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{{Culture of Brazil}}

The '''music of Brazil''' encompasses various regional musical styles influenced by European, [[Music of the United States|American]], African and Amerindian forms. Brazilian music developed some unique and original styles such as [[forró]], repente, coco de roda, [[axé]], [[sertanejo music|sertanejo]], [[samba]], [[bossa nova]], [[Música popular brasileira|MPB]], [[Brazilian gaucho music|gaucho music]], [[pagode]], [[tropicália]], [[choro]], [[maracatu]], embolada (coco de repente), [[frevo]], [[brega (music)|brega]], [[modinha]] and Brazilian versions of foreign musical styles, such as rock, [[pop music]], [[Soul music|soul]], [[hip-hop]], [[disco music]], [[country music]], [[Ambient music|ambient]], [[Industrial music|industrial]] and [[Psychedelic music|psychedelic]] music, [[Rapping|rap]], classical music, [[fado]], and [[Gospel music|gospel]].

Samba has become the most known form of Brazilian music worldwide, especially because of the country's [[brazilian carnival|carnival]], although [[bossa nova]], which had [[Antônio Carlos Jobim]] as one of its most acclaimed composers and performers, has received much attention abroad since the 1950s, when the song "[[Desafinado]]", interpreted by [[João Gilberto]], was first released.

The first four winners of the Shell Brazilian Music prize<ref>{{cite web|title=Prêmio Shell de Música – Shell Brasil|url=http://www.shell.com/bra/environment-society/brazil-social-investments/music-awards.html|access-date=13 February 2014|url-status=dead|archive-url=https://web.archive.org/web/20140224022549/http://www.shell.com/bra/environment-society/brazil-social-investments/music-awards.html|archive-date=24 February 2014}}</ref> have each left a legacy on Brazilian music and are among the representatives of Brazilian popular music: [[Pixinguinha]] (choro), [[Antônio Carlos Jobim]] (bossa nova), [[Dorival Caymmi]] (samba and samba-canção), and [[Luiz Gonzaga]] (forró).

Instrumental music is also largely practiced in Brazil, with styles ranging from classical to [[Popular music|popular]] and [[jazz]] influenced forms. Among the later, [[Naná Vasconcelos]], [[Pixinguinha]], [[Hermeto Pascoal]] and [[Egberto Gismonti]] are significant figures. Notable classical composers include [[Heitor Villa-Lobos]], [[Antônio Carlos Gomes|Carlos Gomes]] and [[Cláudio Santoro]]. The country also has a growing community of modern/experimental composition, including [[electroacoustic music]].

== History ==

=== Art music ===
==== Origins ====
Little is known of the music of Brazil before the area's first encounter with Portuguese explorers on 22 April 1500. During the colonial period, documents detail the musical activities of the major Roman Catholic cathedrals and the parlors of the upper classes, but data about musical life outside these domains are sparse. Some information is available in writings left by such travellers as [[Jean de Léry]], who lived in Brazil from 1557 to 1558 and produced the first known transcriptions of native American music: two chants of the Tupinambá, near Rio de Janeiro.<ref>{{cite book |last1=Olsen|first1=D.A. |last2=Sheehy |first2=D.E. |date=1998 |title=Brazil:Central and Southern Areas in Garland Encyclopedia of World Music Volume 2 |url=https://search.alexanderstreet.com/view/work/bibliographic_entity%7Creference_article%7C1000223340#page/320/mode/1/chapter/bibliographic_entity%7Creference_article%7C1000223481 |format=digital |language=en |location=Retrieved from Music Online: The Garland Encyclopedia of World Music database |publisher=Routledge |isbn=0415994047 }}</ref>
[[File:Venid a sospirar (José de Anchieta).pdf|left|thumb|Venid a sospirar (José de Anchieta) - score available at [https://musicabrasilis.org.br/partituras/jose-de-anchieta-venid-sospirar Musica Brasilis] website.]]
Further registration of musical activity in Brazil came from the activities of two [[Jesuit]] priests in 1549. Ten years later, they had already founded settlements for indigenous people (the ''[[Jesuit reduction|Reduções]]''), with a musical-educational structure.

One century later, the Reduções of the southern Brazil, which were founded by Spaniard Jesuits, had a strong cultural development, where some music schools were founded. Some of the reports of that time show the fascination of the indigenous people for European music.<ref>apud Padre Noel Berthold, in: "Trevisan, Armindo", in ''A Escultura dos Sete Povos''. Brasília: Editora Movimento / Instituto Nacional do Livro, 1978. (Portuguese)</ref> The indigenous people also took part in the music, with both the construction of musical instruments and practice of vocal and instrumental performance.

==== The 18th-century school ====
[[File:OuroPreto1-CCBYSA.jpg|thumb|upright|[[Ouro Preto]], in [[Minas Gerais]]: one of the most important musical centers in Brazil during the 18th century.]]
In the 18th century, there was intense musical activity in all the more developed regions of Brazil, with their moderately stable institutional and educational structures. The previously few private orchestras became more common and the churches presented a great variety of music.

In the first half of this century, the most outstanding works were composed by Luís Álvares Pinto, Caetano de Mello de Jesus and [[Antônio José da Silva]] ("the Jew"), who became successful in [[Lisbon]] writing [[libretto]]s for comedies, which were performed also in Brazil with music by [[António Teixeira (composer)|António Teixeira]].

In the second part of the 18th century, there was a great flourishing in [[Minas Gerais]], mostly in the regions of ''Vila Rica'' (currently [[Ouro Preto]]), [[Mariana, Minas Gerais|Mariana]] and ''Arraial do Tejuco'' (currently [[Diamantina, Minas Gerais|Diamantina]]), where the mining of gold and diamonds for the Portuguese metropolis attracted a sizable population. At this time, the first outstanding Brazilian composers were revealed, most of them [[mulatto]]es. The musical pieces were mostly sacred music. Some of the noteworthy composers of this period were [[José Joaquim Emerico Lobo de Mesquita|Lobo de Mesquita]], Manoel Dias de Oliveira, [[Francisco Gomes da Rocha]], [[Marcos Coelho Neto]] and Marcos Coelho Neto Filho. All of them were very active, but in many cases few pieces have survived until the present day. Some of the most famous pieces of this period are the ''Magnificat'' by Manoel Dias de Oliveira and the ''Our Lady's Antiphon'' by Lobo de Mesquita. In the city of Arraial do Tejuco, nowadays [[Diamantina, Minas Gerais|Diamantina]], there were ten conductors in activity. In [[Ouro Preto]] about 250 musicians were active, and in all of the territory of Minas Gerais almost a thousand musicians were active.<ref>Mariz, Vasco. ''História da Música no Brasil''. Rio de Janeiro: Nova Fronteira, 2005. 6ª ed. (Portuguese)</ref>

With the impoverishment of the mines at the end of the century, the focus of the musical activity changed to other centers, specially [[Rio de Janeiro]] and [[São Paulo]], where [[André da Silva Gomes]], a composer of Portuguese origin, released a great number of works and dynamized the musical life of the city.

Also, the oldest Orchestra of all Americas is situated in São João del-Rei, Minas Gerais, called Lira Sanjoanense, conducted, today, by Modesto Flávio Fonseca.

==== The Classical period ====
[[File:José Mauricio Nunes Garcia.jpg|thumb|upright|left|[[José Maurício Nunes Garcia]].]]
A crucial factor for the changes in the musical life was the arrival of the Portuguese Royal family to [[Rio de Janeiro]] in 1808. Until then, Rio de Janeiro was musically similar to other cultural centers of Brazil but was even less important than Minas Gerais. The presence of the Portuguese Royal family, in exile, radically changed this situation, as the [[Capela Real of Rio de Janeiro]] was established.

The king [[John VI of Portugal]] brought with him to Brazil the great musical library from the [[House of Bragança]], one of the best of Europe at that time, and ordered the arrival of musicians from [[Lisbon]] and the ''[[castrati]]'' from Italy, re-ordering the Royal Chapel. Later, John VI ordered the construction of a sumptuous theater, called the Royal Theater of São João. The secular music had the presence of [[Marcos Portugal]], who was designated as the official composer of the household, and of [[Sigismund von Neukomm]], who contributed with his own work and brought the works of the Austrian composers [[Wolfgang Amadeus Mozart]] and [[Joseph Haydn]]. The works of these composers strongly influenced the Brazilian music of this time.

[[José Maurício Nunes Garcia]], the first of the great Brazilian composers, emerged at this time. With a large culture for his origin – he was poor and mulatto – he was one of the founders of the Irmandade de Santa Cecília, in Rio de Janeiro, teacher and [[mestre de capela]] of the Royal Chapel during the presence of John VI in Brazil. Nunes Garcia was the most prolific Brazilian composer of this time. He also composed the first opera written in Brazil, ''Le Due Gemelle'' (''The Two Twins''), with text in Italian, but the music is now lost.

Other important composers of this period are Gabriel Fernandes da Trindade, who composed the only Brazilian [[chamber music]] from the 19th century which has survived to the present times,<ref>'''Castagna, Paulo.''' Encarte do CD ''Gabriel Fernandes da Trindade – Duetos Concertantes''. São Paulo: Paulus, 1995. (Portuguese)</ref> and João de Deus de Castro Lobo, who lived in the cities of Mariana and Ouro Preto, which were decadent at this time.

This period, however, was brief. In 1821, John VI went back to Lisbon, taking with him the household, and the cultural life in Rio de Janeiro became empty. And, despite the love of [[Peter I of Brazil]] for the music – he was also author of some musical pieces like the [[Brazilian Independence Anthem]] – the difficult financial situation did not allow many luxuries. The conflagration of the Royal Theater in 1824 was another symbol of decadence, which reached the most critical point when Peter I renounced the throne, going back to Portugal.

==== The Romantic period ====
[[File:Carlos Gomes portrait, 1893.tif|thumb|upright|[[Antônio Carlos Gomes]].]]
The only composer who had a relevant work in this period was [[Francisco Manuel da Silva]], disciple of Nunes Garcia, who succeeded him as kapellmeister. In spite of his few resources, he founded the Musical Conservatory of Rio de Janeiro. He was the author of the [[Brazilian National Anthem]]'s melody. His work reflected the musical transition for the [[Romanticism]], when the interest of the national composers was focused in the opera. The most outstanding Brazilian composer of this period was [[Antônio Carlos Gomes]], who composed Italian-styled operas with national themes, such as ''[[Il Guarany]]'' (based on [[José de Alencar]]'s novel ''[[The Guarani|O Guarani]]'') and ''[[Lo Schiavo]]''. These operas were very successful in European theaters, like the [[Teatro alla Scala]], in [[Milan]]. Other important composer of this time is [[Elias Álvares Lobo]], who wrote the opera ''A Noite de São João'', the first Brazilian opera with text in Portuguese.

The opera in Brazil was very popular until the middle of the 20th century, and many opera houses were built at this time, like [[Teatro Amazonas]] in [[Manaus]], [[Teatro Municipal (Rio de Janeiro)|Municipal Theater of Rio de Janeiro]], [[Theatro Municipal (São Paulo)|Municipal Theater of São Paulo]], and many others.

At the end of the 19th century, the greatest composers for the symphonic music were revealed. One of the most outstanding name of this period was [[Leopoldo Miguez]], who followed the [[Richard Wagner|Wagnerian]] style and [[Henrique Oswald]], who incorporated elements of the French [[Impressionism]].

==== Nationalism ====
[[File:Heitor Villa-Lobos (c. 1922).jpg|thumb|upright|[[Heitor Villa-Lobos]].]]
In the beginning of the 20th century, there was a movement for creating an authentically Brazilian music, with less influences of the European culture. In this sense, the [[folklore]] was the major font of inspiration for the composers. Some composers like [[Brasílio Itiberê da Cunha]], [[Luciano Gallet]] and [[Alexandre Levy]], despite having a European formation, included some typically Brazilian elements in their works. This trend reached the highest point with [[Alberto Nepomuceno]], who used largely the rhythms and melodies from the Brazilian folklore. There were local cultural movements to consolidate regional identities through music as for example, [[:pt:José Brazilício de Souza|José Brazilício de Souza]], who wrote the state [[Hino do Estado de Santa Catarina|anthem]] of [[Santa Catarina (state)|Santa Catarina]] and his son [[Álvaro Sousa]], who was a noticeable musician, music educator, and composer there.<ref>{{cite web |url= http://www.revista.akademie-brasil-europa.org/CM06-06.htm |title= FLORIANÓPOLIS: VALORIZAÇÃO DA CULTURA MUSICAL CATARINENSE |author=<!--Not stated--> |website= Revista Brasil-Europa}}</ref>

An important event, later, was the [[Modern Art Week]], in 1922, which had a large impact on concepts of national art. In this event the composer [[Heitor Villa-Lobos]], regarded as the most outstanding name of the Brazilian nationalism, was revealed.

