and melody, which must comprise the poetic summary of the theme chosen by the samba school for its carnival parade. Samba-de-terreiro – or also samba de quadra – was a short-tempo samba modality, with the second most measured part that prepares the bateria for a more lively return to the beginning. Its format was also consolidated in the 1930s. Also from that time, samba-choro – at first called choro-canção or choro-cantado – was a syncopated hybrid sub-genre of samba with the instrumental music genre choro, but with medium tempo and presence of lyrics. Created by the Brazilian music industry, it was released, with all indications, with "Amor em excesso", by Gadé and Valfrido Silva, in 1932. One of the most popular sambas of this variant is "Carinhoso", by Pixinguinha, released as choro in 1917, received lyrics and ended up relaunched two decades later, in the voice of Orlando Silva, with great commercial success. In the following decade, Waldir Azevedo would popularize chorinho, a kind of fast-moving instrumental samba. Widespread during the Estado Novo, samba-exaltação was a sub-genre marked by the character of grandeur, expressed notably by the extensive melody, the lyrics with a patriotic-ufanist theme and by the lavish orchestral arrangement. Its great paradigm was "Aquarela do Brasil", by Ary Barroso. From the huge success of the first version recorded by Francisco Alves, in 1939, samba-exaltação started to be well cultivated by professional composers in the musical theater and in the music industry and radio media. Another well-known samba of this type was "Brasil Pandeiro", by Assis Valente, a huge hit with the vocal group Anjos do Inferno in 1941. At the turn of the 1940s, samba de breque emerged, a sub-genre marked by a markedly syncopated rhythm and sudden stops called breques (from English word break, Brazilian term for car brakes), to which the singer added spoken comments, generally humorous in character, alluding to the theme. The singer Moreira da Silva consolidated himself as the great name of this sub-genre. Samba-canção hegemony and influences of foreign music After the end of the World War II and the consequent growth in the production of consumer goods, radio sets spread in the Brazilian market in different models and at affordable prices to the different social class of the Brazilian population. Within this context, Brazilian radio broadcasting also went through a moment of change in language and audience that made radio an