate in the composition in a Parceria in the same year , but had to complete a kind of one-year "internship" in which you watched and learned from the older ones. These circumstances have changed nowadays: The composers' competitions - called Disputa de Samba - in the Escolas de Samba of the highest leagues (Grupo Especial, Grupo A) resemble elaborate spectacles that have to be financed and organized by the composer groups themselves Have to make themselves more glamorous from week to week to make it to the finals.
Samba, however, also found its way into the white, middle-class circles. The Samba Canção emphasized the melody more, had a much slower tempo and more polished lyrics. With the advent of radio , the samba spread very quickly and became the country's musical pulse generator in the 1930s. In 1939 Ary Barroso composed the famous title Aquarela do Brasil , which was also known in the short form Brazil and was interpreted in countless ways. In the same year the samba singer Carmen Miranda went to the USA, where she rose to become the highest paid actress and singer in Hollywood .
Further development in Bossa Nova
In the late 1950s, elements of bolero , foxtrot and cha-cha-cha increasingly penetrated the samba, which lost its typical characteristics more and more during this time. This decline triggered a musical revolution: the bossa nova . Unlike the street samba, the bossa nova emerged in the urban middle class in the environment of bourgeois intellectuality. Above all, João Gilberto shaped the style , both with his quiet singing and his way of playing guitar. The reserved singing reversed the operetta-like bel canto style that had prevailed in samba in the 1950s. The initial spark for the international breakthrough of Bossa Nova was the film Orfeu Negro , which received an Oscar and the Palme d'Or in Cannes in 1959 . The film was based on a play by Vinícius de Moraes , who wrote lyrics to samba pieces for four generations of musicians. He moved the ancient myth of Orpheus into the presence of the Carnival of Rio de Janeiro. The film music was composed by Tom Jobim and Luiz Bonfá , whose title songs A Felicidade and Manhã de Carnaval were to become classics of the Bossa Nova. In addition, the street samba of the carnival moves through the film again and again. Vinícius de Moraes and Tom Jobim also wrote the song Garota de Ipanema together , which, as Girl from Ipanema, has become the most famous bossa nova song and has been interpreted by numerous Brazilian and American musicians. Sérgio Mendes achieved a similarly great success with the song Mas que nada . After the Cuban influence on the music of the USA had waned after the 1953 revolution , Brazil became the most important source of impetus for North American Latin jazz with the bossa nova . Since the 1990s, the bossa nova experienced a renaissance through reinterpretations such as by Bebel Gilberto and through adaptations in electronic music .
Samba in the street carnival
In the 1950s, the street carnival of the samba schools supplanted the civic carnival in central Rio. Today the Carnival in Rio ( Carnaval carioca ) is the largest folk festival in the world. The parade of the samba schools called Desfile , each with several hundred musicians and dancers, is broadcast nationwide and musically is all about samba enredo . Each samba school presents a theme ( enredo ). Playing wind instruments is prohibited by statute, the only melody instrument is the cavaquinho that accompanies the singing. The highlight is when the groups move into the 60,000-seat Sambódromo , which was built by Oscar Niemeyer in 1984 . This is also where the jury is based and evaluates the various groups according to strictly specified criteria. The first-placed school and the composer of the victorious Samba enjoy high prestige all over Brazil, while those schools with the lowest scores have to “relegate” and are replaced by others in the following year.
The 44 samba schools in Rio are well-organized associations with sometimes several thousand members who take on the preparation, rehearsals and social tasks in their respective district or favela . Due to the high cost of the parades with the elaborate costumes and allegorically decorated floats and because of the great tourist interest, the carnival in Rio is heavily commercialized and there are some connections to the mafia , which the samba schools use for money laundering.
Variants of the samba
Samba de roda and Samba de caboclo are among the most original variants 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. The conga is now also widespread in Brazil. Samba de roda is also a round dance . Where Afro-Brazilian culture mixes with indigenous influences, the term caboclo is used , which also describes mixed race with Indian ancestors. One such variant is the samba de caboclo . The actual influence of indigenous music on the samba is very small.
