“Nossos Arranjos, não são Banais!” A mídia na poética da composição do bolero, samba-canção e sambolero no Brasil (1940-1950)

Resumo (EN)

This research deals with the emergence of a hybrid musical genre typical of the years 1940-1950: the sambolero. Initially were presented its origins and cultural matrices (see Martín-Barbero), its particular musical characteristics, its dialogue with the sound landscape and with the media, since these determine the performance (see Zumthor).The importance of musical creation arrangers was seen through the work made by professional arrangers, who have had a fundamental role in the creation of an aesthetic taste and have created links between different musical practices as well as they fit the demands of the phonographic and radio industry. A chapter is devoted to musical analyzes of recordings from the period between 1946 and 1959. This was the "samba abolerado era" in Brazil (see Napolitano), but also of samba-canção authors and future inventors of Bossa Nova. Were selected recordings by Dalva de Oliveira, Nora Ney, Dolores Duran, Maysa and Ângela Maria, and arranged by Radamés Gnatalli, Osvaldo Borba, Lyrio Panicalli, Nicolino Copia, Enrico Simonetti and Gustavo de Carvalho. These choices were made according to the mediatic extension of these singers and the coverage of the studied period: Dalva marks the passage between the years 1940’s and 1950’s while Maysa and Dolores Duran, the passage to the Bossa Nova. With them, came their respective so-called musical directors. Some of them very emblematic, such as Radamés Gnatalli, who could not be left behind. In the end, it is considered that this period of Brazilian Popular Music, strongly marked by the hybridism between the samba-canção and the bolero, depends a lot to the actors involved in this process; the arrangers, in particular. They provided the raw material for the cultural industry of the time.