Martha Tupinambá de Ulhôa is Professor of Musicology at UNIRIO—Universidade Federal do Estado do Rio de Janeiro—and Researcher of the Brazilian National Research Council (CNPq).Cláudia Azevedo is lecturer and developer of a post-doctoral research project on popular music analysis (with a FAPERJ—Fundação de Amparo à Pesquisa do Estado do Rio de Janeiro—scholarship) at the Program of Post-Graduation in Music at UNIRIO—Universidade Federal do Estado do Rio de Janeiro.Felipe Trotta is a faculty member of Media Studies Department at UFF—Universidade Federal Fluminense—and researcher of the Brazilian National Research Council (CNPq).

"This book is a major contribution to popular music studies, not only because it presents new data on Brazilian popular musics but also because of the new insights it brings into this field of study. Made in Brazil draws a complex picture of contemporaneity, stressing the confrontation between 'roots' and 'networks,' 'national' and 'trans-national,' and the instrumental character of popular music in the establishment of groups and social classes."—Pedro Félix, Universidade Nova de Lisboa, IASPM@Journal vol.5 no.2

• Introduction: Listening to popular sonorities: a historic overview of the music and popular music studies in Brazil Part I: Samba and Choro Part II: History, Memory, and Representations Part III: Critique, Mediation, and Value Part IV: Music, Market, and New Media Coda From roots to networks: listening a world called Brazil "So when are the dancers coming out?": Representations of Brazilian music in New York City Afterword Electronic and acoustic, modern MPB: A conversation with Lenine

Martha Tupinambá de Ulhôa is Professor of Musicology at UNIRIO—Universidade Federal do Estado do Rio de Janeiro—and Researcher of the Brazilian National Research Council (CNPq).Cláudia Azevedo is lecturer and developer of a post-doctoral research project on popular music analysis (with a FAPERJ—Fundação de Amparo à Pesquisa do Estado do Rio de Janeiro—scholarship) at the Program of Post-Graduation in Music at UNIRIO—Universidade Federal do Estado do Rio de Janeiro.Felipe Trotta is a faculty member of Media Studies Department at UFF—Universidade Federal Fluminense—and researcher of the Brazilian National Research Council (CNPq).

"This book is a major contribution to popular music studies, not only because it presents new data on Brazilian popular musics but also because of the new insights it brings into this field of study. Made in Brazil draws a complex picture of contemporaneity, stressing the confrontation between 'roots' and 'networks,' 'national' and 'trans-national,' and the instrumental character of popular music in the establishment of groups and social classes."—Pedro Félix, Universidade Nova de Lisboa, IASPM@Journal vol.5 no.2

• Introduction: Listening to popular sonorities: a historic overview of the music and popular music studies in Brazil Part I: Samba and Choro Part II: History, Memory, and Representations Part III: Critique, Mediation, and Value Part IV: Music, Market, and New Media Coda From roots to networks: listening a world called Brazil "So when are the dancers coming out?": Representations of Brazilian music in New York City Afterword Electronic and acoustic, modern MPB: A conversation with Lenine

Martha Tupinambá de Ulhôa is Professor of Musicology at UNIRIO—Universidade Federal do Estado do Rio de Janeiro—and Researcher of the Brazilian National Research Council (CNPq).Cláudia Azevedo is lecturer and developer of a post-doctoral research project on popular music analysis (with a FAPERJ—Fundação de Amparo à Pesquisa do Estado do Rio de Janeiro—scholarship) at the Program of Post-Graduation in Music at UNIRIO—Universidade Federal do Estado do Rio de Janeiro.Felipe Trotta is a faculty member of Media Studies Department at UFF—Universidade Federal Fluminense—and researcher of the Brazilian National Research Council (CNPq).

"This book is a major contribution to popular music studies, not only because it presents new data on Brazilian popular musics but also because of the new insights it brings into this field of study. Made in Brazil draws a complex picture of contemporaneity, stressing the confrontation between 'roots' and 'networks,' 'national' and 'trans-national,' and the instrumental character of popular music in the establishment of groups and social classes."—Pedro Félix, Universidade Nova de Lisboa, IASPM@Journal vol.5 no.2

• Introduction: Listening to popular sonorities: a historic overview of the music and popular music studies in Brazil Part I: Samba and Choro Part II: History, Memory, and Representations Part III: Critique, Mediation, and Value Part IV: Music, Market, and New Media Coda From roots to networks: listening a world called Brazil "So when are the dancers coming out?": Representations of Brazilian music in New York City Afterword Electronic and acoustic, modern MPB: A conversation with Lenine