POW 4930 (3486) – Nationalism and Brazilian Music
Spring 2013 - Classroom MAT 0009
University of Florida
Spanish and Portuguese Studies Department
INSTRUCTOR
Gabriel Ferraz, Adjunct Lecturer
Office: 431 Yon Hall
Office hours: TBA
Email: gabrielferraz@ufl.edu
Spanish & Portuguese Studies Department: http://www.spanishandportuguese.ufl.edu
COURSE CODES/TIMES
 POW 4930 section 3486
 This course meets MWF on period 8 (3:00 p.m. to 3:50 p.m.) in MAT 0009
 Spring 2013: Classes begin January 07 / Classes end April 24
 See important academic dates on this page:
https://catalog.ufl.edu/ugrad/current/Pages/adspring1213.aspx
PREREQUISITES
 Native or quasi-native fluency in Portuguese or
 Instructor’s approval
COURSE DESCRIPTION
This course examines historical, political, social, religious, and aesthetics aspects of
Brazilian music; framing the musical phenomena within various socio and cultural
contexts throughout Brazilian history. The course will provide students with textual and
sonic materials to help them understand Brazilian musical practices, its reception, and
how it can work as an indice of Brazil’s socio and cultural practices in different times. In
addition to having a general knowledge of Brazilian Amerindian musical practices, AfroBrazilian musical practices, Brazilian art music, and Brazilian popular music, students
will be able to comprehend the elements that are perceived as characterizing the
Brazilian-ness in Brazilian music.
COURSE OBJECTIVES
 To reveal both musical structures and ideological discourses that are important in
shaping the perception of Brazilian music.
 To examine historical, political, social, religious, and aesthetical aspects of
musical practices.
 To provide an understading of the pluralism of Brazilian music as a reflection of
the unfolding Brazilian socio-cultural and political history.
MATERIALS
Through assigned readings and listening/watching activities, this course will provide
students from any major with a thorough understanding of the diversity of Brazilian
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cultures through its musical practices. Journal articles, book chapters, and
listening/watching material are listed in the syllabus. Books and recordings will be placed
on reserve either at Library West or at the Latin America General Collection. Most
videos can be accessed through youtube.com. Other videos will be placed on reserve
either at Library West or Latin America General Collection. Most readings will be in
Portuguese but some important readings in English may be assigned as well.
RESOURCES
 Dicionário Cravo-Albin da Música Popular Brasileira
http://www.dicionariompb.com.br/
 Grove Music Online – Dictionary of Music and Musicians (access through
Smathers Library)
 Terra Letras- Songs, video clips, and lyrics of Brazilian music
http://letras.terra.com.br/
 A História do Brasil por Bóris Fausto
http://www.youtube.com/watch?v=pSyE82yRaKU
COURSE REQUIREMENTS
No musical background is required to attend this course. The course can therefore serve
as an elective class especially for upper division LAS students, upper division Portuguese
majors, and music majors as well. Students in this course are expected to come to every
class prepared to discuss in depth the assigned readings and listening/watching activities.
Attendance, participation, and critical response to the proposed activities are crucial
components for the successful completion of this course.
Students must:
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Complete the reading/listening assignments and write a 150 to 200-word critical
response in Portuguese addressing the reading and the listening/watching activity
covered in that week. All notes have to be dated and be titled with the name of the
artilcle, book chapter, or CD assigned for that week. You will choose one article
and to comment on. Reponses may also be on audio/video if required by the
instructor. Responses will be evaluated for cohesion and evidence of critical
thinking about the subject. Poor written responses or the lack of them will result
in grade duductions. Please, type your responses;
Prepare and deliver a ten-minute in-class presentation in Portuguese at the end of
the course;
Write a 4 to 5-page term paper in Portuguese about a topic chosen from the ones
studied in the course. This paper may be an extention of one of the papers
previously written or deal with a different topic altogether. All paper/presentation
topics will be chosen by students and subjected to instructor’s approval;
There will be no exams
Specific information on the course requirements
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Summaries/Commentaries
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The short weekly summaries/commentaries are as important as any other component of
this class. They fulfill at least four functions: 1) they help students organize logically in
Portuguese language the information presented in the texts, 2) they help students build up
their knowledge of the subject by critically assessing the material instead of memorizing
it; 3) they serve as an index of the most important ideas contained in texts, subjects, and
ideas discussed in class that may be used for future reference, and 4) they demonstrate the
students’ level of understanding and engagement with the proposed assignments.
