Music first and second generation Portuguese. Over time

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Last updated: September 28, 2019

Music playsa big part around the world. Music is the heart of Brazil and has been for avery long time. The Brazilian culture relate to music through expressive and receptive communication.

Music in Brazil can go from playing a smallpart to a big part in their community, that being either a simple familygathering or to a carnival. Brazil also can focus their music on religiousceremonies where they make that a main focus point. Music is auniversal language and Brazilian music is a whole world of it’s own.Historically many other countries have influenced Brazil. There was astrip that connected Russia and Alaska thus making their way south. Many otherscame also in the 1800’s from Italy, Japan, German, Ukraine, Israel and Arabia.The Portuguese settled into Brazil around the early 1500’s, in this time thecountry was in a good financial situation and grew its own natural resources.

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Over the nexttwo centuries the Portuguese brought millions of slaves from Africa. Theyworked them on the sugar cane plantations. Around this time there werePortuguese adventurers who called themselves Bandeirantes. The Banderiranteswere 17th century settlers and fortune hunters, the group originatedfrom the São Paulo region. Most of the Bandeirantes were descendants of firstand second generation Portuguese. Over time the slaves created a large legacy forthemselves. They were responsible for discovering a great mineral of wealth forBrazil and for the territorial enlargement of central and south Brazil. Whileslaves worked they started singing songs.

The songs of slaves became spectaclesat social and religious events organised by the slave-owners. Throughout thenineteenth century they came to be sung and represented, in a stereotyped and offensivemanner. The songs they use to sing were a market of musical scores, in music halls, in theaters.As time went by the rise of racist social theories at the end of the nineteenthcentury was so high slave songs took on moremodern and obviously racialised versions so they now were more known andpublished academically and commercially as black music.

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