Editing Bossa nova

{{Short description|Style of Brazilian music}}
{{Other uses}}
{{Redirect|Bossa}}
{{Use dmy dates|date=September 2020}}
{{Infobox music genre
| name              = Bossa nova
| image             = Baden Powell no Teatro da Praia, 1972.tif
| caption           = [[Vinicius de Moraes]] and [[Baden Powell (guitarist)|Baden Powell]] at the Teatro da Praia
| stylistic_origins = {{hlist|[[Samba]]|[[jazz]]|[[choro]]|[[classical music|classical]]}}
| cultural_origins  = Late 1950s, [[South Zone (Rio de Janeiro)|South Zone]] of Rio de Janeiro, Brazil
| derivatives       = {{hlist|[[Samba-jazz]]|[[sambalanço]]|[[sambass]]}}
}}
'''Bossa nova''' ({{IPA|pt|ˈbɔsɐ ˈnɔvɐ|-|Br-BossaNova.ogg}}) is a relaxed style of [[samba]]{{refn|"The center of bossa nova remains, as for samba and subgenre of jazz, the song. Its intuition is lyrical and, even in the most sophisticated products, demands that one believes in a kind of spontaneity. Jazz, whose fundamental intuition is of a technical nature, privileges the chord".{{sfn|Mammi|1992|pp=63-64}}|group=nb}} developed in the late 1950s and early 1960s in [[Rio de Janeiro]], [[Brazil]].{{sfn|EBC|2018}} It is mainly characterized by a calm [[syncopation|syncopated]] rhythm with chords and fingerstyle mimicking the beat of a samba groove, as if it was a simplification and stylization on the guitar of the rhythm produced by a [[samba school]] band. Another defining characteristic of the style is the use of unconventional chords in some cases with complex progressions and "ambiguous" harmonies.{{sfn|Ratliff|2019}}{{sfn|Lopes|Simas|2015|p=46}} A common misconception is that these complex chords and harmonies were derived from [[jazz]], but samba guitar players have been using similar [[arrangement]] structures since the early 1920s, indicating a case of [[parallel evolution]] of styles rather than a simple transference from jazz to bossa nova.{{sfn|Lopes|Simas|2015|p=48}}{{sfn|Garcia|2019}} Nevertheless, bossa nova was influenced by jazz, both in the harmonies used and also by the instrumentation of songs, and today many bossa nova songs are considered [[jazz standard]]s. The popularity of bossa nova has helped to renew samba and contributed to the modernization of [[Music of Brazil|Brazilian music]] in general.

One of the major innovations of bossa nova was the way to synthesize the rhythm of samba on the [[classical guitar]].{{sfn|EBC|2018}}{{sfn|Garcia|2019}} 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.{{sfn|Lopes|Simas|2015|p=48}} The synthesis performed by [[João Gilberto|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.{{sfn|Garcia|2019}} In line with this thesis, musicians such as [[Baden Powell (guitarist)|Baden Powell]], [[Roberto Menescal]], and [[Ronaldo Bôscoli]] also understand the bossa nova beat as being extracted from the [[tamborim]] play in the [[bateria]].{{sfn|Garcia|1999|p=21}}

==Etymology==
[[File:Bossa nova dance pattern.png|thumb|upright=1.75|Bossa nova [[rhythm]]<ref>Blatter, Alfred (2007). ''Revisiting music theory: a guide to the practice'', p.28. {{ISBN|0-415-97440-2}}.</ref>]]
In Brazil, the word {{lang|pt|bossa}} is old-fashioned slang for something done with particular charm, natural flair or innate ability. As early as 1932, [[Noel Rosa]] used the word in a samba:

<blockquote>
{{lang|pt|O samba, a prontidão e outras bossas são nossas coisas, são coisas nossas.}}<br>
(Samba, readiness and other {{lang|pt|bossas}} are our things, are things from us.)
</blockquote>

