Music of Brazil

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The music of Brazil encompasses various regional musical styles influenced by European, American, African and Amerindian forms. Brazilian music developed some unique and original styles such as forró, axé, sertanejo, samba, bossa nova, MPB, gaucho music, pagode, tropicália, choro, maracatu, frevo, brega, modinha, capoeira, pisadinha, and Brazilian versions of foreign musical styles, such as rock, pop music, soul, hip-hop, disco music, country music, ambient, industrial and psychedelic music, rap, classical music, fado, and gospel.

The first four winners of the Shell Brazilian Music prize[1] have each left a legacy on Brazilian music and are among the representatives of Brazilian popular music: Pixinguinha (choro), Antônio Carlos Jobim (bossa nova), Dorival Caymmi (samba and samba-canção), and Luiz Gonzaga (forró).

Anitta, (center) with singers Caetano Veloso (left) and Gilberto Gil (right) performing at the 2016 Summer Olympics opening ceremony

## History

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### Art music

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#### Origins

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Little is known of the music of Brazil before the area's first encounter with Portuguese explorers on 22 April 1500. During the colonial period, documents detail the musical activities of the major Roman Catholic cathedrals and the parlors of the upper classes, but data about musical life outside these domains are sparse. Some information is available in writings left by such travellers as Jean de Léry, who lived in Brazil from 1557 to 1558 and produced the first known transcriptions of native American music: two chants of the Tupinambá, near Rio de Janeiro.[2]

Venid a sospirar (José de Anchieta) - score available at Musica Brasilis website.

Further registration of musical activity in Brazil came from the activities of two Jesuit priests in 1549. Ten years later, they had already founded settlements for indigenous people (the Reduções), with a musical-educational structure.

One century later, the Reduções of the southern Brazil, which were founded by Spaniard Jesuits, had a strong cultural development, where some music schools were founded. Some of the reports of that time show the fascination of the indigenous people for European music.[3]

#### The 18th-century school

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Ouro Preto, in Minas Gerais: one of the most important musical centers in Brazil during the 18th century.

In the 18th century, there was intense musical activity in all the more developed regions of Brazil, with their moderately stable institutional and educational structures. The previously few private orchestras became more common and the churches presented a great variety of music.

In the first half of this century, the most outstanding works were composed by Luís Álvares Pinto, Caetano de Mello de Jesus and Antônio José da Silva ("the Jew"), who became successful in Lisbon writing librettos for comedies, which were performed also in Brazil with music by António Teixeira.

In the second part of the 18th century, there was a great flourishing in Minas Gerais, mostly in the regions of Vila Rica (currently Ouro Preto), Mariana and Arraial do Tejuco (currently Diamantina), where the mining of gold and diamonds for the Portuguese metropolis attracted a sizable population. At this time, the first outstanding Brazilian composers were revealed, most of them mulattoes. The musical pieces were mostly sacred music. Some of the noteworthy composers of this period were Lobo de Mesquita, Manoel Dias de Oliveira, Francisco Gomes da Rocha, Marcos Coelho Neto and Marcos Coelho Neto Filho. All of them were very active, but in many cases few pieces have survived until the present day. Some of the most famous pieces of this period are the Magnificat by Manoel Dias de Oliveira and the Our Lady's Antiphon by Lobo de Mesquita. In the city of Arraial do Tejuco, nowadays Diamantina, there were ten conductors in activity. In Ouro Preto about 250 musicians were active, and in all of the territory of Minas Gerais almost a thousand musicians were active.[4]

#### The Classical period

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A important composer of this period is Gabriel Fernandes da Trindade, who composed the only Brazilian chamber music from the 19th century which has survived to the present times,[5]

#### Nationalism

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Heitor Villa-Lobos.

In the beginning of the 20th century, there was a movement for creating an authentically Brazilian music, with less influences of the European culture. In this sense, the folklore was the major font of inspiration for the composers. Some composers like Brasílio Itiberê da Cunha, Luciano Gallet and Alexandre Levy, despite having a European formation, included some typically Brazilian elements in their works. This trend reached the highest point with Alberto Nepomuceno, who used largely the rhythms and melodies from the Brazilian folklore. There were local cultural movements to consolidate regional identities through music as for example, José Brazilício de Souza, who wrote the state anthem of Santa Catarina and his son Álvaro Sousa, who was a noticeable musician, music educator, and composer there.[6]

## Indigenous and folk music

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Brazilian dance-song lundu, c. 1835.