Villa-Lobos did researches about the musical folklore of Brazil, and mixed elements both from classical and popular music. He explored many musical genres such as concertos, [[symphony|symphonies]], [[modinha]]s, [[Fado]]s, and other symphonic, vocal and chamber music. Some of his masterworks are the ballet ''[[Uirapuru (Villa-Lobos)|Uirapuru]]'' and the two series of ''[[Chôros]]'' and ''[[Bachianas Brasileiras]]''.

Other composers of Brazilian national music of this era include [[Oscar Lorenzo Fernández]], [[Radamés Gnattali]], [[Camargo Guarnieri]], [[Osvaldo Lacerda]], [[Francisco Mignone]], and [[Ernesto Nazareth]].

==== The avant-garde movement ====
{{see also|Tropicalia}}
[[File:Nelson Ned (2451237619).jpg|thumb|[[Nelson Ned]], the "Little Giant of Song".]]
As a reaction against the nationalist school, who was identified as "servile" to the centralizing politics of [[Getúlio Vargas]], in 1939 the ''Movimento Música Viva'' (Living Music Movement) appeared, led by [[Hans Joachim Koellreutter]] and by Egídio de Castro e Silva, defending the adoption of an international style, derived from the [[dodecaphonism]] of [[Arnold Schoenberg]]. This group was integrated by composers like [[Cláudio Santoro]], [[César Guerra-Peixe]], [[Eunice Catunda]] and Edino Krieger. Koellreutter adopted revolutionary methodes, in respect to the individuality of each student and giving to the students the freedom of creativity before the knowledge of the traditional rules for composition. The movement edited a magazine and presented a series of radio programs showing their fundaments and works of contemporary music. Later, Guerra-Peixe and Santoro followed an independent way, centered in the regional music. Other composers, who used freely the previous styles were [[Marlos Nobre]], [[José Antônio Rezende de Almeida Prado|Almeida Prado]], and Armando Albuquerque, who created their own styles.

After 1960, the Brazilian avant-garde movement received a new wave, focusing on [[serial music]], [[microtonal music]], [[concrete music]] and [[electronic music]], employing a completely new language. This movement was called ''Música Nova'' (New Music) and was led by [[Gilberto Mendes]] and [[Willy Corrêa de Oliveira]]. An important fact was the introduction of [[electronic music]] in Brazil, with the pioneering works of the carioca [[Jorge Antunes (composer)|Jorge Antunes]] in 1961.

==== Brazilian Opera ====
[[Antônio Carlos Gomes|Carlos Gomes]] was the first composer on non-European origin to achieve wide recognition in the classical music environment of the Golden age of Opera in Italy. [[Bossa Nova]] was created as anti-opera in a time when opera seemed to represent the art-form of the elite. [5] In recent years the style has been revived with works by [[Jorge Antunes (composer)|Jorge Antunes]], Flo Menezes, and others.

Since 2014 the [[International Brazilian Opera (IBOC)]] has been producing new works, most notably by its artistic director and resident composer [[Joao MacDowell]].

==== Contemporary ====
[[File:Claudia_Leitte_no_The_Voice_Brasil_2012.jpg|thumb|right|[[Claudia Leitte]], along with [[Pitbull (rapper)|Pitbull]] and [[Jennifer Lopez]], recorded "We Are One (Ole Ola)", which served as the official song of the [[2014 FIFA World Cup]].]]
Nowadays, Brazilian music follows the guidelines of both experimentalism and traditional music. Some of the contemporary Brazilian composers are [[Amaral Vieira]], [[Sílvio Ferraz]], Guilherme Bauer, [[Ronaldo Miranda]], David Koenchendler, Nestor de Hollanda Cavalcanti, [[Ernani Aguiar]], Flo Menezes, [[Marcos Balter]], Alexandre Lunsqui, Rodolfo Caesar, [[Felipe Lara]], [[Edson Zampronha]], Marcus Siqueira, Rodrigo Lima, [[Jorge Antunes (composer)|Jorge Antunes]], Roberto Victorio and [[João MacDowell]]. From the new generation of Brazilian composers, [[Caio Facó]] has achieved international recognition for his work.

Brazil has a large number of internationally recognized orchestras and performers, despite the relatively low support of the government. The most famous Brazilian orchestra is probably the [[Orquestra Sinfônica do Estado de São Paulo|São Paulo State Symphony Orchestra]], currently under conductor [[Thierry Fischer]]. Other Brazilian orchestras worthy of note are the São Paulo University Symphony, the [[Brazilian Symphony Orchestra|Orquestra Sinfônica Brasileira]], Orquestra Filarmônica de Minas Gerais and the Petrobras Sinfônica, supported by the Brazilian state oil company [[Petrobras]].

There are also regular operas scheduled every year in cities such as [[São Paulo]] and [[Rio de Janeiro]]. The [[state of São Paulo]] also hosts the Winter Festival in the city of [[Campos do Jordão]].

Some of the most famous Brazilian conductors are [[Roberto Minczuk]], [[John Neschling]] and [[Isaac Karabtchevsky]]. The instrumentalists include, among others: [[Roberto Szidon]], [[Antonio Meneses]], Cussy de Almeida, Gilberto Tinetti, [[Arnaldo Cohen]], [[Nelson Freire]], Eudóxia de Barros, [[Guiomar Novaes]] and [[Magda Tagliaferro]]. And some of the most famous Brazilian singers were, historically, [[Zola Amaro]], Constantina Araújo and [[Bidu Sayão]]; living singers include [[Eliane Coelho]], [[Kismara Pessatti]], Maria Lúcia Godoy, Sebastião Teixeira, and others.

In the 1980s, a wave of Brazilian heavy metal bands gained public attention. The most commercially successful of these was [[Sepultura]], founded in São Paulo in 1983, preceded by [[Dorsal Atlantica]] and followed by [[Sarcófago]].

The intrusion of alien elements into Brazil's cultural system is not a destructive process. The return of a democratic government allowed for freedom of expression. The Brazilian music industry opened up to international styles and this has allowed for both foreign and local genres to co-exist and identify people. Each different style relates to the people socially, politically, and economically. "Brazil is a regionally divided country with a rich cultural and musical diversity among states. As such, musicians in the country choose to define their local heritage differently depending on where they come from." This shows how globalization has not robbed Brazil of its identity but instead given it the ability to represent its people both in Brazil and the rest of the world.

In recent years Brazilian artists have become more interested in Africa, the Caribbean and their own indigenous and folk music. While there are some artists who continue to perform rock and Western pop, there are now just as many contemporaries playing a fusion of African and European influences with those from across The Americas. Some artists have even become influenced by Asian music, noticing some parallels between music from the Northeast of Brazil and music from India.

== Indigenous and folk music ==
[[File:Rugendas lundu 1835.jpg|thumb|Brazilian dance-song ''[[Lundu (dance)|lundu]]'', c. 1835.]]
[[File:Caboclos de lança.jpg|thumb|Maracatu.]]
[[File:De repente, um repentista! (165251858).jpg|thumb|Repentista.]]
The native peoples of the Brazilian [[rainforest]] play instruments including [[whistle]]s, flutes, [[French horn|horn]]s, [[drum (musical instrument)|drum]]s and [[rattle (percussion instrument)|rattle]]s. Much of the area's folk music imitates the sounds of the [[Amazon rainforest]].  When the Portuguese arrived in Brazil, the first natives they met played an array of reed flutes and other wind and percussion instruments.

The [[Society of Jesus|Jesuit]] [[missionary|missionaries]] introduced songs which used the [[Tupi language]] with Christian lyrics, an attempt to convert the people to Christianity,<ref>[http://www.fmpsd.ab.ca/schools/df/Brazil/mmusic.htm Music]. Fmpsd.ab.ca. Retrieved on 23 November 2011. {{webarchive |url=https://web.archive.org/web/20050310092423/http://www.fmpsd.ab.ca/schools/df/Brazil/mmusic.htm |date=10 March 2005 }}</ref> and also introduced [[Gregorian chant]] and the flute, [[bow (musical instrument)|bow]], and the [[clavichord]].

=== Capoeira music ===
{{main|Capoeira music}}

The [[Afro-Brazilian]] sport of [[capoeira]] is never played without its own music, which is usually considered to be a call-and-response type of folk music. The main instruments of capoeira music include the ''[[berimbau]]'', the ''[[atabaque]]'' and the ''[[pandeiro]]''. [[Capoeira songs]] may be improvised on the spot, or they may be popular songs written by older, and ancient ''mestres'' (teachers), and often include accounts of the history of capoeira, or the doings of great mestres.

=== Maracatu ===
{{main|Maracatu}}

This type of music is played primarily in the [[Recife]] and [[Olinda]] regions during Carnaval. It is an [[Afro-Brazilian]] tradition. The music serves as the backdrop for parade groups that evolved out of ceremonies conducted during colonial times in honour of the Kings of Congo, who were African slaves occupying symbolic leadership positions among the slave population. The music is played on large [[alfaia]] drums, large metal gonguê bells, snare drums and shakers. 

An important variant is found in and around Fortaleza, Ceará (called maracatu cearense), which is different from the Recife/Olinda tradition in many respects: triangles are used instead of gonguês, [[surdo]]s or [[zabumba]]s instead of alfaias.  Also, important female characters are performed by cross-dressed male performers, and all African and Afrobrazilian personages are performed using blackface makeup.

=== Afoxé ===
{{main|Afoxé}}

Afoxé is the name given to a group dedicated to playing ijexá, which is a kind of [[religious music]], part of the [[Candomblé]] tradition.  In 1949, a group called Filhos de Gandhi began playing afoxé during [[Brazilian Carnival|carnaval]] parades in Salvador; their name translates as ''Sons of Gandhi'', associating black Brazilian activism with [[Mahatma Gandhi]]'s Indian independence movement. 

The Filhos de Gandhi's 1949 appearance was also revolutionary because, until then, the Carnaval parades in Salvador were meant only for light-skinned people.

=== Repente ===
[[Northeast Region, Brazil|Northeastern Brazil]] is known for a distinctive form of literature called [[cordel literature|literatura de cordel]], which are a type of [[ballad]]s that include elements incorporated into music as "repentismo", an improvised lyrical contest on themes suggested by the audience.

Similar to Repentismo, appears among the [[Caipira]] culture a musical form derived from [[viola caipira]], which is called ''cururu''.

== Popular music ==

=== Choro ===
{{main|Choro}}
[[File:Violao choro.jpg|thumb|left|Choro guitar.]]
{{Listen|filename=Pixinguinha- O Urubu e o Gaviao 1930.ogg|title=Urubu Malandro|description="Urubu Malandro", recorded in 1930 by Pixinguinha in the flute}}
{{Listen|filename=003-harmonia_selvagem_-_dante_santoro_1938.ogg|title=Harmonia Selvagem|description=Choro "Harmonia Selvagem" composed by Dante Santoro. Recorded by Dante Santoro (flute) in 1938.}}
{{Listen|filename=Atraente chiquinha pixinguinha.ogg|title=Atraente|description="Atraente", composed by Chiquinha Gonzaga, recorded by Pixinguinha (saxophone) and Benedito Lacerda (flute).}}

''Choro'' (literally "cry" in Portuguese, but in context a more appropriate translation would be "lament"), traditionally called ''chorinho'' ("little cry" or "little lament"). Instrumental, its origins are in 19th century Rio de Janeiro. Originally ''choro'' was played by a trio of flute, guitar and cavaquinho (a small chordophone with four strings). The young pianist [[Ernesto Nazareth]] published his first choro (''Não Caio Noutra'') in 1878 at the age of 14.<ref>[https://web.archive.org/web/20070709135551/http://www.bn.br/fbn/musica/enzinfa.htm Childhood Secrets *]. bn.br</ref> Nazareth's choros are often listed as ''polkas'';<ref>[http://www.chiquinhagonzaga.com/nazareth/ Ernesto Nazareth – Rei do Choro]. Chiquinhagonzaga.com. Retrieved on 23 November 2011.</ref> he also composed [[waltz]]es, [[schottische]]s, [[Milonga (music)|milonga]]s and [[Brazilian Tango]]s. (He resisted the popular term ''[[maxixe (dance)|maxixe]]'' to represent Brazilian tango.)<ref>{{cite web|url=http://www.bn.br/fbn/musica/enzpolca.htm |title=Polkas and Tangos |access-date=29 May 2007 |url-status=dead |archive-url=https://web.archive.org/web/20070529110516/http://www.bn.br/fbn/musica/enzpolca.htm |archive-date=29 May 2007 }}</ref> [[Chiquinha Gonzaga]] was another important composer of choros and started shortly after Nazareth. [[Chiquinha Gonzaga]] composed her first success, the polka-choro "Atraente", in 1877. In the beginning, the success of choro came from informal groups of friends which played in parties, pubs ([[boteco]]s), streets, home balls (forrobodós), and also the musical scores published by print houses.<ref>{{cite book |last1=Livingston-Isenhour |first1=T. |last2=Garcia |first2=T. G. C. |year=2005 |title=Choro: A Social History of a Brazilian Popular Music |location=Bloomington, Indiana |publisher=Indiana University Press |isbn=0253345413 |url=https://archive.org/details/isbn_9780253345417 }}</ref> By the 1910s, much of the Brazilian first phonograph records are choros. The mainstream success of this style of music (By the 1930s) came from the early days of radio, when bands performed live on the air. By the 1950s and 1960s it was replaced by [[samba]] and [[Bossa Nova]] and other styles of Brazilian popular music, but was still alive in amateur circles called "rodas de choro" (informal choro gatherings in residences and [[botecos]]). However, in the late 1970s there was a successful effort to revitalize the genre carried out by some famous artists: [[Pixinguinha]], [[Waldir Azevedo]] and [[Jacob do Bandolim]].

