Editorial

Abstract

It is not difficult to note that the 1960s in Brazil was marked by great effervescence in popular music production, with emphasis on the consolidation of bossa nova, the production of instrumental music groups with a focus on jazz-oriented improvisation, the emergence of programs musicals on television, the popularization of the young guard, the emergence of song festivals, the approximation of popular songs to political debates and the emergence of musical tropicalism. Equally noteworthy is the fact that all this production was accompanied by a wide debate in society, which, in turn, also stimulated the appearance of academic works on this repertoire. Thus, it is perhaps not an exaggeration to say that the various agents linked to popular music of the 1960s, as well as their artistic and critical production, have become a kind of canon of studies in popular music in Brazil.