Furthermore, they contribute to the students’ thorough understanding of the way different
autors present their thesis, methodologies, and arguments, which in turn can help students
to compose their own papers throughout the semester.
 Term Paper
Term paper will be structured as a research paper and will have an introduction
presenting a strong thesis, arguments and a discussion of the evidence and the literature
on the subject, and conclusion. (Formatting for papers: 12 point Times New Roman font
and double-spaced lines.) More details will be provided later.
 Presentation
Students need to make power point presentations, including some kind of media with
sound (sound recording, video with sound, or even live performance if desired and
possible to accomodate), and illustrative examples in handouts. Handouts with an outline
of the presentation need to be distributed to other students and the instructor. Each
student will deliver a 10-minute presentation with date to be assigned by the instructor.
EXPECTATIONS AND DEMEANOR
 Your willingness to participate actively in all class activities
 Your cooperation during group and pair work (if we have them)
 Your respect and attitude toward the class and your peers
 Your preparation for each class
GRADING
Presentation – 25%
Term paper – 35% (outline 5%, draft 10%, final version 20%)
Weekly summaries/commentaries – 25%
Class Participation – 15%
GRADE SCALE
A = 100-93
A- = 92-90
B+ = 89-87
B = 86-83
B- = 82-80
C+ = 79-77
C (S) = 76-73
C- (U) = 72-70
D+ = 69-67
D = 66-63
D- = 62-60
E = 59-0
ACADEMIC MISCONDUCT
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Cheating on exams and using someone else’s ideas in a written paper without providing
proper recognition of the source (plagiarizing) are serious matters. As a result of
completing the registration form at the University of Florida, every student has signed the
following statement: “I understand that the University of Florida expects its students to
be honest in all their academic work. I agree to adhere to this commitment to academic
honesty and understand that my failure to comply with this commitment may result in
disciplinary action up to and including expulsion for the University.” The instructor of
this course fully endorses this statement and will not tolerate academic dishonesty.
Anyone caught cheating or plagiarizing is subject to an automatic E and further
disciplinary action. All violations of academic honesty will be referred to the Dean of
Students Office for disciplinary action without exception. Plagiarism will result in a
failing grade for the assignment and possibly the entire course. Don’t risk it!
ATTENDANCE POLICY
Absences
 Students are allowed to have THREE unexcused absences. There will be deductions
of 2 points from the final grade for each additional absence.
 The maximum tolerance for tardiness will be five minutes. If students come to class
more than five minutes after class begun they will be allowed to attend class, but will
not be allowed to sign up the attendance sheet.
 Work missed as a result of absence or tardiness will impact the student’s grade.
 Students are responsible for all assigned work, announcements made in class, and any
material covered in class regardless of attendance or punctuality.
Note
 Late students disrupt the lecture and distract students that are already inside the
classroom. Be always on time.
 If you need to leave early you must communicate it to me the day before class or
arrive early and let me know what time you need to leave. Do it before the class
begins.
Excused absences are granted for
 a medical illness confirmed by a written statement from your physician or
 a medical emergency in the family confirmed by a written statement from a parent or
guardian,
 an official university activity confirmed by a written statement from a faculty advisor,
or
 a religious holiday that you must observe. For excused absences in categories 3 and 4
you must notify the instructor at least one week in advance of the absence.
OTHER POLICIES
 No cell phones, laptops, pagers, or other devices are allowed in class, unless with
instructor’s approval. Your cell phone must be off during the class.
 E-mails must always be sent to the Sakai platform. Check your e-mails and the
platform at least twice a day. E-mails sent to my personal e-mail will not be
answered.
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STUDENTS WITH DISABILITIES
For students with disabilities: to request classroom accommodations, contact the
Assistant Dean of Students/Director of the Disability Resources Program at P202
Peabody Hall or call 392-1261 (V), 392-3008 (TDD). Students requesting
accommodation must first register with the Dean of Students Office. Students are fully
responsible for providing official college documentation to the instructor when requesting
accommodation. All students should be aware of and adhere to all university weather
emergency guidelines. Students are required to understand all policies in this syllabus and
to ask instructor for clarification if necessary. Failure to understand these policies does
not result in exemption from them.
CALENDAR (Dates and content are intended to be followed as closely as possible, but
are subject to change at the instructor's discretion. Students are responsible for knowing
about any changes to this schedule whether or not they attend class on the day changes
are announced).
