Marc Gidal – författare

In Spirit Song: Afro-Brazilian Religious Music and Boundaries, Marc Gidal investigates how and why a multi-faith community in southern Brazil utilizes music to combine and segregate three Afro-Brazilian religions: Umbanda, Quimbanda, and Batuque. Combining ethnomusicology and symbolic boundary studies, Gidal advances a theory of musical boundary-work: the ways music reinforces, bridges, or blurs boundaries, whether for personal, social, spiritual, or political purposes. Gidal focuses on spirit-mediumship rituals and their musical accompaniment, exploring how the Afro-gaucho religious community employs music and rituals to variously promote innovation and egalitarianism in Umbanda and Quimbanda, while it reinforces musical preservation and hierarchies in Batuque. Religious and musical leaders carefully restrict the cosmologies, ceremonial sequences, and sung prayers of one religion from affecting the others so as to safeguard Batuque''s African heritage. Members of disenfranchised populations view the religions as vehicles for empowerment, whether based on race-ethnicity, gender, or religious belief; and innovations in ritual music reflect this activism. These rituals come to life through illustrative video and audio examples on the book''s companion website. The first book in English to focus on music in Afro-Brazilian religions, Spirit Song is a landmark study that will be of interest to ethnomusicologists, anthropologists, and religious studies scholars.

In New York City during the first decades of the new millennium, over two hundred professional musicians play music that combines jazz with Brazilian genres. Blending American and Brazilian music, these musicians continue the legacies of bossa nova, samba jazz, and other styles, while expanding their skills, cultural understandings, and identities. SamBop NYC explores Brazilian jazz in New York City--the music, musicians, cultural issues, and jazz industry. It draws on interviews with over fifty musicians active between the years 2000 and 2020, featuring experts like Eliane Elias, Dom Salvador, Eumir Deodato, Maúcha Adnet, Vinícius Cantuária, Luciana Souza, Duduka Da Fonseca, Romero Lubambo, Anat Cohen, and Cidinho Teixeira. The book provides a new framework to interpret the mutual developments of musicianship, intercultural competencies, and affinities with Brazil and the U.S.To understand the imbalanced demographic diversity among musicians, the book analyses nationality, race, class, and gender among the musicians, as well as their instrumentation and professional dynamics. Navigating these social, cultural, and capitalist forces, the musicians in this book have applied their natural talents, determination, family support, and decades of hard work to pursue their artistic interests and career goals, to audience delight.

In New York City during the first decades of the new millennium, over two hundred professional musicians play music that combines jazz with Brazilian genres. Blending American and Brazilian music, these musicians continue the legacies of bossa nova, samba jazz, and other styles, while expanding their skills, cultural understandings, and identities. SamBop NYC explores Brazilian jazz in New York City--the music, musicians, cultural issues, and jazz industry. It draws on interviews with over fifty musicians active between the years 2000 and 2020, featuring experts like Eliane Elias, Dom Salvador, Eumir Deodato, Maúcha Adnet, Vinícius Cantuária, Luciana Souza, Duduka Da Fonseca, Romero Lubambo, Anat Cohen, and Cidinho Teixeira. The book provides a new framework to interpret the mutual developments of musicianship, intercultural competencies, and affinities with Brazil and the U.S.To understand the imbalanced demographic diversity among musicians, the book analyses nationality, race, class, and gender among the musicians, as well as their instrumentation and professional dynamics. Navigating these social, cultural, and capitalist forces, the musicians in this book have applied their natural talents, determination, family support, and decades of hard work to pursue their artistic interests and career goals, to audience delight.

In New York City during the first decades of the new millennium, over two hundred professional musicians play music that combines jazz with Brazilian genres. Blending American and Brazilian music, these musicians continue the legacies of bossa nova, samba jazz, and other styles, while expanding their skills, cultural understandings, and identities. SamBop NYC explores Brazilian jazz in New York City--the music, musicians, cultural issues, and jazz industry. It draws on interviews with over fifty musicians active between the years 2000 and 2020, featuring experts like Eliane Elias, Dom Salvador, Eumir Deodato, Maucha Adnet, Vinicius Cantuaria, Luciana Souza, Duduka Da Fonseca, Romero Lubambo, Anat Cohen, and Cidinho Teixeira. The book provides a new framework to interpret the mutual developments of musicianship, intercultural competencies, and affinities with Brazil and the U.S. To understand the imbalanced demographic diversity among musicians, the book analyses nationality, race, class, and gender among the musicians, as well as their instrumentation and professional dynamics. Navigating these social, cultural, and capitalist forces, the musicians in this book have applied their natural talents, determination, family support, and decades of hard work to pursue their artistic interests and career goals, to audience delight.

