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Little group of three
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commonly found in carribean music
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Little group of 5
More complicated rhythm out of Tresillo and Cinquilo
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Fusion or blending of different racial or cultural music styles.
African words, spanish can change via the dialect via the african influence
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Thumb Piano- used as a base insturment
Wooden box with metal strips which are plucked by the player to produce different pitches
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Historical frames within which racial categories are created.
Ways societies are organized and experienced racially
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| European, African and Indigenous mixed |
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| a process in which an ethnic group takes something from one culture and ‘re-interprets’ with their own culture |
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| This is a process when one of a minority ethnic group where one foregoes their old culture and adapts to the practices of the dominant culture |
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| When one of minority ethnic group completely objects to the new culture of the dominant ethnic group and asserts their own to show unique identity. |
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* Wrote La Comparsa
Child Prodigy on Piano
* Hispano Cuban
* One of the first classically trained performers to work on afro cuban themes
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* Composition by Ernest Lecuona
* Street Processions in Havana
*About the struggles of Afro Cuban
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Yoruba for Jungle and lush place
Jazz fusion group, led by Chucho Valdes
* Reafricanizing Cuban Music, as a part of a racial project that attempted to situate this heritage more prominently
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* Led the Jazz Fusion group Irakere
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areito music-dance ceremony in Cuba, the Dominican Republic, and Puerto Rico involved the performance of chants in call-and-response style, accompanied by rattles of the maracas type, scrapers (güiro), and a hollow slit drum (known as a mayohuacán). Any possibility of musical continuity from pre-Columbian times into the colonial period in the Caribbean islands was lost with the rapid decimation of Indian populations caused by the spread of European diseases, the conditions of forced labour, intertribal wars, and mass suicide.
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island with current day haiti and dominican republic
Spanish colonized there
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a mandolin-like instrument with six pairs of
doubled strings
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6 double strings guitar
big belly
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string based music
incorporating sung poetry
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| Country music from Puerto Rican |
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type of seis
type of christmas carol
religious traditional songs in Dominican Republic
some are heard all year long
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“Christmas Assalts”
Singers move from house to house singing aguinaldos demanding food and drink before moving on to the next house
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Poetry found in ten line stanzas- Spanish derived musical heritage
Seis can be in décima form
Form: ABBAACCDDC
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* is the cuban term used to describe decima poetry in seis
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This is when two decima singers are dueling
Singers are called Repentistas
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| Local expressions and celebrations of the catholic faith; such as street processions- less orthadox |
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| Part of the triangular trading route where the slave ships sailed |
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| community based religious and social groups that perpetrated cultural traditions in the cities. |
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| Runaway slave communities |
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*A dance music traditionally played at parties
* Call and response form
* Drummer responds to the dancer
*Has the Buleador (Bass drum), maraca (for the pulse), Cua (Keeps the cinquillo beat), Seguidor (Soloist that keeps the beat)
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Small Afro-Puerto Rican town outside of San Juan
Had a variant of Bomba, performed during all seasons but especially during fiesta patronal of the apostle santiago
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| two sticks that execute the cinquillo pattern in bomba |
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| particular style of bomba, commonly heard in latin american and puerto rican pop music- performed in duple meter (played in class) |
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round frame drum similar to a tambourine
Seguidor- Low Range
Segundo- Middle range
Requinto- High range
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| Calabash scraper, keeps the 8th note pulse |
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Creolized folkloric pop music, first working class form of music to become popular among all social classes
Instrumentation: panderetas, guiro, cuatro and accordian
Call and Response
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Social activism musical group from New York, that teaches Plena and Bomba to entrench puerto rican culture
* Wrote Patria Boriquena
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Archaic old catholic tradition of singing to Mary
performed at velaciones which are devotional events in private homes or churches, or brief street processions
Lyrics are the most important part
brisk tempo with marked beat, call and response
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| African-Dominican groups that promoted musical traditions with african influence |
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haitian dominican religious system
involves the veneration of ancestor spirits, African deities, and indigenous
leaders of the past
posession of initiates by misterios
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| Small drum held between the knees also known as tamborita; during salve music |
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medium drum can be played horizontally on the ground using foot dampening and finger gliding techniques or upright
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Dictator in the Dominican Republic
*Inhibited the exchanged of music
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Region in the dominican republic that is known for its “whiter” populations