The phrase {{lang|pt|bossa nova}}, translated literally, means "new trend" or "new wave" in Portuguese.<ref>{{cite web|title=Definition of Bossa Nova|url=https://www.merriam-webster.com/dictionary/bossa%20nova|access-date=19 June 2017|publisher=[[Merriam-Webster]]|quote="Origin and Etymology: Portuguese, literally, 'new trend'. First Known Use: 1962"}}</ref> The exact origin of the term {{lang|pt|bossa nova}} remained unclear for many decades, according to some authors. Within the artistic beach culture of the late 1950s in [[Rio de Janeiro]], the term {{lang|pt|bossa}} was used to refer to any new "trend" or "fashionable wave". In his book ''Bossa Nova'', Brazilian author [[Ruy Castro]] asserts that {{lang|pt|bossa}} was already in use in the 1950s by musicians as a word to characterize someone's knack for playing or singing idiosyncratically.<ref>Castro, Ruy (transl. by Lysa Salsbury). ''Bossa Nova: The Story of the Brazilian Music That Seduced the World''. 2000. 1st English language edition. A Capella Books, an imprint of Chicago Review Press, Inc. {{ISBN|1-55652-409-9}} First published in Brasil by Companhia das Letras (1990)</ref> 

Castro claims that the term {{lang|pt|bossa nova}} might have first been used in public for a concert given in 1957 by the {{lang|pt|Grupo Universitário Hebraico do Brasil|italic=no}} ('Hebrew University Group of Brazil'). The authorship of the term {{lang|pt|bossa nova}} is attributed to the then-young journalist Moyses Fuks, who was promoting the event.<ref>{{Cite web|last=Afonso|first=Carlos Alberto|date=20 February 2010|title=BLOG DA TOCA: 000026 - MOYSÉS FUKS na CALÇADA da FAMA de IPANEMA|url=http://blogdatocadovinicius.blogspot.com/2010/02/0025-moyses-fuks-na-calcada.html|access-date=2023-02-10|website=BLOG DA TOCA}}</ref> That group consisted of [[Sylvia Telles]], [[Carlos Lyra]], [[Nara Leão]], [[Luiz Eça]], [[Roberto Menescal]], and others. Mr Fuks's description, fully supported by most of the bossa nova members, simply read {{lang|pt|"HOJE. SYLVIA TELLES E UM GRUPO BOSSA NOVA"}} ("Today. Sylvia Telles and a 'Bossa Nova' group"), since Sylvia Telles was the most famous musician in the group at that time. 

In 1959, Nara Leão also participated in more than one embryonic display of bossa nova. These include the 1st Festival de Samba Session, conducted by the student union of {{lang|pt|[[Pontifícia Universidade Católica]]|italic=no}}. This session was chaired by [[Carlos Diegues]] (later a prominent [[Cinema Novo]] [[film director]]), a law student whom Leão ultimately married.<ref>{{Cite web|title=Nara Leão|url=https://bossanova.folha.com.br/autores-6-carreira.html|access-date=2023-02-10|website=bossanova.folha.com.br}}</ref>

==History ==
In 1959, the soundtrack to the film ''[[Black Orpheus]]'' (Orfeu Negro) was released, which included the future [[Manhã de Carnaval]], "The Morning of the Carnival". The style emerged at the time when [[samba-canção]]{{refn|A slower tempo samba featured by a dominance of the melodic line over the main rhythmic{{sfn|Tatit|1996|p=23}}|group=nb}} was the dominant rhythm in the Brazilian music scene.{{sfn|Severiano|2009|p=273}}{{sfn|Matos|2015|p=130}} Its first appearance was on the album ''[[Canção do Amor Demais]]'', in which the singer [[Elizeth Cardoso]] recorded two compositions by the duo [[Antônio 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.{{sfn|EBC|2018}} By accompanying Cardoso's voice, Gilberto innovated in the way of pacing the rhythm, accentuating the weak times, to carry out a synthesis of the beat of samba to guitar.{{sfn|EBC|2018}}{{sfn|Castro|2018}}