The native peoples of the Brazilian rainforest play instruments including whistles, flutes, horns, drums and rattles. Much of the area's folk music imitates the sounds of the Amazon Rainforest. When the Portuguese arrived in Brazil, the first natives they met played an array of reed flutes and other wind and percussion instruments.

The Jesuit missionaries introduced songs which used the Tupi language with Christian lyrics, an attempt to convert the people to Christianity.[7]

## Popular music

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### Choro

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Main article: Choro

Choro guitar.

Urubu Malandro

"Urubu Malandro", recorded in 1930 by Pixinguinha in the flute

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Harmonia Selvagem

Choro "Harmonia Selvagem" composed by Dante Santoro. Recorded by Dante Santoro (flute) in 1938.

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Atraente

"Atraente", composed by Chiquinha Gonzaga, recorded by Pixinguinha (saxophone) and Benedito Lacerda (flute).

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Choro (literally "cry" in Portuguese, but in context a more appropriate translation would be "lament"), traditionally called chorinho ("little cry" or "little lament"). Instrumental, its origins are in 19th century Rio de Janeiro. Originally choro was played by a trio of flute, guitar and cavaquinho (a small chordophone with four strings). The young pianist Ernesto Nazareth published his first choro (Não Caio Noutra) in 1878 at the age of 14.[8] Nazareth's choros are often listed as polkas;[9] he also composed waltzes, schottisches, milongas and Brazilian Tangos. (He resisted the popular term maxixe to represent Brazilian tango.)[10] Chiquinha Gonzaga was another important composer of choros and started shortly after Nazareth. Chiquinha Gonzaga composed her first success, the polka-choro "Atraente", in 1877. In the beginning, the success of choro came from informal groups of friends which played in parties, pubs (botecos), streets, home balls (forrobodós), and also the musical scores published by print houses.[11]

### Samba

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Main article: Samba

Singer and actress Carmen Miranda.

In 1929, prompted by the opening of the first radio station in Rio de Janeiro, the so-called radio era began spreading songs – especially the novelty Samba in its current format – to larger masses. This period was dominated by few male interpreters – notably Almirante, Braguinha, Mário Reis, Sílvio Caldas, Francisco Alves and singer/composer Noel Rosa and even fewer chanteuses such as Aracy de Almeida and sisters Aurora Miranda and Carmen Miranda, who eventually came to Hollywood becoming a movie star.[12]

Na Pavuna

Almirante, released in 1929.

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Alô... Alô?

Carmen Miranda and Mário Reis, released in 1934

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### MPB (Popular Brazilian Music)

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Main article: Música popular brasileira

Roberto Carlos.

MPB's early stage (from World War II to the mid-1960s) was populated by male singers such as Orlando Silva, Nelson Gonçalves, Jamelão, Agostinho dos Santos, Anísio Silva, Ataulfo Alves, Carlos Galhardo, Ciro Monteiro, Ismael Silva, João Dias, Jorge Goulart, Miltinho, Jorge Veiga and Francisco Egídio and female singers started to mushroom: Nora Ney, Dolores Duran, Ângela Maria, Emilinha Borba, Marlene, Dalva de Oliveira, Maysa Matarazzo, sisters Linda Batista and Dircinha Batista, among others.[13]

### Brega music

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Main article: Brega (music)

Reginaldo Rossi.

Brega is widely used to refer to popular romantic music with dramatic exaggeration or ingenuity, usually dealing with topics such as declarations of love, infidelity and love delusions. Historically, the greatest singers of the genre are from northeastern and northern Brazil; three of its biggest icons historically were Waldick Soriano, Reginaldo Rossi and Falcão, the latter following a part of a tradition of humorous brega. Paulo Sérgio stood out for his dramatic and romantic music. some precursors of the style in singers of the 1940s and 1950s, who followed, through bolero and samba-canção, a more "romantic" theme. Among them Orlando Dias, Carlos Alberto, Alcides Gerardi and Cauby Peixoto.[14]

### Axé

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Main article: Axé (music)

Axé originated in Salvador, Bahia in the 1980s, fusing different Afro-Caribbean genres, such as marcha, reggae, and calypso. It also includes influences of Brazilian music such as frevo, forró and carixada. The word Axé comes from the Yoruba term àṣẹ, meaning "soul, light, spirit or good vibrations".[15][16] Axé is also present in the Candomblé religion, as "the imagined spiritual power and energy bestowed upon practitioners by the pantheon of orixás". It also has ties with the Roman Catholic Church and the Lenten season, which represents the roots of Bahian Carnival.[15]

### Brazilian gospel

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Diante do Trono, the main worship ministry in Latin America.

