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| samba-exaltação | |
|---|---|
| Name | Samba-exaltação |
| Stylistic origins | Samba, Marchinha, Choro, Maxixe |
| Cultural origins | Early 20th century, Rio de Janeiro, Brazil |
| Instruments | Cavaquinho, Violão, Pandeiro, Tamborim, Surdo, Cuíca, Bandolim |
| Derivatives | Samba-enredo, Samba-canção, Bossa nova |
| Other names | Samba de exaltação |
samba-exaltação Samba-exaltação is a Brazilian popular music subgenre that flourished in the early to mid-20th century, characterized by celebratory, patriotic, and grandiose lyrical content paired with rhythmic samba instrumentation. Emerging in Rio de Janeiro and disseminated through radio broadcasting and Carnaval parades, it served as a vehicle for public commemoration, municipal pride, and national imagery. The form intersected with cultural institutions such as Escolas de Samba, recording companies like Vocalion Records and Odeon Records (Brazil), and performers who bridged popular and official spheres.
Samba-exaltação arose amid urban transformations in Rio de Janeiro, the rise of Getúlio Vargas's Estado Novo era, and the expansion of media networks including Radio Nacional (Brazil) and Rede Globo antecedents, connecting neighborhood rites in Estácio de Sá and Mangueira to national stages. Early influences included composers and performers from Praça Onze, the theatrical scenes around Teatro Municipal (Rio de Janeiro), and composers associated with recording houses such as Casa Edison and Victor Records (Brazil). Festivals like Carnaval (Brazil) and events at venues such as Primavera Musical and civic commemorations shaped the genre's ceremonial tone. The genre absorbed stylistic elements from instrumentalists tied to Choro circles, prominent music schools, and popular orchestras led by figures connected to Cassino da Urca and the urban nightlife of Copacabana.
Samba-exaltação typically employs a 2/4 samba pulse executed by percussive sections featuring Pandeiro, Surdo, Tamborim, and Cuíca, with harmonic support from Violão and melodic lines from Cavaquinho and Bandolim. Arrangements often include brass and string sections associated with radio orchestras and the studio traditions of Casa Edison and labels such as Columbia Records (Brazil), producing lush textures akin to Marchinha-inflected anthems. Lyrically, the repertoire invokes places, institutions, and historical events, referencing locales like Praia do Flamengo, Centro (Rio de Janeiro), and figures tied to national memory such as José Bonifácio de Andrada e Silva in metaphorical ways. Themes include municipal pride, celebration of public works inaugurated by administrations including Getúlio Vargas and Juscelino Kubitschek, and exaltation of cultural icons associated with Carnaval (Brazil) and civic life.
Prominent composers associated with samba-exaltação include Ary Barroso, Cartola, Noel Rosa, Mario Lago, Lamartine Babo, Zé Keti, João de Barro (Braguinha), Dorival Caymmi, Heitor dos Prazeres, Ismael Neto, Assis Valente, Silas de Oliveira, Jorge Ben Jor (early work context), Almirante (singer), Adoniran Barbosa (influence through urban themes), and Benedito Lacerda among others. Notable recordings and performances that exemplify the form were issued by singers and orchestras tied to labels like Odeon Records (Brazil), Victor Records (Brazil), Columbia Records (Brazil), and later EMI-Odeon Brazil, featuring artists such as Carmen Miranda, Orlando Silva, Francisco Alves, Nélson Gonçalves, Ismael Silva, Anacleto de Medeiros, Mário Reis, Aracy de Almeida, Elizeth Cardoso, Olga Jovovich (Brazilian scenes), and Jamelão who performed in Mangueira contexts. Key samba-exaltação compositions became staples in Carnaval parades by schools including Mangueira (Escola de Samba), Portela (Escola de Samba), Salgueiro (Escola de Samba), Imperatriz Leopoldinense, and Beija-Flor de Nilópolis.
Samba-exaltação shaped public ceremonies, radio programming on stations such as Radio Nacional (Brazil) and theatrical revues at venues like Teatro Municipal (Rio de Janeiro), influencing representations of Brazilian identity promoted by ministries and institutions including Ministério da Educação e Saúde Pública (historical cultural policy actors) and municipal administrations. The genre's celebratory orientation elicited praise from cultural elites and criticism from modernist and avant-garde circles linked to Semana de Arte Moderna (1922) sensibilities and voices such as Mário de Andrade and later critics in academic settings at Universidade Federal do Rio de Janeiro and Universidade de São Paulo. Samba-exaltação songs entered film soundtracks produced by studios akin to Cinelândia circuits and were popularized through performers on programs associated with entrepreneurs like Diários Associados and Assis Chateaubriand, contributing to national mythmaking during administrations including Getúlio Vargas and Juscelino Kubitschek.
Over time samba-exaltação's ceremonial style influenced derivative genres such as Samba-enredo used in modern Carnaval (Brazil) parades and informed the lyrical scale of Samba-canção and later Bossa nova dialogues. Contemporary practitioners revisit the repertoire in archival projects by institutions like Museu da Imagem e do Som (Rio de Janeiro), reissues from labels such as EMI-Odeon Brazil and Universal Music Brasil, and reinterpretations by modern artists including Caetano Veloso, Gilberto Gil, Gal Costa, Maria Bethânia, Chico Buarque, Paulinho da Viola, Beth Carvalho, Elis Regina, Marisa Monte, Zeca Pagodinho, Adoniran Barbosa's legacy performers, and tribute programs on Rede Globo. Academic study at centers such as Museu de Arte Moderna do Rio de Janeiro and ethnomusicology departments in universities including Universidade Federal do Rio de Janeiro continue to contextualize samba-exaltação within broader Brazilian musical history. Revivalist samba schools and contemporary carnavalesque composers integrate archival samba-exaltação motifs into modern Escolas de Samba productions, while digital remastering initiatives preserve recordings from catalogs of Casa Edison, Odeon, and Victor Records (Brazil) for new audiences.
Category:Brazilian music genres