Northeastern music includes rhythms such as coco, xaxado, martelo agalopado, samba de roda, baião, xote, forró, axé and frevo, among others.

The Armorial Movement of Recife, inspired by Ariano Suassuna, has carried out an erudite work to valorise this popular rhythmic heritage of the Northeast (one of its best known exponents is the singer Antônio Nóbrega).

Several artists have continued the legacy of Luiz Gonzaga, such as Dominguinhos, Sivuca, Jackson do Pandeiro and Waldonys.

In literature we can mention popular cordel literature, which dates back to the colonial period (cordel literature came with the Portuguese and has its origins in the European Middle Ages), and numerous popular artistic manifestations expressed orally, such as the repentes and the embarada. singers.

In classical music, the composers Alberto Nepomuceno and Paurillo Barroso stand out, as do Liduíno Pitombeira, now from Ceará, and Eleazar de Carvalho, as a conductor.

The rhythms and melodies of northeastern music have also inspired composers such as Heitor Villa-Lobos (whose Bachiana Brasileira No. 5, for example, alludes in its second part – Dança do Martelo – to the Backlands of Cariri).

Dances and Musical Rhythms from the Brazilian Northeast

Genres and rhythms of northeastern music

Several musical genres have developed in the Northeast of Brazil over the years, forming one of the country’s richest cultural expressions.

1. Xote, Xaxado and Côco – Forró
2. Frevo
3. Tropicalism / Tropicália
4. Axé Music
5. Bossa Nova
6. Punk / Hardcore
7. Mangue Beat
8. Repent
9. Brega

1. Xote, Xaxado and Côco – Forró

The Pernambucanian Luiz Gonzaga was the forerunner of baião, a rhythm that, along with others such as xote, xaxado and côco, make up the style popularly known as forró.

Several artists have continued Luiz Gonzaga’s legacy, such as Dominguinhos, Sivuca, Jackson do Pandeiro and Waldonys.

2. Frevo

Frevo, most common in the states of Pernambuco and Paraíba, is characterised by its fast pace and choreographed steps, reminiscent of capoeira.

This genre has produced great names in northeastern music such as Alceu Valença, Elba Ramalho and Geraldo Azevedo. These three, together with Zé Ramalho, have mixed frevo, forró, rock, blues and other rhythms. The quartet often performs under the name O Grande Encontro.

3. Tropicalism / Tropicália

In the 1960s, the Tropicalismo or Tropicália movement emerged in Bahia, inspired by the modernist anthropophagic movement, and became a cultural landmark in Brazil.

The movement included artists such as Tom Zé, Caetano Veloso and Gilberto Gil, among others.

Between 1965 and 1968, an intense artistic activity developed, with unprecedented cultural and political dimensions in the country. Avant-garde projects, often linked to social and political interests, emerged in different areas of artistic production.

Two main strands emerged:

• Protest art, linked to awareness raising and mobilisation against the military regime;
• Avant-garde art, focused on aesthetic renewal, new languages and criticism of imposed cultural modernisation.

In this context, protest and denunciation music emerged, usually expressing utopian hopes for a better future. Popular song became the main means of political expression because of its wide social penetration, especially after the explosion of music festivals.

Tropicalism brought together these various factors – artistic, cultural and political – and channelled them through music, theatre, cinema, visual arts and literature.

3.1. The Heyday: 1967 and 1968

Between 1967 and 1968, there was a creative explosion that radicalised the Brazilian art scene. This period saw milestones such as

• The songs “Alegria, alegria”, by Caetano Veloso, and “Domingo no Parque”, by Gilberto Gil, at TV Record’s III Festival of Brazilian Popular Music;
• The film “Terra em Transe” by Glauber Rocha;
• The performance of Oswald de Andrade‘s play “O Rei da Vela” by the Oficina Theatre;
• Hélio Oiticica‘s environmental work “Tropicália” at the New Brazilian Objectivity exhibition;
• The presentation of the book “PanAmérica” by José Agrippino de Paula.

Despite the differences between these manifestations, there was a common proposal of rupture, aesthetic innovation and redefinition of cultural and political strategies.

3.2. Musical and behavioural innovation

Tropicalism fused artistic experimentation with social criticism and encouraged integration of languages: contemporary music, pop, rock, with elements of Brazilian popular culture.

His innovations included:

• Avant-garde techniques (theatrical, cinematographic, poetic);
• Use of electronic instruments and new forms of vocalisation;
• Sophisticated arrangements and allegorical lyrics;
• Staging with a strong visual impact and cultural parody.

The albums “Caetano Veloso”, “Gilberto Gil” and the collective “Tropicália: Panis et Circencis ” (1968) were the high points of this movement.

3.3. Song as spectacle and critique

Tropicalism was a transgression, not only in music but also in behaviour. Artists incorporated visual and performative elements into their songs: flashy clothes, dishevelled hair, provocative gestures – challenging the standards of the time.

