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| Quichua speaking Indians of Bolivian Andes |
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| “a K’antu” complete media? |
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| panpipes, triangle, bombo bass drum |
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| Full title means “So That We Can Return.” The piece is performed by a Bolivian ensemble. The k’antu type of panpipe music is ceremonial and played from the high plateau. The word itself might be derived from Spanish “canto.” |
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| “a K’antu” musical features? |
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| indigenous parallel harmony (cf. medieval European parallel organum), hocketing |
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| “Illuman Tiyu,” a Sanjuan culture? |
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| Quichua speaking Indians of Ecuadorean Andes |
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| “Illuman Tiyu,” a Sanjuan complete media? |
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| male voices, quena vertical notched flutes, guitar, violin, bombo bass drum |
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| “Illuman Tiyu,” a Sanjuan context? |
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| Means “man from Illuman.” This piece is written by Galo Maigua and is autobiographical. He’s a very popular composer, and his band Conjunto Illuman, is in demand. |
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| “Illuman Tiyu,” a Sanjuan musical features? |
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| pan-Andean style, with syncretic indigenous + European harmonic sequences (including lots of minor-relative major undulation), Quichua language with a little Spanish, quavery tremolo vocal/instrumental quality |
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| “Chant to [the Orisha] Elegua,” a Santeria neo-African piece culture? |
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| “Chant to [the Orisha] Elegua,” a Santeria neo-African piece complete media? |
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| female and male voices, 3 bata drums with attached bells |
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| “Chant to [the Orisha] Elegua,” a Santeria neo-African piece context? |
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| Elegua is the most important orisha in Santeria, the first created by Olodumare. The goal of Santeria music is to facilitate possession of some dancers by attracting the orisha to the party. When a person is possessed, they are taken into another room and dressed in the orisha’s clothes to embody them. |
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| “Chant to [the Orisha] Elegua,” a Santeria neo-African piece musical features? |
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| call/response, ostinato, fixed vs. free, polymetric, kaleidophonic, Iya Illu mother drum clearly audible as lowest drum sound and principal improviser, note song changes |
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| “El Tocoloro” a rumba culture? |
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| “El Tocoloro” a rumba complete media? |
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| male voices, palitos (sticks), congas, cajon (wooden box) |
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| “El Tocoloro” a rumba context? |
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| neo-African social dance. Rumba sounds very African because of an absence of any European melody/chord instruments and because of intense polyrhythms. These dances were cultivated by the Congolese slaves, however, as a party genre started in Cuba. It is not a retention of an African genre. |
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| “El Tocoloro” a rumba musical features? |
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| A+B form, call/response, ostinato, fixed vs. free in montuno (B) section, which begins at about 3:40, polymetric, kaleidophonic, highest drum (in this case) is the principal improviser; lead vocalist called sonero |
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| “Siboney,” a Cuban bolero in English translation culture? |
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| Worldwide “megahit” originally Cuban |
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| “Siboney,” a Cuban bolero in English translation complete media? |
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| Bing Crosby (world famous male voice), cabaret orchestra with winds and strings plus AfroCuban (bongos, maracas) and eclectic “Latin” percussion (Mexican marimba) |
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| “Siboney,” a Cuban bolero in English translation context? |
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| This is a popular dance music song. It’s in the bolero style of a slow dance sung in European bel canto style, with sentimental and romantic themes. |
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| “Siboney,” a Cuban bolero in English translation musical features? |
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| European harmonies and phrase structure, European cabaret popular style, voice in European operatically influenced vocal style, relatively simplified rhythms |
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| “El Manisero” (the Peanut Vendor) a son/pregon culture? |
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| Worldwide megahit (c. 1930), many adapted US pop/jazz versions |
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| “El Manisero”(the Peanut Vendor) a son/pregon complete media? |
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| Cuban cabaret orchestra, combining AfroCuban percussion with European melodic instruments |
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| “El Manisero” (the Peanut Vendor) a son/pregon context? |
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| Possibly the most famous Cuban composition ever, it’s been recorded over 160 times. It has the rhythm of a son (African + Spanish influence) and is classified as a pregon because the lyrics are a street seller’s cry. |
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| “El Manisero” (the Peanut Vendor) a son/pregon musical features? |
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| AfroCuban rhythms, call/response, improvisation, 2/3 clave, fixed accompaniment ostinato vs. freer solo voice and trumpet |
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| “Bemba Colora,” a son montuno sung by sonera Celia Cruz with Tito Puente Latin Orchestra culture? |
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| Afro-Cubans and Nuyoricans of New York |
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| “Bemba Colora,” a son montuno sung by sonera Celia Cruz with Tito Puente Latin Orchestra complete media? |
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| Latin/salsa band: female voice with male chorus with jazz band format + Latin percussion (congas, bongos, timbales, cowbell, maracas) |
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| “Bemba Colora,” a son montuno sung by sonera Celia Cruz with Tito Puente Latin Orchestra context? |
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| The title refers to “big red lips.” The chachacha got hip in the U.S. around the 1950s. Celia left Castro’s Cuba for the U.S. in 1960-61. This song has the same two-part structure of a normal son montuno, with a versed song followed by an extended call-response section led by the sonera. |
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| “Bemba Colora,” a son montuno sung by sonera Celia Cruz with Tito Puente Latin Orchestra musical features? |
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| call/response, ostinato, the entire piece is a montuno (related to B sections of rumba, guaracha-son, and salsa pieces), fixed vs. free, elaborate version of anticipated bass throughout, lead vocalist is sonera |
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| “Buscando America,” a salsa piece sung by sonero Ruben Blades culture? |
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| “Buscando America,” a salsa piece sung by sonero Ruben Blades complete media? |
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| salsa band, male vocal and chorus with jazz band format + Latin percussion (congoas, bongos, timbales, cowbell, maracas) |
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| “Buscando America,” a salsa piece sung by sonero Ruben Blades context? |
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| The title means “looking for America.” New York is salsa’s home, and private parties, weddings, etc., as well as street and club performances, are common. 90% of salsa songs are basically categorized as modernized Cuban son songs. Ruben Blades is the most important salsero, arguably. He has bridged cultures, recording in both Spanish and English, and writing powerful lyrics (i.e., not just “let’s dance!” which is also common). |
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| “Buscando America,” a salsa piece sung by sonero Ruben Blades musical features? |
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| jazz harmonies, call/response and ostinato in montuno section, fixed vs. free, anticipated bass beginning at 3:00 with piano solo and continuing through subsequent montuno; montuno section begins at 5:00, lead vocalist is sonero |
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