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| A characteristic Latin American pattern made up of a tresillo and two quarter notes. It can go tresillo first, or tresillo second. (3/2 or 2/3) |
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| A characteristic sort of Latin American triplet, this rhythmic figure consists of two dotted quarters and then an quarter note. |
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| A Cuban characteristic rhythm cell of quarter-eighth-quarter-eighth-quarter. |
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Meant to interlock with the clave.
Q EE /E/E Q Q EE /E |
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| An Afro-Latin possession religion with elements of Yoruba polytheism and folk Catholicism, syncretism between Orishas and saints |
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| A Haitian religion originating in French slave colony Saint-Domingue. They believe in a creator god called Bonye and other spirits called loa, with whom vodouists have personal relationship. |
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| The gods in Santeria/Yoruba. The pantheon of orishas include countless gods with different special jobs, like fertility or money. Popular ones include Elegua and Iansan. |
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| A form of praise poetry popular among Yoruba-speaking peoples. |
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| Hourglass-shaped drum (one cone larger than other) with bells around the head. Used for religious ceremonies like Santeria, but in the modern day have been used in secular folk music. |
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| Lead “talking drum” of Juju music, derived from traditional Yoruba percussion, later spreading influence to Latin American music and modern genres like reggae. |
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| A rhythmic dance with Spanish and African elements, originating in Cuba. It includes dancing, often a coy innuendo of graceful flirting between a male and female dancer. |
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| The call-response B section of a son montuno piece. Improvised lead part with repetitive vocal refrain and simplified harmonies. |
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| Can signify a) any piece using big band jazz/Latin instrumentation, arranging, and performance practice; and/or b) faster pieces drawn from the Cuban son and guaracha form |
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| A Puerto Rican living in the US, esp. in New York City. Salsa music became a huge deal in New York City. |
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| Trading the melody among many voices. |
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| Largest empire in pre-Columbus America. Capital in Cusco, Peru. Official language Quichua. They worshiped their king, child of the sun. |
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| the act or process or arranging persons into classes or social strata |
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| A variety of rhythms which are in some way unexpected which make an off-beat tune or piece of music. |
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| the process of cultural and psychological change that results following meeting between cultures |
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| a type of acculturation by things in common |
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| Often with fewer rights, these people are of mixed European and indigenous descent. This term was popular during Spanish reign of the American colonies. |
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| European, but not from Europe. |
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| African, but not from Africa. Santeria, rumba. |
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| spoken by 2.5 million people, syntax has undergone some grammatical simplification due to creolization |
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| A language that is adopted as a common language between speakers whose native languages are different |
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| performance practice was adding what’s not on the page, as far as elaborating on what the bare bones music |
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| The attribution of human characteristics or behavior to a god, animal, or objects (drums) |
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| An improvising lead singer in Latin American music. |
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