Merengue tipico surfaced here
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perico ripiao/merengue típico
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* Folkloric style derived from the working class
* Tambora, guira, button accordion, bass, and saxaphone
* Dominican Republic (Specifically Cibao region)
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scraper in merengue
Plays quick eighth note patters
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| double drum in salve and merengue from the dominican republic, dominant hand uses stick to strike side, weak hand strikes head of drum |
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| instrumental introduction |
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Strophic verse section
body of merengue song
follows the paseo
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| Call and response section of Merengue music |
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* wrote visa for a dream
*Merengue
*Highly regarded lyrics
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Written by Juan Luis Guerra
Highly regarded lyrics
ironic video
lyrics about immigration
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dieties of santeria believed to be kings, ancestors, etc.o
also a religion of yoruba where santeria comes from each oricha has specific powers and personalities linked to nature
they have a specific repretory of songs (cantos), toques (rhythms), and dance moves
approx. 24 main ones
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lead singer in santeria instrumentation
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lead oricha as the god of crossroads
all ceremonies of santeria start with opening up by his performance to allow for possession by the orichas
one of the three warrior gods
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oricha of santeria
one of the three warrior orichas
wounded oricha
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santeria oricha
oricha of the forest
hunter
one of the three warrior orichas
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richa of santeria
doctor oricha (of medicine)
in the tratados song (with the 3 warrior orichas)
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west african language commonly seen in creolized music like santeria
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Afro-Cuban religion derived from Orisha religion of the Yoruba and Fon (Nigeria and Benin)
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sacred drums of santeria, slowly became exposed to the public
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refers to beaded gourds of santeria music
“Secular” celebrations giving thanks to oricha(s), marking the initiation anniversary of a devotee, or other reasons/celebratory occasions
Instrumentation: lead singer (akpwon), a chorus, one or two conga drums, a metal bell, and three round-ish dried gourds (i.e. güiros or chéqueres) of different sizes (from smallest to largest, primero, segundo, caja)
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| chéqueres (primero, segundo, caja) |
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| instruments closely associated with Ochun |
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CD track 1
songs for orichas that develop through the performance
of course as always start general opener to all then with ellegua, go through the 3 warrior gods, then end with inle
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introduced in the Caribbean the 18th century and popularized across all social classes
žOriginally a line or circle dance
žCuban contradanza: AABB (binary form)
žMusic of the Cuban contradanza: incorporated the cinquillo, tresillo, and habanera rhythms in the melodies and accompaniment
instrumentation: violins, clarinet, cornet, trombone (eurpean)
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late 19th century – cuban
žRondo-like musical form: ABACA
žCouple dance
žCinquillo-variant (fig. 5.3, p. 6): underlying rhythmic pattern which include 4-note attacks alternating with the 5-note cinquillo pattern
now use charanga ensemble (not orquesta tipica)
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musical form of danzon – ABACA form
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cuban music
son clave pattern played by claves: short short long long long short short long long long
montuno pattern is ostinatto and repeats – syncopated to match clave
martillo pattern – bongo pattern to keep steady beat
bell, maracas, and anticipated bass pattern
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verse form of son marked by eurpoean harmonic progressions
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cyclic section of son marked by call response (African)
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| Conga drum- held between the knees |
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| Bongo drums or bongos are a Cuban percussion instrument consisting of a pair of single-headed, open-ended drums attached to each other. |
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hammer pattern
* Constant eighth notes/accented strokes on the smaller head of the drum on beats one and three of the 4/4 measure and on beat four of the larger head
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| smaller guitar instrument with 3 double strings usually tuned in triad |
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| are shallow single-headed drums with metal casing, invented in Cuba |
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| Two measure repeating pattern with two strokes on one side and one on the other |
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| “They’re from the hills” – Son from the hills of cuba |
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| genre of socially engaged song- closely linked to folkloric styles |
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| song talking about puerto rican annexation to the united states |
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anti-imperalist
wrote preciosa
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written by Rafael Hernandez
One of his best known works
tells the story of a poor farmer who travels to sell his produce but can’t because of the depression
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*The cost of life
*anti-capitalist undertones
*
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nueva cancion in cuba
also used to refer to musica jibaro
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| music of cuban youth who were affected by the cuban revolution |
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one of the most prominent artist in the movement of nueva trova
afro cuban- interested in incorperating traditional styles of music in his repetoire
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prominent figure in Nueva Trova
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| added electrified rock to nueva trova characterizes 60’s and 70’s |
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