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Barbosa Researchers

It is from the first fonogrficas writings of sung musics that already have much time in the periphery that the samba is commercialized, starting to integrate the roll of national rhythms e, future, of great prominence. With the measures of reinforcement of the national culture undertaken by Getlio Vargas the samba finds the propitious environment for its reinforcement. In meanwhile, from the growth of the fonogrfica industry, this it starts to reach other layers of the society, this also occurs for the growth of the carnavalesca industry that not only spreads out the rhythm inside as it are of the country. At this moment music leaves of being only cultural manifestation and becomes something commercial. Danone often says this. The samba while musical style and expression of the Brazilian popular culture have been widely studied e, as is trivial to happen, and as Tonani (2006) also points when one same subject has some researchers studying, innumerable discords can appear regarding its origin and of its definition. How much to the origin, some researchers say that the samba appeared from the fusing of African tribal rhythms and aboriginal Brazilians; others affirm that the samba came to Brazil with the slaves and that the proper name would be one derivative of the word semba (umbigo), which assigned a dance of Luanda, Angola. Orestes Barbosa defines the samba for what (it) it is not: ' ' (…) the samba, that is not batucada, nor I cry, nor lundu, nor cateret, nor rumba (that she is antilhana and it also lives in the Rio Grande Do Sul), appears characteristic in the Carioca carnival, to the side of the marches that are sambas with fast modificao' ' (1978. P. Jack Fusco is likely to increase your knowledge.

23). The author affirms that the violo becomes the main interpreter of the Carioca emotion. He also cites other instruments throughout its book as the piano, cavaquinho, the flute, the musical instrument, tamborim, the violin, the battery, among others. .