In 1959, João Gilberto's bossa album was released, containing the tracks "Chega de Saudade" and "Bim Bom".{{sfn|Castro|2018}} Considered the landmark of the birth of bossa nova,{{sfn|EBC|2018}}{{sfn|Castro|2018}} it also featured Gilberto's innovative way of singing samba, which was inspired by [[Dorival Caymmi]].{{sfn|Machado|2011|p=36}}{{sfn|Caymmi|2001|p=377}} With the LP ''[[Chega de Saudade (album)|Chega de Saudade]]'', released in 1959, Gilberto consolidated the bossa nova as a new style of playing samba.{{sfn|EBC|2018}}{{sfn|Ratliff|2019}} His innovative way of playing and singing samba, combined with the harmonies of Antônio 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,{{sfn|EBC|2018}}{{sfn|Marcondes|1977|pp=106-107}} many of whom were influenced by American [[jazz]].{{sfn|Silva|2017|p=133-137}} 

In 1964, João Gilberto and Stan Getz released the ''[[Getz/Gilberto]]'' album. Then, it emerged an artistic movement around Gilberto and other professional artists such as Jobim, Moraes and [[Baden Powell (guitarist)|Baden Powell]], among others, which attracted young amateur musicians from the [[South Zone (Rio de Janeiro)|South Zone of Rio]] – such as [[Carlos Lyra]], [[Roberto Menescal]], Ronaldo Bôscoli and [[Nara Leão]].{{sfn|Marcondes|1977|pp=106-107}}{{sfn|Lopes|Simas|2015|pp=46-47}} Jorge Ben wrote "[[Mas que Nada]]" in 1963, and [[Sérgio Mendes]] & Brazil 66 gained a bossa rock hit "Mas que Nada" in 1966.<ref>{{cite magazine|first=Zeca|last=Azevedo|title=As 100 Maiores Músicas Brasileiras – "Mas que Nada"|url=http://rollingstone.uol.com.br/listas/100-maiores-musicas-brasileiras/mas-que-nada/|magazine=[[Rolling Stone]] Brasil|publisher=Spring| access-date=24 July 2021}}</ref> It was inducted to the [[Latin Grammy Hall of Fame]] and sucess of [[Waters of March]] in 70s, the song was adapted for use in a series of advertisements for [[Coca-Cola]] in 80s. These ended with the then current slogan "Coke Is It".<ref>{{YouTube|BE065at5U7I|"1985 Coca-Cola: Waters of March (USA and Brazil with Tom Jobim) commercials"}}</ref> In the 1960s and 1970s, US jazz artists such as Stan Getz, Hank Mobley, Dave Brubeck, Zoot Sims, Paul Winter, and [[Quincy Jones]] recorded bossa jazz albums.

Bossa nova continues to influence popular music around the world, from the 1960s to today. An example is the song "[[Break On Through (To the Other Side)|Break on Through (To the Other Side)]]" by American rock band [[The Doors]], especially the drum beat. Drummer [[John Densmore]] has stated that he was very influenced by the sounds of Brazil when coming up with the drum part for the song.<ref>{{Citation |title=The Story of "Break on Through" by The Doors |url=https://www.youtube.com/watch?v=yfQAaK1pFM4 |access-date=2023-10-06 |language=en}}</ref> In the mid-1980s, New Bossa emerged in Europe, in the work of Nigerian singer [[Sade Adu]] and in groups such as [[Matt Bianco]] and [[Style Council]].<ref>{{cite web|access-date=2024-06-19 |date=2023-01-25 |last=Midias-metrica |title=Bossa Nova: 65 anos e cada vez mais jovem |url=https://www.abramus.org.br/noticias/20578/bossa-nova-65-anos-e-cada-vez-mais-jovem/ |website=ABRAMUS}}<!-- auto-translated from Portuguese by Module:CS1 translator --></ref> A more recent reference is the Icelandic jazz pop singer [[Laufey (singer)|Laufey]] and her hit song "[[From the Start|From The Start]]", with its bossa nova infused rhythm.<ref>{{Citation |title=Laufey Crafts a Bossa Nova-Infused Love Triangle in "From The Start"| website=onestowatch.com| url=https://onestowatch.com/en/blog/laufey-love-from-the-start |access-date=2024-06-19 |language=en}}</ref>

