“Brazilian Music: Art Music Composers and the Artistry of Popular Musicians.” Studies in Latin American Popular Culture. Volume 10, 1991.

 [Excerpt]

Perrone’s translation of Veloso’s texts and those of the other writers represented displays an extraordinary reverence for the originals coupled with a delightful inventiveness, especially considering the profusion puns, alliterations, polysemea, and the performative aspects of the songs. Just one example, chosen from many, of the playful precision of the translations is the rendering of Gil’s “Refazenda” as “Refarmulating.” The skilful translations, however, simply underscore the regrettable absence of the originals.

[…]

David P. Appleby, in The Music of Brazil, has created a detailed and well researched survey of the development of a música erudita in Brazil, providing a historical framework for understanding some of the roots of contemporary music analysed by Campos and Perrone, and revealing various discernibly Brazilian versions of European art music traditions dating from colonial times. Working with admittedly fragmentary evidence, Appleby, utilizing the research of Behague, Rogério Duprat, Mario de Andrade, and others, attempts to piece together the story of música erudita as it evolved in various locales such as Bahia, Minas Gerais, Pernambuco, and Rio de Janeiro. (from p. 324)