At the pagoda , the voices of the surdos are transmitted on hand drums ( surdo de mão : tantan , rebolo and repique de mão ) and accompanied by the smaller percussion instruments pandeiro and tamborim . The cavaquinho and singing play an important role as a melody instrument . This form of samba is often played in a social group and rarely on a stage.
Samba enredo is the modern samba of the carnivals in Rio and São Paulo , but also at the carnival in Recife and other cities. For several decades there has been a development in the samba enredo to tune the instruments higher and higher and to play the samba faster and faster. This tendency was made possible by the fact that the earlier natural skins were replaced by nylon skins since the 1970s . In addition, during the carnival parade, only the loud instruments can prevail without amplification , so that the pandeiro and the Cuíca grater drum are no longer very common in the large samba schools. Repiniques , caixas ( snares ), the surdos , tamborims , agogôs , chocalhos ( shakers ) and the pipe Apito dominate in three different pitches . The music groups ( baterias ) are always led by a richly decorated dance formation and can include several hundred musicians.
Samba batucada is played similarly to Samba enredo, usually with around 10 to 20 musicians and without singing. Sometimes less loud instruments are used, such as the Ganzá instead of the Chocalho. The smaller cast enables the individual players to solo more and improvise or vary .
Samba Canção is a mostly slow, ballad-like song variant of Samba, which was particularly popular in the 1940s to 1960s. Other variants are the Sambolero , a mixture of Samba and Bolero , Samba-Choro or Samba de Breque .
A more recent development is the Samba-Funk or Funkeado . These most innovative musical trends of the 1990s have been heavily influenced by funk and rap and merged these styles with samba. Well-known bands from Rio are Funk'N Lata , whose musicians learned Mangueira at the samba school, and Monobloco .
In Salvador evolved from the local samba tradition and Reggae -Einflüssen since the 1970s and 1980s, the samba-reggae . It is usually no longer counted among the Samba styles. Well-known groups include Olodum , Timbalada and the more traditional Ilê Aiyê . Rio de Janeiro and São Paulo are the two centers of both samba and the Brazilian entertainment industry and the economic heart of the country. Because of this, the music from this region spreads across Brazil. This also applies to samba, which can therefore be viewed as regional music as well as a national music style. Samba forms are found in almost all regions of Brazil, including samba groups at the Carnival in Recife or that of Olinda in Pernambuco . Samba influences can also be seen to varying degrees in almost all styles of the Música Popular Brasileira (MPB).
music and dance
Traditionally, dance is generally an integral part of music culture in Afro-Brazilian culture, so traditionally the two cannot be separated from each other. Even with a desfile in carnival, it is unthinkable that a bateria marches without a dance formation. In the samba schools the music and dance formation have equal rights.
The very simplified form of samba dance , which reached 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, drum groups called bloco afro developed in the poorest districts of Salvador da Bahia ( Brazil ) . Groups like Ilê Aiyê and Olodum were founded as a political expression of black self-confidence, as a form of resistance against increasing economic exclusion. “Afro Blocks” had a mobilizing function in strikes , rallies and demonstrations . Samba groups still frequently take part in political demonstrations today, like the groups from the global anti-capitalist Rhythms of Resistance network.
Samba in Germany
The first samba schools in Germany were founded in the late 1970s, and there has been a boom since the 1980s. In Germany today, samba reggae , which comes from north-east Brazil, is played primarily . For most German groups, samba is - unlike the samba schools in Brazil - just one rhythm among many. The strongholds of German samba are Cologne, Berlin, Hamburg, Munich and Bremen.
The largest samba event outside of Brazil is the Samba Festival Coburg , which has been attracting around 100 groups and more than 200,000 visitors over three days every July since 1992. The Bremen Carnival was brought to life by the Swiss artist Janine Jaeggi in 1985 and has been significantly further developed. On Saturday, nine days before Shrove Monday, over 100 samba groups roam the city. The Samba Syndrome has been taking place in Berlin since 1996 on the last weekend in September under the direction of the Landesmusikakademie Berlin. Numerous samba groups also take part in the Berlin Carnival of Cultures on Whitsun. The four-day Samba Festival Bad Wildungen has taken place every two years since 2001 with around 50 groups in the first week of September.
