Paula Robison encore at one of her 92nd Street Y concerts, a dance for flute and pandeiro, a large tambourine traditional in Brazil. Silverman invited the percussionist Cyro Baptista to join her. The flutist Irna Priore, who was at the concert, told her that in Brazil there was a huge repertory for flute in the choro, a tradition of popular song originating in 19th century Rio de Janeiro. Cyro Baptista's wife provided recordings and tapes of music that was largely unknown in the US. Robison began to work on it with Baptista and other Brazilian musicians, who toured with her and eventually
Hello, Hello Brazil: Popular Music in the Making of Modern Brazil McCann makes note of the potential critiques about his research in the introduction about this research. The reader will note that McCann's analysis concentrates overwhelmingly on the music produced in Rio de Janeiro and not in other cities in Brazil. This is where he is able to discuss audience interpretation, and the primary audience is the metropolitan Brazilian. This is unavoidable: through the period, Rio was the bureaucratic and cultural capital of the nation, home to the principal recording studios and the most powerful radio stations. Review by Frederick Moehn in the "Latin American Music Review" 28 (2007): 309-315. Review