First Published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

This collection of articles by leading scholars traces the history of Brazilian pop music through the twentieth-century.

Sean Stroud examines how and why Musica 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 Mario de Andrade and Marcus Pereira's efforts to 'musically map' Brazil is clearly emphasized. Stroud contrasts these two projects with Hermano Vianna and Itau Cultural's 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.

Made in Brazil: Studies in Popular Music serves as a comprehensive and thorough introduction to the history, sociology, and musicology of twentieth-century Brazilian popular music. The volume consists of essays by scholars of Brazilian music, and covers the major figures, styles, and social contexts of pop music in Brazil. Each essay provides adequate context so readers understand why the figure or genre under discussion is of lasting significance to Brazilian popular music. The book first presents a general description of the history and background of popular music in Brazil, followed by essays that are organized into thematic sections: Samba and Choro; History, Memory, and Representations; Scenes and Artists; and Music, Market and New Media.

Covering more than one hundred years of history, this multidisciplinary collection of essays illuminates the important links between citizenship, national belonging, and popular music in Brazil.

Sean Stroud examines how and why Música 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 Mário de Andrade and Marcus Pereira's efforts to 'musically map' Brazil is clearly emphasized. Stroud contrasts these two projects with Hermano Vianna and Itaú Cultural's 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.

In the late 1960s, Brazilian artists forged a watershed cultural movement known as Tropic¡lia. Music inspired by that movement is today enjoying considerable attention at home and abroad. Few new listeners, however, make the connection between this music and the circumstances surrounding its creation, the most violent and repressive days of the military regime that governed Brazil from 1964 to 1985. With key manifestations in theater, cinema, visual arts, literature, and especially popular music, Tropic¡lia dynamically articulated the conflicts and aspirations of a generation of young, urban Brazilians. Focusing on a group of musicians from Bahia, an impoverished state in northeastern Brazil noted for its vibrant Afro-Brazilian culture, Christopher Dunn reveals how artists including Caetano Veloso, Gilberto Gil, Gal Costa, and Tom Z© created this movement together with the musical and poetic vanguards of Sao Paulo, Brazil's most modern and industrialized city. He shows how the tropicalists selectively appropriated and parodied cultural practices from Brazil and abroad in order to expose the fissure between their nation's idealized image as a peaceful tropical "garden" and the daily brutality visited upon its citizens.

Sean Stroud examines how and why Música 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 Mário de Andrade and Marcus Pereira's efforts to 'musically map' Brazil is clearly emphasized. Stroud contrasts these two projects with Hermano Vianna and Itaú Cultural's 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.

Brazilian music has been central to Brazil's national brand in the U.S. and U.K. since the early 1960s. From bossa nova in 1960s jazz and film, through the 1970s fusion and funk scenes, the world music boom of the late 1980s and the bossa nova remix revival at the turn of the millennium, and on to Brazilian musical distribution and branding in the streaming music era, Bossa Mundo: Brazilian Music in Transnational Media Industries focuses on watershed moments of musical breakthrough, exploring what the music may have represented in a particular historical moment alongside its deeper cultural impact. Through a discussion of the political meaning of mass-mediated music, author K. E. Goldschmitt argues for a shift in scholarly focus--from viewing music as simply a representation of Otherness to taking into account the broader media environment where listeners and intermediaries often have conflicting priorities. Goldschmitt demonstrates that the mediation of Brazilian music in an increasingly crowded transnational marketplace has lasting consequences for the creative output celebrated by Brazil. Like other culturally rich countries in Latin America--such as Cuba, Mexico, and Argentina--Brazil has captured the imagination of people in many parts of the world through its music, driving tourism and international financial investment, while increasing the country's prominence on the world stage Nevertheless, stereotypes of Brazilian music persist, especially those that valorize racial difference. Featuring interviews with key figures in the transnational circulation of Brazilian music, and in-depth discussions of well-known Brazilian musicians alongside artists who redefine what it means to be a Brazilian musician in the twenty-first century, Bossa Mundo shows the pernicious effects of branding racial diversity on musicians and audiences alike.

The ethnomusicologist Frederick Moehn introduces a generation of Rio-based musicians who build on the música popular brasileira (MPB) of previous decades, but who have yet to receive scholarly attention. This generation, the "children of the dictatorship," reinvigorated Brazilian genres such as samba and maracatu through juxtaposition with international influences, including rock, techno, and funk. Moehn offers vivid depictions of Rio musicians as they creatively combine and reconcile local realities with global trends and exigencies.