the colloquial dynamics. With a new generation of performers that emerged in the post-war period, the Brazilian music scene was taken over by emotional and painful samba-canção songs in the 1950s. This sub-genre was divided between a more traditional and a more modern generation. If in the first group there were composers such as Lupicínio Rodrigues and Herivelto Martins and interpreters such as Nelson Gonçalves, Dalva de Oliveira, Angela Maria, Jamelão, Cauby Peixoto and Elizeth Cardoso, the second group had as main exponents Dick Farney, Lúcio Alves, Tito Madi, Nora Ney, Dolores Duran, Maysa and Sylvia Telles, among others. The modern samba-canção was also part of a phase of Dorival Caymmi's career and the beginning of the musical work of Antonio Carlos Jobim, one of the great names of the new style of samba that would stylistically mark the genre and Brazilian music in the coming years. Bossa nova, the new revolution in samba The period between Juscelino Kubitschek's inauguration in 1956, until the political crisis in the João Goulart government that culminated in the 1964 Brazilian coup d'état, was characterized by great effervescence on the Brazilian music scene, especially in Rio de Janeiro. Although it lost its status as the country's capital after the inauguration of Brasília, the city maintained its position as a major cultural hub in the country and urban samba, whose transformations on the radio, the music industry, nightclubs and among the circles of university middle class youth resulted in bossa nova – a term by which a new style of rhythmic accompaniment and interpretation of samba spread from the South Zone of Rio de Janeiro became known. At a time when the appeal to the traditional was gaining new momentum, bossa nova would mark the entire structure of creation and listening supported by established genres, considering that it sought a renewal within the tradition of samba. Initially called "modern samba" by the Brazilian music critic, this new sub-genre was officially inaugurated with the composition "Chega de Saudade", by Antonio Carlos Jobim and Vinicius de Moraes, released in 1958 in two versions: one sung by Elizeth Cardoso and the other with the singer, songwriter, and guitarist João Gilberto. A Bahian-born living in Rio, Gilberto radically changed the way of interpreting samba until then, changing the harmonies with the introduction of unconventional guitar chords and revolutionizing the classic syncope of the genre with a unique rhythmic division.