The CARNIVAL AND the MUSICALIDADE In Brazil we have the most beautiful musical culture of the world, represented for its variety and rhythmic and instrumental diversity, since the times of the saudoso Chico Viola and the inesquecvel Carmen Miranda until the days of the venerable masters Pink Noel, Adoniram, Cartola, Lupcnio, Pixinguinha, Paulinho of Viola and Jacson of the Pandeiro. All the instruments if had made and if they make gifts in Brazilian music, since the first decades of century XIX, as the violo, the viola, the guitar, the banjo, cavaquinho, the pandeiro, the violin, clarineta, the flute, saxofone, etc., which had made history following or at the hands of the great artists of our music. Through the culture afro-Brazilian, we had contact with the tambores and atabaques that, combined with the vocalization and other said instruments tropical, they produce rhythms pretty, and its respective ones bailados, between which mambo, frevo, reggae, the parsley, the cmbia, etc., good accepted in all America and other continents. Our carnivals, until the decade of 60, still congregated the musicalidade of different instruments, as clarineta, sax, the violo, cavaquinho, etc. But from the moment where, by influence of the Carioca carnival and the said samba-modern, the instruments of rope and blow in its combination with excessively had been abolished of our carnivals, they had been only the instruments of percussion or battery, as bumbos, deaf, boxes, tarolas and baquetas, and this party lost its original musical enchantment, safeguarding itself, for its variety, the northeast carnival and the bahian rhythm, with its carnavalescos groups and its musicalidade as it does not have equal, still today, in Brazil and the world.
Today, in the capitals of the south of Brazil and cities of the interior, in carnival times, we coexist the rhythm of the batucadas ones solely of? samba schools? what, even so are of the taste and the affability of the communities, in the truth in do not show no instrumental, but only one monotonous and continuous one to them melody? bateo? , that it wounds, for hours the wire, the spandrels of who listening, and alone welfare provides a great one when it silences. I remember that in the decades of 60 and 70 he had in the clubs, in the balls of carnival, the musical alternation of the rhythms and sorts, where frevo and marchinhas I was intercalated with mambo, the parsley, the cmbia, tango and bolero, exactly not to tire, or to rest of a type of rhythm hearing another one. Today, in the street carnivals, the participation of the samba schools is essential, with its commission of front, its sincronia and the beautiful choreography of the passistas, cabrochas, Bahians and door-flags. But this is not only carnival. They lack the old ingredients and, mainly, the musicalidade, that if lost. Luciano Axe.