Sertanejo music
Música sertaneja (Portuguese pronunciation: [ˈmuzikɐ seʁtaˈneʒɐ]) or sertanejo (pronounced [seʁtaˈneʒu]) is a music style that had its origins in the countryside of Brazil in the 1920s.[1] Its contemporary developments made it the most popular music style in 2000s and 2010s Brazil, particularly throughout the southern/southeastern and center-western countryside Brazil.[2] Subgenres include sertanejo raiz, sertanejo romântico, and sertanejo universitário.
For other uses, see Sertanejo (disambiguation).Sertanejo
Late 1920s, countryside of Southeastern Brazil, Central-Western Brazil and Southern Brazil, most strongly in the states of Minas Gerais, São Paulo, Goiás, Paraná and Mato Grosso do Sul.
classic guitar, electric guitar, viola caipira, accordion, violin, keyboard instruments, drum set, percussion instruments
Sertanejo songs have been, since the 1990s, the most played music genre on Brazilian radio, constantly topping the Brazilian music charts. Additionally, from 2000 to 2003 and since 2009, música sertaneja albums have been granted a specific category at the Latin Grammy Awards.
Many sertanejo artists are duos, at times formed by siblings, typically singing vocal harmonies, especially major thirds, and employing frequent vibrato. Men have traditionally dominated the scene, although some women such as Paula Fernandes, and Maria Cecília, and Simone & Simaria have achieved mainstream success in the 21st century.
A subgenre, called "sertanejo universitário" (college sertanejo), has developed from the mid-2000s on, consisting of a more stripped-down, acoustic-oriented use of the guitars influenced by Western pop music. It has grown very popular among Brazilian youth nationwide and has dominated the sertanejo scene.
First era[edit]
It was at the end of the 1920s that Brazilian country music as we know it today came into being. It was born from recordings made by journalist and writer Cornélio Pires of "tales" and fragments of traditional songs in the interior of the state of São Paulo in the countryside of Minas Gerais, north and west of Paraná, Goiás and Mato Grosso southeast. At the time of these pioneering recordings, the genre was known as música caipira, whose lyrics evoke the lifestyle of the country man (often in opposition to man's life in the city) and the bucolic beauty of the landscape and romantic countryside (currently this type of composition is classified as "sertanejo de raiz" (roots sertanejo), with emphasized words in daily life and manner of singing). Beyond Cornelio Pires and his "Caipira Gang" stood out in this trend, recording at a later time, duo Mandi and Sorocabinha, Alvarenga and Ranchinho, and Florencio Torres, Tonico and Tinoco, Vieira and Vieirinha, among others, and popular songs like "Sergio Forero", by Cornelio Pires, "Bonde Camarão" by Cornelio Pires and Mariano, "Sertão do Laranjinha" by Pires and Ariovaldo and "Cabocla Teresa", by João Pires and Ariovaldo Pacifico.
Second era[edit]
A new phase in the history of sertanejo music began after the Second World War, with the addition of new styles (of duets with various intervals and the mariachi-style), genres (initially guarânia and Paraguayan polka, and later, the Mexican corrido and ranchera) and instruments (such as the accordion and harp). The theme gradually shifted to love and romance, however, a certain autobiographical character was kept.
Some highlights of this era were the duos Cascatinha e Inhana, Irmãs Galvão, Irmãs Castro, Sulino e Marrueiro, Palmeira and Biá, the trio Luizinho, Limeira e Zezinha (launchers of music campeira) and singer José Fortuna (adapter guarânia ~ Brazil) . Throughout the 1970s, the duo Milionário & Jose Rico systematized the use of elements of traditional Mexican mariachi with violin and trumpet flourishes to fill spaces between sentences and strokes of the glottis which produces a sobbing voice. Other names, such as duo Pena Branca & Xavantinho, followed the ancient tradition of rustic, while the singer Tião Carreiro innovated by fusing the genre with samba, coco and calango de roda.
Third era[edit]
The introduction of the electric guitar and pop music influences by duo Leo Canhoto e Robertinho in the late 1960s marked the start of modern sertanejo music. One member of the Jovem Guarda musical movement, singer Sergio Reis switched from pop to sertanejo in the 1970, which contributed to a wider acceptance of the genre. Renato Teixeira was another important artist in this period.
At that time, sertanejo music was usually performed in circuses, rodeos, and AM radio stations. Early as the 1980s, this penetration extended to FM radio and also on television – either in weekly programs on Sunday morning or even making it into soap operas soundtracks or special one-off TV programs.
During the 1980s, there was a mass commercial exploitation of sertanejo, coupled in some cases, to a rereading of international hits and even the Jovem Guarda's. In this new romantic trend of country music countless artists emerged, almost always in pairs, among which, Trio Parada Dura, Chitãozinho & Xororó, Leandro e Leonardo, Zeze Di Camargo e Luciano, Chrystian & Ralf, João Paulo & Daniel, Chico Rey & Parana, João Mineiro and Marciano, Gian and Giovani, Rick & Renner, Gilberto e Gilmar, Alan e Aladim, along with some female singers, such as Roberta Miranda, Aula Miranda and Nalva Aguiar. Some of the successes of this phase are "Fio de Cabelo", by Marciano and Darci Rossi, "Apartmento 37 ", Leo Canhoto, "Pense em Mim, " Douglas in May, "Entre Tapas e Beijos", Nilton Lamas and Antonio Bueno and "Evidências", by Jose Augusto and Paulo Sérgio Valle.
Against this trend of more commercial country music, names like the duo Pena Branca e Xavantinho reappeared, adapting to the language of MPB success of guitars, and new artists emerged like Almir Sater, a sophisticated guitar player, who moved among the styles of guitar and the blues. In the following decade, a new generation of sertanejo artists, including Roberto Correa, Ivan Vilela, Pereira da Viola, and Chico Lobo e Miltinho Edilberto, emerged who were willing to reunite the caipira traditions. The recording industry therefore launched a similar movement in the 2000s called sertanejo universitário, with names like Marcos & Leo, Joao Bosco & Vinicius, César Menotti & Fabiano, Jorge & Mateus, Victor & Leo, Fernando & Sorocaba, Marcos & Belutti, João Neto & Frederico. As this movement wins more supporters, the market formerly focused on that the advent of sertanejo artists and duos in Goias state, has today elected new idols in the state of Mato Grosso do Sul such as Luan Santana and Maria Cecilia & Rodolfo. However, Goiás has not failed to reveal big names on the national scene, it appeared the aforementioned Jorge & Mateus and João Neto e Frederico. Not to mention the artists linked to the more massive sertanejo of the previous decade, as Guilherme & Santiago, Bruno & Marrone and Edson & Hudson.
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