to the topic disseminated a broad conceptual terminology, including denominations later enshrined in new sub-genres – such as samba-canção, samba-choro, samba-enredo, samba-exaltação, samba-de-terreiro, samba de breque -, as well as registered scores and released labels and album covers printed various nomenclatures for samba in an attempt to express a functional, rhythmic or thematic trend – such as "samba à moda baiana" (samba in the Bahian style), "samba-batucada", "samba-jongo", "samba-maxixe" -, although some sounded quite inconsistent – such as "samba à moda agrião" (samba in the watercress style), "samba epistolar" (epistolary samba) and "samba fonético" (phonetic samba). In other cases, it was music critics that imputed pejorative labels with a view to disapproving certain aesthetic changes or fashion trends – as in the disparagingly called sambalada and sambolero for stylistic nuances the samba-canção. Established in the radio era as one of the main sub-genres of samba, the samba-canção style emerged among professional musicians who played in the revues of Rio de Janeiro in the late 1920s and early 1930s. Although the term began to circulating in the press in 1929 to mistakenly designate "Jura", by Sinhô, and "Diz que me amas", by J. Machado, the starting point of the line was "Linda Flor (Ai, Ioiô)", a melody by Henrique Vogeler and lyrics by Luis Peixoto, released in the revue and on disc by singer Aracy Cortes. In general, the samba-canção was characterized as a slower tempo variant, with a dominance of the melodic line over the rhythmic marking that basically explores the subjectivity of subjectivity and feeling. As their releases took place outside the carnival season, the trend was linked to the so-called "mid-year samba". However, during the 1930s, the term samba-canção was used arbitrarily to designate many compositions contained under the name of "samba de meio de ano" ("mid-year samba"), but which did not fit as samba-canção themselves. On the other hand, many sambas at the time of their releases would later be recognized as samba-canção, as in the case of works by Noel Rosa and Ary Barroso. Not by chance, Zuza Homem de Mello and Jairo Severiano consider that this samba style was truly inaugurated with the second version of the song "No rancho fundo", with melody by Ary Barroso and lyrics by Lamartine Babo. Basically, Carnaval was reserved for the launch of marchinhas and sambas-enredo, a sub-genre typified in this way in the 1930s because of the lyrics