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Should we make an attempt to note the distinction between MPB (eg. Caetano Veloso) from Brazilian Pop (eg. Sandy e Junior)? – Roma_emu talk 14:25, 13 April 2008 (UTC)
This article was the subject of a Wiki Education Foundation-supported course assignment, between 24 August 2022 and 9 December 2022. Further details are available on the course page. Student editor(s): Mowik1one ( article contribs).
— Assignment last updated by FinnMal ( talk) 19:14, 9 September 2022 (UTC)
I plan to add to the history section of the page a greater elaboration on the origins and evolution of MPB, from a style associated with bossa nova to one encompassing Brazilian popular music in general. Additionally, this would include MPB's connection to Brazilian television in soundtracks for many TV shows (besides televised music festivals) as well as the relationship of MPB with Brazilian national identity and politics over time as a vehicle for political and social criticism.
The sources for these additions (that I will also add) are: Becoming Brazilians by Marshall C. Eakin, Farewell to MPB by Carlos Sandroni, and The Defence of Tradition in Brazilian Popular Music: Politics, Culture, and the Creation of Música Popular Brasileira by Stroud, Hawkins, and Burns.
This article is rated C-class on Wikipedia's
content assessment scale. It is of interest to the following WikiProjects: | |||||||||||||||||||||||||||||||||||||||||
|
Should we make an attempt to note the distinction between MPB (eg. Caetano Veloso) from Brazilian Pop (eg. Sandy e Junior)? – Roma_emu talk 14:25, 13 April 2008 (UTC)
This article was the subject of a Wiki Education Foundation-supported course assignment, between 24 August 2022 and 9 December 2022. Further details are available on the course page. Student editor(s): Mowik1one ( article contribs).
— Assignment last updated by FinnMal ( talk) 19:14, 9 September 2022 (UTC)
I plan to add to the history section of the page a greater elaboration on the origins and evolution of MPB, from a style associated with bossa nova to one encompassing Brazilian popular music in general. Additionally, this would include MPB's connection to Brazilian television in soundtracks for many TV shows (besides televised music festivals) as well as the relationship of MPB with Brazilian national identity and politics over time as a vehicle for political and social criticism.
The sources for these additions (that I will also add) are: Becoming Brazilians by Marshall C. Eakin, Farewell to MPB by Carlos Sandroni, and The Defence of Tradition in Brazilian Popular Music: Politics, Culture, and the Creation of Música Popular Brasileira by Stroud, Hawkins, and Burns.