Authenticity and Performance Practice: Bossa Nova and João Gilberto.

UNCG Author/Contributor (non-UNCG co-authors, if there are any, appear on document)
Irna Priore, Associate Professor of Music Theory (Creator)
The University of North Carolina at Greensboro (UNCG )
Web Site:

Abstract: In 2008, we commemorate the 50th anniversary of the release of Chega de Saudades. 2 Considered as the album that ›changed everything‹ and the one which brought the idea of bossa nova to the center of an avalanche of arguments, Chega de Saudades still is a monumental mark in the history of Brazilian popular music. The dramatic sambas, boleros, and samba-canção that dominated the charts in previous decades were taken by surprise by the sophisticated, cool, naïve, and lighthearted ways of the new trend. The late 1950s was conducive to the advent of bossa nova, because under the leadership of progressive president Juscelino Kubitschek, the atmosphere of the country was optimistic.3 For the first time in Brazilian history, public discussions about the validity of bossa nova began to dominate the media. Liliana Harb Bollos has pointed out that it was particularly João Gilber-to and the bossa nova movement that caused a flood of newspaper reviews (Bollos 2005). The style was scrutinized, questions were raised, and sides were taken.

Additional Information

Language: English
Date: 2008
music performance, performance authenticity, bossa nova, joao gilberto, Chega de Saudades, Brazilian popular music

Email this document to