Samba was everywhere, and it seemed to be the measure of happiness for Brazilians of all races and social classes. Other subvarieties of samba began to emerge, including partido alto (a funk-inspired style) and pagode (a smaller group format associated with parties and informal gatherings). No longer would the sound of samba be limited to its role as the soundtrack for carnaval. Films such as Black Orpheus (with a musical score of sambas and bossa novas composed by Jobim) wowed international audiences with the sounds of authentic Brazilian music.īy the 1970s, samba saw its rise within the era of MPB ( música popular Brasileira) as artists such as Milton Nascimento, Djavan and Ivan Lins modernized the more dynamic batucada style with contemporary harmony and instrumentation, fusing samba with rock, jazz and other forms, and bringing the style into the mainstream. The result was a sound many music critics first panned for its "out-of-tune" qualities, but its popularity soared as pioneers such as Antonio Carlos Jobim and João Gilberto brought bossa nova to new heights. Considered an adaptation of the previous samba- canção form, bossa nova emphasized the melodic and vocal aspects of samba in a slower, more romantic style fused with the richness of American jazz harmony. Rio is not the only city in Brazil to offer Carnaval festivities the former colonial capital of Salvador, Bahia is also home to one of the most exciting and perhaps more roots-oriented carnival traditions, in particular as the state of Bahia has retained much of its African heritage as the country's center for the Afro-Brazilian religion of candomblé.Īnother important development in the legacy of samba took place in the late 1950s which would spark the second international wave of popularity for Brazilian music: the development of bossa nova.
Brimming with hundreds of percussionists (collectively called the bateria), dancers, costume and float designers and choreographers, the escolas prepare virtually year-round for the annual carnival parade, and each group enters into competition with its theme samba called the enredo. This powerful sounding form would in time become the heartbeat of Rio's carnaval, and the primary vehicles for the style were (and are) organized groups or contingents called escolas de samba (samba schools).ĭating back to the late 1920s, Rio's escolas emerged as fraternal groups devoted to playing and dancing for carnaval, and now represent some of the most important cultural institutions in the country. At first called samba de morro because of its development in the morros (hills), the style came to be known as samba-de-batucada, and emphasized the polyrhythmic sounds of multiple percussion instruments.
By the 1950s, as samba-canção began to lose its momentum, a more percussive and funkier style of samba began to develop in the poor areas and shantytowns (known as favelas).
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