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1. Answer the following questions:

1. What is it ‘rumba’?

2. How and when was rumba born?

3. What does rumba synthesize?

4. What happened to rumba in Europe and the United States?

5. What percussive instruments does the rumba accompany?

6. How many types of rumba do you know?

7. How does the male dancer behave in the guaguanco?

8. Is the yambu slower than the guaguanco?

9. What is the structure of the columbia?

10. Is rumba very popular in our country?

2. Make a plan to the text.

3. Retell the text according to your plan. Samba

Samba, Brazil’s most famous musical genre and dance, created by Brazilians of African descent living in Rio de Janeiro during the late 1800s.To Brazilians, samba is many different things: abandon and solace, celebration and exuberance, national identity and pride. Though samba is most closely associated with the pre-Lent festivities known as Carnival, there are several forms of samba that are played year-round in various contexts. Percussive instruments dominate samba and give it a highly syncopated, layered sound. Technically, a 2/4 meter with the heaviest accent on the second beat and a stanza-and-refrain structure characterize samba.

Samba is rooted in the music and dance traditions of Angola, the African kingdom (now country) that was home for many of the slaves brought to Brazil. The word samba is believed to have derived from the Kimbundu word semba, a circle dance that features a navel-touching dance step. Many historians trace the musical roots of samba to the lundu music tradition brought to Brazil by slaves from Angola. This African dance and form of music are two of the numerous elements that were fused to create samba in Rio de Janeiro during the late 1800s.

Following the abolishment of slavery in 1888 and the subsequent decline of the plantation economy, a large number of ex-slaves living in the northern region of Brazil migrated south to Rio de Janeiro in search of opportunity. Some settled on the steep hillsides surrounding the city, the morros, while others settled in a central part of the city in the neighborhood of Estacio near Praca Onze (Plaza Eleven). Praca Onze and the houses of prominent black women known as tias (aunts), who sold African food and led services for the worship of African gods, became meeting places for black musicians. The music they played–lundu, polka, habanera as well as marcha and maxixe, two popular types of Brazilian music–factored in the creation of samba music.

Pioneering musicians such as Ismael Silva distinguished samba from marcha and maxixe by slowing the tempo, and adding longer notes and two-bar phrasing. The traditional form of samba is played on a four-stringed, ukulele-like instrument called cavaquinho; a shallow, covered drumhead with jingling disks called the pandeiro; and its smaller, cymbal-less counterpart the tamborim, which is played with a stick. This form of samba later became known as the samba de morro.

Numerous forms of samba developed out of the traditional samba de morro. One of the earliest was samba de breque, a style developed during the 1930s by singer Moreira da Silva. In songs such as "Acertei no Milhar" (I Hit Upon Thousands, 1938), Silva would periodically stop the song in order to dramatize the situation he was singing about through improvised dialogues.

This form of samba became known as samba-cancao and is associated with composers such as Noel Rosa and Ary Barosso. Barosso spawned yet another form of samba in 1939 when he recorded one of the most famous Brazilian songs of all time, "Aquarela do Brasil" (Watercolor of Brazil). This song launched a new category of samba called samba-exaltacao (samba of praise) that celebrated the natural wonders of Brazil.

In the 1970s several musicians living in Ramos, a suburb of Rio, espoused a form of samba known as samba-pagode. They incorporated a type of drum called the tan-tan, exchanged the cavaquinho for a banjo, and sang about daily life in a colloquial language that gave their music an unpolished, down-to-earth quality. While it was initially limited to informal settings such as parties, singer Beth Carvalho popularized samba-pagode through her 1983 album Beth Carvalho no Pagode. Numerous other forms of samba thrive in Brazil today, including samba de gafieira, samba de roda, and samba-reggae.

  1. Answer the following questions:

1. What is it ‘sambo’?

2. What is samba most closely associated with?

3. What kind of musical instrument dominates in samba?

4. Do you know the origin of the word ‘samba’?

5. Who distinguished samba from marcha and maxixe?

6. What is the traditional form of the samba de morro?

7. How many forms of samba do you know?

8. What song launched samba of praise?

9. Can you describe the style of samba?

10. Is it popular in our country?

  1. Make a plan to the text.

  2. Retell the text according to your plan.