Alberto Mussa | |
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Born | 1961 |
Website | http://www.albertomussa.com |
Alberto Mussa (born 28 June 1961) is a Brazilian writer and translator.
Mussa was born in Rio de Janeiro, in a family of Indigenous and Lebanese descent. [1] [2] He first studied mathematics, then graduated in Languages at the Federal University of Rio de Janeiro. [3]
His writings fuse Western narrative tradition with mythological accounts from other cultures, such as Afro-Brazilian , pre-Islamic Arabian and indigenous Brazil. His works have been published in 17 countries and 15 languages, such as Argentina, Cuba, Portugal, Italy, France, England, Romania, Turkey, Spain and Egypt, and were awarded prizes such as the Premio Casa de Las Americas, the Prêmio Machado de Assis and the Prêmio APCA. [4]
Together with historian Luiz Antonio Simas, he wrote Samba de enredo: história e arte, a study about the aesthetic evolution of samba-enredo. [5]
Mussa is the author of Compêndio Mítico do Rio de Janeiro[Rio de Janeiro's Mythical Compendium] a series of five crime novels, each one set in a different century and aiming to portrait the history of Rio through reports of actual or fictional crimes. [6]
Samba is a name or prefix used for several rhythmic variants, such as samba urbano carioca, samba de roda, amongst many other forms of samba, mostly originated in the Rio de Janeiro and Bahia states.
Bossa nova is a relaxed style of samba developed in the late 1950s and early 1960s in Rio de Janeiro, Brazil. It is mainly characterized by a calm syncopated rhythm with chords and fingerstyle mimicking the beat of a samba groove, as if it was a simplification and stylization on the guitar of the rhythm produced by a samba school band. Another defining characteristic of the style is the use of unconventional chords in some cases with complex progressions and "ambiguous" harmonies. A common misconception is that these complex chords and harmonies were derived from jazz, but samba guitar players have been using similar arrangement structures since the early 1920s, indicating a case of parallel evolution of styles rather than a simple transference from jazz to bossa nova. Nevertheless, bossa nova was influenced by jazz, both in the harmonies used and also by the instrumentation of songs, and today many bossa nova songs are considered jazz standards. The increase in popularity of bossa nova has helped to renew samba and contributed to the modernization of Brazilian music in general.
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Yvonne Lara da Costa OMC, better known as Dona Ivone Lara, was a Brazilian singer and composer. Known as the Queen of Samba and Great Lady of Samba, she was the first woman to sign a samba-enredo and take part in a wing of composers in the school, Império Serrano.
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