(Bossa nova Versi Indoensia) Bossa
nova is a well-known style of Brazilian music developed and popularized
in the 1950s and 1960s. The phrase bossa nova means literally "New
Trend" (Portuguese pronunciation: [ˈbɔsɐ ˈnɔvɐ] ( listen)) A lyrical
fusion of samba and jazz, bossa nova acquired a large following in the
1960s initially from young musicians and college students.[2] Since its
birth, it remains a vital part of the standard jazz repertoire.
Origin of the term "bossa nova"
In Brazil, the word
"bossa" is slang for doing something with particular charm, natural
flair or innate ability. As early as 1932, Noel Rosa used the word in a samba:
"O samba, a prontidão e
outras bossas são nossas coisas, são coisas nossas" ("The samba, the
readiness and other bossas are our things, are things from us").
The exact origin of the term
"bossa nova" still remains uncertain. Within the artistic beach culture
of the late 1950s Rio de Janeiro, the term "bossa" was used to refer
to any new "trend" or "fashionable wave". In his book Bossa
Nova, Brazilian author Ruy Castro asserts that "bossa" was already in
use in the 1950s by musicians as a word to characterize someone's knack for
playing or singing idiosyncratically.[3] Castro claims that the term
"bossa nova" might have first been used in publicity for a concert
given in 1958 by the Grupo Universitário Hebraico do Brasil (University Hebrew
Group of Brazil). This group consisted of Sylvinha Telles, Carlinhos Lyra, Nara
Leão, Luizinho Eça, Roberto Menescal, et al. And in 1959, Nara Leão also
participated in more than one embryonic display of bossa nova. This included
the 1st Festival de Samba Session, conducted by the PUC's (Pontifical
Universidade Catolica) student union. (This session was then chaired by Carlos
Diegues, a law student that Leão ultimately married.) [4] While these early
musicians were likely using the term "bossa nova" as a generic reference
this novel musical style, the term took hold as the definition of their own
specific artistic creation to this day.
Origins and history of "bossa nova" musical style
The bossa nova musical style
evolved from samba, but is more complex harmonically and less percussive. As
opposed to Samba's origins in the favelas, bossa nova emerged primarily from
the upscale beachside neighborhoods of Rio de Janeiro. Certain similar elements
were already evident, even influences from Western classical music like Gershwin's
Cuban Overture with its characteristic 'Latin' clave rhythm. The influence on
bossa nova of jazz styles such as cool jazz is often debated by historians and
fans, but a similar "cool sensibility" is apparent.
The development of bossa nova is
largely credited to artists working in the 1950s including Johnny Alf, Antonio
Carlos Jobim and João Gilberto. One of the first bossa nova songs was
"Bim-Bom" by Gilberto. Other songs that popularized the style
included Dorival Caymmi's "Saudade da Bahia" and Elizete Cardoso's
recording of "Chega de Saudade" on the Canção do Amor Demais LP,
composed by Vinícius de Moraes(lyrics) and Antonio Carlos Jobim (music). The
song was soon after released by Gilberto.
An early influence on bossa nova
was the song "Dans mon île" by French singer Henri Salvador, featured
in the 1957 Italian movie Europa di notte by Alessandro Blasetti; the song was
distributed in Brazil and covered later by Brazilian artists Eumir Deodato (Los
Danseros en Bolero - 1964) and Caetano Veloso (Outras Palavras - 1981). (In
2005, Henri Salvador was awarded the Brazilian Order of Cultural Merit for his
influence on Brazilian culture. He received this honor from then singer and
Minister of Culture, Gilberto Gil in the presence of President Lula.
The initial releases by Gilberto
and the internationally popular 1959 film Orfeu Negro ("Black
Orpheus", with score by Luiz Bonfá) brought significant popularity of this
musical style in Brazil and elsewhere in Latin America. It soon spread to North
America via visiting American jazz musicians. The resulting recordings by
Charlie Byrd and Stan Getz cemented its popularity and led to a worldwide boom
with the 1963 recordings of Getz/Gilberto. Numerous bossa nova recordings by
famous jazz performers followed, including those of Ella Fitzgerald (Ella
Abraça Jobim) and Frank Sinatra (Francis Albert Sinatra & Antônio Carlos
Jobim).
The first bossa nova single to
achieve international popularity was perhaps the most successful of all time,
the Getz/Gilberto recording "The Girl From Ipanema". This 1964 song
was edited to include only the singing of Astrud Gilberto, Gilberto's then
wife. From the popularity of this song, the genre would then endure and
withstand substantial "watering down" by popular artists throughout
the next four decades.
Instruments
Classical guitar: Bossa nova is
most commonly performed on the nylon-string classical guitar, played with the
fingers rather than with a pick. Its purest form could be considered
unaccompanied guitar with vocals, as exemplified by João Gilberto. Even in
larger, jazz-like arrangements for groups, there is almost always a guitar that
plays the underlying rhythm. Gilberto basically took one of the several
rhythmic layers from asamba ensemble, specifically the tamborim, and applied it
to the picking hand.
