| use of harmony; parallel thirds; paired thirds; distinctive dance rhythms; rhythm guitar |
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| characteristics of latin american music |
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| famous brazilian type of band; performers are on their feet, moving ot the hyponotic, energetic beat |
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| the fusion of cultures that takes place when different ethnic groups meet |
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| name for the urban dwellers in latin america |
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| name for the mixed race in Latin America |
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| paired lines with pauses in between the lines; first line ends with an unsettled feeling, which the second line resolves |
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| brazilian dance song with strong national tie; simple duple syncopated dance now known in many rurual, urban, and ballroom types |
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| cuban dance type with strong national ties; highly suncopated simple duple rural dance, later known in a ballroom version |
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| argentinian dance style; slow urban couple dance with pronounced downbeats |
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| Afro-Cuban version of the European contradance; made famous in Bizet’s Carmen |
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| form of music when two meters are plaed simultaneously, creating polyrhythm; characteristic of the Colombian bambuco, the Cuban cueca, the Argentinian gato and malambo, and the Mexican jarabe |
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| particular successions of chords |
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| pairs of lines used in mexican lyrics; each line usually corresponds to a musical phrase of regular length with a pause between each line during which the instruments fill in |
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| generic term for folk band in mexico, has become mostly associated with popular bands of northern mexico and the southwest united states |
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| form of mexican folk band that originated in the ranches around guadalajara; wear traditional charro costumes; can now be found on mexico city street corners and everywhere else |
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| large mexican bass guitar used in mariachi bands |
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| mexican folk band from the veracruz region; known for its fast lively dances and songs such as the famous la bamba |
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| large celebrations where Son jarocho could be played; today more likely to be a festival of invited musical groups |
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| stamping, boot-tapping dances that go on until dawn; part of the fandango |
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| five-course guitar slightly smaller than the Spanish guitar; one of the core instruments of a jarocho ensemble |
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| small guitar; one of the core instruments of a jarocho ensemble |
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| diatonically tuned harp; core instrument to the jarocho ensemble |
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| popular mexican dance that moved from the salon to the popular bands of the region; very popular within mexican immigrant communities |
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| mexican bass guitar with six double courses tuned an octave lower than a traditonal spanish guitar |
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| groups that parade through the streets during lenten abstinence; compete for the recognition of judges, street revelers, and millions who watch the spectacle on television |
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| name for a samba band with a hundred or more percussionists |
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| brazillian stylized martial art dance |
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| brazillian musical bow tapped with a stick and equipped with a half-gourd resonator placed against the chest |
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| tall brazillian drum that joins the accompaniment to a capoiera |
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| brazillian double iron bell that cna be used to accompany the capioera |
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| band of brazillian street musician; play versions of popular dances |
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| brazillian samba songs that are more relaxed and refined verson of the samba dance |
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| “dark” samba of the poor African-American neighborhoods |
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| music clubs in Brazil that reintroduced African elements into their bands as a way to reestablish African traditions and an ethnic identity |
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| Musica popular brasileira or MPB |
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| type of music of the Brazilian popular songwriters |
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| term coined by Antonio Carlos Jobim and Joao Gilberto; means “new skill or knack” |
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| andean notch flute ; found in villages |
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| andean villager drum that accompanies the kena |
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| small andean guitar popular in many regions |
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| lively duple meter dance with a characteristic long-short-short rhythm, often plaed on a bomba |
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| style of combining the colombian cumbia, cuban percussion, nad north american rock with the local huayno |
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| an open wooden box that a drummer sits on and plays with his or her hands |
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