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

Keywords: Bossa nova, memory, popular music

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.

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Author Biographies

Herom Vargas, Universidade Metodista de São Paulo - UMESP
Programa de Pós-Graduação em Comunicação da Universidade Metodista de São Paulo - UMESP
Mozahir Salomão Bruck, Pontifícia Universidade Católica de Minas Gerais - PUC-Minas
Programa de Pós-Graduação em Comunicação Social da PUC Minas.
Published
2017-12-27
How to Cite
Vargas, H., & Bruck, M. S. (2017). Between rupture and resumption: criticism of the dominant memory of bossa nova. MATRIZes, 11(3), 221-239. https://doi.org/10.11606/issn.1982-8160.v11i3p221-239
Section
Em Pauta/Agenda