Editing Samba (section)

{{Short description|Brazilian musical genre}}
{{about|the Brazilian music genre|the Rio dance|Samba (Brazilian dance)|the ballroom dance|Samba (ballroom dance)|other uses|Samba (disambiguation)}}
{{distinguish|Sambo (disambiguation){{!}}Sambo|Zamba (artform){{!}}Zamba}}
{{Use dmy dates|date=September 2021}}
{{Infobox music genre
| name              = Samba
| image             = Samba in 1936.png
| caption           = Samba circle in Rio de Janeiro (1936)
| stylistic_origins = Afro-Brazilian [[batucada]] and rural traditional rhythms dances, especially {{lang|pt|samba de roda}}
| cultural_origins  = Late 19th century in [[Bahia]], and early 20th century, [[Rio de Janeiro]] and [[Salvador, Bahia|Salvador]], Brazil<!--"Samba" as a music genre born of Afro-Brazilian Culture in Rio and Bahian states from the late 19th to early 20th century.-->
| subgenres         = {{hlist|[[Bossa nova]]|[[pagode]]|[[samba-canção]]|[[samba-choro]]|[[samba-jazz]]|[[samba de breque]]|[[samba-enredo|samba de enredo]]|samba de exaltação|[[partido alto|samba de partido-alto]]||samba de terreiro|samba duro|samba de chula|[[sambalanço]], among others}}
| other_topics      = {{hlist|[[Samba reggae]]|[[Samba rock]]|[[Brazilian Carnival]]|[[samba (Brazilian dance)]]|[[samba school]]s}}
}}

'''Samba''' ({{IPA|pt|ˈsɐ̃bɐ|-|Br-Samba.ogg}}) is a broad term for many of the rhythms that compose the better known [[Brazil]]ian [[music genre]]s that originated in the [[Afro-Brazilians|Afro-Brazilian]] communities of Bahia in the late 19th century and early 20th century,{{sfn|Zamith|1995}}{{sfn|Lopes|Simas|2015|p=254}}{{sfn|Marcondes|1977|p=684}}  It is a name or prefix used for several rhythmic variants, such as '''samba urbano carioca''' (''urban Carioca samba''),{{sfn|Lopes|Simas|2015|p=182}}{{sfn|Fenerick|2002|p=86}} '''samba de roda''' (sometimes also called ''rural samba''),{{sfn|Sandroni|2010|p=373}} amongst many other forms of samba, mostly originated in the [[Rio de Janeiro (state)|Rio de Janeiro]] and [[Bahia]] states. Having its roots in [[Brazilian mythology|Brazilian folk traditions]],{{sfn|Iphan|2014|pp=10,15}} especially those linked to the primitive rural samba{{sfn|Lopes|Simas|2015|p=254}} of the [[Colonial Brazil|colonial]] and [[Empire of Brazil|imperial]] periods,{{sfn|Lopes|Simas|2015|p=253}} is considered one of the most important cultural phenomena in Brazil{{sfn|Lopes|Simas|2015|p=9}}{{sfn|Iphan|2014|pp=9-10}} and one of the country symbols.{{sfn|Lopes|2019|p=130}}{{sfn|Benzecry|2015|pp=17–18; 43}}{{sfn|Paranhos|2003|p=109}} Present in the [[Portuguese language]] at least since the 19th century, the word "samba" was originally used to designate a "popular dance".{{sfn|Lopes|Simas|2015|p=247}} Over time, its meaning has been extended to a "[[Batuque (Brazil)|batuque]]-like circle dance", a [[Samba (Brazilian dance)|dance style]], and also to a "music genre".{{sfn|Lopes|Simas|2015|p=247}}{{sfn|Frugiuele|2015|p=105}} This process of establishing itself as a musical genre began in the 1910s{{sfn|Lopes|2019|p=112}} and it had its inaugural landmark in the song "[[Pelo Telefone]]", launched in 1917.{{sfn|Lopes|Simas|2015|pp=219, 254}}{{sfn|Reijonen|2017|p=44}} Despite being identified by its creators, the public, and the Brazilian [[music industry]] as "samba", this pioneering style was much more connected from the rhythmic and instrumental point of view to [[Maxixe (dance)|maxixe]] than to samba itself.{{sfn|Lopes|2019|p=112}}{{sfn|Lopes|Simas|2015|p=11}}{{sfn|Matos|2013|p=126}}{{sfn|Matos|2015|p=126}}

