Música sertaneja

Música Sertaneja
Stylistic origins	Cururu, Embolada, Fandango, Recortado, Toada
Cultural origins	1920s, countryside of Southeastern Brazil, Northwestern Brazil, Center-Western Brazil and Southern Brazil
Typical instruments	viola caipira, guitar, and acordeão
Mainstream popularity	All Brazil
Subgenres
Root Sertanejo • Romantic Sertanejo • Sertanejo Universitári

Chitãozinho & Xororó are an example of romantic sertanejo duos made of siblings.

Música sertaneja (Portuguese pronunciation: [ˈmuzikɐ seʁtaˈneʒɐ]) or Sertanejo (pronounced: [seʁtaˈneʒu]) is a music style that had its origins in the countryside of Brazil in the 1920s.

Sertanejo songs have been, from the 1990s on, the most played music genre on Brazilian radio, constantly topping the Brazilian music charts. Additionally, from 2000 to 2003 and since 2009, música sertaneja albums have been granted a specific category at the Latin Grammy Awards.

Most of sertanejo music artists consist of duos made of brothers, typically with one of them being the backing vocalist to the other one. Men have traditionally dominated the scene, although recently some women (notably, Paula Fernandes and Maria Cecília) have also achieved mainstream success.

A new subgenre, called "sertanejo universitário" (university sertanejo), has developed from the mid-2000s on, consisting of a more stripped-down, acoustic-oriented use of the guitars, and has come to grow very popular among the Brazilian youth.

History

Background

"Backcountry" is the remote locations away from cities, although this is more related to one's relationship to the northeast. Inside it was found hostile vegetation and climate, besides the political rule of the colonels, forcing the people to develop a culture of resistance, mostly by the woodsman legitimately frontiersman, expert on the savannah. It differs from the North American redneck culture, specifically originating in the area that comprises the states of São Paulo, Minas Gerais, Goias, Mato Grosso, Mato Grosso do Sul and Paraná. They have developed a culture of the colonizer who found plenty of water, productive land and milder climates, typical of the cerrado. It is known as "hillbilly" or "country music" composed and performed in rural areas, using the former Fashion viola. The rustics, double or solos used are typical of colonial Brazil, as is the hillbilly guitar.

First era

It was at the end of the 1920s that Brazilian country music as we know it today came into being. It was born from recordings made by journalist and writer Cornelius Pires of "tales" and fragments of traditional songs in the interior of rural, north and west of Paraná, south triangle and miners, Goias and Mato Grosso southeast. At the time of these pioneering recordings, the genre was known as country music, whose lyrics evoke the lifestyle of the inner man (often in opposition to man's life in the city) and the bucolic beauty of the landscape and romantic countryside (currently this type of composition is classified as "country music roots", with emphasized words in daily life and manner of singing). Beyond Cornelius Pires and his "Caipira Gang" stood out in this trend, recording at a later time, double Alvarenga and Ranch, and Florencio Torres, Tonic and Tinoco, Vieira and Vieirinha, among others, and popular songs like "Sergio Forero, "Cornelius Pires," The Shrimp Bonde "Cornelius Pires and Mariano," Hinterland of Orange "by Pires and Ariovaldo" Cabocla Teresa", by John Pires and Ariovaldo Pacific.

Second era

A new phase in the history of country music began after the Second World War, with the addition of new styles (of duets with various intervals and the mariachi-style), gender (initially guarânia and Paraguayan polka, and later, the Mexican corrido and ranchera) and instruments (such as the accordion and harp). The theme will gradually become more loving, saving, however, an autobiographical character.

Some highlights of this era were the duos and Cascatinha Inhan Sisters Galvão Castro Sisters, and Sulino Marrueiro, Palm and Biá, the trio lights, Limerick and Zezinha (launchers music campeira) and singer José Fortuna (adapter guarânia ~ Brazil) . Throughout the 1970s, the double and Jose Rico Millionaire systematized the use of elements of traditional Mexican mariachi with violin and trumpet flourishes to fill spaces between sentences and strokes of the glottis which produces a sobbing voice. Other names, such as double and Pena Branca Xavantinho, followed the ancient tradition of rustic, while the singer Tiao Carreiro innovated by fusing the genre with samba, coco de roda and lizard.