=== Samba ===
{{main|Samba}}
[[File:Carmen Miranda 1941.JPG|thumb|left|upright|Singer and actress [[Carmen Miranda]].]]
In 1929, prompted by the opening of the first radio station in Rio de Janeiro, the so-called ''radio era'' began spreading songs – especially the novelty Samba in its current format – to larger masses. This period was dominated by few male interpreters – notably Almirante, [[Braguinha (composer)|Braguinha]], [[Mário Reis (singer)|Mário Reis]], [[Sílvio Caldas]], [[Francisco de Morais Alves|Francisco Alves]] and singer/composer [[Noel Rosa]] and even fewer chanteuses such as [[Aracy de Almeida]] and sisters [[Aurora Miranda]] and [[Carmen Miranda]], who eventually came to Hollywood becoming a movie star.<ref>[http://veja.abril.com.br/110407/p_120.shtml A nação das cantoras] {{Webarchive|url=https://web.archive.org/web/20130420062320/http://veja.abril.com.br/110407/p_120.shtml |date=20 April 2013 }}. Veja.abril.com.br. Retrieved on 23 November 2011.</ref>
{{Listen
|filename=Na Pavuna-Almirante-Homero Dornelas1929.ogg
|title=Na Pavuna
|description=Almirante, released in 1929.
}}

{{Listen
|filename=Carmen_Miranda_e_Mário_Reis_-_Alo..._Alo....ogg
|title=Alô... Alô?
|description=Carmen Miranda and Mário Reis, released in 1934
}}

Popular music included instruments like [[cuica]]s, [[tambourine]]s, [[frying pan]]s ('played' with a metal stick), flutes and guitars.  Noteworthy Samba composers at this early stage included said [[Noel Rosa]] plus [[Lamartine Babo]] and, around [[World War II]] time, [[Ary Barroso]].

=== MPB (Popular Brazilian Music) ===
{{main|Música popular brasileira}}
[[File:Roberto Carlos Credicard Hall (42626066250).jpg|thumb|upright|[[Roberto Carlos (singer)|Roberto Carlos]].]]

MPB's early stage (from World War II to the mid-1960s) was populated by male singers such as Orlando Silva, [[Nelson Gonçalves]], [[Jamelão]], [[Agostinho dos Santos]], [[Anísio Silva]], [[Ataulfo Alves]], [[Carlos Galhardo]], [[Ciro Monteiro]], [[Ismael Silva (musician)|Ismael Silva]], [[João Dias (singer)|João Dias]], [[Jorge Goulart]], [[Miltinho]], [[Jorge Veiga]] and [[Francisco Egídio]] and female singers started to mushroom: [[Nora Ney]], [[Dolores Duran]], [[Ângela Maria]], [[Emilinha Borba]], Marlene, [[Dalva de Oliveira]], [[Maysa Matarazzo]], sisters [[Linda Batista]] and [[Dircinha Batista]], among others.<ref>[https://www.letras.mus.br/blog/cantores-mpb/ Singers Brazil MPB]</ref>

MPB's second stage – after the split [[Bossa Nova]] (1959) / [[Jovem Guarda]] (1965) / [[Tropicalismo]] (both 1967) – refers to mainstream Brazilian pop music. Well-known MPB artists include, among many others, singers such as [[Gretchen (singer)|Gretchen]], [[Gal Costa]], [[Nara Leão]], [[Trem da Alegria]], [[Marina Lima]], [[Simone Bittencourt de Oliveira|Simone]], [[Xuxa]], [[Guilherme Arantes]], [[Roberto Carlos (singer)|Roberto Carlos]], [[Jorge Ben Jor]], [[Milton Nascimento]], [[Angélica (television host)|Angélica]], [[João Bosco]], [[Ivan Lins]], [[Djavan]].

=== Bossa nova ===
{{main|Bossa nova}}
The first bossa nova records by [[João Gilberto]], in the last years of the 1950s, quickly became huge hits in Brazil. [[Antonio Carlos Jobim]] and other composers helped further develop this smoother, often slower, samba beat, which developed at the beach neighborhoods of [[Ipanema]] and, later, the [[Copacabana (Rio de Janeiro)|Copacabana]] nightclubs. Bossa nova was introduced to the rest of the world by American jazz musicians in the early 1960s, and the song "[[The Girl from Ipanema]]" remains probably the best known Brazilian musical export, eventually becoming a jazz standard.

=== Brega music ===
{{main|Brega (music)}}
[[File:Reginaldo Rossi na praça Castro Alves.jpg|thumb|[[Reginaldo Rossi]].]]

Brega is widely used to refer to popular romantic music with dramatic exaggeration or ingenuity, usually dealing with topics such as declarations of love, infidelity and love delusions. Historically, the greatest singers of the genre are from northeastern and northern Brazil; three of its biggest icons historically were [[Waldick Soriano]], [[Reginaldo Rossi]] and [[Falcão (singer)|Falcão]], the latter following a part of a tradition of humorous brega. [[:pt:Paulo_Sérgio_(cantor)|Paulo Sérgio]] stood out for his dramatic and romantic music. some precursors of the style in singers of the 1940s and 1950s, who followed, through [[bolero]] and [[samba-canção]], a more "romantic" theme. Among them [[Orlando Dias]], Carlos Alberto, [[Alcides Gerardi]] and [[Cauby Peixoto]].<ref name="DicionarioMPB/BREGA">{{cite web|access-date=2018-02-24|title=Música brega|url=http://www.dicionariompb.com.br/musica-brega/dados-artisticos|work=Dicionário Cravo Albin da Música Popular Brasileira}}<!-- auto-translated by Module:CS1 translator --></ref>

==== Technobrega ====
{{main|Technobrega}}

[[Technobrega]] is a Brazilian music genre that emerged in the early 2000s in the northern state of Pará, particularly in the city of Belém. The term combines "techno," referencing [[electronic music]] elements, and "brega", a Portuguese word often used to describe music considered kitschy or sentimental.

Rooted in regional rhythms such as [[Brega (music)|brega]], [[forró]], and [[Brega pop|calypso]], technobrega blends synthesizers, drum machines, and digital production with emotional lyrics and danceable beats. It gained popularity through informal distribution methods, including street vendors and large sound system parties known as aparelhagens. These events are crucial to the genre's culture, often involving light shows, live performances, and remix battles.

Unlike mainstream music industries, technobrega artists frequently operate independently, producing and distributing their own music. This model has challenged traditional notions of copyright and music commercialization in Brazil, making the genre a case study in alternative music economies. Despite facing prejudice and being labeled as lowbrow, technobrega has become a powerful expression of regional identity and creativity, influencing other genres and reaching audiences beyond the Amazon region.

Some of the most prominent names in the technobrega scene include:

[[Gaby Amarantos]] – Known as the “Beyoncé of Pará,” Gaby brought technobrega to national and international audiences with her fusion of brega, pop, and electronic styles.

[[Banda Uó]] – Though based in Goiás, this trio incorporated technobrega influences into their pop-electro sound and helped popularize the genre among younger audiences.

[[Pabllo Vittar]] – One of Brazil's most prominent LGBTQ+ pop artists, Pabllo Vittar has incorporated technobrega elements into several of her songs, blending regional rhythms with global pop and electronic music, helping introduce the genre to wider audiences.

=== Forró ===

[[Forró]] is a popular music and dance genre from [[Northeastern Brazil]]. The term refers to both the musical style and the social events where it is played, and it encompasses a variety of rhythmic forms that have evolved over time. With deep roots in rural traditions and everyday life, forró is an important symbol of Northeastern cultural identity. 

Forró originated in the early 20th century, particularly in the semi-arid region known as the [[sertão]]. It is traditionally performed by a trio consisting of the [[accordion]] (''sanfona''), the ''zabumba'' (a type of bass drum), and the ''triângulo'' (triangle). The music typically features syncopated rhythms and lyrics that reflect themes of love, migration, hardship, and regional pride. Forró is a central element in regional celebrations such as the June Festivals. Beyond entertainment, it acts as a powerful form of cultural expression, transmitting local values and fostering community bonds. In 2021, forró was officially recognized as part of Brazil's [[Intangible cultural heritage|Intangible Cultural Heritage]] by the [[IPHAN|Instituto do Patrimônio Histórico e Artístico Nacional (IPHAN)]].<ref>[https://www.gov.br/iphan/pt-br/assuntos/noticias/forro-e-reconhecido-como-patrimonio-cultural-do-brasil "Forró é reconhecido como Patrimônio Cultural do Brasil"]. IPHAN. Retrieved 2021.</ref>

Among the most iconic names in the history of forró is [[Luiz Gonzaga]], who is widely regarded as the father of the genre and was instrumental in popularizing baião across Brazil. His influence shaped the sound of forró and brought the culture of the Northeast to national prominence. Another major figure is [[Dominguinhos]], a protégé of Gonzaga, known for blending traditional forró with elements of MPB (Música Popular Brasileira) and jazz. [[Elba Ramalho]] gained fame for her energetic performances and for bringing forró to broader Brazilian pop audiences. Other influential artists include [[:pt:Marinês|Marinês]], often called the "Queen of Forró"; [[:pt:Trio Nordestino|Trio Nordestino]], pioneers of the classic forró trio format; [[Genival Lacerda]], known for his humorous lyrics; and contemporary groups such as [[Falamansa]], who helped revitalize the genre in the 2000s through the “forró universitário” movement, and [[Nêgah Santos|Negâh Santos]] —Brazilian jazz percussionist with [[The Late Show Band]].  

=== Axé ===
{{Main|Axé (music)}}
Axé originated in [[Salvador, Bahia]] in the 1980s, fusing different [[Afro-Caribbean music|Afro-Caribbean]] genres, such as marcha, [[reggae]], and [[Calypso music|calypso]]. It also includes influences of Brazilian music such as [[frevo]], [[forró]] and carixada. The word Axé comes from the [[Yoruba language|Yoruba]] term ''[[Aṣẹ|àṣẹ]]'', meaning "soul, light, spirit or good vibrations".<ref name=":3">{{Cite book|title=Let's Make Some Noise : Axé and the African Roots of Brazilian Popular Music|last=Henry|first=Clarence Bernard|date=August 2008|publisher=University Press of Mississippi}}</ref><ref name="ad">{{cite book | last = Adeoye | first = C. L. | title = Ìgbàgbọ́ àti ẹ̀sìn Yorùba | publisher = Evans Bros. Nigeria Publishers | location = Ibadan | year = 1989 | isbn = 9781675098 | pages = 11 | language = Yoruba}}</ref> Axé is also present in the [[Candomblé]] religion, as "the imagined spiritual power and energy bestowed upon practitioners by the pantheon of orixás". It also has ties with the [[Roman Catholic Church]] and the [[Lenten]] season, which represents the roots of [[Bahian Carnival]].<ref name=":3" />

=== Brazilian gospel ===
[[File:Diante do Trono - Gravação Creio.jpg|thumb|left|[[Diante do Trono]], the main worship ministry in Latin America.]]
[[Gospel music]] emerged in Brazil before the 1960s with hymnals that were brought and translated into Portuguese by American missionaries. From the late 1960s the first singers of Christian music groups emerged in Brazil, but the songs were not highly valued. Gospel music became popular in Brazil in the late 1990s, with the emergence of congregational singing and bands such as [[Diante do Trono]], led by [[Ana Paula Valadão]]. Diante do Trono has become the largest [[contemporary worship music]] ministry in Latin America.<ref name="latinamerica">{{cite web |url=http://www.gospel10.com/noticias/noticia—diante-do-trono-garante-lideranca-para-a-globo-assista-a-participacao-do-grupo-no-domingao-do-faustao--975 |title=Diante do Trono garante liderança para a Globo |publisher=Gospel10 |access-date=13 January 2012 }}{{Dead link|date=December 2023 |bot=InternetArchiveBot |fix-attempted=yes }}</ref>

=== Brazilian rock ===
{{main|Brazilian rock|samba rock}}
[[File:Paralamas.jpg|thumb|left|[[Paralamas do Sucesso]].]]
The musical style known in Brazil as "Brazilian [[rock n' roll]]" dates back to Nora Ney's "Ronda Das Horas", a Portuguese version of "[[Rock Around the Clock]]" in 1954. In the 1960s, young singers like [[Roberto Carlos (singer)|Roberto Carlos]] and the [[Jovem Guarda]] movement were very popular. The 1960s also saw the rise of bands such as the "[[Tropicalismo|tropicalistas]]" [[Os Mutantes]] and the experimental (mixing [[progressive rock]], [[jazz]] and [[Música popular brasileira]]) Som Imaginário.