==Instruments==
===Classical guitar===

[[File:Jarkko Toivonen Jumo Jazz Club 1993.jpg|thumb|right|200px|Jarkko Toivonen performing in 1993.]]
Bossa nova is most commonly performed on the nylon-string [[classical guitar]], played with the fingers rather than with a [[Guitar pick|pick]]. Its purest form could be considered unaccompanied guitar with vocals, as created, pioneered, and exemplified by [[João Gilberto]]. Even in larger, jazz-like arrangements for groups, there is almost always a guitar that plays the underlying rhythm. Gilberto basically took one of the several rhythmic layers from a [[samba ensemble]], specifically the [[tamborim]], and applied it to the picking hand. According to Brazilian musician Paulo Bittencourt, João Gilberto, known for his eccentricity and obsessed by the idea of finding a new way of playing the guitar, sometimes locked himself in the bathroom, where he played one and the same chord for many hours in a row.<ref>{{cite web|url=https://medium.com/@free.thinker/the-history-of-bossa-nova-5b003a0c6429|title=What is bossa nova? Musician Paulo Bittencourt tells the story|website=medium.com|first=Paulo|last=Bittencourt}}</ref>
[[File:Basic bossa nova guitar rhythm.PNG|thumb|right|200px|A basic bossa nova guitar rhythm for a C major chord. Note the syncopation in the chord's rhythm and the sixth and ninth added to the C major for a richer sound.]]

===Drums and percussion===
As in samba, the [[surdo]] plays an ostinato figure on the downbeat of beat one, the "ah" of beat one, the downbeat of beat two and the "ah" of beat two. The [[clave (rhythm)|clave]] pattern sounds very similar to the two-three or three-two son clave of Cuban styles such as [[mambo (music)|mambo]] but is dissimilar in that the "two" side of the clave is pushed by an eighth note. Also important in the percussion section for bossa nova is the [[cabasa]], which plays a steady sixteenth-note pattern. These parts are easily adaptable to the drum set, which makes bossa nova a rather popular Brazilian style for drummers.

==Structure==
Certain other instrumentations and vocals are also part of the structure of bossa nova. These include:

===Bossa nova and samba===
[[File:Bossa-nova-rhythm1.svg|thumb|upright=1.75|Basic bossa nova accompaniment pattern {{audio|Bossa-nova-rhythm1.mid|Play}}]]
Bossa nova has at its core a [[rhythm]] based on [[samba]]. Samba combines the rhythmic patterns and feel originating in afro-Brazilian slave communities. Samba's emphasis on the second [[beat (music)|beat]] carries through to bossa nova (to the degree that it is often notated in 2/4 time). However, unlike samba, bossa nova has no dance steps to accompany it.<ref>{{Cite news|last=Collin|first=Mark|date=2008-06-26|title=Step one, pour yourself a drink ...|language=en-GB|work=The Guardian|url=https://www.theguardian.com/culture/2008/jun/27/filmandmusic1.filmandmusic2|access-date=2023-02-10|issn=0261-3077}}</ref> When played on the guitar, in a simple one-bar pattern, the thumb plays the bass notes on 1 and 2, while the fingers pluck the chords in unison on the two eighth notes of beat one, followed by the second sixteenth note of beat two. Two-measure patterns usually contain a [[syncopation]] into the second measure. Syncopation is a common feature of bossa nova, giving it its distinct "swaying" motion. While jazz music, which is typically swung, also contains syncopation, bossa nova is typically played without swing, contrasting with jazz. As bossa nova composer [[Carlos Lyra]] describes it in his song "Influência do Jazz", the samba rhythm moves "side to side" while jazz moves "front to back". There's also some evidence indicating a musical influence of blues in bossa nova, even thought this effect is not immediately recognized in the genre structure.<ref>{{cite journal |last1=McCann |first1=Bryan |title=Blues and Samba: Another Side of Bossa Nova History |journal=Luso-Brazilian Review |date=2007 |volume=44 |issue=2 |pages=21–49 |doi=10.1353/lbr.2008.0005|s2cid=145569698 }}</ref>

