VeIoso, Caetano (EmanueI Viana

TeIes)
(b Santo Amaro, Bahia, Brazil, 7 Aug 1942). Brazilian songwriter and singer. After
early schooling in Santo Amaro he moved to Salvador, where he learned the guitar
and sang in local bars with his sister, Maria Bethnia. n 1963 he met Gilberto Gil,
Gal Costa and Tom Z, and together they organized musical shows, notably Ns,
por exemplo, directed by Veloso for the inauguration of the Vila Velha theatre in
1964. He entered the Federal University of Bahia, but left for Rio de Janeiro in
1965, the same year that his sister made the first recording of a song by him, de
manha. n 1967 his song Alegria, alegria brought him national attention when
presented at the third Msica Popular Brasiliera festival; challenging the prejudices
of the very modernity of Brazilian popular music, it also included an
accompaniment by the Argentine pop-rock group, the Beat Boys.
With the release of the album Tropiclia ou Panis et Circensis in 1968, he launched
the Tropiclia movement with Gil, Costa, Z, Torquato Neto and others, radically
rethinking the nature of contemporary Brazilian culture. n the same year, both
Veloso and Gil were placed under house arrest by the military government and a
few months later left for self-imposed exile in London. On his return to Brazil in
1972 Veloso produced his classic albums, Araa azul (1972), Jia and Qualquer
Coisa (both of 1975), Bicho (1977) and Cinema Transcendental (1979). During the
1970s and 80s he performed in Europe and the USA, establishing himself as an
international star, and in the 1980s and 90s cultivated a more eclectic idiom,
incorporating aspects of rock, funk and soul. His most significant albums during this
time were Cores, nomes (1982), Vel (1984), Totalmente demais (1987), O
estrangeiro (1989), Circulad (1991), Tropiclia 2 (with Gil, 1993), Pura estampa
(1995) and O quatrilho (with J. Morenlenbaum, 1996). n 1998 he was awarded an
honorary doctorate by the Federal University of Bahia, a recognition
unprecedented in Brazilian popular music.
BIBLIOGRAPHY
G.Bhague: 'Bossa and Bossas: Recent Changes in Brazilian Urban Popular
Music', EthM, xvii (1973), 20933
C.VeIoso: Alegria, alegria (Rio de Janeiro, 1977)
C.A.Perrone: Master of Contemporary Brazilian Song: MPB 19651985
(Austin, 1989)
H.Fonseca: Caetano, esse cara (Rio de Janeiro, 1993)
I.Lucchesiand G.Korff Dieguez: Caetano: Por que no? (Rio de Janeiro,
1993)
GERARD BHAGUE
VeIut, GiIet [Egidius]
(fl early 15th century). French composer. He was a petit vicaire at Cambrai
Cathedral from 1409 to 1411 (Kgle); in 1411 he travelled to Cyprus as a chaplain
in the retinue of Charlotte of Bourbon. t is unlikely that he can be identified with the
Egidius Flannel alias Lenfant who sang in the papal choir from 1420 to 1441. The
style of the eight compositions with manuscript attributions to Velut indicates that
they were written during the early years of the 15th century. Jusqu'au jour and
Laissis ester still show traces of the complex cross-rhythms and syncopations that
characterized much of French secular music at the end of the 14th century; his
rondeau, Je voel servir, however, with its playful use of hemiola, clearly directed
harmonies and frequent cadences, reveals an affinity to the chansons of the early
period of Du Fay. Despite these apparent differences, it has been proposed that
Velut's songs, notwithstanding his clear technical ability, are rather formulaic in
character.
Velut's two sacred motets exhibit a diversity of styles; Benedicta viscera/Ave mater
gratie/Ora pro nobis Deum alleluya is strictly isorhythmic in all voices and has
frequent passages of triadic hocketing, whereas Summe summy/Summa summy
displays a lyrical quality which approaches that of a song-motet. His three-voice
Gloria and Credo are both in a treble-dominated style, the texts being declaimed
syllabically. All of Velut's works survive in either GB-Ob Can.misc.213 or I-Bc Q15.
t has been tentatively suggested that Velut was the composer of all the secular
works in the Cyprus Manuscript (I-Tn J..9).
WORKS
Editions:Early Fifteenth-century Music, ed. G. Reaney, CMM, xi/2 (1959) [R]
mass movements
Gloria, 3vv, R 127
Credo, 3vv, R 132
motets
Benedicta viscera/Ave mater gratie/Ora pro nobis Deum alleluya, 4vv, R 137 (3vv in
GB-Ob Can.misc.213); ed. C. van den Borren, Polyphonia sacra: a Continental
Miscellany of the Fifteenth Century (Burnham, Bucks.,) 1932, 2/1963), 217
Summe summy/Summa summy, 4vv, R 145
secuIar works
Jusqu'au jour d'uy pour aprendre a parler, 3vv, R 125 (ballade)
Laissis ester vostres chans de liesse, 3vv, R 122 (ballade)
Un petit oyselet chantant, 3vv, R 119 (ballade)
Je voel servir plus c'onques mais, 3vv, R 118; ed. in Stainer, 194
BIBLIOGRAPHY
J,J.F.R.and C.Stainer: Dufay and his Contemporaries (London, 1898/R)
E.Dannemann: Die sptgotische Musiktradition in Frankreich und Burgund
vor dem Auftreten Dufays (Strasbourg, 1936), 27ff, 37f, 59f, 64, 77, 80ff
H.BesseIer: Bourdon und Fauxbourdon (Leipzig, 1950, rev. enlarged 2/1974
by P. Glke)
D.FaIIows: Dufay (London, 1982, 2/1987)
R.H.Hoppin: 'The Cypriot-French Repertory of the Manuscript Torino,
Biblioteca Nazionale, J..9', MD, xi (1957), 79125
K.KgIe: 'The Repertory of Manuscript Torino, Biblioteca Nazionale J..9, and
the French Tradition of the 14th and Early 15th Centuries', The Cypriot-French
Repertory of the Manuscript Torino J..9: Paphos 1992, 15181
D.Leech-WiIkinson: 'The Cyprus Songs', ibid., 395431
L.L.Perkins: 'The Rondeaux and Virelais of the Manuscript Torino J..9', ibid.,
43362