Gospel music emerged in Brazil before the 1960s with hymnals that were brought and translated into Portuguese by American missionaries. From the late 1960s the first singers of Christian music groups emerged in Brazil, but the songs were not highly valued. Gospel music became popular in Brazil in the late 1990s, with the emergence of congregational singing and bands such as Diante do Trono, led by Ana Paula Valadão. Diante do Trono has become the largest contemporary worship music ministry in Latin America.[17]

### Brazilian rock

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Main articles: Brazilian rock and samba rock

Paralamas do Sucesso.

The musical style known in Brazil as "Brazilian rock n' roll" dates back to Nora Ney's "Ronda Das Horas", a Portuguese version of "Rock Around the Clock" in 1954. The band Pato Fu was considered by Time magazine one of the ten best bands in the world outside the United States.[18]

#### Brazilian alternative rock and indie rock

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Alternative rock in Brazil, including its subgenre indie rock, represents a diverse and dynamic branch of Brazilian popular music that emerged prominently in the late 1980s and flourished during the 1990s and 2000s. Influenced by international acts like The Smiths, Radiohead, Nirvana, and Sonic Youth, as well as local post-punk and new wave pioneers, Brazilian alternative rock blends introspective lyrics, experimental sonorities, and regional identities with a do-it-yourself (DIY) ethos.[19][20]

In the 1990s, bands such as Pato Fu (from Belo Horizonte), Skank (initially blending rock and reggae), and Los Hermanos (from Rio de Janeiro) helped redefine the sound of Brazilian rock. Their success paved the way for a new generation of bands exploring more poetic, ironic, and sometimes melancholic themes—often far from the traditional aesthetics of mainstream Brazilian rock.[21]

The 2000s and 2010s saw the rise of a robust independent music scene, often supported by digital distribution and small festivals across Brazil. Bands such as Mombojó (Recife), Superguidis (Porto Alegre), Ludov (São Paulo), and Cachorro Grande (Porto Alegre) stood out by blending indie rock with regional music influences, psychedelic elements, or a revival of garage and mod rock.[22]

More recently, bands like O Terno, Boogarins, and solo acts such as Céu and Tim Bernardes have received international attention while maintaining a strong presence in Brazil’s alternative music circuits. Their sound often combines MPB (Música Popular Brasileira), Tropicália, and rock with experimental or lo-fi aesthetics, making Brazilian indie rock one of the most eclectic and innovative branches of contemporary Latin American music.[23][24]

#### Brazilian heavy metal

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See also: Brazilian thrash metal

Sepultura: Brazilian Heavy Metal Band Massacration.

Brazilian metal originated in the mid 1980s with three prominent scenes: Belo Horizonte, São Paulo and Rio de Janeiro. The most famous Brazilian metal bands are Sepultura, Angra, Krisiun and the singer Andre Matos. Sepultura is considered an influential thrash metal band, influencing the development of death metal.

Famous bands of the 1980s include Korzus, Sarcófago, Overdose,[25][26] Dorsal Atlântica, Viper, MX, PUS, Mutilator, Chakal, Vulcano and Attomica.[27]

There's also Massacration, a Brazilian satirical heavy metal band, self-proclaimed the "greatest band in the world".[28][29]

##### Brazilian black metal

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Brazilian black metal scene has developed a distinctive identity since its emergence in the late 1980s and early 1990s, marked by its raw production, intense atmosphere, and often controversial ideological themes. While influenced by the early Scandinavian wave of black metal, the Brazilian scene quickly evolved its own aesthetics and sonic aggression, shaped by local socio-political contexts and underground metal traditions. One of the earliest and most influential acts was Sarcófago, a band that, although initially rooted in death and thrash metal, helped lay the groundwork for black metal in Brazil. Their 1987 album I.N.R.I. is considered a seminal release in the global black metal canon, noted for its primitive sound, anti-Christian themes, and visual elements that predated much of the second wave of black metal in Europe.[30][31]