Week 1 (Jan 7, 9, 11): Brazil - General Characteristics
Readings
Da Matta. Roberto. O que é o Brasil? Rio de Janeiro: Rocco, 2004. (74 pgs.)
Reily, Suzel. 2000. “Introduction: Brazilian Musics, Brazilian Identities.” British Journal
of Ethnomusicology 9(1):1-10.
Watching – (Getting familiar with Brazilian music and musicians)
 dos Santos, Ernesto Joaquim Maria (Donga). “Pelo Telefone” (1916)
(http://www.youtube.com/watch?v=UvBHC8N5o7A)
 Abreu, Abreu.“Tico-tico no Fuba” (1917).
(http://www.youtube.com/watch?v=DFwNXoEzRgY&feature=fvsr)
 Villa-Lobos, Heitor. “Aria” from “Bachianas Brasileiras no. 5”(1938).
(http://www.youtube.com/watch?v=sPf5GZYzhJk)
 Barroso, Ary. “Aquarela do Brasil” (1939).
(http://www.youtube.com/watch?v=5DBA5tnAJDk)
 Luiz Gonzaga. “Asa Branca” (1947).
(http://www.youtube.com/watch?v=cGDJ-oWQ3_o)
 Jobim, Tom. “Garota de Ipanema” (1962).
(http://www.youtube.com/watch?v=KJzBxJ8ExRk)
 Veloso, Caetano. “Alegria, Alegria” (1967)
(http://www.youtube.com/watch?v=uY3aNTPGg8U)
 Os Mutantes. “O Jardim Elétrico” (1971)
(http://www.youtube.com/watch?v=Y3NrtimlzC0)
 Legião Urbana. “Que País é Esse?” (1986)
(http://www.youtube.com/watch?v=TAUIA5vLo3w)
 “Cazuza”. “Burguesia” (1994)
(http://www.youtube.com/watch?v=zoP3ZXiQP9s)
 Chitaozinho e Xororó. “Fio de Cabelo” (1998)
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(http://www.youtube.com/watch?v=1VuMzu_ortk)
Sangalo. “Festa”(1999)
(http://www.youtube.com/watch?v=h2xU3E6kePw)
Chiclete com Banana. “Vumbora Amar”. (2009)
(http://terratv.terra.com.br/videos/Diversao/Carnaval/Carnaval-2012/SalvadorBarra-Ondina-SD/5237-403126/Vumbora-Amar-por-Chiclete-com-Banana.htm)
Michel Teló. “Ai, Se eu te Pego”. (2012)
(http://www.youtube.com/watch?v=hcm55lU9knw)
Week 2 (Jan 14, 16, 18): : Brazilian Amerindian Traditions
Readings
Bastos, Rafael José Menezes de. “Música, Sociedade e Cultura no Alto Xingu: A Teoria
Musical dos Índios Kamayurá.” Latin Marican Musica Review/ Revista
Latinoamericana de Música, Vol. 7, No. 1 (Spring-Summer, 1986), 51-80.
Fuks, Victor. 1988. “Music, Dance, and Beer in an Amazonian Indian Community.”
Latin American Music Review 9(2): 151-186.
Listening/Watching
 “Anthony Seeger On The Music of the Suyá Indians of Central Brazil.”
(http://www.youtube.com/watch?v=rQCE4DofORw).
 “Who are they? – preview” (http://www.youtube.com/watch?v=rAhjy4HLNWI).
 “Signs don’t speak – preview”
(http://www.youtube.com/watch?v=Ayd5zsX4Xvc)
 “Festival Wana” (http://www.youtube.com/watch?v=CHVWHbGdsMI).
 “Dança Yawanawá” (http://www.youtube.com/watch?v=igoGRpt1M7Q).
Week 3 (Jan 23, 25): – Music in the Late Colonial Period
Readings
Béhague, Gerard. “Music in Brazil.” In Music in Latin America: An Introduction
(Chapter Three - pp. 69-95).
Cardoso, André. A Música na Corte de D. João VI. São Paulo: Martins Fontes, 2008. (1346; 128-173)
Listening/Watching
Colonial Period
 Garcia, José Maurício Nunes. “Kyrie” from Missa de Santa Cecília.
http://www.youtube.com/watch?v=xsKdB04Y4as&feature=related
 de Mesquita, José Joaquim Emerico Lobo. Matinas do Sábado Santo
http://www.youtube.com/watch?v=S_jCmD45eN4
Week 4 (Jan 28, 3, Feb 1): – Music in Late Colonial and Imperial
Periods
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Readings
Veiga, Manuel. “O estudo da modinha brasileira.” Latin American Music Review /
Revista de Música Latinoamericana, Vol. 19, No. 1 (Spring – Summer 1998),
47-91.