Piano: Though not as prominent as
the guitar, the piano is another important instrument of bossa nova; Jobim
wrote for the piano and performed on it for most of his own recordings. The
piano has also served as a stylistic bridge between bossa nova and jazz,
enabling a great deal of cross-pollination between the two. In addition to the
piano, the electronic organ is also prominently featured on many classic bossa
nova tracks, such as "(So Nice) Summer Samba" by Walter Wanderly.
Percussion: Drums and other
percussion are generally not considered essential bossa nova instruments.
Nonetheless, there is a distinctive bossa nova drumming style like that of
Helcio Milito and Milton Banana, characterized by continuous eighths on the high-hat
(mimicking the samba Pandeiro) and tapping of the rim or "rim clicks"
in a clave pattern. The bass drum usually plays on "1-&3-&1".
Strings:' Lush orchestral
accompaniment is often associated with bossa nova's North American image as
"lounge" music. It is present in many of Jobim's own recordings, and
in those of Astrud Gilberto. Dusty Springfield would both feature and epitomize
this element on her Philipsrecording of "The Look of Love", a song
written by Burt Bacharach and Hal David, and one of the most respected American
pop interpretations of the bossa nova. (That version is not the Phil Ramone
version Springfield first recorded.) The unique aural texture of bossa strings,
when used, is an important secondary characteristic of the genre. Bossa nova is
at heart a folk genre, and not all bossa nova records have strings.
Structure
In the early bossa nova
recordings, in terms of lyrical themes and length of songs (typically two to
four minutes), bossa nova's was very much a popular-music style. However, its
song structure often differs from European and North American popular music's
standard format of two verses followed by a bridge and a closing verse; bossa
nova songs frequently have no more than two lyrical verses, while many lack a
bridge. Some of João Gilberto's earliest recordings were less than two minutes
long, and some had a single lyrical verse that was simply repeated.
Certain other instrumentations
and vocals are also part of the structure of bossa nova:
Bossa nova and samba
Bossa nova has at its core a
rhythm based on samba. Samba combines the rhythmic patterns and feel
originating in former African slave communities. Samba's emphasis on the second
beat carries through to bossa nova (to the degree that it is often notated in
2/4 time). However, unlike samba, bossa nova doesn't have dance steps to
accompany it.[5] When played on the guitar, in a simple one-bar pattern, the
thumb plays the bass notes on 1 and 2, while the fingers pluck the chords in
unison on the two eighth notes of beat one, followed by the second sixteenth
note of beat two. Two-measure patterns usually contain a syncopation into the
second measure. Overall, the rhythm has a "swaying" feel rather than
the "swinging" feel of jazz. As bossa nova composer Carlos Lyra
describes it in his song "Influência do Jazz", the samba rhythm moves
"side to side" while jazz moves "front to back". Bossa nova
was also influenced by the blues, but because the most famous bossa novas lack
the 12-bar structure characteristic of classic blues, as well as the statement,
repetition and rhyming resolution of lyrics typical of the genre, bossa nova's
affinity with the blues often passes unnoticed.[6]
Bossa nova and jazz
In terms of harmonic structure,
bossa nova has a great deal in common with jazz, in its sophisticated use of
seventh and extended chords. The first bossa nova song, "Chega de
Saudade", borrowed some structural elements from choro; however, later
compositions rarely followed this form. Jobim often used challenging, almost
dissonant melody lines, the best-known being in the tunes
"Desafinado" ("Off-Key"). Often the melody goes to the
altered note in the chord. For example, if the chord is DM7#11, the note sung
in the melody line there would be G#, or the sharp 11.
Vocals
Aside from the guitar style, João
Gilberto's other innovation was the projection of the singing voice. Prior to
bossa nova, Brazilian singers employed brassy, almost operatic styles. Now, the
characteristic nasal vocal production of bossa nova is a peculiar trait of the
caboclo[7] folk tradition of north-eastern Brazil.[8] Gilberto managed to
dramatically reduce that to a subtle near-whisper.
[edit]Themes and lyrics
The lyrical themes found in bossa
nova include women, love, longing, and the best of youth. There are two
thematic types of bossa nova: the early bossa nova (beginning in the late
1950s), and the bossa nova after the coup d'état of 1964. The musical lyrics of
the late 1950s depicted the easy life of the middle to upper-class Brazilians,
though the majority of the population was in the working class. However, in
conjunction with political developments of the early 1960s (especially the 1964
coup d'état), bossa nova style became more "angry", with lyrics
becoming more thematically charged, referring explicitly to people's struggles
and liberty.[9]
Modern developments
From the mid-nineties, various
other European artists reached out to bossa nova for inspiration, incorporating
electronic music and creating styles such as BossaElectrica and TechnoBossa.
New singers like Bebel Gilberto, daughter of bossa nova co-creator João
Gilberto and singer Miúcha, and new European bands like Nouvelle Vague and
Koop, used modern approaches to further interpret this soothing style of music.
Broadway composer Stephen Sondheim used a bossa nova rhythm to connote a
"nightclub" feeling in his song "The Ladies Who Lunch" from
the album Company (1970).
sumber : wikipedia
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