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textDisplay: Cafe Bossa Nova Jazz Instrumental Bossa Nova Glazba za rad, učenje i opuštanje.ladislav & zivanovic..Bossa Nova ... Bossa nova (portugalski izgovor: (O ovom zvučnom zapisu)) stil je sambe razvijen krajem 1950-ih i početkom 1960-ih u Riju de Janeiro, Brazil. Uglavnom ga karakterizira "drugačiji ritam" koji je izmijenio harmoniju uvođenjem nekonvencionalnih akorda i inovativnom sinkopom tradicionalne sambe iz jedne ritmičke podjele. Stoga je "bossa nova beat" karakterističan za stil sambe, a ne za autonomni žanr. Prema brazilskom novinaru Ruyu Castru, ritam bossa - koji bi stvorio bubnjar Milton Banana - bio je "ekstrem pojednostavljenje takta škole sambe ", kao da su uklonjeni svi instrumenti i sačuvani samo tamborim. U skladu s ovom tezom, glazbenici kao što su Baden Powell, Roberto Menescal i Ronaldo Bôscoli, također tvrde da je ovaj ritam povezan s tamborima škole sambe. Jedna od glavnih inovacija bossa nove bio je način sinteze ritma sambe na klasičnoj gitari. Prema muzikologu Gilbertu Mendesu, bossa nova bila je jedna od "tri ritmičke faze sambe", u kojoj je "bossa beat" Joao Gilberto izvukao iz tradicionalne sambe. Prema autoru Walteru Garcii, sinteza koju je izvodio Gilbertova gitara bila je smanjenje "batucade" sambe, stilizacije proizvedene od jednog od udaraljki: palac je stilizirao surdo; kažiprst, srednji i prstenjani prsti izraženi poput tamborima. Val bossa nove došao je do prepoznavanja sambe i pridonio modernizaciji brazilske glazbe, budući da je bio prekretnica. Stil se pojavio u vrijeme kada je samba-canção bio dominantni ritam na brazilskoj glazbenoj sceni. Njegovo prvo pojavljivanje bilo je na albumu Canção do Amor Demais, u kojem je pjevačica Elizeth Cardoso snimila dvije posebno skladbe dvojca Antonio Carlos Jobim i Vinicius de Moraes, "Outra Vez" i "Chega de Saudade", koje su pratile João Gilberto gitara. Bilo je to prvi put da je bahijski glazbenik predstavio taktove svoje gitare koji će postati karakteristični za stil. Prateći Cardosov glas, Gilberto je inovirao način ritma ritma, naglašavajući slaba vremena, kako bi izveo sintezu takta sambe na gitaru Mjesecima kasnije objavljen je prvi kompakt Joãoa Gilberta, koji sadrži pjesme "Chega de Saudade" i "Bim Bom". Smatran orijentirom rođenja bossa nove, također je predstavio Gilbertov inovativan način pjevanja sambe, koji je nadahnut Dorivalom Caymmijem. LP LP Chega de Saudade, izdan 1959. godine, Gilberto je konsolidirao bossa novu kao novi stil sviranja sambe. Njegov inovativni način sviranja i pjevanja sambe, u kombinaciji s harmonijama Antonija Carlosa Jobima i stihovi Viniciusa de Moraesa, pronašli su trenutni odjek među glazbenicima koji su u Rio de Janeiru tražili nove pristupe sambi, na mnoge od njih utjecao je američki jazz. Tada se pojavio umjetnički pokret oko Gilberta i drugih profesionalnih umjetnika poput Jobima, Moraesa i Baden Powella, među ostalima, koji je privukao mlade glazbenike amatere iz južne zone Rija - poput Carlosa Lyre, Roberta Menescala, Ronalda Boscolija i Nare Leão .

authorDisplayName: ladislav zivanovic


textDisplay: Cafe Bossa Nova Jazz   Instrumental Bossa Nova Music for Work, Study and Relax.ladislav&zivanovic..Bossa Nova...Bossa nova (Portuguese pronunciation:  (About this soundlisten)) is a style of samba developed in the late 1950s and early 1960s in Rio de Janeiro, Brazil. It is mainly characterized by "different beat" that altered the harmonies with the introduction of unconventional chords and an innovative syncopation of traditional samba from a single rhythmic division. Therefore, the "bossa nova beat", then, is characteristic of a samba style and not of an autonomous genre.According to the Brazilian journalist Ruy Castro, the bossa beat – which would be created by the drummer Milton Banana – was "an extreme simplification of the beat of the samba school", as if all instruments had been removed and only the tamborim had been preserved. In line with this thesis, musicians such as Baden Powell, Roberto Menescal and Ronaldo Bôscoli, also claim that this beat is related to the tamborim of the samba school. One of the major innovations of bossa nova was the way to synthesize the rhythm of samba on the classical guitar. According to musicologist Gilberto Mendes, the bossa nova was one of the "three rhythmic phases of samba", in which the "bossa beat" had been extracted by João Gilberto from the traditional samba.According to the author Walter Garcia, the synthesis performed by Gilberto's guitar was a reduction of the "batucada" of samba, a stylization produced from one of the percussion instruments: the thumb stylized a surdo; the index, middle and ring fingers phrased like a tamborim.The bossa nova wave came to renow samba and to contribute to the modernization of Brazilian music, being a watershed. The style emerged at the time when samba-canção was the dominant rhythm in the Brazilian music scene. Its first appearance was on the album Canção do Amor Demais, in which the singer Elizeth Cardoso recorded two specifically compositions by the duo Antonio Carlos Jobim and Vinicius de Moraes, "Outra Vez" and "Chega de Saudade", which were accompanied by João Gilberto's guitar. It was the first time that the Bahian musician presented the beat of his guitar that would become characteristic of the style.By accompanying Cardoso's voice, Gilberto innovated in the way of pacing the rhythm, accentuating the weak times, in order to carry out a synthesis of the beat of samba to guitarMonths later, João Gilberto's first compact was released, containing the tracks "Chega de Saudade" and "Bim Bom".Considered the landmark of the birth of bossa nova, it also featured Gilberto's innovative way of singing samba, which was inspired by Dorival Caymmi.With the LP Chega de Saudade, released in 1959, Gilberto consolidated the bossa nova as a new style of playing samba.His innovative way of playing and singing samba, combined with the harmonies of Antonio Carlos Jobim and the lyrics of Vinicius de Moraes, found immediate resonance among musicians who were looking for new approaches to samba in Rio de Janeiro,many of them were influenced by American jazz. Then, it emerged an artistic movement around Gilberto and others professional artists such as Jobim, Moraes and Baden Powell, among others, which attracted young amateur musicians from the South Zone of Rio – such as Carlos Lyra, Roberto Menescal, Ronaldo Boscoli and Nara Leão.