Sean Stroud examines how and why Muacute;sica Popular Brasileira (MPB) has come to have such a high status; and why the musical tradition (including MPB) within Brazil has been defended with such vigour for so long. He emphasizes the importance of musical nationalism as an underlying ideology to discussions about Brazilian popular music since the 1920s; and the key debate on so-called cultural invasion in Brazil. The roles of those responsible for the construction of the idea of MPB are examined in detail. Stroud analyses the increasingly close relationship that has developed between television and popular music in Brazil with particular reference to the post-1972 televised song festivals. He goes on to consider the impact of the Brazilian record industry in the light of theories of cultural imperialism and globalization and also evaluates governmental intervention relating to popular music in the 1970s. The importance of folklore and tradition in popular music that is present in both Maacute;rio de Andrade and Marcus Pereiras efforts to musically map Brazil is clearly emphasized. Stroud contrasts these two projects with Hermano Vianna and Itauacute; Culturals similar ventures at the end of the twentieth century that took a totally different view of musical authenticity and tradition.Stroud concludes that the defence of musical traditions in Brazil is inextricably bound up with nationalistic sentiments and a desire to protect and preserve. MPB is the musical expression of the Brazilian middle class and has traditionally acted as a cultural icon because it is associated with notions of quality by certain sectors of the media.
#4239413 in eBooks 2006-03-29 2006-03-29File Name: B00AW8K6UE
Review
6 of 6 people found the following review helpful. A strong reference book moreBy mchFor those of us who have followed/produced/participated in community arts projects; "What We Made" is a significant reference book documenting the conceptual underpinnings and history of this contemporary art form. I found several of the case studies so moving...the statements of artists and those they worked with so important...that I find myself clipping and quoting them. And weve all got to see "Blot out the Sun;" an independent film applying the rubric of James Joyces "Ulysses" to the daily life of Jays Gas Station in Portland; Oregon. Even the Whitney Biennial picked up this gem. Tom Finkelpearls application of standard art history techniques in structuring this book; coupled with his respect for the artists involved and his love for their projects is evident throughout -- my favorite combination of deep intellectual engagement coupled with case studies and emotional bridges to the content.throughout.1 of 1 people found the following review helpful. Tom Finklepearl does an excellent job of covering not only the art piecesBy JensenTom Finklepearl does an excellent job of covering not only the art pieces; but the stories and moments behind them; while also establishing how they fit into the overall narrative and evolution of social practice.3 of 3 people found the following review helpful. What we MadeBy The Art Book Review"There is a need to activate and bring awareness to these institutions and social forms that we are not taught to question; a grassroots inquiry into typically top-down organized formats of human interactions. Shake up assumptions; personalize and participate."--Katie Bachler on "What we Made: Conversations on Art and Social Cooperation" from Duke University PressRead the full review here:http://theartbookreview.org/2013/05/24/what-we-made-conversations-on-art-and-social-cooperation/