Brazilian Popular Music, or MÃºsica Popular Brasileira (MPB), developed in the mid 1960s as a response to the re-thinking of Brazilian national identity following the establishment of the post-1964 military regime. A leading figure in MPB at this time was Caetano Veloso, and it is his music and its reception that form the focus of this book. A leader of the Tropicalist movement, Veloso sought to initiate a critical debate on Brazilian Popular Music and the political and ideological foundations which underpinned its aesthetic. Lorraine Leu examines Veloso's musical and vocal styles, revealing the ways in which they play with traditional expectations between the performer and listener, and argues that they represent an important response to the severe censorship and repression of the military regime.
'In addition to a very well researched and carefully footnoted volume, the reader gets forty-two marvelous pages of love song analysis, a subject to which not engouh musicological schoarship has been dedicated… [Leu's] interpretation and translations of, and sensitivity to, some of Brazil's best poetry, its popular music lyrics, are highly commendable and beautiful in their own right. Leu has set a new, higher standard for English language interpretations of this magnificent cultural treasure trove.' Notes ’…I was greatly engaged by Leu's analyses of Veloso's work itself… Anyone interested in Caetano Veloso's music will be inspired by Leu's interpretations of his work.’ Ethnomusicology ’There are excellent discussions of some of Veloso's key songs… a useful exploration of a musical figure who grows in stature both in his homeland and abroad.’ British Bulletin of Publications
Contents: Culture, politics and the weight of tradition in 1960s Brazil; Style and sexual politics in the TropicÃ¡lia period; 'You don't know me at all' - challenging vocal traditions; Language, meaning and memory: the songwriting tradition; The tradition of the love song in Brazil; Unidentifiable objects of desire: Caetano Veloso's love songs; Conclusion; Appendix; Bibliography; Index.
Popular musicology embraces the field of musicological study that engages with popular forms of music, especially music associated with commerce, entertainment and leisure activities. The Ashgate Popular and Folk Music Series aims to present the best research in this field. Authors are concerned with criticism and analysis of the music itself, as well as locating musical practices, values and meanings in cultural context. The focus of the series is on popular music of the twentieth and twenty-first centuries, with a remit to encompass the entirety of the world’s popular music.
Critical and analytical tools employed in the study of popular music are being continually developed and refined in the twenty-first century. Perspectives on the transcultural and intercultural uses of popular music have enriched understanding of social context, reception and subject position. Popular genres as distinct as reggae, township, bhangra, and flamenco are features of a shrinking, transnational world. The series recognizes and addresses the emergence of mixed genres and new global fusions, and utilizes a wide range of theoretical models drawn from anthropology, sociology, psychoanalysis, media studies, semiotics, postcolonial studies, feminism, gender studies and queer studies.