- 出版社: Temple University Press,U.S.; Revised (2008年12月20日)
- 精装: 280页
- 语种： 英语
- ISBN: 1592139280
- 条形码: 9781592139286
- 商品尺寸: 17.8 x 2 x 25.4 cm
- 商品重量: 635 g
- ASIN: 1592139280
- 用户评分: 分享我的评价
The Brazilian Sound: Samba, Bossa Nova, and the Popular Music of Brazil (英语)
"[T]his book has been revised and expanded again to be bigger and better than the previous highly praised incarnations. Ten years on, the music is still evolving, with many new artists and hybridizations, and McGowan and Pessanha are certainly keeping up with the changes. Their book features new coverage of funk, rap, and hip-hop and profiles new samba artists as well as artists on the rise in electronic dance music and other genres. Now that the Internet has made it easier to find and explore once-exotic musical genres, people looking for information about all the kinds of music in Brazil will love this book. Lavishly illustrated with 175 black-and-white photos, 12 maps, and 12 figures, it covers the remarkable breadth of Brazilian music in a highly readable, lively manner. Highly recommended for all public libraries and world music collections, even those owning an earlier edition." - Library Journal "An excellent resource on some of the most popular music in Brazil.... Clearly written and offering information valuable for understanding Brazilian music in general.... Anyone interested in the evolution of Brazilian popular music and some of its most prolific artists of the past centuries will appreciate this title. Summing Up: Highly recommended." --Choice, June 2009 "Well informed, written in plain language and smartly illustrated, The Brazilian Sound quickly became a reference book after it was published in 1991. With the recent publication of a revised and expanded edition, the good just got better...The Brazilian Sound is an informative primer, clearly designed to be useful to the curious beginner, but also substantive enough to capture and hold the attention of the initiated. This new edition retains the easy-to-read quality of the original while adding not only new artists throughout but also historical and social context to the music.... For anyone interested in exploring the vast world of Brazilian music, The Brazilian Sound will serve nicely as a smart and practical road map." --Jazziz, February 2009
Chris McGowan has written about Brazilian music for Billboard, Musician and many other publications, and contributed to The Encyclopedia of Latin American History and Culture. He blogs for the Huffington Post about Brazil and other subjects. Ricardo Pessanha has worked as a Brazilian music consultant for foreign journalists, music producers and filmmakers and as a music lecturer for academic programs. He has been a translator and publicity writer for recording companies in Brazil and contributed articles to The Beat and other publications.
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Unfortunately, unless a person is willing to spend countless shopping hours and a couple of thousand dollars building up collection of Brazilian records, he or she will gain almost no insight from this book into what the music feels like. The authors describe individual works and artists in only vague terms - terms often identical to those previously used to describe others. They beat the term "syncopation" into irrelevance - it's clear only that all Brazilian music is syncopated. The authors habitually refer to folk music genres and song forms ala "Composer X's work is all based on the Y song form..." But they provide no practical examples or definitions of those genres or forms.
The authors stridently dumb-down their text, accepting as axiom that one has to "hear it to believe it" and that it is meaningless to describe Brazilian music in technical terms. They generally refrain from even using common musical terms - bar, measure, pulse, key, etc. - to give the reader a clearer understanding of Brazilian rhythmic and harmonic structures. They use few effective musical comparisons or verbal metaphors. It is understandably difficult to describe music in writing. But it is possible. Judicious use of metaphor, comparisions, and technical descriptions would have greatly fleshed out what in the end comes off as a skeletal text.
This 1998 edition serves as the update to the first, apparently published in 1990 or 1991. However, the amendments appear to have been quite minor - embodied by an isolated paragraph here and there, and four meager pages in the final "More Brazilian Sounds" chapter. It's as if nothing has really happened in the evolution of Brazilian music since 1990 - an impression that must be wrong.
The Brazilian Sound catalogs decent research, but is neither good writing nor effective music history.