Música sertaneja and migrant identity: the stylistic development of a Brazilian genre

Abstract

Música sertaneja could be considered the Brazilian counterpart to American ‘country’ music. What defines the genre is not its rhythmic patterns, which vary considerably, but a performance style involving duplas (duos) singing in parallel thirds to the accompaniment of a guitar and a viola. Having developed out of southeastern traditional genres, it is the popular musical style that most appeals to migrants from these regions now living in the industrial centres of Greater São Paulo. Although today música sertaneja is primarily an urban phenomenon, the style also reaches audiences throughout the rural areas of central and southeastern Brazil.

Contemporary Carioca : Technologies of Mixing in a Brazilian Music Scene

“…Other genres of Brazilian music accomplish some of the same identity 225 notes to introduction work for certain populations. Música sertaneja, for example, emphasizes songwriting and is influenced by North American country music (see Dent 2007Dent , 2009Reily 1992). Axé music, a dance-oriented genre in Bahia, hybridizes samba with Afro-pop and rock.…”

“…Livingston-Isenhour and Garcia (2005) take a broadly historical look at the choro genre, including the flourishing of contemporary groups that emerged in the 1980s and 1990s. Individual articles of relevance include Araújo et al (2006), Béhague (1973Béhague ( , 1980Béhague ( , 2006, Bollig (2002), Magaldi (1999), Napolitano (1998), Pardue (2004), Reily (1994), Sneed (2007), Treece (1997), Ulhôa Carvalho (1995), andYúdice (2003). On mangue beat specifically, see, for example, Crook (2001), Galinsky (2002), Murphy (2001), 18.…”

Som e música. Questões de uma antropologia sonora

“…Pincelados alguns campos de pesquisa etnomusicológica, é preciso concluir constatando que vários outros domínios ainda poderiam ter sido comentados: música e cultura (Nettln, 1983), música e história (Veiga,198 ), música e estruturas sociais, música e mídias, música e mercado, música e identidade (Reily, 1992), música e poder, música e política, teatro e dança, música e meio ambiente, música e gender studies (Herndon & Ziegler, 1990), música e religiosidade, música e trabalho acústico (Araújo, 1999), festivais de música, música e o diálogo intercultural, produção musical, World Music (Broughton, 1994) etc.…”

Space and place in world music production

“…Scholars (Barrett, 1996;Reily, 1992;Slobin, 1992) have argued that the early success of world music was based on differences situated through discourses of exoticism, discovery, authenticity, othering/difference, and a sense of place.…”