Magaldi, Cristina. “Music for the Elite: Musical Societies in Imperial Rio de Janeiro.”
Latin American Music Review / Revista de Música Latinoamericana, (Vol. 16,
No. 1.), 1-41.
Listening/Watching
Colonial/ Imperial Period
 Portugal, Marcos. Modinha
http://www.youtube.com/watch?v=VE9Vx_-sKuI
 Barbosa, Domingos Caldas. Modinha “Ora Deus, Senhora Ulina”
http://www.youtube.com/watch?v=i-9mVu2tVf8
 Modinhas brasileiras: songs from 19th century Brazil (MUSIC LIBRARY Desk
CD-2971). Listen to “Donzela por piedade,” “Ainda e sempre,” “Acalanto da
rosa”.
 Gottschalk, L.M. - Grand Scherzo http://www.youtube.com/watch?v=7ctsOksdLIw
 Chopin, Fréderic. – Waltz in C# minor http://www.youtube.com/watch?v=5mf1EsUqVYw
 Miguez, Leopoldo. “A vida a flamma derradeira exhala…” in Ópera Brasileira
em Língua Portuguesa (Music Library desk CD 3574).
Week 5 (Feb 4, 6, 8): : African Heritage in Brazilian Music
Readings
Tinhorão, josé Ramos. Os Sons dos Negros no Brasil. São Paulo: Art Editora, 1998. (1195)
Listening/Watching
To be assigned
Week 6 (Feb 11, 13, 15): African Religious Heritage in Brazilian Music
Readings
Béhague, Gerard. 1984. “Patterns of Candomblé Music Performance: An Afro-Brazilian
Religious Setting” in G. Béhague (ed.) Performance Practice:
Ethnomusicological Perspectives, 222-254.
Brown, Diana De G. and Mario Bick . “Religion, Class, and Context: Continuities and
Discontinuities in Brazilian Umbanda.” American Ethnologist, Vol. 14, No. 1,
Frontiers of Christian Evangelism (Feb., 1987), 73-93.
Borges, Mackely Ribeiro. “Umbanda e Candomblé: Pontos de Contato em Salvador –
BA.” Anais do Congresso da ANPPOM 2006, 226-231.
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Lista de Orixás (divindades do Candomblé) e suas características :
http://pt.wikipedia.org/wiki/Orix%C3%A1
Listening/Watching
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“Candomblé in Brazil – trailer”
(http://www.youtube.com/watch?v=t9wi3-eQEPg).
“Candomblé in Brazil”
(http://www.youtube.com/watch?v=ZQ5RKggg-hs).
“Candomblé in Brazil”
(http://www.youtube.com/watch?v=zgi9SJ-gpzM).
“Macumba, Candomble, and Umbanda: Brazilian Spirituality”
( http://www.youtube.com/watch?v=dr3zQRXzuvY_)
“Festa dos Pretos Velhos 2011 - Parte 2 - Umbanda - C.E.U”
(http://www.youtube.com/watch?v=e2LOLqA2ovE)
Week 7 (Feb 18, 20, 22): Popular Traditions and “Hybridization:
Lundu, Maxixe, Tango Brasileiro and Choro
Reading
Tinhorão, José Ramos. “Lundu,” “Maxixe,” e “Choro” in Pequena História da Música
Popular, 47-110. São Paulo: Círculo do Livro.
Listening/Watching
 Anonymous. XIX century Lundu
http://www.youtube.com/watch?v=B8BkQH13Nco
 Bahia, Xisto. http://www.youtube.com/watch?v=iUqorvESjQI
 “A Mulata” http://www.youtube.com/watch?v=jtV-NU50q4s
 500 anos da música popular brasileira (MUSIC LIBRARY Desk CD-5914).
Listen to “Vem fervendo” and “Se voce jurar.”
 Nazareth, Ernesto. “Brejeiro”(Tango Brasileiro).
http://www.youtube.com/watch?v=t-Av_Yl25X0
 Princípios do choro. (MUSIC LIBRARY Desk CDD-499). Listen to
 Filho, Alfredo da Rocha Viana (Pixinguinha). “Carinhoso”
http://www.youtube.com/watch?v=HyU1wEkyf28 (starting at 28”). Obs: Video is
cut at 2’16”.