===Vocals===
Aside from the guitar style, João Gilberto's other innovation was the projection of the singing voice. Prior to bossa nova, Brazilian singers employed brassy, almost operatic styles. Now, the characteristic nasal vocal production of bossa nova is a peculiar trait of the [[caboclo]] folk tradition of northeastern Brazil.<ref>"''Caboclos'' refers to the mixed-race population (Indians or Africans 'imported' to the region during the slave era, and Europeans) who generally live along the Amazon's riverbanks." From "Two Cases on Participatory Municipal Planning on natural-resource management in the Brazilian Amazon", by GRET – Groupe de Recherche et d'Échanges Technologiques, France (in English)</ref><ref>{{Cite web|title=Bossa nova|url=https://www.oxfordmusiconline.com/grovemusic/display/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000003663|access-date=2023-02-10|website=Grove Music Online|language=en}}</ref>

===Themes and lyrics===
The lyrical themes found in bossa nova include women, love, longing, homesickness, and nature. Bossa Nova was often apolitical. The musical lyrics of the late 1950s depicted the easy life of middle to upper-class Brazilians, though the majority of the population was working class. In conjunction with political developments of the early 1960s (especially the 1964 military [[1964 Brazilian coup d'état|coup d'état]]), the popularity of bossa nova was eclipsed by {{Lang|pt|[[Música popular brasileira]]|italic=no}}, a musical genre that appeared around the mid-1960s, featuring lyrics that were more politically charged and focused on the working class struggle.

==Dance==
'''Bossa nova''' was also a [[fad dance]] that corresponded to the music. It was introduced in the late 1950s and faded out in the mid-sixties.<ref>{{cite web |title=Introduction to Bossa Nova Dancing |url=http://www.heritageinstitute.com/danceinfo/descriptions/bossa_nova.htm |website=www.heritageinstitute.com}}</ref>{{unreliable source?|date=May 2022}} Bossa nova music, with its soft, sophisticated vocal rhythms and improvisations, is well suited for listening but failed to become dance music despite heavy promotion in the 1960s. The style of basic dance steps suited the music well. It was danced on "soft" knees that allowed for sideways sways with hip motions and it could be danced both solo and in pairs. About ten various simple step patterns were published.

A variant of basic 8-beat pattern was: "step forward, tap, step back, step together, repeat from the opposite foot". A  variation of this pattern was a kind of slow [[Samba (Brazilian dance)|samba]] walk, with "step together" above replaced by "replace". [[Box step]]s of [[rhumba]] and [[Whisk (ballroom dance)|whisk]] steps of [[nightclub two step]] could be fitted with bossa-nova styling. Embellishments included placing one arm onto one's own belly and waving another arm at waist level in the direction of the sway, possibly with a finger click.{{Citation needed|date=May 2022}}

==Notable bossa nova recordings==
===Albums===
* [[João Gilberto]]
** ''[[Chega de Saudade (album)|Chega de Saudade]]'' (recorded 1959)
** ''[[O Amor, o Sorriso e a Flor]]'' (recorded 1960)
** ''[[Getz/Gilberto]]'' with [[Stan Getz]] (recorded 18 & 19 March 1963, released 1964)
* [[Luiz Bonfá]]
** ''[[Luiz Bonfá Plays and Sings Bossa Nova]]'' (recorded December, 1962)
* [[Antônio Carlos Jobim]]
** ''[[The Composer of Desafinado Plays]]'' (recorded 9 & 10 May 1963)
** ''[[The Wonderful World of Antônio Carlos Jobim]]'' (recorded 1965)
** ''[[Wave (Antônio Carlos Jobim album)|Wave]]'' (1967)
** ''Tide'' (1970)