Tropicalist songs didn’t just deal with the body as a theme, but included it as part of the artistic structure. This was in dialogue with other cultural expressions of the time, such as avant-garde theatre and performance art.

3.4. Reception and legacy

Tropicalismo’s reception was controversial: welcomed by those who valued innovation and a break with clichés, and rejected by those who saw it as a distortion of authentic Brazilian music.

The movement challenged the concept of “Brazilian music”, calling for a new way of listening and a broadening of the aesthetic criteria for popular song.

Its complexity lies precisely in its ability to intervene in the modes of musical creation, expanding the critical and expressive function of music in Brazil.

4. Axé Music

In the 1980s, Bahia would once again be the birthplace of another musical genre, with the creation of Axé Music, whose predecessors included artists such as Luiz Caldas, Chiclete com Banana, Daniela Mercury, Timbalada and Olodum.

The genre revolutionised the Bahian carnival, since until then frevo, a rhythm from Pernambuco, was widely used in the Salvador festivities.

Today, the Bahian music industry is the one that produces the most stars in Brazil, with a veritable “constellation” of artists with national and international fame. Among them, Ivete Sangalo stands out, considered the most popular singer in Brazil today and the leader in sales in the national music industry. Ivete has a unique ability to draw crowds wherever she goes, including international territories.

An example of this was her performance at Rock in Rio Lisbon in 2004, where the singer broke attendance records.

Ivete is the founder of Caco de Telha, an entertainment company that holds the title of the largest in the sector in the North-East and is among the five largest on the national scene.

Caco de Telha has brought major events to Brazil, such as

• Pop singer Beyoncé‘s “I Am…” tour;
• The Black Eyed Peas‘s “The E.N.D.” tour;
• The Great Moscow Classical Ballet;
• and performances by Cirque du Soleil in various Brazilian cities.

In addition to international events, the company has also sponsored major national shows such as the Roberto Carlos – 50 Years of Music tour.

With Caco de Telha, Ivete Sangalo was the star of a mega-production at Madison Square Garden, the iconic temple of modern international music.

5. Bossa Nova

João Gilberto, considered the main creator of Bossa Nova, was born in Bahia, among other forerunners such as Tom Jobim, Vinícius de Moraes and Luiz Bonfá. The Bossa Nova is the best known Brazilian rhythm in the world.

It is an artistic and cultural movement created with the aim of modernising Brazilian music. Tom Jobim is one of the main names associated with the genre.

João Gilberto is considered the main creator of the style.

Brazil experienced a boom in the post-World War II period.

This period became known as the “Golden Years”, marked by rapid economic and cultural growth.

Within this optimistic scenario, a group of young people decided to innovate Brazilian culture by creating the movement known as Bossa Nova.

The aim of the movement was to incorporate elements and characteristics of Brazilian music in a modern way. Bossa Nova is believed to have officially emerged in 1958 with the release of João Gilberto‘s LP Chega de Saudade.

Then other artists such as Tom Jobim and Vinícius de Moraes joined in with various compositions – including one of the most famous Brazilian songs: “Garota de Ipanema”.

The movement gained global recognition in 1962 when a group of artists performed in New York at a concert in Carnegie Hall.

Among the musicians who took part in this event were Tom Jobim, João Gilberto, Oscar Castro Neves, Agostinho dos Santos, Luiz Bonfá, Carlos Lyra, among others.

5.1. History of Bossa Nova

The movement emerged in the midst of the country’s economic growth. Juscelino Kubitschek (1902-1976) was president at the time and promoted policies such as the fifty years in five programme.

His government sought to implement the Target Plan and adopt a developmentalist policy.

With the economy booming, young people from Rio’s middle class saw an opportunity to create something new. Inspired by experimentation and influenced by American jazz, João Gilberto released his first album and started the Bossa Nova movement.

The style was consolidated in the country and lasted for more than a decade, ending around 1966 with the emergence of MPB (Brazilian Popular Music).

It should be noted that the end of the movement did not mean the disappearance of its influences. Even today, musicians use elements of Bossa Nova in their compositions.

5.2. Characteristics of the musical style

As a proposal to modernise Brazilian music, Bossa Nova developed its own characteristics, reflecting a modern Brazil. Among the most important are

• the colloquial tone of voice
• Everyday topics
• low, almost whispery voice
• Samba harmonies
• Jazz inspired melodies

The songs were composed on the basis of urban manifestations, the movement of the streets and the daily life of the megacities. In this context, world-famous works were created, such as “Garota de Ipanema”, composed in 1962 by Vinícius de Moraes and Antônio Carlos Jobim.

After the Coup of 1964, compositions began to include criticism and protest against the dictatorship.

Social issues became common in artists’ lyrics. This was the beginning of what became known as the Modern MPB.