As for most German groups, the same applies to all of these events that they are not limited to the Samba, even if they call themselves "Samba festivals". Instead, they cover the entire spectrum of Brazilian and other rhythms transferred to Brazilian percussion instruments.
Others
- Samba in art music: Darius Milhaud (1892–1974): Mouvement de samba in Scaramouche for two pianos.
- The Asakusa Samba Carnival has been held in Japan since 1981 . Around 500,000 spectators watch the performances of the costumed dancers and Batérias in the streets of Tokyo .
literature
- Arne Birkenstock , Eduardo Blumenstock: Salsa, Samba, Santeria . dtv, Munich 2002, ISBN 3-423-24341-4 .
- Ruy Castro : Bossa nova. A history of Brazilian music . Hannibal, Höfen 2005, ISBN 3-85445-249-7 .
- The Garland encyclopedia of world music. South America, Mexico, Central America, and the Caribbean . Edited by Dale A. Olsen and Daniel E. Sheehy, Garland Publishing, New York a. a. 1998, ISBN 0-8240-4947-0 .
- Egon Ludwig (Ed.): Música Latinaoamericana. The Lexicon of Latin American Folk and Popular Music . Lexikon-Imprint-Verlag, Berlin 2001, ISBN 3-89602-282-2 .
- Tiago de Oliveira Pinto: Samba. In: Music in the past and present , edited by Ludwig Finscher and Ilka Sühring, Kassel 2007.
- Maria Isaura Pereira de Queiroz: The Samba Schools in Rio de Janeiro . In: Brazil. Introduction to the musical traditions of Brazil , edited by Tiago de Oliveira Pinto. Schott, Mainz a. a. 1986, ISBN 3-7957-1811-2 , pp. 205–221 (Schott series world music with individual essays on various aspects of Brazilian music).
- Dudu Tucci , Tiago de Oliveira Pinto: Samba and Sambistas in Brazil . Noetzel, Wilhelmshaven 1992, ISBN 3-7959-0619-9 .
- Lui Morais O sol nasceu pra todos (a história secreta do samba) . Litteris, Rio de Janeiro 2011, ISBN 978-85-374-0152-1 .
- Nei Lopes , Luiz Antônio Simas : Dicionário da História Social do Samba. Civilização Brasileira, Rio de Janeiro 2015, ISBN 978-85-200-1258-1 .
Web links
- Nana Zeh: Samba and the Groove , in: PopScriptum 11, Berlin 2010 (series of publications published by the Research Center for Popular Music at the Humboldt University of Berlin)
Individual evidence
- ↑ Friederike Jurth: Uma história do Samba; O samba enredo. In: https://sambaenredo.com . Retrieved November 27, 2019 (Portuguese, English).
- ↑ Friederike Jurth: Uma história do Samba; Dicionário do Samba Enredo e das Escolas de Samba. In: https://sambaenredo.com . Retrieved November 27, 2019 (Portuguese, English).
- ↑ Tiago de Oliveira Pinto: Capoeira, Samba, Candomblé , Berlin 1991, p. 110
- ^ Arne Birkenstock, Eduardo Blumenstock: Salsa, Samba, Santeria , Munich 2002, p. 182
- ↑ Friedrike Jurth: Uma história do Samba; Dos Pagodes antigos aos Sambas atuais. In: https://sambaenredo.com . Retrieved November 27, 2019 (Portuguese, English).
- ↑ Friederike Jurth: The phenomenon of composer's competitions at the Great samba schools from Rio de Janeiro. Composers in the middle of a musical competition and a performative event, in: Musical Competitions and Competitions (= Music, Contexts, Perspectives, Vol. 8), ed. by Klaus Näumann, Thomas Nussbaumer u. a., Munich 2018, pp. 123-137.
- ↑ Tiago de Oliveira Pinto: Capoeira, Samba, Candomblé , Berlin 1991, p. 149
- ↑ No escape: Bremen residents celebrate the Samba Carnival with devotion. senatspressestelle.bremen.de, January 24, 2002, accessed on February 7, 2018 .
- ↑ http://bremer-karneval.de/geschichte