The 1970s saw the emergence of many [[progressive rock]] and/or [[hard rock]] bands such as [[O Terço]], [[A Bolha]], [[A Barca do Sol]], [[Som Nosso de Cada Dia]], [[Vímana]] and [[Bacamarte]], some of which attained some recognition internationally; [[Rita Lee]], in her solo career after [[Os Mutantes]], championed the glam-rock aesthetics in Brazil; [[Casa das Máquinas]] and [[Patrulha do Espaço]] were more bona-fide [[hard rock]] bands, and the likes of ([[Raul Seixas]], [[Secos & Molhados|Secos e Molhados]], [[Novos Baianos]] and [[A Cor do Som]]) mixed the genre with traditional Brazilian music. In the late 1970s, the Brazilian [[punk rock]] scene kicked off mainly in São Paulo and in Brasília, booming in the 1980s, with [[Inocentes]], [[Cólera]], [[Ratos de Porão]], [[Garotos Podres]], etc.

The real commercial boom of Brazilian rock was in the 1980s, with many bands and artists like [[Blitz (Brazilian band)|Blitz]], [[Camisa de Vênus]], [[Barão Vermelho]], [[Legião Urbana]], [[Lobão (musician)|Lobão]], [[Engenheiros do Hawaii]], [[Titãs]], [[Kid Abelha]], [[Paralamas do Sucesso]], and many others, and festivals like [[Rock in Rio]] and [[Hollywood Rock]].. The late 1980s and early 1990s also witnessed the beginnings of an electronica-inspired scene, with a lot more limited commercial potential but achieving some critical acclaim: [[Suba (musician)|Suba]], [[Loop B]], [[Harry (Brazilian musician)|Harry]], etc.

[[File:Lobao.jpg|thumb|[[Lobão (musician)|Lobão]].]]
In the 1990s, the meteoric rise of [[Mamonas Assassinas]], which sold more than 3 million copies of its only CD (a record, by Brazilian standards) came to a tragic end when the band's plane crashed, killing all five members of the band, the pilot and the co-pilot. Other commercially successful bands included [[Jota Quest]],[[Charlie Brown Jr. (band)|Charlie Brown Jr.]], [[Raimundos]] and [[Skank (band)|Skank]], while [[Chico Science & Nação Zumbi]] and the whole [[Mangue Bit]] movement received much critical attention and accolades, but very little commercial success – success that declined after the death of one of its founders, [[Chico Science]]. It was also in the 1990s that the first seeds of what would grow into being the Brazilian indie scene were planted, with the creation of indie festivals such as [[Abril Pro Rock]] and, later in the decade, [[Porão do Rock]]. The band [[Pato Fu]] was considered by [[Time (magazine)|Time]] magazine one of the ten best bands in the world outside the United States.<ref>{{cite magazine| url=http://www.time.com/time/magazine/article/0,9171,1000784,00.html | archive-url=https://web.archive.org/web/20071212130012/http://www.time.com/time/magazine/article/0,9171,1000784,00.html | url-status=dead | archive-date=12 December 2007 | magazine=Time | first=Rhett | last=Butler | title=Best Bands: And Our Winners Are | date=15 September 2001}}</ref> It is also known to re-record hits Brazilian and international versions of toy instruments.

Female singer [[Pitty]] is also very popular. The indie scene has been growing exponentially since the early 2000s, with more and more festivals taking place all around the country. However, due to several factors including but not limited to the worldwide collapse of the music industry, all the agitation in the indie scene has so far failed in translating into international success, but in Brazil they developed a real, substantial cultural movement. That scene is still much of a ghetto, with bands capturing the attention of international critics, but many playing again in Brazil when they become popular in the exterior, due to the lack of financial and material support which would allow for careers to be developed. One notable exception is [[CSS (band)|CSS]], an alternative [[Electronic rock|electro rock]] outfit that has launched a successful international career, performing in festivals and venues in North America, Europe, Asia and Australia. Other unique example of success through independent music scene that made to the mainstream is the band [[Móveis Coloniais de Acaju]]. The band has its own style, somewhere between rock and folk, and is recognized as the most important independent band in Brazil. The record company Trama [https://web.archive.org/web/20090123211659/http://trama.uol.com.br/portalv2/home/index.jsp] tries to support some bands with structure and exposure, and can be credited with early support to [[CSS (band)|CSS]] and later to Móveis Coloniais de Acaju.

==== Brazilian alternative rock and indie rock ====

'''[[Alternative rock]] in Brazil''', including its subgenre '''[[indie rock]]''', represents a diverse and dynamic branch of Brazilian popular music that emerged prominently in the late 1980s and flourished during the 1990s and 2000s. Influenced by international acts like The Smiths, Radiohead, Nirvana, and Sonic Youth, as well as local post-punk and new wave pioneers, Brazilian alternative rock blends introspective lyrics, experimental sonorities, and regional identities with a do-it-yourself (DIY) ethos.<ref>Goldberg, Kátia da Costa (2007). "O rock alternativo no Brasil: juventude, mercado e identidade". In: ''Anais do XXVII Congresso Brasileiro de Ciências da Comunicação''.</ref><ref name="contracultura">Dunn, Christopher (2016). ''Contracultura: Alternative Arts and Social Transformation in Authoritarian Brazil''. University of North Carolina Press. {{ISBN|978-1-4696-2828-7}}.</ref>

In the 1990s, bands such as [[Pato Fu]] (from Belo Horizonte), [[Skank (band)|Skank]] (initially blending rock and reggae), and [[Los Hermanos]] (from Rio de Janeiro) helped redefine the sound of Brazilian rock. Their success paved the way for a new generation of bands exploring more poetic, ironic, and sometimes melancholic themes—often far from the traditional aesthetics of mainstream Brazilian rock.<ref>Calado, Carlos (1994). ''A Divina Comédia dos Mutantes''. Estação Liberdade. {{ISBN|85-85033-78-7}}.</ref>

The 2000s and 2010s saw the rise of a robust independent music scene, often supported by digital distribution and small festivals across Brazil. Bands such as [[Mombojó]] (Recife), [[Superguidis]] (Porto Alegre), [[Ludov]] (São Paulo), and [[Cachorro Grande]] (Porto Alegre) stood out by blending indie rock with regional music influences, psychedelic elements, or a revival of garage and mod rock.<ref>Trigo, Guilherme (2014). "O indie brasileiro e as transformações da cena musical no século XXI". In: ''Revista Vórtex''. Vol. 2, nº 1.</ref>

More recently, bands like [[O Terno]], [[Boogarins]], and solo acts such as [[Céu]] and [[Tim Bernardes]] have received international attention while maintaining a strong presence in Brazil's alternative music circuits. Their sound often combines MPB (Música Popular Brasileira), Tropicália, and rock with experimental or lo-fi aesthetics, making Brazilian indie rock one of the most eclectic and innovative branches of contemporary Latin American music.<ref>Perrone, Charles A.; Dunn, Christopher (2002). ''Brazilian Popular Music and Globalization''. Routledge. {{ISBN|9780415936944}}.</ref><ref>Napolitano, Marcos (2015). "Indie, MPB e cena alternativa: novos territórios da canção brasileira no século XXI". In: ''Revista USP''. nº 106.</ref>

==== Brazilian heavy metal ====
{{see also|Brazilian thrash metal}}
[[File:Sepultura @ Maquinária Festival 02.jpg|thumb|[[Sepultura]]: Brazilian Heavy Metal Band]]
[[File:Massacration.jpg|thumb|[[Massacration]].]]

Brazilian [[Heavy metal music|metal]] originated in the mid 1980s with three prominent scenes: Belo Horizonte, São Paulo and Rio de Janeiro. The most famous Brazilian metal bands are [[Sepultura]], [[Angra (band)|Angra]], [[Krisiun]] and the singer [[Andre Matos]]. Sepultura is considered an influential [[Brazilian thrash metal|thrash metal]] band, influencing the development of [[death metal]].

Famous bands of the 1980s include [[Korzus]], [[Sarcófago]], [[Overdose (band)|Overdose]],<ref>{{cite web|url={{AllMusic|class=album|id=r206736|pure_url=yes}}|title=Progress of Decadence > Review|last=Jeffries|first=Vincent|work=Allmusic|publisher=Macrovision|access-date=12 April 2009 |quote=One of the best-known, if not the premier, metal bands in Brazil, Overdose had actually released several discs during the eight years prior to ''Progress of Decadence''—the group's first record to receive international distribution.}}</ref><ref>{{cite web|url={{AllMusic|class=album|id=r413357|pure_url=yes}}|title=Circus of Death > Review|last=Jeffries|first=Vincent|work=Allmusic|publisher=Macrovision|access-date=12 April 2009 |quote=On 1999's ''Circus of Death'', Brazil's second most famous metal band try again to emerge from beneath the shadow of Sepultura with their neo-prog thrash.}}</ref> [[Dorsal Atlântica]], [[Viper (band)|Viper]], [[MX (band)|MX]], [[PUS (band)|PUS]], [[Mutilator]], [[Chakal (band)|Chakal]], [[Vulcano (band)|Vulcano]] and [[Attomica]].<ref>{{cite web|url={{AllMusic|class=artist|id=p884193|pure_url=yes}}|title=Attomica > Biography|last=Rivadavia|first=Eduardo|work=Allmusic|publisher=Macrovision|access-date=12 April 2009 |quote=Arriving in stores in 1991, the LP's [the band's third album, ''Disturbing the Noise''] "ultra-speed" style cemented Attomica's standing as one of Brazil's top thrash acts; the promo clip for single "Deathraiser" was showcased on several TV video shows, including the Brazilian MTV affiliate.}}</ref>

There's also [[Massacration]], a Brazilian satirical heavy metal band, self-proclaimed the "greatest band in the world".<ref>[https://musica.uol.com.br/noticias/redacao/2017/04/10/maior-banda-de-metal-do-mundo-massacration-anuncia-turne-pelo-brasil.htm "Maior banda de metal do mundo", Massacration anuncia turnê pelo Brasil]</ref><ref>[https://whiplash.net/materias/shows/307895-massacration.html Massacration: Tosco, politicamente incorreto e absurdamente engraçado]</ref>

===== Brazilian black metal =====

Brazilian black metal scene has developed a distinctive identity since its emergence in the late 1980s and early 1990s, marked by its raw production, intense atmosphere, and often controversial ideological themes. While influenced by the early Scandinavian wave of black metal, the Brazilian scene quickly evolved its own aesthetics and sonic aggression, shaped by local socio-political contexts and underground metal traditions. One of the earliest and most influential acts was [[Sarcófago]], a band that, although initially rooted in death and thrash metal, helped lay the groundwork for black metal in Brazil. Their 1987 album [[I.N.R.I. (Sarcófago album)|I.N.R.I.]] is considered a seminal release in the global black metal canon, noted for its primitive sound, anti-Christian themes, and visual elements that predated much of the second wave of black metal in Europe.<ref>[https://www.decibelmagazine.com/2013/12/18/decibel-hall-of-fame-sarcofago-inri/ Decibel Magazine – Hall of Fame: Sarcófago – I.N.R.I.]</ref><ref>[https://www.metal-archives.com/bands/Sarc%C3%B3fago/1036 Encyclopaedia Metallum – Sarcófago]</ref>