Although not always classified strictly as black metal by contemporary genre standards, several extreme metal bands from the 1980s laid important foundations for the development of the Brazilian black metal scene. Groups like Vulcano, Holocausto, and Mutilator emerged with a raw, aggressive sound and anti-establishment themes that resonated with the aesthetic and ideology later embraced by black metal. Vulcano, formed in São Paulo in 1981, released Bloody Vengeance (1986), a record now recognized as a pioneering work in South American extreme metal. Holocausto, part of the so-called "Belo Horizonte scene" alongside Sarcófago and Sepultura, shocked the underground with their 1987 debut Campo de Extermínio, an album noted for its chaotic sonic violence and war-themed imagery. Mutilator, another key act from Belo Horizonte, also contributed to the early blackened death/thrash hybrid sound with Immortal Force (1987). These bands are now seen as proto-black metal influences that helped shape the Brazilian and global underground.[32]

Throughout the 1990s and 2000s, bands such as Mystifier, Impurity, Murder Rape, Unearthly, Luxúria de Lilith, Ocultan and Miasthenia carried the torch, each contributing to the evolution of a uniquely Brazilian black metal style. These bands often blended traditional black metal with death metal elements, occult or theistic Satanism, and regional folklore, producing a sound that was both abrasive and culturally distinctive.[33]

The Brazilian black metal underground is also known for its commitment to DIY ethics, with a strong network of independent labels, zines, and cassette trading that supported the scene's growth. Despite limited mainstream exposure and occasional controversies related to ideological extremism, the community has remained active and fiercely independent. Modern Brazilian black metal continues to diversify, incorporating ambient, symphonic, and ritualistic elements while retaining the uncompromising spirit of its early pioneers. The scene remains vibrant, with both established and emerging bands receiving recognition in international black metal circles, solidifying Brazil’s place in the global landscape of extreme music.[34]

##### Brazilian death metal

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Brazilian death metal scene has been an influential and enduring component of the global extreme metal movement since the late 1980s. Emerging from a fertile underground metal culture, Brazilian death metal distinguished itself through its raw intensity, aggressive sound, and often politically charged or socially conscious lyrics. Rooted in the broader thrash and black metal explosion of the 1980s, bands like Sepultura—while more thrash-oriented in their early days—helped pave the way for the heavier, darker death metal genre to flourish in Brazil.

By the early 1990s, bands such as Krisiun, Torture Squad, Claustrofobia, Rebaelliun, Obskure, Mental Horror, and NervoChaos began gaining recognition both nationally and internationally. Krisiun, in particular, became one of Brazil’s most prominent death metal acts, known for their relentless speed, technical proficiency, and brutal sound. These bands often recorded under limited resources, but their commitment and intensity drew attention from major underground labels in Europe and North America.

Brazilian death metal is characterized by fast, blast-beat-driven drumming, low-tuned guitars, guttural vocals, and lyrical themes that range from anti-religious critiques to reflections on war, death, and societal decay. Despite facing challenges such as limited infrastructure and support for extreme music, the scene has remained active and innovative. Independent festivals, zines, and small labels have played a crucial role in sustaining the community. Over the decades, the Brazilian death metal scene has continued to evolve, incorporating elements from other subgenres and embracing new technologies without losing its core identity. Today, it remains a respected and influential force within the global death metal community, with both veteran and emerging bands maintaining the country's legacy of sonic extremity. There is a growth in the appearance of Brazilian death metal bands with women in formation, especially Nervosa, who gained a lot of prestige after their performance at Rock in Rio in 2019. The female trio were invited to participate in the Wacken Open Air festival in 2020, but the event was cancelled due to the COVID-19 pandemic.[35][36] Brazilian Death Metal scene is spread across all regions in the country, especially in the Northeast region where it is represented by bands like Headhunter D.C., Escarnium, Decomposed God, Infested Blood, Heavenless, Torment the Skies, Pandemmy, Burning Torment, Infectos, Krenak and especially Cangaço which is a band that mixes Death metal with elements of Baião (regional rhythm of Northeast Brazil) and on 2010 was the winner of W.O.A Metal Battle Brazil and went to the finals of the Wacken Open Air festival.[37]

##### Brazilian thrash metal

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Main article: Brazilian thrash metal

Thrash metal scene in Brazil emerged in the early 1980s, influenced by the rise of the genre in the United States and Europe. Characterized by fast riffs, aggressive vocals, and social or political themes, thrash metal found fertile ground in Brazil, particularly in urban centers such as São Paulo, Belo Horizonte, and Rio de Janeiro.[38]