In short, the end of the movement in 1966 did not mean the disappearance of the style. Its characteristics can still be found in many compositions today.

5.3. Main musicians

João Gilberto, Tom Jobim and Vinícius de Moraes were the most emblematic artists of Bossa Nova. However, other musicians also made significant contributions to the movement:

• Dorival Caymmi
• Edu Lobo
• Francis Hime
• Marcos Valle
• Paulo Sérgio Valle
• Carlos Lyra
• Ronaldo Bôscoli
• Nara Leão
• Bebel Gilberto
• Baden Powell
• Nelson Motta
• Wilson Simonal

5.4. Main songs of the movement

Several songs have marked the history of Bossa Nova and gained international recognition. Among the most important are

1. Garota de Ipanema: Composed by Vinícius de Moraes and Tom Jobim, it is one of the most famous Brazilian songs in the world. It was a tribute to the presenter Helô Pinheiro.
2. Samba do Avião: Composed by Tom Jobim in 1962, it depicts the urban landscape of Rio de Janeiro as seen from an aeroplane.
3. Desafinado: Lyrics by Newton Mendonça and music by Tom Jobim. Performed by João Gilberto, it reflects the characteristics of Bossa Nova.
4. Insensatez: Composed in 1961 by Vinícius de Moraes and Tom Jobim, the song has a melancholic tone and was recorded in English as How Insensitive, by names such as Ella Fitzgerald, Frank Sinatra and Iggy Pop.
5. Wave: Song by Tom Jobim, arranged by Claus Ogerman. It is about love and beach landscapes.
6. Pela Luz dos Olhos Teus: Composition by Vinícius de Moraes with music by Tom Jobim. Made famous by Miúcha and Tom Jobim. The song is notable for having no chorus.
7. Ela é Carioca: Homage to the Carioca woman, composed by Tom Jobim and Vinícius de Moraes. The lyrics praise aspects of the city of Rio de Janeiro and the personality of Cariocas.
8. Chega de Saudade: Composed in 1956 by Vinícius de Moraes and Tom Jobim, the song is about suffering in love. It was the title track of João Gilberto’s first LP.
9. Águas de Março: Created by Tom Jobim in 1972 and immortalised in 1974 by Tom and Elis Regina. It became a classic of Brazilian music.
10. 1Samba de Uma Nota Só: Composed by Tom Jobim (music) and Newton Mendonça (lyrics), it has been translated into English as One Note Samba. The song is metalinguistic and has long lyrics.

5.5. Did you know?

• The song Garota de Ipanema made the list of the 50 greatest musical works of mankind, a title awarded by the US Library of Congress in 2005;
• National Bossa Nova Day is celebrated on January 25th, the birthday of Tom Jobim;
• Tom Jobim was described by Rolling Stone magazine as one of the greatest names in Brazilian music.

6. Punk / Hardcore

In the 1980s, Pernambuco became the region’s first major reference for punk/hardcore music. The main name of this movement is the band Câmbio Negro HC, considered a pioneer of the style and responsible for producing the first records of the genre in the region. He has also become one of the country’s biggest underground music references.

7. Manguebeat

In the 1990s, Manguebeat emerged in Pernambuco, a rhythm that combines rock, hip hop, maracatu and electronic music. Chico Science and Nação Zumbi are the main names in this genre.

8. Repente

Repente is widespread in the countryside, with Cego Aderaldo from Ceará standing out. The Banda Cabaçal dos Irmãos Aniceto, a fife band from Ceará, is internationally famous. Fagner, Belchior and Ednardo, MPB icons, also stand out in Ceará.

9. Brega

Brega was also born in the Northeast, with Pernambuco’s Reginaldo Rossi and Bahia’s Waldick Soriano as its main representatives.

In Maranhão, the music of the northeast has a great variety of rhythms, such as Tambor de Crioula, Tambor de Mina, Tambor de Taboca, Tambor de Caroço, the four accents of bumba-meu-boi, as well as being one of the main Brazilian strongholds of reggae.

Tribo de Jah, one of the genre’s most important bands, originated in the state. Other outstanding musicians from Maranhão are João do Vale, Cláudio Fontana, Rita Ribeiro, Catulo da Paixão Cearense, Lairton dos Teclados, Zeca Baleiro (MPB) and Alcione (samba).

Raul Seixas, born in Bahia, is considered the most important name in Brazilian rock. As a songwriter he was part of the Jovem Guarda movement.

At present, Pitty, also from Bahia, is very successful in rock music. As well as the groups Cordel do Fogo Encantado, and Pedro Luís e a Parede, who have left their mark on contemporary Brazilian popular music.

The 7 north-eastern rhythms and musical styles that are successful in Brazil.

Genres, rhythms, singers and composers of northeastern music.

This post is also on: Português English Deutsch Español Français