“Hello, hello Brazil” was the standard greeting Brazilian radio announcers of the 1930s used to welcome their audience into an expanding cultural marketplace. New genres… Mehr…
“Hello, hello Brazil” was the standard greeting Brazilian radio announcers of the 1930s used to welcome their audience into an expanding cultural marketplace. New genres like samba and repackaged older ones like choro served as the currency in this marketplace, minted in the capital in Rio de Janeiro and circulated nationally by the burgeoning recording and broadcasting industries. Bryan McCann chronicles the flourishing of Brazilian popular music between the 1920s and the 1950s. Through analysis of the competing projects of composers, producers, bureaucrats, and fans, he shows that Brazilians alternately envisioned popular music as the foundation for a unified national culture and used it as a tool to probe racial and regional divisions.McCann explores the links between the growth of the culture industry, rapid industrialization, and the rise and fall of Getúlio Vargas’s Estado Novo dictatorship. He argues that these processes opened a window of opportunity for the creation of enduring cultural patterns and demonstrates that the understandings of popular music cemented in the mid–twentieth century continue to structure Brazilian cultural life in the early twenty-first. Digital Content>E-books>Music>Music Hist & Reference>Music Ref, Duke University Press Digital >16<
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"Hello, hello Brazil" was the standard greeting Brazilian radio announcers of the 1930s used to welcome their audience into an expanding cultural marketplace. New genres like samba and r… Mehr…
"Hello, hello Brazil" was the standard greeting Brazilian radio announcers of the 1930s used to welcome their audience into an expanding cultural marketplace. New genres like samba and repackaged older ones like choro served as the currency in this marketplace, minted in the capital in Rio de Janeiro and circulated nationally by the burgeoning recording and broadcasting industries. Bryan McCann chronicles the flourishing of Brazilian popular music between the 1920s and the 1950s. Through analysis of the competing projects of composers, producers, bureaucrats, and fans, he shows that Brazilians alternately envisioned popular music as the foundation for a unified national culture and used it as a tool to probe racial and regional divisions.McCann explores the links between the growth of the culture industry, rapid industrialization, and the rise and fall of Getulio Vargas's Estado Novo dictatorship. He argues that these processes opened a window of opportunity for the creation of enduring cultural patterns and demonstrates that the understandings of popular music cemented in the mid-twentieth century continue to structure Brazilian cultural life in the early twenty-first.; PDF; Music, Stage & Screen > Music > Music: styles & genres, Duke University Press<
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"Hello, hello Brazil" was the standard greeting Brazilian radio announcers of the 1930s used to welcome their audience into an expanding cultural marketplace. New genres like samba and r… Mehr…
"Hello, hello Brazil" was the standard greeting Brazilian radio announcers of the 1930s used to welcome their audience into an expanding cultural marketplace. New genres like samba and repackaged older ones like choro served as the currency in this marketplace, minted in the capital in Rio de Janeiro and circulated nationally by the burgeoning recording and broadcasting industries. Bryan McCann chronicles the flourishing of Brazilian popular music between the 1920s and the 1950s. Through analysis of the competing projects of composers, producers, bureaucrats, and fans, he shows that Brazilians alternately envisioned popular music as the foundation for a unified national culture and used it as a tool to probe racial and regional divisions.McCann explores the links between the growth of the culture industry, rapid industrialization, and the rise and fall of Getulio Vargas's Estado Novo dictatorship. He argues that these processes opened a window of opportunity for the creation of enduring cultural patterns and demonstrates that the understandings of popular music cemented in the mid-twentieth century continue to structure Brazilian cultural life in the early twenty-first.; PDF; Music, Stage & Screen > Music > Music: styles & genres, Duke University Press<
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"Hello, hello Brazil" was the standard greeting Brazilian radio announcers of the 1930s used to welcome their audience into an expanding cultural marketplace. New genres like samba and r… Mehr…
"Hello, hello Brazil" was the standard greeting Brazilian radio announcers of the 1930s used to welcome their audience into an expanding cultural marketplace. New genres like samba and repackaged older ones like choro served as the currency in this marketplace, minted in the capital in Rio de Janeiro and circulated nationally by the burgeoning recording and broadcasting industries. Bryan McCann chronicles the flourishing of Brazilian popular music between the 1920s and the 1950s. Through analysis of the competing projects of composers, producers, bureaucrats, and fans, he shows that Brazilians alternately envisioned popular music as the foundation for a unified national culture and used it as a tool to probe racial and regional divisions.McCann explores the links between the growth of the culture industry, rapid industrialization, and the rise and fall of Getulio Vargas's Estado Novo dictatorship. He argues that these processes opened a window of opportunity for the creation of enduring cultural patterns and demonstrates that the understandings of popular music cemented in the mid-twentieth century continue to structure Brazilian cultural life in the early twenty-first.; PDF; Music, Stage & Screen > Music > Music: styles & genres, Duke University Press<
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“Hello, hello Brazil” was the standard greeting Brazilian radio announcers of the 1930s used to welcome their audience into an expanding cultural marketplace. New genres… Mehr…
