| Sertanejo | |
|---|---|
| Stylistic origins | |
| Typical instruments | Classic guitar, electric guitar,viola caipira,accordion, violin, keyboards,drum set, percussion instruments |
| Subgenres | |
| |
Sertanejo music (Brazilian Portuguese pronunciation:[seʁ.taˈne.ʒu]), is a term used to refer to a musical style ofBrazil. For some, it is thefolk music ofSão Paulo, which emerged during theBrazilian colonial period, and popularized in the1920s,[1] while others argue that it is a variation or urbanization ofCaipira music, which is integrated intoCaipira culture.[2]
Sertanejo is the most popular genre in the country, particularly throughoutSouthern,Southeastern, andCenter-western.[3] Since the 1990s, is the most played music genre on Brazilian radio, constantly topping the Brazilian music charts. Additionally, from 2000 to 2003 and since 2009, sertaneja music albums have been granted a specific category at theLatin Grammy Awards. Many sertanejo artists are duos, at times formed by siblings, typically singing vocal harmonies, especiallymajor thirds, and employing frequentvibrato. Men have traditionally dominated the scene, although some women such asPaula Fernandes, andMaria Cecília, andSimone & 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.
"Sertanejo" is derived fromsertão, a general term for rural backlands away from coastal metropolitan regions, although sertão itself is also often used in a narrow sense referring to the interior away from theBrazilian Northeast. TheSertanejo people, from the Northeast of Brazil, are different in several aspects when compared to theCaipira people, who originate from São Paulo, being two distinct Brazilian cultures.
Sertanejo music is a subgenre ofCaipira music, recorded for the first time, based on recordings made by the journalist and writerCornélio Pires, in1929. The introduction of the electric guitar and pop music influences by duo Leo Canhoto e Robertinho in the late 1960s marked the start of Sertanejo music, separating it from Caipira music. One member of theJovem Guarda musical movement, singerSergio Reis switched from pop to sertanejo in the 1970, which contributed to a wider acceptance of the genre. 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 asRoberta Miranda, Aula Miranda andNalva 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 andPaulo Sérgio Valle.
is a style that comes from a mix of Sertanejo, segments offreestyle with touches of beats coming fromarrocha and vanerão. The recording industry launched in the 2000s, 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 asLuan Santana andMaria Cecilia & Rodolfo.
However, Goiás has not failed to reveal big names on the national scene, it appeared the aforementionedJorge & Mateus andJoão 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. At that time, the artists get the music division, but a good part returns to the Caipira influences of moda de viola. Yet another part follows the trends of the past romantic that is the case of artists like Eduardo Costa e Léo Magalhães.This subgenre is sung by, and is more popular with, people attending college (in portuguese:universitários, from "universidade"), this being the reason behind the name of this variation. This is the style of music played at university parties, like "Ai se eu te pego!" byMichel Teló, who found international success with the genre. This variation of sertanejo has more elements of pop as compared with others. This specific style has found favour internationally. Besides the massive success of "Ai se eu te pego!" on many charts, hits that have found commercial success in Europe and elsewhere include "Bara Bará Bere Berê, "Balada", "Eu Quero Tchu, Eu Quero Tcha" and "Lê Lê Lê."
Rocked by great popular appeal among the youth of both sexes, the new segment has won a lot of attention in the media. Simple music and lyrics, dance beats, and refrains that are easily memorized automatically, generating a large "boom" in style, causing it to leave the restricted University environment and spread to radios and festivals all over Brazil. The repercussions and success of the genre is seen as every day new duos and sertanejo groups are on the rise.
The lyrics no longer talk only about failed relationships, but also about women, drinking, love affairs, sex, betrayal, ballads, drunkenness, and ostentation and there is influence from genres ofRio de Janeiro, likefunk andsamba andpagode.
Agronejo is a Brazilian musical style that combines sertanejo withrap,funk andelectronic music, as well as a vague inspiration frombro-country.[4] The name is aportmanteau ofagro, which denotesagribusiness, andnejo, from sertanejo. The musical genre emerged around 2020, having its roots in the exaltation of agribusiness,[5] reflecting the experiences and values of agrarian communities in economic and social growth.[4]
The main artists who have stood out in this movement areAna Castela, Luan Pereira, Léo & Raphael, Fiduma & Jeca, DJ Chris no Beat, Us Agroboy (duo of Gabriel Vittor and Jota Lennon), Bruna Viola and Loubet.[4]
The rhythm attracts fans of sertanejo and those who enjoy more contemporary genres.[4] However, the left-wing newspaperA Nova Democracia stated that "this may be the last stage in the decline of music financed by the old Brazilianlandowning state. Its relations with Caipira music have completely run their course."[6]
Trapnejo is a mix oftrap music and sertanejo, which came to the fore in 2020. This subgenre was created by singer Danilo “Dan” Oliveira Lellis, fromGoiânia.[7][8]
(selective, alphabetical order)[9]
(Artists with considerable crossover European and international success indicated with * asterisk)
(selected)