Although not always classified strictly as black metal by contemporary genre standards, several extreme metal bands from the 1980s laid important foundations for the development of the Brazilian black metal scene. Groups like [[Vulcano (band)|Vulcano]], [[Holocausto (band)|Holocausto]], and [[Mutilator]] emerged with a raw, aggressive sound and anti-establishment themes that resonated with the aesthetic and ideology later embraced by black metal. Vulcano, formed in São Paulo in 1981, released Bloody Vengeance (1986), a record now recognized as a pioneering work in South American extreme metal. [[Holocausto (band)|Holocausto]], part of the so-called "Belo Horizonte scene" alongside [[Sarcófago]] and [[Sepultura]], shocked the underground with their 1987 debut Campo de Extermínio, an album noted for its chaotic sonic violence and war-themed imagery. [[Mutilator]], another key act from Belo Horizonte, also contributed to the early blackened death/thrash hybrid sound with Immortal Force (1987). These bands are now seen as proto-black metal influences that helped shape the Brazilian and global underground.<ref>[https://www.invisibleoranges.com/holocausto-reissue-review/ Invisible Oranges – Review of Holocausto's Campo de Extermínio reissue]</ref>

Throughout the 1990s and 2000s, bands such as [[Mystifier]], [[Impurity (band)|Impurity]], [[Murder Rape]], [[Unearthly (band)|Unearthly]], [[Luxúria de Lilith]], [[Ocultan]] and [[Miasthenia]] carried the torch, each contributing to the evolution of a uniquely Brazilian black metal style. These bands often blended traditional black metal with death metal elements, occult or theistic Satanism, and regional folklore, producing a sound that was both abrasive and culturally distinctive.<ref>[https://www.invisibleoranges.com/mystifier-interview/ Invisible Oranges – Interview with Mystifier]</ref>

The Brazilian black metal underground is also known for its commitment to DIY ethics, with a strong network of independent labels, zines, and cassette trading that supported the scene's growth. Despite limited mainstream exposure and occasional controversies related to ideological extremism, the community has remained active and fiercely independent. Modern Brazilian black metal continues to diversify, incorporating ambient, symphonic, and ritualistic elements while retaining the uncompromising spirit of its early pioneers. The scene remains vibrant, with both established and emerging bands receiving recognition in international black metal circles, solidifying Brazil's place in the global landscape of extreme music.<ref>[https://www.loudersound.com/features/black-metal-around-the-world-8-essential-bands-from-brazil Metal Hammer – Black Metal Around the World: Brazil]</ref>

===== Brazilian death metal =====

Brazilian death metal scene has been an influential and enduring component of the global extreme metal movement since the late 1980s. Emerging from a fertile underground metal culture, Brazilian death metal distinguished itself through its raw intensity, aggressive sound, and often politically charged or socially conscious lyrics. Rooted in the broader thrash and black metal explosion of the 1980s, bands like [[Sepultura]]—while more thrash-oriented in their early days—helped pave the way for the heavier, darker death metal genre to flourish in Brazil.

By the early 1990s, bands such as [[Krisiun]], [[Torture Squad]], [[Claustrofobia (band)|Claustrofobia]], [[Rebaelliun]], [[Obskure]], [[Mental Horror]], and [[NervoChaos]] began gaining recognition both nationally and internationally. Krisiun, in particular, became one of Brazil's most prominent death metal acts, known for their relentless speed, technical proficiency, and brutal sound. These bands often recorded under limited resources, but their commitment and intensity drew attention from major underground labels in Europe and North America.

Brazilian death metal is characterized by fast, blast-beat-driven drumming, low-tuned guitars, guttural vocals, and lyrical themes that range from anti-religious critiques to reflections on war, death, and societal decay. Despite facing challenges such as limited infrastructure and support for extreme music, the scene has remained active and innovative. Independent festivals, zines, and small labels have played a crucial role in sustaining the community. Over the decades, the Brazilian death metal scene has continued to evolve, incorporating elements from other subgenres and embracing new technologies without losing its core identity. Today, it remains a respected and influential force within the global death metal community, with both veteran and emerging bands maintaining the country's legacy of sonic extremity. In recent years, there has been a noticeable increase in the number of Brazilian death metal bands with women in their lineups. Notable examples include [[Nervosa (band)|Nervosa]], which gained significant recognition after their performance at [[Rock in Rio]] in 2019, and [[Crypta]], a band formed by former members of [[Nervosa (band)|Nervosa]] that has also garnered international acclaim. Both bands have helped to expand the visibility of women in extreme metal. [[Nervosa (band)|Nervosa]] was invited to perform at the Wacken Open Air festival in 2020, but the event was cancelled due to the [[COVID-19 pandemic]].<ref>[https://uniaodasmulheresdounderground.wordpress.com/2017/12/11/death-metal-das-minas-27-bandas-nacionais-com-mulheres-na-formacao/ 27 bandas nacionais com mulheres na formação]</ref><ref>[https://entretenimento.uol.com.br/noticias/redacao/2019/08/05/apos-rock-in-rio-nervosa-e-confirmado-no-wacken-iconico-festival-de-metal.amp.htm Após Rock in Rio, Nervosa é confirmada no Wacken, icônico festival de metal]</ref> The Brazilian death metal scene is active across all regions of the country, with a particularly strong presence in the [[Northeast Brazil|Northeast]]. This region is home to notable bands such as [[Headhunter D.C.]], [[Escarnium]], [[Decomposed God]], [[Infested Blood]], [[Torment the Skies]], [[Pandemmy]], [[Burning Torment]], [[Infectos]] and [[Krenak (band)|Krenak]]. Among them, [[Cangaço (band)|Cangaço]] stands out for blending traditional death metal with elements of [[Baião (music)|Baião]], a regional rhythm native to Northeast Brazil. In 2010, [[Cangaço (band)|Cangaço]] won the W.O.A. Metal Battle Brazil and represented the country in the international finals at the [[Wacken Open Air]] festival.<ref>[https://whiplash.net/materias/news_863/108108-cangaco.html Cangaço: banda pernambucana vence Wacken Metal Battle 2010]</ref>

===== Brazilian thrash metal =====
{{main|Brazilian thrash metal}}

Thrash metal scene in Brazil emerged in the early 1980s, influenced by the rise of the genre in the United States and Europe. Characterized by fast riffs, aggressive vocals, and social or political themes, [[thrash metal]] found fertile ground in Brazil, particularly in urban centers such as São Paulo, Belo Horizonte, and Rio de Janeiro.<ref>{{cite news |last=Ramalho |first=Felipe |title='Our drummer used human tibia bones': the hellish birth of Brazil's heavy metal scene |url=https://www.theguardian.com/music/2023/sep/26/brazil-heavy-metal-sepultura-holocausto |work=The Guardian |date=26 September 2023 |access-date=14 April 2025}}</ref>

One of the most influential and pioneering thrash metal bands in Brazil is [[Sepultura]], founded in 1984 in Belo Horizonte. Initially with a sound closer to death and black metal, the band quickly adopted thrash elements, becoming an international reference and paving the way for other Brazilian bands on the global stage. The album [[Beneath the Remains]] (1989), released by Roadrunner Records, is considered a landmark of the genre. Other important bands in the scene include [[Korzus]], [[Ratos de Porão]] (which blends [[hardcore punk]] and [[crossover thrash]]), [[Dorsal Atlântica]], [[Mutilator]], [[Sarcófago]] (mostly associated with [[black metal]], but with strong [[Thrash metal|thrash]] influences in certain phases), and [[Vulcano (band)|Vulcano]]. Southeast region was the main epicenter of the movement, although bands from other regions also contributed to the diversity and richness of Brazilian thrash metal.<ref>{{cite web |title=A Brief History of Brazil's Brutal Metal Scene |url=https://www.discogs.com/digs/music/a-brief-history-of-brazils-brutal-metal-scene/ |website=Discogs |access-date=14 April 2025}}</ref>

During the 1990s, with the rise of [[grunge]] and other alternative styles, the [[thrash metal]] scene experienced a decline in visibility but maintained a loyal fan base. In the 21st century, there was a revival of interest in the genre, with the emergence of new bands, the strengthening of independent festivals, and the reissue of classic albums alongside anniversary tours by veteran acts. Notable newer bands include [[Nervosa (band)|Nervosa]], an all-female thrash/death metal band from São Paulo formed in 2010, known for their socially conscious lyrics and international tours; [[Black Pantera]],<ref>{{cite web |title=Conheça o Black Pantera, banda mineira de metal antirracista: ‘Nosso discurso é bem escuro’ |url=https://bhaz.com.br/guia-bhaz/conheca-a-black-pantera-banda-mineira-de-metal-antirracista-nosso-discurso-e-bem-escuro/ |website=BHAZ |date=8 September 2022 |language=pt |access-date=14 April 2025}}</ref><ref>{{cite web |title=O rock preto do Black Pantera |url=https://www.sescsp.org.br/editorial/o-rock-preto-do-black-pantera/ |website=SESC São Paulo |date=12 July 2023 |language=pt |access-date=14 April 2025}}</ref><ref>{{cite web |last=Ribeiro |first=Marcelo Costa |title=Entrevista: Black Pantera fala sobre o disco 'Perpétuo' e a importância dos livros e da cultura preta |url=https://screamyell.com.br/site/2024/07/16/entrevista-black-pantera-fala-sobre-o-disco-perpetuo-e-a-importancia-dos-livros-e-da-cultura-preta-na-formacao-da-banda/ |website=Scream & Yell |date=16 July 2024 |language=pt |access-date=14 April 2025}}</ref><ref>{{cite web |title=Entrevista: Black Pantera celebra 10 anos de carreira com discurso afiado e metal potente |url=https://www.wikimetal.com.br/entrevista-black-pantera/ |website=Wikimetal |date=7 December 2023 |language=pt |access-date=14 April 2025}}</ref> a [[crossover thrash]] trio from Uberaba formed in 2014, addressing themes of racism and social injustice; [[Crypta]], a death/thrash metal band formed in 2019 by former members of Nervosa, including bassist and vocalist Fernanda Lira and drummer Luana Dametto;<ref>{{cite web |last=Childers |first=Chad |title=Former Nervosa Members Form New Band Crypta |url=https://loudwire.com/crypta-debut-song-from-the-ashes/ |website=Loudwire |date=11 May 2021 |access-date=14 April 2025}}</ref> [[:pt:Eskröta|Eskröta]], a São Paulo-based female trio founded in 2017 that mixes [[Thrash metal|thrash]] with [[crust punk]] and [[grindcore]], often delivering humorous and politically charged lyrics;<ref name="eskrota2023">{{cite web |title=Eskröta: Mulheres, Metal e Militância |url=https://www.papelpop.com/2023/06/eskrota-mulheres-metal-e-militancia/ |website=Papel Pop |language=pt |date=20 June 2023 |access-date=14 April 2025}}</ref> and [[Surra (band)|Surra]], a band from Santos formed in 2012 that combines [[hardcore punk]] and [[thrash metal]] with sharp critiques of Brazilian politics and society.<ref name="surra2021">{{cite web |title=Banda Surra lança álbum ‘Escorrendo Pelo Ralo’ com críticas diretas ao governo |url=https://www.tenhomaisdiscosqueamigos.com/2021/04/23/surra-escorrendo-pelo-ralo/ |website=Tenho Mais Discos Que Amigos! |language=pt |date=23 April 2021 |access-date=14 April 2025}}</ref><ref>{{cite web |title=TRIPLE THRASH TREAT 3 |url=https://eternal-terror.com/2011/04/03/triple-thrash-treat-3/ |website=Eternal Terror Live |date=3 April 2011 |access-date=14 April 2025}}</ref>

==== Brazilian punk rock and hardcore punk ====
{{Main article|Punk in Brazil}}

[[Punk rock]] and [[hardcore punk]] scene in Brazil began to take shape in the late 1970s and early 1980s, especially in major urban centers such as São Paulo, Brasília, Porto Alegre, and Curitiba. Influenced by the British and American punk movements, Brazilian punk quickly developed unique characteristics marked by political lyrics, social critique, anti-establishment attitudes, and a strong presence in the underground cultural sphere.

