Technologies of Mixing in a Brazilian Music Scene
Publication Year: 2012
Published by: Duke University Press
Title Page, Copyright
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On 7 December 1998 the Globo newspaper sponsored a forum in Rio de Janeiro titled â€śMPE: Engajamento ou alienaĂ§ĂŁo?â€ť (MPE: Engagement or alienation?). It brought together well- known musicians to debate whether . . .
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Writing, this book has taught me, can be a curiously solitary and yet also collaborative process. For all that one may strive to avoid distractions and even social contact in order to spend time alone in front of a computer, . . .
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In an article published in the Rio de Janeiro edition of O Globo in January 1998, the journalist MĂˇrio Marques identified a loosely collaborative group of musicians based primarily in what is known as the South Zone of the . . .
1. Marcos Suzano: A Carioca Blade Runner
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The 1990s were interesting years for the percussionist Marcos Suzano and his colleagues in music, he recalls, precisely because they captured a specific phase of technological transformation. He recorded a lot . . .
2. Lenine: Pernambuco Speaking to the World
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One of the characteristics of the pop music setting I examine in this book is the enduring legacy and influence of musicians who began their careers in the 1960s, especially individuals associated with the TropicĂˇlia . . .
3. Pedro LuĂs and The Wall: Tupy Astronauts
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During a research trip to Rio de Janeiro in 2007 I stayed in an apartment located in what one local audio engineer, in reference to the proximity of a number of music recording and rehearsal facilities in this area, called the . . .
4. Fernanda Abreu: Garota Carioca
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It is 9 August 2007. I am in GĂˇvea, South Zone, visiting the singer, songwriter, dancer, producer, and official tourism ambassador of Rio de Janeiro Fernanda Abreu at her recording studio, PancadĂŁo (meaning â€śA . . .
5. Paulinho Moska: Difference and Repetition
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â€śThatâ€™s my son at his seventh- birthday party playing capoeira and percussion,â€ť Paulinho Moska said as we looked at digital photographs on his laptop computer during my visit to Rio in August 2007. â€śHe plays in . . .
6. On Cannibals and Chameleons
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At the end of the 1990s, the musicologist Cristina Magaldi took stock of the flourish of hybrid pop music styles that had emerged in Brazil during that decade and noted that imported genres such as rock, funk, and rap . . .
Appendix 1: About the Interviews, with a List of Interviews Cited
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Appendix 2: Introductory Aspects of Marcos Suzanoâ€™s Pandeiro Method
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About the Author, Back Cover
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Page Count: 312
Illustrations: 17 illustrations
Publication Year: 2012