One of the most influential and pioneering thrash metal bands in Brazil is Sepultura, founded in 1984 in Belo Horizonte. Initially with a sound closer to death and black metal, the band quickly adopted thrash elements, becoming an international reference and paving the way for other Brazilian bands on the global stage. The album Beneath the Remains (1989), released by Roadrunner Records, is considered a landmark of the genre. Other important bands in the scene include Korzus, Ratos de Porão (which blends hardcore punk and crossover thrash), Dorsal Atlântica, Mutilator, Sarcófago (mostly associated with black metal, but with strong thrash influences in certain phases), and Vulcano. Southeast region was the main epicenter of the movement, although bands from other regions also contributed to the diversity and richness of Brazilian thrash metal.[39]

During the 1990s, with the rise of grunge and other alternative styles, the thrash metal scene experienced a decline in visibility but maintained a loyal fan base. In the 21st century, there was a revival of interest in the genre, with the emergence of new bands, the strengthening of independent festivals, and the reissue of classic albums alongside anniversary tours by veteran acts. Notable newer bands include Nervosa, an all-female thrash/death metal band from São Paulo formed in 2010, known for their socially conscious lyrics and international tours; Black Pantera,[40][41][42][43] a crossover thrash trio from Uberaba formed in 2014, addressing themes of racism and social injustice; Crypta, a death/thrash metal band formed in 2019 by former members of Nervosa, including bassist and vocalist Fernanda Lira and drummer Luana Dametto;[44] Eskröta, a São Paulo-based female trio founded in 2017 that mixes thrash with crust punk and grindcore, often delivering humorous and politically charged lyrics;[45] and Surra, a band from Santos formed in 2012 that combines hardcore punk and thrash metal with sharp critiques of Brazilian politics and society.[46][47]

#### Brazilian punk rock and hardcore punk

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Main article: Punk in Brazil

Punk rock and hardcore punk scene in Brazil began to take shape in the late 1970s and early 1980s, especially in major urban centers such as São Paulo, Brasília, Porto Alegre, and Curitiba. Influenced by the British and American punk movements, Brazilian punk quickly developed unique characteristics marked by political lyrics, social critique, anti-establishment attitudes, and a strong presence in the underground cultural sphere.

In São Paulo, the neighborhood of Vila Carolina became one of the most prominent hubs for Brazilian punk, giving rise to pioneering bands such as Garotos Podres, Restos de Nada, Cólera, Inocentes and Ratos de Porão.[48] These groups were instrumental in shaping both the sonic aesthetics and the ideological stance of Brazilian punk. Despite the repression of Brazil’s military dictatorship (1964–1985), the movement flourished through zines, independent record labels, anarchist collectives, and self-managed venues.[49]

During the 1980s, punk and hardcore expanded to other parts of the country. In the Federal District, the punk scene intersected with the post-punk movement, with bands like Aborto Elétrico and later Plebe Rude incorporating political themes and addressing urban alienation.[50] In Porto Alegre, bands such as Os Replicantes gained notoriety for blending punk attitude with humor and regional elements.

The 1990s saw a resurgence and diversification of Brazilian hardcore, with the emergence of straight edge movements and a growing influence of metal, melodic hardcore, and skate punk. Bands such as Dead Fish, Garage Fuzz, Noção de Nada, and Point of No Return represented a more technically skilled and socially engaged generation, often addressing themes such as veganism, anti-capitalism, and environmentalism.[51]

Despite transformations in the music industry and the digitalization of cultural consumption, punk and hardcore remain active forces in Brazilian music. The scene is still characterized by its independence, DIY ethos, and its commitment to resisting social oppression. Festivals, cultural collectives, and new bands continue to emerge across the country, preserving the legacy of punk and hardcore as powerful forms of political, cultural, and artistic expression.[52]

##### Brazilian emocore, screamo and post-hardcore

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Emocore, screamo and post-hardcore in Brazil refer to interconnected subgenres of rock music that became especially prominent in the 2000s, emerging from underground scenes and reaching significant commercial and cultural impact. Drawing influence from both the first and second waves of American emo (such as Sunny Day Real Estate, Thursday, and My Chemical Romance), Brazilian artists added local lyrical sensibilities, Portuguese-language expression, and themes of heartbreak, existential angst, and social identity.[53][54]

The term "emo" gained mainstream popularity in Brazil through bands like Fresno, NX Zero, and Glória, which helped shape a nationally recognizable emo and post-hardcore aesthetic. These bands became known for their emotionally charged lyrics, dramatic melodies, and strong fanbases among teenagers, particularly in the 2000s. The mainstream rise of emo also intersected with fashion, internet culture, and youth identity formation.[55]