In New York City during the first decades of the new millennium, over two hundred professional musicians play music that combines jazz with Brazilian genres. Blending American and Brazilian music, these musicians continue the legacies of bossa nova, samba jazz, and other styles, while expanding their skills, cultural understandings, and identities. SamBop NYC explores Brazilian jazz in New York City--the music, musicians, cultural issues, and jazz industry. It draws on interviews with over fifty musicians active between the years 2000 and 2020, featuring experts like Eliane Elias, Dom Salvador, Eumir Deodato, Maucha Adnet, Vinicius Cantuaria, Luciana Souza, Duduka Da Fonseca, Romero Lubambo, Anat Cohen, and Cidinho Teixeira. The book provides a new framework to interpret the mutual developments of musicianship, intercultural competencies, and affinities with Brazil and the U.S. To understand the imbalanced demographic diversity among musicians, the book analyses nationality, race, class, and gender among the musicians, as well as their instrumentation and professional dynamics. Navigating these social, cultural, and capitalist forces, the musicians in this book have applied their natural talents, determination, family support, and decades of hard work to pursue their artistic interests and career goals, to audience delight.

In Spirit Song: Afro-Brazilian Religious Music and Boundaries, ethnomusicologist Marc Gidal explains how and why a multi-faith community in southern Brazil uses music to combine and segregate three Afro-Brazilian religions: Umbanda, Quimbanda, and Batuque. Spirit Song will be the first book in any language about the music of Umbanda and its close relative Quimbanda-twentieth-century fusions of European Spiritism, Afro-Brazilian religion, and Folk Catholicism-as well as the first publication in English about the music of the African-derived Batuque religion and "Afro-gaucho" identity, a local term that celebrates the contributions of African descendants to the cowboy culture of southernmost Brazil. Combining ethnomusicology and symbolic boundary studies, Gidal advances a theory of musical boundary-work: the use of music to reinforce, bridge, or blur boundaries, whether for personal, social, spiritual, or political purposes. The Afro-gaucho religious community uses music and rituals to varisuly promote innovation and egalitarianism in Umbanda and Quimbanda, whereas it reinforces musical preservation and hierarchies in Batuque. Religious and musical leaders carefully restrict the cosmologies, ceremonial sequences, and sung prayers of one religion from affecting the others so as to safeguard Batuque's African heritage. Members of disenfranchised populations have also used the religions as vehicles for empowerment, whether based on race-ethnicity, gender, or religious belief; and innovations in ritual music reflect this activism. Gidal explains these points by describing and interpreting spirit-mediumship rituals and their musical accompaniment, drawing on the perspectives of participants, with video and audio examples available on the book's companion website.The first book in English to explore music in Afro-Brazilian religions, Spirit Song is a landmark study that will be of interest to ethnomusicologists, anthropologists, and religious studies scholars.

In Spirit Song: Afro-Brazilian Religious Music and Boundaries, ethnomusicologist Marc Gidal explains how and why a multi-faith community in southern Brazil uses music to combine and segregate three Afro-Brazilian religions: Umbanda, Quimbanda, and Batuque. Spirit Song will be the first book in any language about the music of Umbanda and its close relative Quimbanda-twentieth-century fusions of European Spiritism, Afro-Brazilian religion, and Folk Catholicism-as well as the first publication in English about the music of the African-derived Batuque religion and "Afro-gaucho" identity, a local term that celebrates the contributions of African descendants to the cowboy culture of southernmost Brazil. Combining ethnomusicology and symbolic boundary studies, Gidal advances a theory of musical boundary-work: the use of music to reinforce, bridge, or blur boundaries, whether for personal, social, spiritual, or political purposes. The Afro-gaucho religious community uses music and rituals to varisuly promote innovation and egalitarianism in Umbanda and Quimbanda, whereas it reinforces musical preservation and hierarchies in Batuque. Religious and musical leaders carefully restrict the cosmologies, ceremonial sequences, and sung prayers of one religion from affecting the others so as to safeguard Batuque's African heritage. Members of disenfranchised populations have also used the religions as vehicles for empowerment, whether based on race-ethnicity, gender, or religious belief; and innovations in ritual music reflect this activism. Gidal explains these points by describing and interpreting spirit-mediumship rituals and their musical accompaniment, drawing on the perspectives of participants, with video and audio examples available on the book's companion website.The first book in English to explore music in Afro-Brazilian religions, Spirit Song is a landmark study that will be of interest to ethnomusicologists, anthropologists, and religious studies scholars.