In São Paulo, the neighborhood of Vila Carolina became one of the most prominent hubs for Brazilian punk, giving rise to pioneering bands such as [[Garotos Podres]], [[Restos de Nada]], [[Cólera]], [[Inocentes]] and [[Ratos de Porão]].<ref>Antunes, Anderson. ''O que é Punk''. São Paulo: Brasiliense, 1982.</ref> These groups were instrumental in shaping both the sonic aesthetics and the ideological stance of Brazilian punk. Despite the repression of Brazil's military dictatorship (1964–1985), the movement flourished through zines, independent record labels, anarchist collectives, and self-managed venues.<ref>Dunn, Christopher. ''Contracultura: Alternative Arts and Social Transformation in Authoritarian Brazil''. University of North Carolina Press, 2016.</ref>

During the 1980s, punk and hardcore expanded to other parts of the country. In the Federal District, the punk scene intersected with the post-punk movement, with bands like [[Aborto Elétrico]] and later [[Plebe Rude]] incorporating political themes and addressing urban alienation.<ref>Souza, Pablo Ortellado. "O Movimento Punk no Brasil." ''Revista Viração'', 2005.</ref> In Porto Alegre, bands such as [[Os Replicantes]] gained notoriety for blending punk attitude with humor and regional elements.

The 1990s saw a resurgence and diversification of Brazilian hardcore, with the emergence of straight edge movements and a growing influence of metal, melodic hardcore, and skate punk. Bands such as [[Dead Fish]], [[Garage Fuzz]], [[Noção de Nada]], and [[Point of No Return (band)|Point of No Return]] represented a more technically skilled and socially engaged generation, often addressing themes such as veganism, anti-capitalism, and environmentalism.<ref>Vieira, Ricardo. ''Hardcore Brasileiro: A história contada por quem viveu''. São Paulo: Ideal Cultural, 2012.</ref>

Despite transformations in the music industry and the digitalization of cultural consumption, punk and hardcore remain active forces in Brazilian music. The scene is still characterized by its independence, DIY ethos, and its commitment to resisting social oppression. Festivals, cultural collectives, and new bands continue to emerge across the country, preserving the legacy of punk and hardcore as powerful forms of political, cultural, and artistic expression.<ref>Amaral, Ricardo Alexandre. ''Dias de Luta: O Rock e o Brasil dos Anos 80''. São Paulo: DBA, 2002.</ref>

===== Brazilian emo, screamo and post-hardcore =====

'''[[Emo]], [[screamo]] and [[post-hardcore]] in Brazil''' refer to interconnected subgenres of rock music that became especially prominent in the 2000s, emerging from underground scenes and reaching significant commercial and cultural impact. Drawing influence from both the first and second waves of American emo (such as Sunny Day Real Estate, Thursday, and My Chemical Romance), Brazilian artists added local lyrical sensibilities, Portuguese-language expression, and themes of heartbreak, existential angst, and social identity.<ref name="fenerick2012">Fenerick, José Adriano (2012). ''O Brasil em movimento: a música popular brasileira e a crítica cultural''. Alameda. {{ISBN|9788579390804}}.</ref><ref>Antunes, Anderson (2008). "Juventudes, cenas e emoções: o emo em São Paulo". In: ''Revista Brasileira de Ciências Sociais'', vol. 23, nº 67.</ref>

The term "emo" gained mainstream popularity in Brazil through bands like [[Fresno (band)|Fresno]], [[NX Zero]], and [[:pt:Glória (band)|Glória]], which helped shape a nationally recognizable emo and post-hardcore aesthetic. These bands became known for their emotionally charged lyrics, dramatic melodies, and strong fanbases among teenagers, particularly in the 2000s. The mainstream rise of emo also intersected with fashion, internet culture, and youth identity formation.<ref name="antunes2008" />

Fresno, formed in Porto Alegre in 1999, is one of the genre's most enduring acts, evolving from a classic emo sound into alternative rock and synthpop elements in the 2010s. [[NX Zero]], originating from São Paulo, achieved massive radio success while maintaining post-hardcore influences in albums like Agora (2008) and Projeto Paralelo (2010), which featured collaborations with rap and reggae artists.<ref>Silva, André (2020). ''Fresno: 20 anos de história''. GloboPlay. Documentário.</ref>

In the underground scene, bands like [[Colligere]] (Curitiba), [[Reffer]] (Recife), [[Zander (band)|Zander]] (Rio de Janeiro), and [[Dead Fish (band)|Dead Fish]] (Vitória) played pivotal roles in shaping Brazilian post-hardcore and melodic hardcore. These bands were deeply connected with DIY ethics, independent labels like Läjä Records and Highlight Sounds, and often addressed social and political issues through aggressive yet emotional music.<ref>Correia, Tiago (2010). "Hardcore: resistência e mercado". In: ''Cadernos de Música''. UFMG.</ref>

The Brazilian screamo scene also flourished in niche circuits, influenced by bands like Orchid and Saetia. Acts such as [[Rhayra]], [[Aurora Rulez!]] and [[Adorno (band)|Adorno]] explored cathartic vocals, chaotic structures, and poetic lyrics, often tied to anarchist or queer-feminist collectives.<ref>Neves, Danilo (2018). "Do grito à catarse: o screamo e a estética do afeto na música underground brasileira". Dissertação de Mestrado. USP.</ref>

===== Brazilian grindcore and crust punk =====

'''Grindcore''' and '''crust punk''' scenes in Brazil have played a significant role in the global development of extreme music. Emerging in the late 1980s and early 1990s, these genres found fertile ground in Brazil's underground music community, especially in the urban centers of São Paulo, Belo Horizonte, and Porto Alegre.

Grindcore in Brazil is known for its raw intensity, politically charged lyrics, and fusion with death metal and hardcore punk. Early Brazilian grindcore acts such as [[ROT (band)|ROT]] and [[Subcut (band)|Subcut]] rapidly gained recognition in international circuits for their aggressive sound and DIY ethos.<ref>{{cite web|url=https://www.discogs.com/artist/340464-Rot|title=ROT|website=Discogs|access-date=24 April 2025}}</ref><ref>{{cite web|url=https://www.discogs.com/artist/1084605-Subcut|title=Subcut|website=Discogs|access-date=24 April 2025}}</ref> Other foundational acts include [[Lobotomia]], [[Hutt (band)|Hutt]], and [[I Shot Cyrus]], which contributed significantly to the aggressive blend of hardcore, metal, and punk.<ref>{{cite web|url=https://www.discogs.com/artist/410186-Lobotomia|title=Lobotomia|website=Discogs|access-date=24 April 2025}}</ref><ref>{{cite web|url=https://www.discogs.com/artist/1493781-Hutt|title=Hutt|website=Discogs|access-date=24 April 2025}}</ref><ref>{{cite web|url=https://www.discogs.com/artist/392331-I-Shot-Cyrus|title=I Shot Cyrus|website=Discogs|access-date=24 April 2025}}</ref>

In the 2000s and 2010s, bands such as [[Desalmado]], [[Test (band)|Test]], [[Surra (band)|Surra]], and [[Facada]] gained prominence by combining extreme sonic violence with political messages focused on social inequality, police brutality, and systemic oppression.<ref>{{cite web|url=https://www.desalmado.com.br|title=Desalmado - Official Website|access-date=24 April 2025}}</ref><ref>{{cite web|url=https://noisey.vice.com/pt_br/article/rm3ep3/test-o-barulho-politico-da-paulista|title=Test e o barulho político da Paulista|website=Noisey (Vice)|access-date=24 April 2025}}{{dead link|date=May 2025|bot=medic}}{{cbignore|bot=medic}}</ref><ref>{{cite web|url=https://www.surra.bandcamp.com|title=Surra - Bandcamp|access-date=24 April 2025}}</ref><ref>{{cite web|url=https://www.discogs.com/artist/859552-Facada|title=Facada|website=Discogs|access-date=24 April 2025}}</ref>

Crust punk also found a dedicated following in Brazil, with bands like [[Armagedom]] and [[D.E.R.]] (Desastre em Rede) blending anarchist ideals with a heavy, metallic punk sound.<ref>{{cite web|url=https://www.discogs.com/artist/360939-Armagedom|title=Armagedom|website=Discogs|access-date=24 April 2025}}</ref><ref>{{cite web|url=https://www.discogs.com/artist/606453-DER-2|title=D.E.R.|website=Discogs|access-date=24 April 2025}}</ref> Other notable acts include [[Manger Cadavre?]], [[Subterror]], [[Nuclear Frost]], and [[Social Chaos]], known for their fast tempos, d-beat rhythms, and harsh political critiques.<ref>{{cite web|url=https://mangercadavre.bandcamp.com|title=Manger Cadavre? - Bandcamp|access-date=24 April 2025}}</ref><ref>{{cite web|url=https://www.discogs.com/artist/4483116-Subterror|title=Subterror|website=Discogs|access-date=24 April 2025}}</ref><ref>{{cite web|url=https://www.discogs.com/artist/3997123-Nuclear-Frost|title=Nuclear Frost|website=Discogs|access-date=24 April 2025}}</ref><ref>{{cite web|url=https://www.discogs.com/artist/400170-Social-Chaos|title=Social Chaos|website=Discogs|access-date=24 April 2025}}</ref>

Both grindcore and crust punk in Brazil are marked by their commitment to underground ethics, including independent production, community solidarity, and resistance to mainstream commercialization. Despite limited resources and media exposure, the scenes have maintained vibrant networks, often collaborating with international acts and participating in global punk festivals.<ref>{{cite web|url=https://www.heavyblogisheavy.com/2021/11/19/grindcore-roundup-brazilian-edition/|title=Grindcore Roundup: Brazilian Edition|website=Heavy Blog Is Heavy|access-date=24 April 2025}}</ref>

==== Brazilian rap rock ====

'''[[Rap rock]] in Brazil''', also known as '''rap'n'roll''', refers to a hybrid music genre that combines elements of hip hop and rock, and has had a notable presence in Brazilian popular music since the early 1990s. Influenced by American acts such as Rage Against the Machine, Beastie Boys, and Limp Bizkit, the Brazilian version of rap rock developed its own identity, often incorporating funk, reggae, samba, and socially conscious lyrics that reflect urban life, inequality, and resistance.<ref>Perrone, Charles A.; Dunn, Christopher (2001). ''Brazilian Popular Music and Globalization''. Routledge. {{ISBN|9780415936944}}.</ref><ref>Napolitano, Marcos (2015). "O rock brasileiro e as juventudes: identidade, consumo e política". In: ''Revista USP''. nº 106.</ref>

One of the most prominent pioneers of the genre is [[Planet Hemp]], formed in 1993 in Rio de Janeiro. Their fusion of hip hop, hardcore punk, and marijuana advocacy created a countercultural movement that resonated strongly with urban youth. The band also launched the solo career of rapper [[Marcelo D2]], who continued blending samba with rap and rock influences.<ref>Guerra, Daniela (2007). "Planet Hemp e a cultura da contravenção". In: ''Revista Música Popular'', vol. 4, nº 2.</ref>

[[O Rappa]], another major band in the genre, blended rap vocals with dub, rock, and reggae, tackling themes of social injustice, poverty, and police violence in songs like "Pescador de Ilusões" and "Minha Alma (A Paz Que Eu Não Quero)". Their powerful lyrics and soundscapes earned them both critical and commercial success.<ref>Calado, Carlos (2002). ''MPB: A História de um Século''. Editora 34. {{ISBN|85-7326-285-2}}.</ref>

In the early 2000s, bands such as [[Charlie Brown Jr. (band)|Charlie Brown Jr.]] and [[Detonautas Roque Clube]] brought rap rock to mainstream Brazilian audiences. Charlie Brown Jr., from Santos (São Paulo), is particularly iconic for its fusion of skate punk, rap, reggae, and hardcore, as well as its reflections on youth, love, and rebellion.<ref name="fenerick2012" />

Other important contributors include [[Pavilhão 9]], known for mixing rap with heavy guitars and addressing themes of violence and exclusion in São Paulo's periphery, and Strike, who combined pop punk with rap influences. Rap rock continues to influence new artists in Brazil's urban and independent scenes, especially as boundaries between musical genres become increasingly fluid in the digital age.<ref>Lopes, Cláudia de Oliveira (2013). "RAP e RAP-ROCK no Brasil: discursos musicais da periferia urbana". In: ''Anais do Seminário Música e Identidade''.</ref>

==== Manguebeat ====
{{Main article|Manguebeat}}

'''Manguebeat''' (also spelled '''mangue bit''') is a Brazilian cultural and musical movement that originated in Recife, Pernambuco, in the early 1990s. It combines traditional regional rhythms such as maracatu, coco, and ciranda with elements of rock, punk, funk, hip hop, and electronic music. The movement was spearheaded by bands such as [[Chico Science & Nação Zumbi]] and [[Mundo Livre S/A]], and quickly gained national and international recognition.<ref>Galinsky, Philip; Gonçalves, Carlos Sandroni (2001). "Manguebeat: Scenes from a Cultural Movement in Recife, Brazil". In: ''Brazilian Popular Music and Globalization''. Latin American Music Review, Vol. 22, No. 1. University of Texas Press.</ref><ref name="braziliansound">McGowan, Chris; Pessanha, Ricardo (1998). ''The Brazilian Sound: Samba, Bossa Nova, and the Popular Music of Brazil''. Temple University Press. {{ISBN|1-56639-545-3}}.</ref>

