Abstract
In 1960s and 1970s, a group of journalists, collectors and critics of popular music from Rio de Janeiro began an interesting and intricate transition from the reports and writings in the press to the preparation of books. This group, at some point, felt the need to overcome the dispersed and fragmented prose of chronicles and memoirs, and wished to leave a less ephemeral and more solid written record of their experiences around popular music. This set of works conveyed a clear historiographical purpose, since it both aimed at giving continuity to the dispersed memoirs of a flourishing Carioca popular culture and seeking a meaning for and an interpretation of these musical traditions in the national culture. Still relatively unclassified and marginal in the wider national content, but gradually becoming an object of study and knowledge, popular music would certainly be granted intellectual authority by the book form. This itinerary from journalism to books accelerated, consolidated and finally became public policy. This transition was decisive for the construction of a sustained historiography around popular music and above all for providing the parameters of what the History of popular urban music in Brazil should be.
Keywords:
Historiography; Books; Popular MusiC
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