 Bittencourt, Jacob Pick (Jacob do Bandolin). “Noites Cariocas”
http://www.youtube.com/watch?v=HR-6E0lccvM
Week 8 (Feb 25, 27, Mar 1): Classical or Popular?
Reading
Squeff, Enio e Wisnik, José Miguel. O Nacional e o Popular na Cultura Brasileira:
Música. São Paulo: Brasiliense, 1982 (19-100).
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Wisnik, José Miguel. “Machado maxixe: O caso Pestana.” Sem receitas: Ensaios e
canções, 13-79. São Paulo: Publifolha, 2004 (Postado no sakai).
Listening/Watching
 Documentário “Ernesto Nazareth”
http://www.youtube.com/watch?v=git4Ua_QoTw
 Levy, Alexandre. “Allegro Appassionato” and “Tango Brasileiro” in Brazilian
masters of the 19th century: piano. (MUSIC LIBRARY Desk – CD 4584)
 Nepomuceno, Alberto. “Batuque”
http://www.youtube.com/watch?v=4dfoFkwmh2Q
 Nepomuceno, Alberto. “A Galhofeira.” http://www.youtube.com/watch?v=IioR67eZbM
Week 9 (Mar 4, 6, 8): Spring Break
Week 10 (Mar 11, 13, 15): The Beginnings of Musical Nationalism,
Modernism, and Heitor Villa-Lobos
Readings
Neves, José Maria. Música contemporânea brasileira. São Paulo: Ricordi Brasileira,
1981 (13-54).
Negwer Manuel. Villa-Lobos: O Florescimento da música brasileira. Translated by
Stéfano Paschoal. São Paulo: Martins Fontes, 2009. (115-174).
Ferraz, Gabriel. “Heitor Villa-Lobos and Choros no. 3: Modernism, Nationalism, and
‘Musical Anthropophagy,’” The International Journal of the Arts in Society 6,
no. 6, 223-46.
Listening/Watching
 Villa-Lobos, Heitor. “Cirandas” in Cirandas : e, Cirandinhas - (MUSIC
LIBRARY Desk - CD-3148). (Choose any three pieces).
 Villa-Lobos, Heitor. “Os chôros de câmara.” (MUSIC LIBRARY Desk CD3564). Listen to nos. 1, 2, 3, 5, and 10.
Presentations – 2 students per class
Topics for term paper must be chosen by this week
Week 11 (Mar 18, 20, 22): Villa-Lobos: Music and Politics
Readings
Negwer Manuel. Villa-Lobos: O Florescimento da música brasileira. Translated by
Stéfano Paschoal. São Paulo: Martins Fontes, 2009. (185-210).
Ferraz, Gabriel A. “Heitor Villa-Lobos e Getúlio Vargas: Doutrinando Crianças por meio
de Educação Musical” Latin American Music Review/Revista Latino-Americana de
Música, (Spring/Summer 2013), in press. (Posted on Sakai)
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Listening/Watching
 Villa-Lobos para crianças. (MUSIC LIBRARY Desk CD-3376). Listen to
“Carneirinho, carneirão,” “Sambalêlê,” “Capelinha de melão,” “Cai, cai, balão,”
and “Terezinha de Jesus.”
 (Videos to be played in class)
Presentations – 2 students per class
Week 12 (Mar 25, 27, 29): Popular Traditions: Música de Carnaval e
Samba(s)
Readings
“Samba.” Dicionário Cravo-Albin de Música Popular Brasileira.
http://www.dicionariompb.com.br/samba/dados-artisticos
Tinhorão, José Ramos. “Música de Carnaval,” “A Marcha e o Samba,” “O SambaCanção,” “O Samba-Choro,” o Samba de Breque,”O Samba-Enredo” in
Pequena História da Música Popular, 111-133; 153-186.
Chasteen, John Charles. “The Prehistory of Samba: Carnival Dancing in Rio de Janeiro,
1840-1917.” Journal of Latin American Studies, Vol. 28, No. 1 (Feb., 1996), p.
29-47.
Listening/Watching
 Montes-Bradley, Eduardo. Samba on your feet. New York, NY: Filmakers
Library, 2005. (SMATHERS, Latin America General Collection. DVD – call
no.GV1796.S25 S26 2005).