Fresno, formed in Porto Alegre in 1999, is one of the genre's most enduring acts, evolving from a classic emocore sound into alternative rock and synthpop elements in the 2010s. NX Zero, originating from São Paulo, achieved massive radio success while maintaining post-hardcore influences in albums like Agora (2008) and Projeto Paralelo (2010), which featured collaborations with rap and reggae artists.[56]

In the underground scene, bands like Colligere (Curitiba), Reffer (Recife), Zander (Rio de Janeiro), and Dead Fish (Vitória) played pivotal roles in shaping Brazilian post-hardcore and melodic hardcore. These bands were deeply connected with DIY ethics, independent labels like Läjä Records and Highlight Sounds, and often addressed social and political issues through aggressive yet emotional music.[57]

The Brazilian screamo scene also flourished in niche circuits, influenced by bands like Orchid and Saetia. Acts such as Rhayra, Aurora Rulez! and Adorno explored cathartic vocals, chaotic structures, and poetic lyrics, often tied to anarchist or queer-feminist collectives.[58]

#### Brazilian rap rock

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Rap rock in Brazil, also known as rap'n'roll, refers to a hybrid music genre that combines elements of hip hop and rock, and has had a notable presence in Brazilian popular music since the early 1990s. Influenced by American acts such as Rage Against the Machine, Beastie Boys, and Limp Bizkit, the Brazilian version of rap rock developed its own identity, often incorporating funk, reggae, samba, and socially conscious lyrics that reflect urban life, inequality, and resistance.[59][60]

One of the most prominent pioneers of the genre is Planet Hemp, formed in 1993 in Rio de Janeiro. Their fusion of hip hop, hardcore punk, and marijuana advocacy created a countercultural movement that resonated strongly with urban youth. The band also launched the solo career of rapper Marcelo D2, who continued blending samba with rap and rock influences.[61]

O Rappa, another major band in the genre, blended rap vocals with dub, rock, and reggae, tackling themes of social injustice, poverty, and police violence in songs like "Pescador de Ilusões" and "Minha Alma (A Paz Que Eu Não Quero)". Their powerful lyrics and soundscapes earned them both critical and commercial success.[62]

In the early 2000s, bands such as Charlie Brown Jr. and Detonautas Roque Clube brought rap rock to mainstream Brazilian audiences. Charlie Brown Jr., from Santos (São Paulo), is particularly iconic for its fusion of skate punk, rap, reggae, and hardcore, as well as its reflections on youth, love, and rebellion.[63]

Other important contributors include Pavilhão 9, known for mixing rap with heavy guitars and addressing themes of violence and exclusion in São Paulo's periphery, and Strike, who combined pop punk with rap influences. Rap rock continues to influence new artists in Brazil's urban and independent scenes, especially as boundaries between musical genres become increasingly fluid in the digital age.[64]

#### Manguebeat

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Main article: Manguebeat

Manguebeat (also spelled mangue bit) is a Brazilian cultural and musical movement that originated in Recife, Pernambuco, in the early 1990s. It combines traditional regional rhythms such as maracatu, coco, and ciranda with elements of rock, punk, funk, hip hop, and electronic music. The movement was spearheaded by bands such as Chico Science & Nação Zumbi and Mundo Livre S/A, and quickly gained national and international recognition.[65][66]

Manguebeat arose as a reaction to the socio-economic stagnation and cultural isolation of Recife at the time. Its creators proposed a "mangue" (mangrove) metaphor, representing the rich and organic potential of local culture, connected via "antennas" to the global world. This vision was outlined in the 1992 manifesto Caranguejos com Cérebro ("Crabs with Brains"), which called for cultural innovation rooted in local identity and open to global influences.[67][68]

The movement’s sound was characterized by heavy percussion, Afro-Brazilian rhythms, electric guitars, and socially conscious lyrics addressing issues such as inequality, urban decay, and cultural resistance. Manguebeat played a crucial role in revitalizing Recife's music scene and brought renewed attention to Northeast Brazil as a hub of creativity and political expression in music.[69]

Although the sudden death of Chico Science in 1997 was a major blow to the movement, its legacy continues through bands like Nação Zumbi and a broad influence on contemporary Brazilian music. Manguebeat remains a symbol of cultural fusion, innovation, and resistance, and is considered one of the most important musical movements in Brazil since Tropicália.[70]

#### Samba rock

[edit]