Third era

The introduction of the electric guitar and called "young rhythm," double by Leo and Robby Lefty in the late 1960s, marking the start of modern country music. One member of the Young Guard movement music, singer Sergio Reis went on to record in the 1970 repertoire traditional swing, so as to contribute to wider penetration of gender. Renato Teixeira was another artist to highlight that point. At that time, the local performance of country music was originally the circus, rodeo, and especially some AM radio. Early as the 1980s, this penetration extended to FM radio and also on television - either in weekly programs on Sunday morning or soundtracks novel or special programs.

During the eighties, there was a mass commercial exploitation of the hinterland, coupled in some cases, to a rereading of international hits and even the Young Guard. In this new romantic trend of country music emerged countless artists, almost always in pairs, among which, Trio Parada Dura, Chitãozinho & Xororó, Leandro & Leonardo, Zeze Di Camargo e Luciano, Chrystian Ralph, John Paul & Daniel, Chico Rey & Parana, João Mineiro and Marciano, Gian and Giovani, Rick & Renner, and Gilmar Gilberto, and the singers Roberta Flack and Nalva Aguiar. Some of the successes of this phase are "hair", Marciano and Darci Rossi, "Apartment 37 ", Leo Lefty, "Think of Me, " Douglas in May, "Entre Tapas e Beijos", Nilton Lamas and Antonio Bueno and "Evidence", by Jose Augusto and Paulo Sergio Valle. so he died of chagrin of mauricio

Against this trend of more commercial country music, the duo reappeared names like White Feather and Xavantinho, adapting to the language of BPM success of guitars, new artists and emerged as Almir Sater, sophisticated guitar player, who moved among the styles of guitar and the blues. In the following decade, a new generation of artists emerged in the backcountry willing to reunite the traditions rednecks, as Roberto Correa, Ivan Vilela, Pereira da Viola and Lobo and Chico Miltinho Edilberto. Given that the recording industry in the 2000s launched a similar movement called backcountry university, with names like Mark & Leo, Joao Bosco & Vinicius, César Menotti & Fabiano, Jorge & Mateus, Victor & Leo Fernando & Sorocaba, Mark & Belutti, João Neto & Frederico. As this movement and to win more supporters cade, the market was focused on that before the advent of double and artists sertanejos in Goias state, has today elected new idols in the state of Mato Grosso do Sul as the revelation school Luan Santana Maria Cecilia & duplication Rodolfo.Porém, Goias has not failed to reveal big names on the national scene, it appeared the aforementioned Jorge & Mateus and João Neto e Frederico. Not to mention the great artists linked to the hinterland more massive of the previous decade, as Guilherme & Santiago, Bruno & Marrone, Edson & Hudson,etc...

Fourth era

Starts recycling sertanejo universitário, the artists get the music division, a good part returns to the influences of fashion violates or "fashion" as the artists are choosing to call the new segment is emerging, and CDS with the caption "just fashion". Yet another part follows the trends of the past romantic hinterland that is the case of artists like Eduardo Costa e Léo Magalhães. In the fourth era, the lyrics no longer talk about life, now they are about woman, drink, betrayal and sex, and there is influence from funk and samba/pagode.

Sertanejo universitário

A popular variation of the original sertanejo. Instead of the traditional accordions and guitars, synthesizers and electric guitars begun to be used most often. This subgenre is sung, and is more popular with, people attending college, this being the reason behind the name of this variation. This is the style of musics played in university parties, like "Ai se eu te pego" by Michel Teló, who is working in an English version of the music. This variation of sertanejo have a little bit of pop compared with others.

See also

• Pagode (music)
• Música sertaneja musicians

External links

• Música Sertaneja - Dicionário Cravo Albin da Música Popular Brasileira
• Conheça 15 faixas essenciais da música caipira