“Hello, hello Brazil” was the standard greeting Brazilian radio announcers of the 1930s used to welcome their audience into an expanding cultural marketplace. New genres like samba and repackaged older ones like choro served as the currency in this marketplace, minted in the capital in Rio de Janeiro and circulated nationally by the burgeoning recording and broadcasting industries. Bryan McCann chronicles the flourishing of Brazilian popular music between the 1920s and the 1950s. Through analysis of the competing projects of composers, producers, bureaucrats, and fans, he shows that Brazilians alternately envisioned popular music as the foundation for a unified national culture and used it as a tool to probe racial and regional divisions.McCann explores the links between the growth of the culture industry, rapid industrialization, and the rise and fall of Getúlio Vargas’s Estado Novo dictatorship. He argues that these processes opened a window of opportunity for the creation of enduring cultural patterns and demonstrates that the understandings of popular music cemented in the mid–twentieth century continue to structure Brazilian cultural life in the early twenty-first. Digital Content>E-books>Music>Music Hist & Reference>Music Ref, Duke University Press Digital >16<
"Hello, hello Brazil" was the standard greeting Brazilian radio announcers of the 1930s used to welcome their audience into an expanding cultural marketplace. New genres like samba and r… Mehr…
"Hello, hello Brazil" was the standard greeting Brazilian radio announcers of the 1930s used to welcome their audience into an expanding cultural marketplace. New genres like samba and repackaged older ones like choro served as the currency in this marketplace, minted in the capital in Rio de Janeiro and circulated nationally by the burgeoning recording and broadcasting industries. Bryan McCann chronicles the flourishing of Brazilian popular music between the 1920s and the 1950s. Through analysis of the competing projects of composers, producers, bureaucrats, and fans, he shows that Brazilians alternately envisioned popular music as the foundation for a unified national culture and used it as a tool to probe racial and regional divisions.McCann explores the links between the growth of the culture industry, rapid industrialization, and the rise and fall of Getulio Vargas's Estado Novo dictatorship. He argues that these processes opened a window of opportunity for the creation of enduring cultural patterns and demonstrates that the understandings of popular music cemented in the mid-twentieth century continue to structure Brazilian cultural life in the early twenty-first.; PDF; Music, Stage & Screen > Music > Music: styles & genres, Duke University Press<
No. 9780822385639. Versandkosten:Instock, Despatched same working day before 3pm, zzgl. Versandkosten.
"Hello, hello Brazil" was the standard greeting Brazilian radio announcers of the 1930s used to welcome their audience into an expanding cultural marketplace. New genres like samba and r… Mehr…
"Hello, hello Brazil" was the standard greeting Brazilian radio announcers of the 1930s used to welcome their audience into an expanding cultural marketplace. New genres like samba and repackaged older ones like choro served as the currency in this marketplace, minted in the capital in Rio de Janeiro and circulated nationally by the burgeoning recording and broadcasting industries. Bryan McCann chronicles the flourishing of Brazilian popular music between the 1920s and the 1950s. Through analysis of the competing projects of composers, producers, bureaucrats, and fans, he shows that Brazilians alternately envisioned popular music as the foundation for a unified national culture and used it as a tool to probe racial and regional divisions.McCann explores the links between the growth of the culture industry, rapid industrialization, and the rise and fall of Getulio Vargas's Estado Novo dictatorship. He argues that these processes opened a window of opportunity for the creation of enduring cultural patterns and demonstrates that the understandings of popular music cemented in the mid-twentieth century continue to structure Brazilian cultural life in the early twenty-first.; PDF; Music, Stage & Screen > Music > Music: styles & genres, Duke University Press<
No. 9780822385639. Versandkosten:Instock, Despatched same working day before 3pm, zzgl. Versandkosten.
"Hello, hello Brazil" was the standard greeting Brazilian radio announcers of the 1930s used to welcome their audience into an expanding cultural marketplace. New genres like samba and r… Mehr…
"Hello, hello Brazil" was the standard greeting Brazilian radio announcers of the 1930s used to welcome their audience into an expanding cultural marketplace. New genres like samba and repackaged older ones like choro served as the currency in this marketplace, minted in the capital in Rio de Janeiro and circulated nationally by the burgeoning recording and broadcasting industries. Bryan McCann chronicles the flourishing of Brazilian popular music between the 1920s and the 1950s. Through analysis of the competing projects of composers, producers, bureaucrats, and fans, he shows that Brazilians alternately envisioned popular music as the foundation for a unified national culture and used it as a tool to probe racial and regional divisions.McCann explores the links between the growth of the culture industry, rapid industrialization, and the rise and fall of Getulio Vargas's Estado Novo dictatorship. He argues that these processes opened a window of opportunity for the creation of enduring cultural patterns and demonstrates that the understandings of popular music cemented in the mid-twentieth century continue to structure Brazilian cultural life in the early twenty-first.; PDF; Music, Stage & Screen > Music > Music: styles & genres, Duke University Press<
No. 9780822385639. Versandkosten:Instock, Despatched same working day before 3pm, zzgl. Versandkosten.
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EAN (ISBN-13): 9780822385639 Erscheinungsjahr: 4 Herausgeber: Duke University Press
Buch in der Datenbank seit 2014-10-08T23:50:32+02:00 (Berlin) Detailseite zuletzt geändert am 2024-03-04T20:34:41+01:00 (Berlin) ISBN/EAN: 0822385635
ISBN - alternative Schreibweisen: 978-0-8223-8563-9 Alternative Schreibweisen und verwandte Suchbegriffe: Autor des Buches: mirowski Titel des Buches: brazil modern, making music
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