Main article: Samba rock

Samba rock, also known as sambalanço, is a Brazilian music genre and dance style that emerged in São Paulo during the 1960s. It is a fusion of samba, a traditional Afro-Brazilian rhythm, with elements of American rock and roll, soul, and funk. Characterized by its upbeat tempo and syncopated rhythms, samba rock reflects the cultural blending that occurred in Brazil’s urban centers during the mid-20th century.[71][72]

The genre was heavily influenced by the popularity of African-American music among Afro-Brazilian youth. Artists such as Jorge Ben Jor, Tim Maia, and Bebeto played a crucial role in popularizing samba rock by combining samba grooves with electric guitar riffs, brass sections, and the smooth, danceable aesthetics of soul and funk music.[73]

As a dance, samba rock is typically performed in pairs and is known for its dynamic, improvisational style. It incorporates intricate footwork, spins, and fluid movements, drawing inspiration from both traditional samba partner dances and American swing dancing. The dance has remained popular in São Paulo's Black communities and continues to be celebrated in dance halls, festivals, and cultural gatherings.[74]

In recent decades, samba rock has experienced a resurgence, especially through dance competitions and social media platforms that highlight its heritage and contemporary appeal. It is considered a symbol of Afro-Brazilian identity and creativity, representing the spirit of cultural resistance and innovation.[75]

### Funk carioca

[edit]

Main article: Funk carioca

Funk carioca is a type of dance music from Rio de Janeiro, derived from and was until the late 1990s, superficially similar to Miami bass. In Rio it is most often simply known as funk, although it is very different musically from what funk means in most other places and contexts. Like other types of hip-hop, funk carioca lifts heavily from samples such as international rips or from previous funk music. Many popular funk songs sampled music from the film Rocky.[76] Funk was popularized in Rio's favelas in the 1980s, with songs like Feira de Acari by Mc Batata, with Furacão 2000, Mc Marlboro and Brazilian versions of freestyle songs by the singer Latino, later turning more aggressive in the 1990s, with precarious lyrics and several MCs with direct links with drug trafficking.[77]

### Hip-hop music

[edit]

In São Paulo and other places in the south of Brazil, in more urban areas, hip-hop music is very popular. They dress similarly to American rappers.[78]

Brazilian hip-hop is heavily associated with racial and economic issues in the country, where a lot of Afro-Brazilians live in economically disadvantaged communities, known in Brazil as favelas. São Paulo is where hip-hop began in the country, but it soon spread all over Brazil, and today, almost every big Brazilian city, including Rio de Janeiro, Salvador, Curitiba, Porto Alegre, Belo Horizonte, Recife and Brasília, has a hip hop scene. São Paulo has gained a strong, underground Brazilian rap scene since its emergence in the late 1980s with many independent labels forming for young rappers to establish themselves on.[79]

### Brazilian bass

[edit]

Brazilian bass is a subgenre of house that originated as a derivation of mainstream deep house music of early 2010s, fused with tech house elements and some minimalistic influences from bass house. The tempo typically range from 120 to 125 bpm. The genre is characterized by distinguishable deep punchy basslines, often making use of low-pitched and filtering effects. The genre was created in Brasília around the mid-2010s, but its national and international repercussion only happened in 2016 with DJs Alok, Bruno Martini and Sevenn.[80]

### Brazilian electronic music

[edit]

Electronic music in Brazil started in the 1980s, when the genre of music was getting popular in the world. The first event involving the genre of music in Brazil was in 1988 in São Paulo, with DJ Mau Mau. In the 1990s, the genre was getting bigger in Brazil and world, some of the most famous disk jockeys were DJ Marky and DJ Patife. In the 2000s, dubstep started getting famous in Brazil. Brazil has a lot of famous electronic music musicians, like Alok, Kasino, and Vintage Culture.[81]

### B-Pop

[edit]

B-pop (short for the English Brazilian pop) or Brazilian pop music is a musical genre originating in Brazil, sung in Portuguese and sometimes English.[82] The term B-pop first appeared in the Brazilian press to refer to groups such as Champs, one of the B-pop groups that was inspired by K-pop (Korean pop music).[83]

However, the existence of Brazilian pop precedes the existence of groups inspired by K-pop, as there have already been artists and groups in the country who defined the genre of their music as pop (in this case inspired more by pop in several generations, such as As Frenéticas, Lulu Santos, Fernanda Abreu, Kelly Key, KLB, Rouge, Sandy & Junior.[84]

### LGBTQ Music

[edit]

LGBTQ music in Brazil has played a significant role in both the cultural and political landscape of the country. Over the decades, openly LGBTQ artists have used music as a form of expression, resistance, and visibility, challenging societal norms and advocating for greater acceptance and rights.

