The soap opera and the songs of Caetano Veloso and Chico Buarque
Brazilian soap operas as they are today emerged in the late 1960s and early 1970s, in an attempt to adapt the Latin American soap opera model to the specific reality of Brazil. In this process, the “Globo standard” for soap operas was coined. With huge ratings and covering the entire extension of a...
Saved in:
| Main Author: | |
|---|---|
| Format: | Online |
| Language: | Portuguese |
| Published: |
Universidade Estadual de Campinas
2026
|
| Subjects: | |
| Online Access: | https://econtents.sbu.unicamp.br/inpec/index.php/muspop/article/view/18608 |
| Tags: |
Add Tag
No Tags, Be the first to tag this record!
|
| _version_ | 1864369168578510848 |
|---|---|
| author | Irigaray de Bem, Tiago Irigaray de Bem, Tiago Irigaray de Bem, Tiago |
| author_facet | Irigaray de Bem, Tiago Irigaray de Bem, Tiago Irigaray de Bem, Tiago |
| author_sort | Irigaray de Bem, Tiago |
| collection | Portal da Incubadora de Periódicos Científicos, Acadêmicos e Educacionais |
| container_reference | Música Popular em Revista; Vol. 11 (2026): Publicação Contínua |
| description | Brazilian soap operas as they are today emerged in the late 1960s and early 1970s, in an attempt to adapt the Latin American soap opera model to the specific reality of Brazil. In this process, the “Globo standard” for soap operas was coined. With huge ratings and covering the entire extension of a continent-sized country that is Brazil, all regions, all social classes the Brazilian soap opera helps to build a national identity that is based on social inclusion through consumption. Currently, musicians who appear on the soundtracks of soap operas have their work immensely projected due to this reach. In the beginning of the Brazilian soap opera, however, the opposite happened: renowned artists, such as Caetano Veloso and Chico Buarque, were invited to participate in the soundtrack of Véu de Noiva (1969) to boost the then-incipient Brazilian soap opera. They only participated as composers, however, their names gave prestige to the soap opera. The rise of the soap opera took place during the leaden years of the military dictatorship, which applied censorship to soap operas. The voices of Caetano Veloso and Chico Buarque will only be heard in the soundtracks of the late 1970s, in the context of the Amnesty Law. Since then, both have appeared recurrently on soundtracks, with great emphasis on Caetano, whose work has been featured in soap operas for 46 years and has perpetuating him as a popular artist. Currently, commercial pressures and media changes put pressure on Brazilian soap operas, however, their pattern seems to remain as it was in the beginning. |
| first_indexed | 2026-03-13T21:00:51Z |
| format | Online |
| id | ojs-article-18608 |
| institution | Universidade Estadual de Campinas |
| issn | 2316-7858 |
| language | por |
| last_indexed | 2026-03-18T21:01:07Z |
| publishDate | 2026 |
| publisher | Universidade Estadual de Campinas |
| record_format | ojs |
| spelling | ojs-article-186082026-03-18T14:16:21Z The soap opera and the songs of Caetano Veloso and Chico Buarque La telenovela y las canciones de Caetano Veloso y Chico Buarque A telenovela e as músicas de Caetano Veloso e de Chico Buarque Irigaray de Bem, Tiago Irigaray de Bem, Tiago Irigaray de Bem, Tiago Telenovela Caetano Veloso Chico Buarque Identidad Nacional Brasil Telenovela Caetano Veloso Chico Buarque Identidade Nacional Brasil Soap opera Caetano Veloso Chico Buarque National Identity Brazil Brazilian soap operas as they are today emerged in the late 1960s and early 1970s, in an attempt to adapt the Latin American soap opera model to the specific reality of Brazil. In this process, the “Globo standard” for soap operas was coined. With huge ratings and covering the entire extension of a continent-sized country that is Brazil, all regions, all social classes the Brazilian soap opera helps to build a national identity that is based on social inclusion through consumption. Currently, musicians who appear on the soundtracks of soap operas have their work immensely projected due to this reach. In the beginning of the Brazilian soap opera, however, the opposite happened: renowned artists, such as Caetano Veloso and Chico Buarque, were invited to participate in the soundtrack of Véu de Noiva (1969) to boost the then-incipient Brazilian soap opera. They only participated as composers, however, their names gave prestige to the soap opera. The rise of the soap opera took place during the leaden years of the military dictatorship, which applied censorship to soap operas. The voices of Caetano Veloso and Chico Buarque will only be heard in the soundtracks of the late 1970s, in the context of the Amnesty Law. Since then, both have appeared recurrently on soundtracks, with great emphasis on Caetano, whose work has been featured in soap operas for 46 years and has perpetuating him as a popular artist. Currently, commercial pressures and media changes put pressure on Brazilian soap operas, however, their pattern seems to remain as it was in the beginning. Las telenovelas brasileñas, tal como se estructuran actualmente, surgieron a finales de los años sesenta y principios de los setenta, en un intento de adaptar el modelo latinoamericano a la realidad específica de Brasil. En este proceso, se acuñó el "estándar Globo" de la telenovela. Con una enorme audiencia y abarcando toda la extensión del país continental que es Brasil, todas las regiones, todas las clases sociales, la telenovela brasileña comenzó a construir una identidad nacional basada