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In this article I analyze the process of the legitimization of samba in Rio de Janeiro during the period between 1910 and 1930. During this time of the institutionalization of a popular artistic field, the actions of specific agents competed to symbolically demarcate what would later be considered a musical genre. Among these actions, I call attention specifically to the work of two diverse groups of intellectuals whose efforts were of great importance for the recognition and the introduction of samba in the cases of musical reproduction and appreciation in high culture. I seek also to understand the tensions which developed between certain agents linked to the nascent musical genre with respect to the advancement of the process of commodification of artistic production. As such I aim to illuminate one of the possible "levers" that contributed to the shaping of the Brazilian national popular ideology in the arts.
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