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Between rupture and resumption: criticism of the dominant memory of bossa nova

Herom Vargas, Mozahir Salomão Bruck

Abstract


In this article, we propose to problematize the dominant memory of bossa nova which identifies it as a break with the language of samba-canção, bolero and samba – the latter as it was played on the acoustic guitar at the time – as an aesthetic of rupture that established for the Brazilian popular music an original and modern landmark. The new of bossa nova deserves to be rethought, because, when analyzing the genesis of the genre, its musical aspects and language, it is possible to observe that, in part, it has only reconfigured or gave a new plasticity for samba and samba-canção, being faithful and linked to these songs lineages. The concepts about collective memory, from M. Pollak, and culture as memory, from I. Lotman, are the conceptual basis of the argumentation.


Keywords


Bossa nova, memory, popular music



DOI: http://dx.doi.org/10.11606/issn.1982-8160.v11i3p221-239

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