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Contemporary Carioca: Technologies of Mixing in a Brazilian Music Scene, by Frederick Moehn
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Brazilian popular music is widely celebrated for its inventive amalgams of styles and sounds. Cariocas, native residents of Rio de Janeiro, think of their city as particularly conducive to musical mixture, given its history as a hub of Brazilian media and culture. In Contemporary Carioca, the ethnomusicologist Frederick Moehn introduces a generation of Rio-based musicians who collaboratively have reinvigorated Brazilian genres, such as samba and maracatu, through juxtaposition with international influences, including rock, techno, and funk. Moehn highlights the creativity of individual artists, including Marcos Suzano, Lenine, Pedro Luís, Fernanda Abreu, and Paulinho Moska. He describes how these artists manage their careers, having reclaimed some control from record labels. Examining the specific meanings that their fusions have in the Carioca scene, he explains that musical mixture is not only intertwined with nationalist discourses of miscegenation, but also with the experience of being middle-class in a country confronting neoliberal models of globalization. At the same time, he illuminates the inseparability of race, gender, class, place, national identity, technology, and expressive practice in Carioca music and its making. Moehn offers vivid depictions of Rio musicians as they creatively combine and reconcile local realities with global trends and exigencies.
- Sales Rank: #2258870 in eBooks
- Published on: 2012-04-23
- Released on: 2012-04-23
- Format: Kindle eBook
Review
“Contemporary Carioca is a solid scholarly text, and it’s a good read.” - Bill Shoemaker, The Wire
“[A] capable study, particularly useful for its consideration of the music of
Lenine, a major musical figure. For all libraries supporting study of popular music.” - Tom Moore, Notes
“This volume is an excellent resource for those interested in Brazilian culture in general and popular music in Brazil in particular. Recommended. Lower- and upper-division undergraduates and above.” - K. W. Mukuna, Choice
"Contemporary Carioca is an engaging study of musical production in Brazil that focuses on a group of Rio-based, middle-class musicians who emerged in the 1980s and 1990s and continue to produce innovative work. Among the book's many strengths is its organization around individual artists and the ways that they have approached questions of globalization, national identity, social class, race, and gender. Frederick Moehn succeeds admirably in describing and analyzing the specificity of Brazilian strategies for negotiating global and local musical practices."—Christopher Dunn, coeditor of Brazilian Popular Music and Citizenship
"Frederick Moehn guides us on a scintillating exploration of Brazilian popular music of the 1990s, combining deep critical explication of the work of key performers with sharp delineation of that work's place in the political and commercial context. No previous author has balanced intimate knowledge of popular music as a studio creation with careful exploration of the Brazilian cultural marketplace as successfully as Moehn does here."—Bryan McCann, Georgetown University
“Contemporary Carioca is a solid scholarly text, and it’s a good read.” (Bill Shoemaker The Wire)
“...Moehn’s work is important because it brings to the table fresh, interesting material that he analyzes with a nice combination of ethnomusicological and anthropological insights and frames. Present and future ‘new Brazilianists’ will do well to follow his lead by examining the multiple processes that go into making music and studying artists who, for one reason or another, have received little scholarly attention." (Marc Hertzman The Americas)
“[An] insightful mix of anthropological ethnography and musical analysis. . . . Moehn expertly switches register throughout the chapters moving from a mode that privileges the contextual description of a historian / biographer to one of a music critic exercising a precision of vocabulary to catch the subtleties of musical meter and harmony to a register of high theory engaging Deleuze and the present zeitgeist of anthropological musings on identity-as-becoming in addition to Turino and current theories of musical semiotics as indicative of sociality. The fluidity of Moehn’s prose evinces a mastery of all registers, that which only a performer, in all of its connotations, could pull off.” (Derek Pardue Luso-Brazilian Review)
“With his vast knowledge of post-production studio technologies and his intimate knowledge of popular music in both political and commercial contexts, Moehn provides a valuable and highly engaging contribution to the field.” (Jordan Saull IASPM@Journal)
“Moehn’s study provides productive insights for novices and experts in Brazilian music studies. His descriptions of how artists are managing and even benefiting from the decline of the record industry are especially illuminating for researchers who are interested in the effects of neoliberalism on musical production in Brazil and beyond. . . . Moehn’s descriptions of each artist’s biography and analyses of their major works are thought provoking and present a much-needed English language resource for Brazilian pop music enthusiasts.” (Falina Enriquez Journal of Latin American and Caribbean Anthropology)
“Throughout, Moehn’s book is gratifyingly rooted in the specifics of musical sound and production procedure. . . . It bursts with telling details. . . . The sophistication of Moehn’s take on the thorny subject of middle-class identity is worth mentioning as well. . . . [An] innovative and well-accomplished piece of popular musical analysis.” (Joshua Tucker Ethnomusicology)
About the Author
Frederick Moehn is Lecturer in Music at King's College London.
Most helpful customer reviews
0 of 0 people found the following review helpful.
Timely and Brilliant
By Robert C. Gaulke
Contemporary Carioca is one of the first comprehensive reviews of the 90's generation of Brazilian artists that defined the sound of post-dictatorshop Brazil. Moehn makes a convincing case that artists such as Lenine, Marcos Suzano, Fernanda Abreu, Pedro Luís, Moska, and their collaborators were the first to synthesize the BRock wave with the Tropicalia sounds of their predecessors, to great effect.
What is startling about this work is the way the author mixes scholarship, his own enthusiasms, and detail in a manner that makes the book equally engaging for anthropologist, Brazilian music freak, or neophyte. Interviews with all of the book's major subjects delve into questions and provide contexts not found in other studies reviews, inside or outside of Brazil.
Moehn wisely focuses on percussionist Marcos Suzano, a key figure in his restless innovation in merging sampling technology with traditional rhythms and his elevation of the pandeiro to center stage in contemporary Brazilian sound. As Suzano and Moehn point out it is this divorce from the rock-centric use of a kit that allow Brazilian artists in the 90's to invigorate the musical dialogue between the hegemonies of rock and the contemporary national scene.
In chapters on Lenine, Pedro Luís, and Moska, the author provides needed context for the international listener to appreciate the full scope of his subjects' lyrical innovations. Moehn deftly focuses on the transitional works of each artist that have created the sort of thematic and structural leaps that make their Anglo-American contemporaries look direction-less and backwards focused by comparison.
The timeliness of Contempoary Carioca could not be better as all the artists featured in this book still enjoy active careers that are hopefully full of future innovations Moehn has shown them capable of producing.
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