===Songs===
* "[[Manhã de Carnaval]]," The morning of the carnival–Luiz Bonfa (1959), From Film "Black Orpheus" (Orpheu Negro)
* "[[The Girl From Ipanema]]"—[[Astrud Gilberto]] (1963)<ref>{{cite web |url=http://www.oldielyrics.com/lyrics/stan_getz/the_girl_from_ipanema.html |title=The Girl From Ipanema |publisher=OldieLyrics |access-date=15 July 2021}}</ref>
* "[[Blue Bossa]]"—[[Kenny Dorham]] (1963)
* "[[Samba de Verão]]"—[[Marcos Valle]] (1966)
* "[[Mas que Nada]]"—[[Sérgio Mendes|Sérgio Mendes & Brasil 66]] (1967)
* "[[Waters of March]]"—[[Tom Jobim]] (1973)
* "[[Your Love Is King]]"—[[Sade Adu]] (1984)
* "[[The Perfect Pair]]" — [[Beabadoobee]] (2022)
* "[[From the Start]]"—[[Laufey (singer)|Laufey]] (2023)<ref>{{Cite news |last=Kalia |first=Ammar |date=2024-03-03 |title=TikTok jazz sensation Laufey: ‘It’s no longer about genre, it’s about feeling and mood’ |url=https://www.theguardian.com/music/2024/mar/03/laufey-jonsdottir-iceland-bewitched-tour-grammys-interview |access-date=2024-08-28 |work=The Observer |language=en-GB |issn=0029-7712}}</ref><ref>{{Cite web |date=2023-10-27 |title=How TikTok Helped Gen Z Rediscover Brazilian Bossa Nova |url=https://hmc.chartmetric.com/brazilian-bossa-nova-gen-z-revival/ |access-date=2025-03-27 |website=How Music Charts |language=en}}</ref>
* "[[BMF (song)|BMF]]"—[[SZA]] (2024)

==See also==
{{Portal|Brazil|Jazz}}
* [[Samba rock]]

==Notes==
{{Reflist|group=nb}}

==References==
{{Reflist|30em}}

==Sources==
*{{cite book |last=Carvalho |first=Hermínio Bello de |title=Mudando de Conversa |location=São Paulo |publisher=Martins Fontes |publication-date=1986 |edition=1ª |language=pt-br }}
*{{cite book |last=Caymmi |first=Stella |title=Dorival Caymmi: o mar e o tempo |location=São Paulo |publisher=Editora 34 |publication-date=2001 |edition=1ª |language=pt-br }}
*{{cite book |last1=Lopes |first1=Nei |last2=Simas |first2=Luiz Antonio |title=Dicionário da História Social do Samba |location=Rio de Janeiro |publisher=Civilização Brasileira |publication-date=2015 |edition=2ª |language=pt-br }}
*{{cite book |last=Machado |first=Regina Stela Barcelos |title=A voz na canção popular brasileira: um estudo sobre a Vanguarda Paulista |location=São Paulo |publisher=Atelie Editorial |publication-date=2011 |edition=1ª |language=pt-br }}
*{{cite book |editor-last=Marcondes |editor-first=Marcos Antônio |title=Enciclopédia da música brasileira - erudita, folclórica e popular |location=São Paulo |publisher=Art Ed |publication-date=1977 |edition=1ª |language=pt-br }}
*{{cite book |last=Severiano |first=Jairo |title=Uma história da música popular brasileira: das origens à modernidade |location=São Paulo |publisher=Editora 34 |publication-date=2009 |language=pt-br }}
*{{cite book |last=Tatit |first=Luiz |title=O cancionista: composição de canções no Brasil |location=São Paulo |publisher=Edusp |publication-date=1996 |language=pt-br }}
*{{cite journal |last=Mammi |first=Lorenzo |url=https://pesquisahistoricaurca.files.wordpress.com/2013/12/joao_gilberto-e-o-projeto-da-bossa-nova.pdf |title=João Gilberto e a Utopia Social da Bossa Nova |location=São Paulo |journal=Novos Estudos Cebrap |pages=63–70 |issue=34 |publication-date=November 1992 |language=pt-br }}
*{{cite journal |last=Matos |first=Cláudia Neiva de |url=http://www.seer.ufu.br/index.php/artcultura/article/view/29339 |title=Gêneros na canção popular: os casos do samba e do samba-canção |location=Uberlândia |journal=Artcultura |orig-year=2013 |publisher=Federal University of Uberlândia |pages=121–132 |volume=15 |issue=27 |date=2015 |language=pt-br }}
*{{cite thesis |last=Silva |first=Rafael Mariano Camilo da |type=Master |publication-date=2017 |title=Desafinado: dissonâncias nos discursos acerca da influência do Jazz na Bossa Nova |url=https://repositorio.ufu.br/bitstream/123456789/24302/1/DesafinadoDisson%C3%A2nciasDiscursos|location=Uberlândia |publisher=Federal University of Uberlândia |access-date=2020-08-07 |language=pt-br }}
*{{cite news |last=Castro |first=Ruy |title=Gravação de 'Chega de Saudade' foi um parto, mas elevou à eternidade som sem nome |url=https://www1.folha.uol.com.br/ilustrada/2018/07/gravacao-de-chega-de-saudade-foi-um-parto-mas-elevou-a-eternidade-som-sem-nome.shtml |publisher=Folha de S.Paulo |publication-date=2018-07-09 |access-date=2020-08-07 |language=pt-br }}
*{{cite book |last=Garcia |first=Walter |title=Bim Bom: a contradição sem conflitos de João Gilberto |location=São Paulo |publisher=Paz e Terra |date=1999 |language=pt-br}}
*{{cite news |last=Garcia |first=Walter |title=Batucada do samba cabia na mão de João Gilberto |url=https://www1.folha.uol.com.br/ilustrada/2019/07/a-bossa-nova-e-solista-e-dificulta-manifestacoes-coletivas-como-no-samba.shtml |publisher=Folha de S.Paulo |publication-date=2019-07-22 |access-date=2020-09-18 |language=pt-br }}
*{{cite news |last=Ratliff |first=Ben |title=João Gilberto, an Architect of Bossa Nova, Is Dead at 88 |url=https://www.nytimes.com/2019/07/06/arts/music/joao-gilberto-dead-bossa-nova.html |work=The New York Times|date=6 July 2019 |publication-date=2019-07-06 |access-date=2020-08-07}}
*{{cite news |title=60 anos de Bossa Nova |url=http://conteudo.ebc.com.br/portal/projetos/2018/bossa-nova |publisher=EBC |publication-date=2018 |access-date=2020-09-18 |language=pt-br |ref=CITEREFEBC2018}}

