By Ruy Castro

Bossa nova is without doubt one of the preferred musical genres on the planet. Songs reminiscent of “The lady from Ipanema” (the 5th most often performed music within the world), “The Waters of March,” and “Desafinado” are recognized around the globe. Bossa Nova—a number-one bestseller whilst initially released in Brazil as Chega de saudade—is a definitive heritage of this seductive track. in keeping with huge interviews with Antonio Carlos Jobim, João Gilberto, and all of the significant musicians and their associates, Bossa Nova explains how a handful of Rio de Janeiro little ones replaced the face of pop culture all over the world. Now, during this extraordinary translation, the entire taste of Ruy Castro’s wisecracking, chatty Portuguese comes via in a ceremonial dinner of element. alongside the best way he introduces a forged of unforgettable characters who became Gilberto’s singular imaginative and prescient into the sound of a generation.

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Hence, ultimately, listening to novel music results in a deepening of the subject’s selfknowledge. 7 Although integral serial composition already is being practiced for over half a century, it still challenges the listener’s attempts to comprehend this kind of music. Moreover, as Umberto Eco remarks, integral serial music is not about the reconstruction of an origin, but the discovery of new possibilities: 7 Although the main focus in this chapter is on integral serial music, most of the issues I discuss here hold for all atonal contemporary music.

Unless, of course, the listener is distracted. ) As a result, the listening experience is a unifying experience, an experience during which the listener may try to grasp, and subsequently to comprehend, the music by establishing relations between musical phrases and between the music and extramusical phenomena. As a result, the music-as-listened-to is made discursive, for the listener is able to articulate and evaluate, verbally or otherwise, the musical relations s/he has recognized, both within the musical piece itself as well as the relations with extramusical phenomena.

At the end of this study, I will discuss this issue more extensively, but for now I just want to remark that I do not want to argue that a narrative listening stance is the only possible stance the listener can assume when trying to comprehend contemporary music. It is, however, a stance that might seriously enrich the listener’s grasp of music in general, and of contemporary music in particular. In the next chapter, I will discuss what it means to regard a musical work as a narrative, by translating the theory of narrative into a theory of musical narrativity.

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Bossa Nova: The Story of the Brazilian Music That Seduced by Ruy Castro
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