en la inclusión social a través del consumo. Actualmente, los músicos cuyo trabajo aparece en las bandas sonoras de las telenovelas ven su trabajo enormemente promocionado debido a este alcance. Sin embargo, en los inicios de las telenovelas brasileñas, ocurrió lo contrario: artistas de renombre, como Caetano Veloso y Chico Buarque, fueron invitados a participar en la banda sonora de *Véu de Noiva* (1969) para impulsar el aún incipiente género de la telenovela brasileña. Participaron solo como compositores; sin embargo, sus nombres aportaron prestigio a la telenovela. El auge de las telenovelas se produjo durante los años más oscuros de la dictadura militar, que las censuró. Las voces de Caetano Veloso y Chico Buarque solo se escucharon en bandas sonoras a finales de la década de 1970, en el contexto de la Ley de Amnistía. Desde entonces, ambos han aparecido con frecuencia en bandas sonoras, destacando especialmente la de Caetano, cuyo trabajo fue celebrado en las telenovelas durante 46 años y perpetuó su estatus como artista popular. Actualmente, las presiones comerciales y los cambios en los medios están impactando las telenovelas brasileñas; sin embargo, su formato parece mantenerse prácticamente inalterado desde sus inicios. A telenovela brasileira tal como se constitui atualmente surgiu no final da década de 1960 e início da década de 1970, na tentativa de adaptar o modelo latino-americano de telenovela à realidade específica do Brasil. Nesse processo, foi cunhado o “padrão Globo” de telenovela. Com enorme audiência e abarcando toda a extensão do país de dimensão continental que é o Brasil, todas as regiões, todas as classes sociais, a telenovela brasileira passa a construir uma identidade nacional que se dá a partir da inclusão social através do consumo. Atualmente, músicos que constam nas trilhas sonoras das telenovelas têm sua obra imensamente projetada por tamanho alcance. No princípio da telenovela brasileira, contudo, acontecia o contrário: artistas renomados, como Caetano Veloso e Chico Buarque, foram convidados a participar da trilha sonora de Véu de Noiva (1969) para impulsionar a ainda incipiente telenovela brasileira. Eles participaram apenas como compositores, no entanto, seus nomes prestigiaram a telenovela. A ascensão da telenovela aconteceu durante os anos de chumbo da ditadura militar, que aplicava censura às telenovelas. As vozes de Caetano Veloso e de Chico Buarque só serão ouvidas nas trilhas sonoras do final da década de 1970, no contexto da Lei da Anistia. Desde então, ambos aparecem recorrentemente nas trilhas sonoras, com grande destaque para Caetano, tendo sua obra prestigiada pelas telenovelas há 46 anos e se perpetuando como artista popular. Atualmente, pressões comerciais e as mudanças de mídia pressionam a telenovela brasileira, contudo, seu padrão parece se manter tal como no princípio. Universidade Estadual de Campinas 2026-03-13 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Artigo avaliado pelos Pares Texto Text Texto application/pdf https://econtents.sbu.unicamp.br/inpec/index.php/muspop/article/view/18608 10.20396/muspop.v11i00.18608 Música Popular em Revista; Vol. 11 (2026): Publicação Contínua Música Popular em Revista; Vol. 11 (2026): Publicação Contínua Música Popular em Revista; v. 11 (2026): Publicação Contínua 2316-7858 por https://econtents.sbu.unicamp.br/inpec/index.php/muspop/article/view/18608/15227 Brazil; 20th Brasil; Siglo XX Brasil; Século XX Copyright (c) 2026 Tiago Irigaray de Bem https://creativecommons.org/licenses/by/4.0 |
| spellingShingle | Irigaray de Bem, Tiago Irigaray de Bem, Tiago Irigaray de Bem, Tiago Telenovela Caetano Veloso Chico Buarque Identidad Nacional Brasil Telenovela Caetano Veloso Chico Buarque Identidade Nacional Brasil Soap opera Caetano Veloso Chico Buarque National Identity Brazil The soap opera and the songs of Caetano Veloso and Chico Buarque |
| title | The soap opera and the songs of Caetano Veloso and Chico Buarque |
| title_full | The soap opera and the songs of Caetano Veloso and Chico Buarque |
| title_fullStr | The soap opera and the songs of Caetano Veloso and Chico Buarque |
| title_full_unstemmed | The soap opera and the songs of Caetano Veloso and Chico Buarque |
| title_short | The soap opera and the songs of Caetano Veloso and Chico Buarque |
| title_sort | soap opera and the songs of caetano veloso and chico buarque |
| topic | Telenovela Caetano Veloso Chico Buarque Identidad Nacional Brasil Telenovela Caetano Veloso Chico Buarque Identidade Nacional Brasil Soap opera Caetano Veloso Chico Buarque National Identity Brazil |
| url | https://econtents.sbu.unicamp.br/inpec/index.php/muspop/article/view/18608 |
| work_keys_str_mv | AT irigaraydebemtiago thesoapoperaandthesongsofcaetanovelosoandchicobuarque AT irigaraydebemtiago thesoapoperaandthesongsofcaetanovelosoandchicobuarque AT irigaraydebemtiago thesoapoperaandthesongsofcaetanovelosoandchicobuarque AT irigaraydebemtiago latelenovelaylascancionesdecaetanovelosoychicobuarque AT irigaraydebemtiago latelenovelaylascancionesdecaetanovelosoychicobuarque AT irigaraydebemtiago latelenovelaylascancionesdecaetanovelosoychicobuarque AT irigaraydebemtiago atelenovelaeasmusicasdecaetanovelosoedechicobuarque AT irigaraydebemtiago atelenovelaeasmusicasdecaetanovelosoedechicobuarque AT irigaraydebemtiago atelenovelaeasmusicasdecaetanovelosoedechicobuarque AT irigaraydebemtiago soapoperaandthesongsofcaetanovelosoandchicobuarque AT irigaraydebemtiago soapoperaandthesongsofcaetanovelosoandchicobuarque AT irigaraydebemtiago soapoperaandthesongsofcaetanovelosoandchicobuarque |