Samba was modernly structured as a musical genre only in the late 1920s{{sfn|Lopes|2019|p=112}}{{sfn|Lopes|Simas|2015|p=11}}{{sfn|Sandroni|2001|p=80}} from the neighborhood of [[Estácio, Rio de Janeiro|Estácio]] and soon extended to [[Oswaldo Cruz, Rio de Janeiro|Oswaldo Cruz]] and other parts of Rio through its [[commuter rail]].{{sfn|Lopes|Simas|2015|pp=138, 182}} Today synonymous with the rhythm of samba,{{sfn|Reijonen|2017|p=47}} this new samba brought innovations in rhythm, melody and also in thematic aspects.{{sfn|Paiva|2009|p=39}} Its rhythmic change based on a new percussive instrumental pattern resulted in a more "batucado" and syncopated style{{sfn|Lopes|Simas|2015|p=276}} – as opposed to the inaugural "samba-maxixe"{{sfn|Paiva|2009|p=36}} – notably characterized by a faster tempo, longer notes and a characterized cadence far beyond the simple ones palms used so far.{{sfn|Franceschi|2010|pp=52–53}}{{sfn|Marcondes|1977|pp=708–709}} Also the "Estácio paradigm" innovated in the formatting of samba as a song, with its musical organization in first and second parts in both melody and lyrics.{{sfn|Matos|2013|p=126}}{{sfn|Paranhos|2003|p=85}}{{sfn|Paiva|2009|p=87}} In this way, the sambistas of Estácio created, structured and redefined the urban Carioca samba as a genre in a modern and finished way.{{sfn|Matos|2013|p=126}} In this process of establishment as an urban and modern musical expression, the Carioca samba had the decisive role of samba schools, responsible for defining and legitimizing definitively the aesthetic bases of rhythm,{{sfn|Paiva|2009|p=38}} and [[radio broadcasting]], which greatly contributed to the diffusion and popularization of the genre and its song singers.{{sfn|Lopes|Simas|2015|p=235}} Thus, samba has achieved major projection throughout Brazil and has become one of the main [[National symbol|symbols]] of Brazilian [[national identity]].{{refn|"Many groups and individuals (Black, Romani, Bahians, Cariocas, intellectuals, politicians, folklorists, classical composers, French, millionaires, poets – and even an American ambassador) participated, with greater or lesser tenacity, in the 'fixation' of samba as a musical genre and its nationalization".{{sfn|Vianna|1995|p=151}}|group=nb}}{{refn|"... the transformation of samba into national music was not a sudden event, going from repression to praise in less than a decade, but the crowning of a secular tradition of contacts ... between various social groups in attempt to invent Brazilian identity and popular culture."{{sfn|Vianna|1995|p=34}}|group=nb}}{{sfn|Stockler|2011|p=6}}{{sfn|Iphan|2014|pp=10, 15}} Once criminalized and rejected for its Afro-Brazilian origins, and definitely working-class music in its mythic origins, the genre has also received support from members of the upper classes and the country's cultural elite.{{sfn|Benzecry|2015|p=43}}{{sfn|Lopes|Simas|2015|p=183}}

At the same time that it established itself as the genesis of samba,{{sfn|Lopes|Simas|2015|p=11}} the "Estácio paradigm" paved the way for its fragmentation into new sub-genres and styles of composition and interpretation throughout the 20th century.{{sfn|Lopes|2019|p=112}}{{sfn|Lopes|Simas|2015|p=279}} Mainly from the so-called "golden age" of Brazilian music,{{sfn|Mello|Severiano|1997|p=241}} samba received abundant categorizations, some of which denote solid and well-accepted derivative strands – such as [[bossa nova]], [[pagode]], [[partido alto]], samba de breque, [[samba-canção]], [[Samba-enredo|samba de enredo]] and samba de terreiro – while other nomenclatures were somewhat more imprecise – such as samba do barulho (literally "noise samba"), samba epistolar ("epistolary samba") ou samba fonético ("phonetic samba"){{sfn|Matos|2013|p=127}} – and some merely derogatory – such as sambalada,{{sfn|Lopes|Simas|2015|p=269}} sambolero or sambão joia.{{sfn|Lopes|Simas|2015|p=271}}

The modern samba that emerged at the beginning of the 20th century is predominantly in a {{music|time|2|4}} [[time signature]] varied{{sfn|Lopes|Simas|2015|p=247}} with the conscious use of a sung chorus to a [[batucada]] rhythm, with various stanzas of declaratory verses.{{sfn|Marcondes|1977|p=684}}{{sfn|Mello|2000|p=215}} Its traditional instrumentation is composed of percussion instruments such as the [[pandeiro]], [[cuíca]], [[tamborim]], [[ganzá]] and [[surdo]]{{sfn|Lopes|Simas|2015|p=220}}{{sfn|Bolão|2009|pp=22–44}}{{sfn|Santos|2018|pp=107–109}} accompaniment – whose inspiration is [[choro]] – such as classical guitar and [[cavaquinho]].{{sfn|Tinhorão|1990|pp=296–297}}{{sfn|Carvalho|2006|pp=153–154}} In 2005 [[UNESCO]] declared Samba de Roda part of [[Intangible Cultural Heritage of Humanity]],{{sfn|Samson|Sandroni|2013|p=352}} and in 2007, the Brazilian [[National Institute of Historic and Artistic Heritage]] declared Carioca samba and three of its matrixes – samba de terreiro, partido-alto and samba de enredo – as [[cultural heritage]] in Brazil.{{sfn|Iphan|2014|p=23}}{{sfn|Portal Iphan|2007}}{{sfn|Uchôa|2007}}{{sfn|Figueiredo|2007}}