 Silva, Orlando, et al. Samba 1917-1947. Vincennes, France: Frémeaux &
Associés, 1998. (MUSIC LIBRARY CDD-351). Listen to “Quantas Lágrimas”,
“Pelo Telefone”, “Gosto que me Enrosco.”
 Sambas de enredo 2004. [Brazil]: BMG Brasil, 2003. (MUSIC LIBRARY CD5693). Listen to any two pieces.
Outline for term paper due
Week 13 (Apr 1, 3, 5): Bossa Nova
Readings
Reily, Suzel Ana. “Tom Jobim and the Bossa Nova Era.” Popular Music, Vol. 15, No. 1
(Jan., 1996), pp. 1-16.
Béhague, Gerard. 1973. “Bossa and Bossas: Recent Changes in Brazilian Urban Popular
Music.” Ethnomusicology 17(2): 209-233.
Listening/Watching
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Jobim, Tom. “Garota de Ipanema”
http://www.youtube.com/watch?v=Gm5G4SQJnmM
Buarque, Chico, and Tom Jobim. “Anos Dourados”
http://www.youtube.com/watch?v=OYL0lyHVV4k
Jobim, Tom. “Águas de Março” http://www.youtube.com/watch?v=tHEQm4KSaQ
Jobim, Tom. “Desafinado” http://www.youtube.com/watch?v=g6w3a2v_50U
Paper draft due
Week 14 (Apr 8, 10, 12): Tropicália
Readings
Perrone, Charles. Letras e Letras da MPB. Rio de Janeiro: Booklink, 2008 (19-62; 97130)
Dunn, Christopher. “Tropicalia, Counterculture, and the Diasporic Imagination in Brazil”
in Brazilian popular music & globalization (org.) Charles Perrone and
Christopher Dunn (pp. 72 to 95).
Listening/Watching
 Tropicália, O Filme (2012). http://www.youtube.com/watch?v=6tFBvRKZdO0
 Tropicália: ou Panis et Circencis (various artists). (MUSIC LIBRARY Desk CD992). Listen to “Miserere nóbis,” “Panis et circenses,” “Bat macumba.”
 Tropicália (various artists). (MUSIC LIBRARY Desk CD-2830). Listen to
“Domingo no parque,” “Alegria, alegria,” “Soy loco por ti, América.”
Consultation for term paper with me during class time (mandatory)
Bring your outline and draft
Week 15 (Apr 15, 17, 19): Recent musical trends in modern Brazil
Readings
Béhague, Gérard. “Rap, Reggae, Rock, or Samba: The Local and the Global in Brazilian
Popular Music (1985-95).” Latin American Music Review / Revista de Música
Latinoamericana, Vol. 27, No. 1 (Spring - Summer, 2006), pp. 79-90.
Magaldi, Cristina. “Adopting Imports: New Images and Alliances in Brazilian Popular
Music of the 1990s.” Popular Music, Vol. 18, No. 3 (Oct., 1999), pp. 309-329.
Watching
 “Que Tempo Bom.”
http://www.youtube.com/watch?v=aUKaBc_8UX8&feature=related
 “Vida Loca.” http://www.youtube.com/watch?v=IHTLbh4lVeo&NR=1
 “A Fuga.” http://www.youtube.com/watch?v=L1a9aeY8hRI&feature=related
 “Os mano, as mina.” http://www.youtube.com/watch?v=4Oc7lFSQGr8
 Os Paralamas do Sucesso. “Alagados” (1994)
(http://www.youtube.com/watch?v=cfi9K97ulmE)
 Legião Urbana“Geração Coca-Cola.”
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
http://letras.terra.com.br/legiao-urbana/45051/
Consultation for term paper with me during class time (mandatory) - Bring your
outline and draft
Week 16 (Apr 22, 24): Recent musical trends in modern Brazil (cont.)
Readings
Sneed, Paul. “Bandidos de Cristo: Representations of the Power of Criminal Factions in
Rio’s Proibidão Funk.” Latin American Music Review, Volume 28, Number 2,
Fall/Winter, 2007, pp. 220-241.
Watching
 Funk proibidão. http://www.youtube.com/watch?v=W3gmClx9kIo
 Funk proibidão. http://www.youtube.com/watch?v=nuoCt45Ehtk&feature=related
 Funk proibidão.
http://www.youtube.com/watch?v=XxJGQ_nq8Js&feature=related
Term paper due in the last day of classes – NO EXTENSIONS
Festa de Despedida
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