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200 1 $aˆThe ‰Vyakarana Mahabasya of Patanjali$fed. by F. Kielhorn
210   $athird edition$aPoona$cBhandarkar Oriental Research Institute$d1962-65
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996   $aVyakarana Mahabasya of Patanjali$91151694
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010   $a9781478091554
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024 8 $ahttps://doi.org/10.26530/oapen_625243
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035   $a(OCoLC)1048715414
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101 0 $aeng
135   $auru||||||||||
181   $ctxt$2rdacontent
182   $cc$2rdamedia
183   $acr$2rdacarrier
200 00$aContemporary Carioca $eTechnologies of Mixing in a Brazilian Music Scene /$fFrederick Moehn
210   $d2012
210  1$aDurham NC :$cDuke University Press,$d2012.
215   $a1 online resource (315 p.)
330   $aBrazilian popular music is widely celebrated for its inventive amalgams of styles and sounds. Cariocas, native residents of Rio de Janeiro, think of their city as particularly conducive to musical mixture. Contemporary Carioca introduces a generation of Rio-based musicians who collaboratively have reinvigorated Brazilian genres, such as samba and maracatu, through juxtaposition with international influences, including rock, techno, and funk.  He describes how these artists manage their careers, having reclaimed some control from record labels. Examining the specific meanings that their fusions have in the Carioca scene, he explains that musical mixture is not only intertwined with nationalist discourses of miscegenation, but also with the experience of being middle-class in a country confronting neoliberal models of globalization. Moehn offers vivid depictions of Rio musicians as they creatively combine and reconcile local realities with global trends and exigencies.
606   $aMusic / Genres & Styles / Latin$2bisacsh
606   $aMusic
606   $aMusic$zBrazil
615  7$aMusic / Genres & Styles / Latin
615  0$aMusic.
615  0$aMusic
686   $aHIS033000$aMUS036000$aSOC002010$2bisacsh
700   $aMoehn$b Frederick$f1964-$0967423
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996   $aContemporary Carioca$92196364
997   $aUNINA