Manguebeat arose as a reaction to the socio-economic stagnation and cultural isolation of Recife at the time. Its creators proposed a "mangue" (mangrove) metaphor, representing the rich and organic potential of local culture, connected via "antennas" to the global world. This vision was outlined in the 1992 manifesto ''Caranguejos com Cérebro'' ("Crabs with Brains"), which called for cultural innovation rooted in local identity and open to global influences.<ref>Calado, Carlos (2000). ''Tropicália: A História de uma Revolução Musical''. Editora 34. {{ISBN|85-7326-177-5}}.</ref><ref>Carvalho, José Jorge de (2001). "Globalization and Contemporary Music in Brazil". In: ''The World of Music'', Vol. 43, No. 2/3.</ref>

The movement's sound was characterized by heavy percussion, Afro-Brazilian rhythms, electric guitars, and socially conscious lyrics addressing issues such as inequality, urban decay, and cultural resistance. Manguebeat played a crucial role in revitalizing Recife's music scene and brought renewed attention to Northeast Brazil as a hub of creativity and political expression in music.<ref>Perrone, Charles A. (2002). "Chico Science e o Manguebeat: uma (re)afirmação da estética musical do Brasil". In: ''Revista USP'', nº 52.</ref>

Although the sudden death of Chico Science in 1997 was a major blow to the movement, its legacy continues through bands like Nação Zumbi and a broad influence on contemporary Brazilian music. Manguebeat remains a symbol of cultural fusion, innovation, and resistance, and is considered one of the most important musical movements in Brazil since [[Tropicália]].<ref>Napolitano, Marcos (2007). ''Seguindo a Canção: Engajamento Político e Indústria Cultural na MPB (1959-1969)''. Annablume. {{ISBN|85-7419-514-2}}.</ref>

==== Samba rock ====
{{Main article|Samba rock}}

'''Samba rock''', also known as ''sambalanço'', is a Brazilian music genre and dance style that emerged in São Paulo during the 1960s. It is a fusion of samba, a traditional Afro-Brazilian rhythm, with elements of American rock and roll, soul, and funk. Characterized by its upbeat tempo and syncopated rhythms, samba rock reflects the cultural blending that occurred in Brazil's urban centers during the mid-20th century.<ref name="braziliansound" /><ref name="contracultura" />

The genre was heavily influenced by the popularity of African-American music among Afro-Brazilian youth. Artists such as [[Jorge Ben Jor]], [[Tim Maia]], and [[Bebeto (singer)|Bebeto]] played a crucial role in popularizing samba rock by combining samba grooves with electric guitar riffs, brass sections, and the smooth, danceable aesthetics of soul and funk music.<ref>Moehn, Frederick (2012). ''Soundscapes of Brazil: Samba, Bossa Nova, and the Popular Music of Brazil''. Oxford University Press.</ref>

As a dance, samba rock is typically performed in pairs and is known for its dynamic, improvisational style. It incorporates intricate footwork, spins, and fluid movements, drawing inspiration from both traditional samba partner dances and American swing dancing. The dance has remained popular in São Paulo's Black communities and continues to be celebrated in dance halls, festivals, and cultural gatherings.<ref>Vianna, Hermano (1999). ''The Mystery of Samba: Popular Music and National Identity in Brazil''. University of North Carolina Press. {{ISBN|978-0-8078-4710-0}}.</ref>

In recent decades, samba rock has experienced a resurgence, especially through dance competitions and social media platforms that highlight its heritage and contemporary appeal. It is considered a symbol of Afro-Brazilian identity and creativity, representing the spirit of cultural resistance and innovation.<ref>Racy, A. J. (2015). "Cultural Expression and Social Empowerment: The Revival of Samba Rock in Brazil". ''Ethnomusicology Journal'', Vol. 59, No. 2, pp. 221–238.</ref>

=== Sertanejo ===
{{main|Música sertaneja}}
[[File:Ch&xr.jpg|thumb|[[Chitãozinho & Xororó]].]]
Música sertaneja or Sertanejo is a term for Brazilian [[country music]]. It originally referred to music originating among [[Sertão]] and musica [[caipira]]. (Caipira music appeared in the state of [[São Paulo]], and some the regions of [[Mato Grosso do Sul]], [[Goiás]], [[Minas Gerais]], [[Paraná (state)|Paraná]] and [[Mato Grosso]]. Musical rhythm is very spread out in the Southeastern and southern regions of Brazil.)

The genre is extremely famous in the country, having as some of its greatest exponents [[Chitãozinho & Xororó]], [[Leandro e Leonardo]], [[Zezé Di Camargo & Luciano|Zeze Di Camargo e Luciano]], {{ill|Chrystian & Ralf|pt|Chrystian & Ralf}}, {{ill|João Paulo & Daniel|pt|João Paulo & Daniel}} and [[Sérgio Reis]]. Additionally, over the past few years, artists such as [[Jorge & Mateus]] and [[Marília Mendonça]] have been on the rise.

=== Northeastern Music ===
[[File:Luiz-Gonzaga-Estátua-de-bronze.jpg|thumb|left|upright|Statue of [[Luiz Gonzaga]].]]
Northeastern music is a generic term for any popular music from the large region of Northeastern Brazil, including both coastal and inland areas.  Rhythms are slower and are derived from guitars instead of percussion instruments like in the rest of Brazil—in this region, African rhythms and Portuguese melodies combined to form [[maracatu]] and [[forró]].  Most influentially, the area around the states of [[Pernambuco]] and its neighboring states.

=== Gaucho music (Southern music) ===
[[File:Teixeirinha close.jpg|thumb|upright|[[Teixeirinha]].]]

Southern music, or [[Brazilian gaucho music]] ({{langx|pt|'''Música gaúcha'''}}) is a general term used for the music originally from the [[Rio Grande do Sul]] state, in [[Southern Brazil]]. Some of the most famous musicians of this genre are [[Teixeirinha]], {{ill|Gaúcho da Fronteira|pt|Gaúcho da Fronteira}}, [[Renato Borghetti]], [[Yamandu Costa]], [[Jayme Caetano Braun]] and [[Luiz Marenco]], among others.

=== Music of Salvador: Late 60s to mid-70s ===
[[Image:Olodum-drummers.jpg|right|thumbnail|Members of Olodum performing.]]

In the latter part of the 1960s, a group of black Bahians began dressing as [[Indigenous peoples of the Americas|Native Americans]] during the Salvadoran Carnaval, identifying with their shared struggles through history.  These groups included [[Comanches do Pelô]] and [[Apaches de Tororó]] and were known for a forceful and powerful style of percussion, and frequent violent encounters with the police.  Starting in 1974, a group of black Bahians called [[Ilê Aiyê]] became prominent, identifying with the [[Yoruba people]] of West Africa.  Along with a policy of loosening restrictions by the Brazilian government, Ilê Aiyê's sound and message spread to groups like [[Olodum|Grupo Cultural do Olodum]], who established community centers and other philanthropic efforts.

=== Frevo ===
{{main|Frevo}}

[[Frevo]] is a style of music from [[Olinda]] and [[Recife]]. Frevo bands always play during the Carnival.

=== Sambass ===
{{main|Sambass}}

Sambass is a fusion of samba and [[Drum & Bass]]. The most famous sambass musicians are [[DJ Marky]] and [[DJ Patife]] whose hit ''Sambassim'' might be the most known sambass track.

=== Funk carioca ===
{{main|Funk carioca}}
[[File:26 Prêmio da Música Brasileira (18527911709).jpg|thumb|upright|[[Latino (singer)|Latino]].]]

Funk carioca is a type of dance music from Rio de Janeiro, derived from and was until the late 1990s, superficially similar to [[Miami bass]]. In Rio it is most often simply known as funk, although it is very different musically from what [[funk]] means in most other places and contexts. Like other types of hip-hop, funk carioca lifts heavily from samples such as international rips or from previous funk music. Many popular funk songs sampled music from the film ''[[Rocky]]''.<ref name="Funk Carioca">{{cite web |url=http://sheepish.org/itp/funk/ |title=Funk Carioca |publisher=Sheepish.org |access-date=24 February 2014}}</ref> Funk was popularized in Rio's favelas in the 1980s, with songs like [[Feira de Acari]] by [[Mc Batata]], with [[Furacão 2000]], [[Mc Marlboro]] and Brazilian versions of [[Latin freestyle|freestyle]] songs by the singer [[Latino (singer)|Latino]], later turning more aggressive in the 1990s, with precarious lyrics and several MCs with direct links with drug trafficking.<ref name="Behague, Gerard 2006">{{cite journal|last=Béhague|first=Gerard|year=2006|title=Rap, Reggae, Rock, or Samba: The Local and the Global in Brazilian Popular Music (1985–95)|journal=[[Latin American Music Review]]|volume=27|issue=1|pages=79–90|jstor=4121698|doi=10.1353/lat.2006.0021|s2cid=191430137}}</ref> Subgenres derived from funk carioca include [[funk melody]], [[funk ostentação]], [[proibidão]], and [[rasteirinha]].

[[File:2016 Summer Olympics opening ceremony 1035385-Cropped and edited.jpg|thumb|[[Anitta (singer)|Anitta]], (''center'') with singers [[Caetano Veloso]] (''left'') and [[Gilberto Gil]] (''right'') performing at the [[2016 Summer Olympics opening ceremony]]]]
Singers such as [[Ludmilla (singer)|Ludmilla]] and [[Anitta (singer)|Anitta]] mixed funk carioca with pop and [[reggaeton]], and their success propelled other funk carioca singers to adopt pop music in their repertoire. Thus a new generation of singers emerged, among them [[Valesca Popozuda]], [[Biel (singer)|MC Biel]] and [[Melody (Brazilian singer)|Melody]]. The expansion of the genre in Brazil prompted singers of other styles to join the movement, such as [[Luan Santana]], [[Banda Vingadora]], [[Pabllo Vittar]], Jhama, [[Gaby Amarantos]], and [[Tiago Iorc]].

=== Hip-hop music ===
In [[São Paulo]] and other places in the south of Brazil, in more urban areas, [[hip-hop]] music is very popular. They dress similarly to American rappers.<ref>{{cite book |last=Sansone |first=Livio |chapter=The Localization of Global Funk in Bahia and Rio |title=Brazilian Popular Music & Globalization |editor1-first=Charles A. |editor1-last=Perrone |editor2-first=Christopher |editor2-last=Dunn |pages=[https://archive.org/details/brazilianpopular00perr/page/135 135–160] |location=London |publisher=Routledge |year=2002 |isbn=0415936950 |chapter-url=https://archive.org/details/brazilianpopular00perr/page/135 }}</ref> 

[[Brazilian hip-hop]] is heavily associated with racial and economic issues in the country, where a lot of [[Afro-Brazilians]] live in economically disadvantaged communities, known in Brazil as [[favela]]s. [[São Paulo]] is where hip-hop began in the country, but it soon spread all over Brazil, and today, almost every big Brazilian city, including [[Rio de Janeiro]], [[Salvador, Bahia|Salvador]], [[Curitiba]], [[Porto Alegre]], [[Belo Horizonte]], [[Recife]] and [[Brasília]], has a hip hop scene. São Paulo has gained a strong, underground Brazilian rap scene since its emergence in the late 1980s with many independent labels forming for young rappers to establish themselves on.<ref>{{cite web|url=http://allbrazilianmusic.com/en/Styles/Styles.asp?Nu_Materia=928&Status=MATERIA |title=The rhymes by African-Americans get a translation |access-date=9 May 2009 |url-status=bot: unknown |archive-url=https://web.archive.org/web/20090509225418/http://allbrazilianmusic.com/en/Styles/Styles.asp?Nu_Materia=928&Status=MATERIA |archive-date=9 May 2009 }}</ref>