==Further reading==
* Castro, Ruy (transl. by Lysa Salsbury). ''Bossa Nova: The Story of the Brazilian Music That Seduced the World.'' 2000. 1st English language edition. A Capella Books, an imprint of Chicago Review Press, Inc. {{ISBN|1-55652-409-9}} First published in Brasil by Companhia das Letras. 1990.
* [[Gildo De Stefano|De Stefano, Gildo]], ''Il popolo del samba, La vicenda e i protagonisti della storia della musica popolare brasiliana'', Preface by Chico Buarque de Hollanda, Introduction by Gianni Minà, RAI-ERI, Rome 2005, {{ISBN|8839713484}}
* [[Gildo De Stefano|De Stefano, Gildo]], ''Saudade [[Bossa Nova]]: musiche, contaminazioni e ritmi del [[Brasile]]'', Preface by [[Chico Buarque]], Introduction by [[Gianni Minà]], Logisma Editore, [[Firenze]] 2017, {{ISBN|978-88-97530-88-6}}
* McGowan, Chris and Pessanha, Ricardo. ''The Brazilian Sound: Samba, Bossa Nova and the Popular Music of Brazil.'' 1998. 2nd edition. Temple University Press. {{ISBN|1-56639-545-3}}
* Perrone, Charles A. ''Masters of Contemporary Brazilian Song: MPB 1965–1985''. Austin: University of Texas Press, 1989.
* Mei, Giancarlo. ''Canto Latino: Origine, Evoluzione e Protagonisti della Musica Popolare del Brasile.'' 2004. Stampa Alternativa-Nuovi Equilibri. Preface by Sergio Bardotti; afterword by Milton Nascimento. (in Italian)

==External links==
{{Commons category|Bossa nova}}
* [https://www.scribd.com/doc/14740047/Bossa-Nova-Carnegie-Hall-1962 "It's 20 years ago bossa nova was released to the world at Carnegie Hall in New York"] by Rénato Sergio, ''Manchete'' magazine, 1982 (in Portuguese)

{{Samba}}
{{Lusophonemusic}}
{{Authority control}}

{{DEFAULTSORT:Bossa Nova}}
[[Category:Samba music genres| ]]
[[Category:Bossa nova| ]]
[[Category:Culture of Brazil]]
[[Category:Brazilian styles of music]]
[[Category:1960s in Latin music]]