The roots of LGBTQ representation in Brazilian music can be traced back to the 1970s and 1980s, a period marked by military dictatorship and censorship. Despite the risks, artists like Ney Matogrosso gained national attention for their flamboyant performances and androgynous appearance. As the lead singer of the Secos & Molhados band and later as a solo artist, Matogrosso defied gender expectations and became a cultural icon.[85][86]

In the 1990s, the visibility of LGBTQ artists expanded, although often still framed within stereotypes. The emergence of drag performers in popular culture, such as the singer and TV personality Vera Verão (played by Jorge Lafond), helped normalize queer identities in mainstream media, despite facing homophobia and institutional barriers.[87]

From the 2000s onward, the Brazilian music scene has seen a growing number of LGBTQ artists asserting their identities through a variety of genres. Funk carioca and pop music in particular have become platforms for queer expression. Artists such as Pabllo Vittar, one of the most internationally recognized Brazilian drag queens, have achieved widespread success while openly addressing LGBTQ issues in their work.[88][89]

Gloria Groove, a drag queen, singer, and rapper, is another prominent LGBTQ artist who blends pop, hip-hop, and R&B influences. Known for her powerful vocals and strong visual identity, she has achieved both critical and commercial success in Brazil. Her lyrics often explore themes of gender identity, empowerment, and LGBTQ pride. Groove has also played an important role in bringing drag performance into the mainstream Brazilian music industry.[90][91]

Other notable contemporary LGBTQ artists include Linn da Quebrada, a transgender singer and performer whose work critiques cisnormativity and social inequality, and Johnny Hooker, who merges MPB (Música Popular Brasileira) with pop and rock influences while embracing a fluid gender identity.[92][93]

LGBTQ musicians in Brazil have contributed not only to the country's diverse musical heritage but also to broader conversations about gender, sexuality, and human rights. Their presence in the music industry has helped foster greater visibility and empowerment for LGBTQ communities, especially among youth and marginalized groups.[94]

While challenges such as discrimination and limited mainstream support persist, LGBTQ artists in Brazil continue to break barriers and reshape the cultural landscape, both nationally and internationally.

## Notable record labels

[edit]

* Far Out Recordings
* Malandro Records
* Mr Bongo Records
* Som Livre

## See also

[edit]

* Brazil portal
* Latin music portal

* List of Brazilian composers
* List of Brazilian singers and bands of Christian music

## References

[edit]

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## Further reading

[edit]

* Brill, Mark (2017). Music of Latin America and the Caribbean (2nd ed.). Routledge. ISBN 9781138053564.
* Leymarie, Isabelle (1996). Du tango au reggae: musiques noires d'Amérique latine et des Caraïbes. Paris: Flammarion. ISBN 2082108139.
* Leymarie, Isabelle (2015). Del tango al reggae: Músicas negras de América Latina y del Caribe. Zaragoza: Prensas de la Universidad de Zaragoza. ISBN 978-8416272747.
* Murphy, John P. (2006). Music in Brazil: Experiencing Music, Expressing Culture. New York: Oxford University Press. ISBN 0195166833.

## External links

[edit]

* (in French) Audio clips: Traditional music of Brazil. Musée d'Ethnographie de Genève. Accessed 25 November 2010.
* Brazil beyond clichés Podcast archive covering Brazilian music of all styles, regions and time periods, from vintage sambas to modern blends.
* BBC Radio 3 Audio (60 minutes): Forro, coco and cowboys. Accessed 25 November 2010.
* BBC Radio 3 Audio (60 minutes): Candomble, Samba and Renato Rosa. Accessed 25 November 2010.
* BBC Radio 3 Audio (60 minutes): Rio, the samba and Mart'nalia. Accessed 25 November 2010.
* BBC Radio 3 Audio (60 minutes): Maracatu, ciranda and Mangue bit. Accessed 25 November 2010.
* BBC Radio 3 Audio (60 minutes): Coco music, the pifano flute and Sebastian Dias. Accessed 25 November 2010.
* Brazilian Embassy in London – Music Section Brazilian music links
* Sounds and Colours Brazil – resource dedicated to Brazilian music and culture Accessed 17 June 2014.
* Música Popular Brasileira Accessed 25 November 2010.
* Scores and biographies by classical Brazilian composers available in Musica Brasilis website

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