The paper is discussing the Brazilian guitar music, especially its jazz component. The writer has used such references as: "Livingston-Isenhour, T., Thomas George and Caracas Garcia. Choro: a social history of a Brazilian popular music. Indiana University Press, 2005 and "Marshall, Dave. Learn to Play Brazilian Jazz Guitar. Mel Bay Publications, 1999"…
The earliest effect of jazz on Brazilian music may be traced back to Choro music which is considered the precursor of Brazilian jazz and bossa nova. Choro bands appeared as early as 1870 and by 1920s this music was made popular by prominent national composer Heitor Villa-Lobos. This music resembled New Orleans Jazz known as ragtime (Candelaria and Garcia 93). Livingston-Isenhour et al (104) trace the influence of American jazz on Brazilian guitar music. According to them, in the beginning, it was actually American audience mesmerized by exotic freshness of the Brazilian music sung by Carmen Miranda in 1940-1950. However, they posit that American music influenced Brazilian culture much more, thereafter. American music being sophisticated and cosmopolitan was also considered a threat to Brazilian culture by some. During World War II Roosevelt began a good neighbor policy to keep Brazil on its side. As a result of this policy American creative artists such as filmmakers and musicians also traveled to Brazil. Though the cultural exchange did flourish American music in Brazil but American Jazz had become popular in Brazil much before the good Neighbor policy of Roosevelt. As early as in 1920s American jazz music was available in Brazilian market. By 1940s American music overtook Brazilian music in record sales and frequency of transmission on radio. ...
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