=== Brazilian bass ===
Brazilian bass is a subgenre of house that originated as a derivation of mainstream [[deep house]] music of early 2010s, fused with [[tech house]] elements and some minimalistic influences from [[Bass house (genre)|bass house]]. The tempo typically range from 120 to 125 bpm. The genre is characterized by distinguishable deep punchy basslines, often making use of low-pitched and filtering effects. The genre was created in Brasília around the mid-2010s, but its national and international repercussion only happened in 2016 with DJs [[Alok (DJ)|Alok]], Bruno Martini and Sevenn.<ref>{{Cite web|last=Staff|date=11 January 2017|title=Brazilian Bass: Learn More About This Genre of Music|url=http://widefuture.com/2017/01/11/brazilian-bass-learn-more-about-this-genre-of-music/|access-date=7 February 2021|website=WIDE FUTURE|language=en-GB|archive-date=26 October 2021|archive-url=https://web.archive.org/web/20211026011333/http://widefuture.com/2017/01/11/brazilian-bass-learn-more-about-this-genre-of-music/|url-status=dead}}</ref>

===Brazilian electronic music===
Electronic music in Brazil started in the 1980s, when the genre of music was getting popular in the world. The first event involving the genre of music in Brazil was in 1988 in [[São Paulo]], with [[DJ Mau Mau]]. In the 1990s, the genre was getting bigger in Brazil and world, some of the most famous [[disk jockey]]s were [[DJ Marky]] and [[DJ Patife]]. In the 2000s, [[dubstep]] started getting famous in Brazil. Brazil has a lot of famous electronic music musicians, like [[Alok (DJ)|Alok]], [[Kasino]], and [[Vintage Culture]].<ref>{{cite web |title=A evolução da Música eletrônica no Brasil |url=https://www.radiotecnohouse.com.br/2023/03/a-evolucao-da-musica-eletronica-no.html |website=Radio Tecno Radio |access-date=19 November 2023}}</ref>

==== Brazilian phonk====
Brazilian phonk is a subgenre of phonk that combines elements of funk carioca and [[Phonk#Drift phonk|drift phonk]], creating a distinct and aggressive sound, with lyrics that address topics such as violence, drugs, sex and ostentation. Both VanMilli and [[MC Binn]] are two of the heavy-hitters in the genre.<ref>{{cite web | url=https://www.soundtrap.com/content/blog/guide-to-brazilian-phonk/ | title=Your Guide to Brazilian Phonk Music | access-date=2024-06-15 | language=en | website=Soundtrap}}</ref> The term “Brazilian phonk” was popularized by the Norwegian producer William Rød, better known as Slowboy.

=== B-Pop ===

'''B-pop''' (short for the English ''Brazilian pop'') or '''Brazilian pop music''' is a [[musical genre]] originating in [[Brazil]], sung in [[Brazilian Portuguese|Portuguese]] and sometimes [[American English|English]].<ref>{{cite journal|access-date=2022-09-22 |title=Inspirados em coreanos, brasileiros formam primeiros grupos de B-pop |url=https://musica.uol.com.br/noticias/redacao/2014/06/20/inspirados-em-astros-coreanos-brasileiros-formam-primeiros-grupos-de-b-pop.htm}}<!-- auto-translated from Portuguese by Module:CS1 translator --></ref> The term B-pop first appeared in the Brazilian press to refer to groups such as [[Champs (Brazilian band)|Champs]], one of the B-pop groups that was inspired by [[K-pop]] (Korean pop music).<ref>{{cite web|access-date=2022-09-23 |date=2021-03-02 |first=Beatriz |language=pt-BR |last=Chiessi |title=B-Pop embala o cenário musical brasileiro |url=https://purepop.com.br/b-pop-embala-o-cenario-musical-brasileiro/ |website=PurePop}}<!-- auto-translated from Portuguese by Module:CS1 translator --></ref>

However, the existence of Brazilian pop precedes the existence of groups inspired by K-pop, as there have already been artists and groups in the country who defined the genre of their music as pop (in this case inspired more by pop in several generations, such as [[As Frenéticas]], [[Lulu Santos]], [[Fernanda Abreu]], [[Kelly Key]], [[KLB]], [[Rouge (group)|Rouge]], [[Sandy & Junior]].<ref name="Fabiana">{{cite web|access-date=11 May 2014 |author=Fabiana Majewski dos Santos (autora), e Juliana Abonizio (orientadora) |date=25–27 May 2010 |title=Um estudo da Música Popular Brasileira como categoria nativa |url=http://www.cult.ufba.br/wordpress/24585.pdf}}<!-- auto-translated from Portuguese by Module:CS1 translator --></ref>

=== LGBTQ Music ===

'''LGBTQ music in Brazil''' has played a significant role in both the cultural and political landscape of the country. Over the decades, openly LGBTQ artists have used music as a form of expression, resistance, and visibility, challenging societal norms and advocating for greater acceptance and rights.

The roots of LGBTQ representation in Brazilian music can be traced back to the 1970s and 1980s, a period marked by military dictatorship and censorship. Despite the risks, artists like [[Ney Matogrosso]] gained national attention for their flamboyant performances and androgynous appearance. As the lead singer of the [[Secos & Molhados]] band and later as a solo artist, Matogrosso defied gender expectations and became a cultural icon.<ref>Christopher Dunn. ''Contracultura: Alternative Arts and Social Transformation in Authoritarian Brazil''. University of North Carolina Press, 2016.</ref><ref>Charles A. Perrone and Christopher Dunn. ''Brazilian Popular Music and Globalization''. Routledge, 2001.</ref> and [[Angela Ro Ro]] Her debut album was voted by ''[[Rolling Stone]]'' Brazil one of the [[List of Rolling Stone Brasil 100 Greatest Brazilian Music Records|greatest Brazilian albums of all time]].<ref>[https://archive.today/20120716142933/http://rateyourmusic.com/list/sallamanka/rolling_stones_top_100_brazilian_albums/ Rolling Stone's 100 Brazilian Top Albums (rated on position 73)]</ref>
She was one of the first lesbian singers in Brazil to reveal herself as a lesbian.<ref>[http://www.gazetadopovo.com.br/blogs/sintonia-musical/uma-dama-chamada-angela-ro-ro/ Uma dama chamada Angela Roro (in Portuguese)]</ref>

From the 2000s onward, the Brazilian music scene has seen a growing number of LGBTQ artists asserting their identities through a variety of drag queens. [[Ana Carolina]], Carolina [[coming out|came out]] in [[Veja (magazine)|''Veja'']] magazine as [[bisexual]]<ref name="veja">{{citation |url=http://veja.abril.com.br/211205/p_122.html |title=Sou bi. E daí? |date=December 21, 2005 |periodical=[[Veja (magazine)|Veja]] |first=Sérgio |last=Matins |access-date=2007-10-05}}</ref> in 2005, creating much debate and attracting new fans.  She released her 6th album, ''[[Dois Quartos]]'', in 2006. The album contained 2 CDs, the 1st called 'Quarto' and the 2nd called 'Quartinho'. Artists such as [[Pabllo Vittar]], one of the most internationally recognized Brazilian drag queens, have achieved widespread success while openly addressing LGBTQ issues in their work.<ref>[https://www.bbc.com/news/world-latin-america-43580191 Pabllo Vittar: Brazilian drag queen breaks new ground]. BBC News. 2018.</ref><ref>Omar G. Encarnación. ''Out in the Periphery: Latin America's Gay Rights Revolution''. Oxford University Press, 2016.</ref> and [[Gloria Groove]], a drag queen, singer, and rapper, is another prominent LGBTQ artist who blends pop, hip-hop, and R&B influences. Known for her powerful vocals and strong visual identity, she has achieved both critical and commercial success in Brazil. Her lyrics often explore themes of gender identity, empowerment, and LGBTQ pride. Groove has also played an important role in bringing drag performance into the mainstream Brazilian music industry.<ref>[https://www.npr.org/2022/02/09/1079304641/gloria-groove-drag-queen-pop-star-brazil Brazil's Drag Pop Star Gloria Groove Is Shaking Things Up]. NPR. 2022.</ref><ref>[https://g1.globo.com/pop-arte/musica/noticia/2022/02/14/gloria-groove-diz-que-nunca-foi-tao-politico-ser-drag-e-cantar-no-topo-das-paradas.ghtml Gloria Groove diz que nunca foi tão político ser drag e cantar no topo das paradas]. G1 Globo. 2022.</ref>

Other notable contemporary LGBTQ artists include [[Linn da Quebrada]], a transgender singer and performer whose work critiques cisnormativity and social inequality, and [[Johnny Hooker]], who merges MPB ([[Música Popular Brasileira]]) with pop and rock influences while embracing a fluid gender identity.<ref>[https://brasil.elpais.com Linn da Quebrada confronta padrões e desafia a norma de gênero]. El País Brasil. 2017.</ref><ref>[https://g1.globo.com Johnny Hooker e a luta por um Brasil mais LGBT]. G1 Globo. 2019.</ref>

LGBTQ musicians in Brazil have contributed not only to the country's diverse musical heritage but also to broader conversations about gender, sexuality, and human rights. Their presence in the music industry has helped foster greater visibility and empowerment for LGBTQ communities, especially among youth and marginalized groups.<ref>Scott McConnell. "Queering the Beat: LGBTQ+ Music and Cultural Resistance in Brazil." ''Latin American Music Review'', vol. 42, no. 1, 2021, pp. 23–45.</ref>

While challenges such as discrimination and limited mainstream support persist, LGBTQ artists in Brazil continue to break barriers and reshape the cultural landscape, both nationally and internationally.

== Notable record labels ==
*[[Far Out Recordings]]
*[[Malandro Records]]
*[[Mr Bongo Records]]
*[[Som Livre]]

== See also ==
{{Portal|Brazil|Latin music}}
*[[List of Brazilian composers]]
*[[List of Brazilian singers and bands of Christian music]]

== References ==
{{reflist|30em}}

== Further reading ==
* {{cite book |last=Brill |first=Mark |author-link=Mark Brill |title =  Music of Latin America and the Caribbean |edition=2nd |year=2017 |publisher=Routledge |isbn=9781138053564}}
* {{cite book |last=Leymarie |first=Isabelle |author-link=Isabelle Leymarie |title = Du tango au reggae: musiques noires d'Amérique latine et des Caraïbes |publisher = Flammarion |year = 1996 |location = Paris |isbn = 2082108139}}
* {{cite book |last=Leymarie |first=Isabelle |author-link=Isabelle Leymarie |title = Del tango al reggae: Músicas negras de América Latina y del Caribe |publisher = Prensas de la Universidad de Zaragoza |year = 2015 |location = Zaragoza |isbn = 978-8416272747}}
*{{cite book |title=Music in Brazil: Experiencing Music, Expressing Culture |first=John P. |last=Murphy |location=New York |publisher=Oxford University Press |year=2006 |isbn=0195166833 }}

== External links ==
* {{in lang|fr}} [http://www.ville-ge.ch/meg/musinfo_ph.php?what=pays=Br%E9sil&debut=0&bool=AND Audio clips: Traditional music of Brazil.] [[Musée d'Ethnographie de Genève]]. Accessed 25 November 2010.
*[https://podcasts.apple.com/us/podcast/caipirinha-appreciation-society-brazilian-music-beyond/id115752185?mt=2&app=podcast Brazil beyond clichés] Podcast archive covering Brazilian music of all styles, regions and time periods, from vintage sambas to modern blends.
*[http://www.bbc.co.uk/programmes/b00g3rxj BBC Radio 3 Audio (60 minutes): Forro, coco and cowboys.] Accessed 25 November 2010.
*[http://www.bbc.co.uk/programmes/b00hkc14 BBC Radio 3 Audio (60 minutes): Candomble, Samba and Renato Rosa.] Accessed 25 November 2010.
*[http://www.bbc.co.uk/programmes/b00hql07 BBC Radio 3 Audio (60 minutes): Rio, the samba and Mart'nalia.] Accessed 25 November 2010.
*[http://www.bbc.co.uk/programmes/b00hgbwv BBC Radio 3 Audio (60 minutes): Maracatu, ciranda and Mangue bit.] Accessed 25 November 2010.
*[http://www.bbc.co.uk/programmes/b00gh5yw BBC Radio 3 Audio (60 minutes): Coco music, the pifano flute and Sebastian Dias.] Accessed 25 November 2010.
*[https://web.archive.org/web/20091201050558/http://www.brazil.org.uk/culture/music.html Brazilian Embassy in London – Music Section] Brazilian music links
*[http://www.soundsandcolours.com/category/articles/brazil/ Sounds and Colours Brazil – resource dedicated to Brazilian music and culture] Accessed 17 June 2014.
*[https://baixarmp3gratis.com/ Música Popular Brasileira] Accessed 25 November 2010.
*Scores and biographies by classical Brazilian composers available in [https://musicabrasilis.com/ Musica Brasilis] website

{{Brazil topics}}
{{Lusophone music}}
{{Music of Latin America}}
{{South America topic|Music of}}

[[Category:Music of Brazil|*]]