the paper is a reflexive exercise pushing the reader to make an historical analysis of some important transformations through which a generation of samba passed, principally in the first decades of the 20th century, during which there was great difficulty identifying differences between various rhythms of the period.

this is affirmed by donga, composer of 'pelo telefone', a samba landmark, in the face of 'accusations' that such music is not a samba but a maxixe - framed in this way, the 'genesis' of samba, from the 1920s, and more precisely at the end of this period, was marked by a scathing dispute between two different styles which each claimed for themselves the title of 'real samba'.