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97 Cards in this Set
- Front
- Back
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San Patricios
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St. Patrick, war between Irish immigrants, went to fight with Mexico. Name of Album with Linda Ronstadt, los tigre
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Juan Carillo
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furthered Shoenberg's scale, with 48 tones. song about Columbus arrival
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Ernesto Lecuona
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Cuban composer, focused on Spanish influence
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Cuban Music
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sanctification of Santeria. African religious practice and music. "Musica mulata"
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Cuban Religion
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Praising and worshiping of Orishas (Yoruba belief). Patron saint: "La virgen morena".
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Rumba
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secular Afro-Cuban music influenced by abaqua and Yoruba religious music. Use of tumbadora (conga drums). Incorporation of european instruments & clave instruments
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son
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popular dance music. Descended from Spain and has African influence (call and response, clave). Earliest Cuban son originated in eastern, rural Cuba. Rumba and all it’s added components come together in the son. Became the basis for salsa.
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Orishas
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deities of the Yoruba people. Were equated with Catholic saints.
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Yoruba
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West-African ethnic culture that was brought over and instilled in Cuba through slavery.
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Santeria
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n Cuba, religion of the Yoruba. Syncretic religion, similar to Candomble in Brazil. Fusion of Catholic saints with Yoruba deities.
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Chango
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equalized to Santa Barbara in the Santeria religion.
Perhaps the most popular Orisha; he is a Sky Father, god of thunder and lightning and is the center point of the religion as he represents the Oyo people of W. Africa. He is owner of the Bata (3 double-headed drums)-sacred. This is also the patron saint of Francisco Aguabella. |
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yemaya
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she is the ocean, motherhood and the protector of children. An orisha. The mother of all living things as well as the owner of all waters. Syncretized with Our Lady of Regla, aka the Virgin Mary.
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babalu aye
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spirit of illness and disease in the Orisha worship. Saint Lazarus and regarded as miraculous. Cubans worship him with music to pay back for his miracles.
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bata
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sacred drum in the cuban music of the religon. Santeria; a tonal drum that imitates the tonal Nigerian language of Yoruba people. Provide an interlocking pattern Hour glass shaped and there are 3 sizes for different pitches (so that it can be used to play melody) à to emulate tonal language, allows people to communicate with one another
Used in religious ceremonies to induce spirit possession. |
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call & response
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lead singer and coro interaction, typical of West African music. Fused into Cuban son
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toques/cantos
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Drum patterns/rhythms of the bata drums - chants/songs
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abakwa
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Had its own language
- Organization much like) - fraternal society/religious practice with its own ritual language which was located in Havana and Matanzas. Originated around border between Nigeria and Cameroon. the Masons in the U.S. |
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ireme
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the Cuban name for an Abakwa dancer
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Francisco Aguabella
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Percussionist, bata(sacred drums)drum player (batalero) and musical santero (priest of mestizo religion). Documentary, talks about religion in music. Spiritual possession. He is associated with both Santeria and the son ; “Rumbero” -rumba performer, he did religious then rumba music; his production of religious and secular music (son and rumba) make him an embodiment of the stages of Afro-Cuban music
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Rumba (2)
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derived from the son and Santeria religious music, secular music that emerged in the early 20th century that had similar music concepts as the religious music (had to change the drums from the sacred bata to the secular tumbadora) . Use of tumbadoras (conga drums). Incorporation of european instruments. Sometimes compared to blues in America. Influenced by abakwa and yoruba music; used clave instruments. Rumbero: rumba performer. rumba="musica mulatta". not the same as the "rhumba" in US which was more like commercial Cuban son.
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Tumbadora-
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rumba, secular afro-cuban vertical drum from african influence, had to change to this after bata
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Quinto
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smallest of the tumbadora drums, highest pitch (solo drum)
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Segunda
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the middle drum, "second" drum
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tumba
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largest of the drums, the "talking" drum (mimicked tonal language)
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Afrocubanismo
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classical music in Cuba inspired by rumba, etc. (early 20th century?) Movement in Cuba where musicians started drifting away from their strong Spanish influence and they were going back and embracing their African roots --> (reconstruction of African religious practice and music in Cuba); lots of drumming (no Spanish rhythms or lyrics)
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Son
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had a heavy influence on Salsa. in Cuba refers to music that becomes national style of music
instruments used: tres (cuban guitar-like instrument with 6 strings), bongos Early son instrumentation: tres, marimbula (makes a basslike sound), botija(aerophone instrument) bongos, maracas, and claves African concepts (call and response, complex drum rhythms) and the Spanish guitar |
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Bungas
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small rural folk musical groups (duo or trios) who moved from one sugar plantation to the other in search of work. Brought the identifiable son rhythm marked by syncopated anticipation to Havana. Comparable to Mexican cancioneros
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ma teodora
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ancient mythical chronicle. Written by Fuente Matons fiction. Speaks of instruments in the son creation but lost credibility due to the fact that some of the instruments it presents were not in existence in its time frame. An attempt at giving the first demonstration of the cuban son. Said that Santiago de Cuba was the birthplace of the son (not true). Ma teodora son.
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Septeto nacional
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a group that expanded the son. Europeanization of the son. Son was gaining international popularity. Included vocal harmonics of higher complexity, expansion of melodic range, and added more ornamentation through the utilization of the trumpet. The tres became more dominant. Incorporated a fixed steady rhythm in the patterns played by the bongos, creating less freedom for improvisation.
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son Conjunto
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(type of ensemble) involved the standard instruments (tres, bongos) plus piano and trumpets. Popularized son beyond cuba itself. Guajira and other sub-genres.
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inspiracion
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sung improvisations
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montuno
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solo section in which the tres, piano and trumpet players demonstrated their improv skills. Developed by Arsenio Rodriguez. [piano]
vehicles of self-expression, incorporation of own sentiments and philosophical perspective |
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Son Structure
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first part/verse is a solo melody sung by the lead singer, usually comprised of a max eight measures. Second part, called montuno or estribillo, demonstrated more vivacious character and exhibits a more sharply defined melody than the first part. Montuno/Estribillo does not encompass more than 4 meaures per phrase. 2/4 meter. Highly anticipated bass.
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clave
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two hard wooden sticks struck together; they provide repetitive rhythmic basis to the son ensemble. Its role is parallel with a specifically West African trait in basic instrumental practice. provides a rhythmic timeline ("I'm fine how are you" rhythm)
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guajeo
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son instrumentation; interlocking melodic and rhythmic ostinato patterns based on the clave patterns. A way of playing the violin to give it a percussive sound. (OR) A riff played by the strings in a charanga, or the tres in a conjunto; also repeated horn lines (Latin).
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tres
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Cuban guitar-like instrument. 6 to 9 string (but three pairs) acoustic stringed instrument. Strings are paired. Characteristic of much of the early son.
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verso/coro
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Call and response style. Leader Call, coro responded. Verse is sung by lead singer, coro is mostly instrumental and a group effort.
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son instrumentation
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early ensemble: tres, marimbula, botija, bongos, maraca, and claves. Later the trumpet, piano, conga drums, and a campana were added.
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Arsenio Rodriguez
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songs reflect protest and social change; emphasized African influence in Son, especially by developing the son montuno; also, created the mambo. “Naci en Africa”. Developed a structure of a son that is still used to this day. Development of verses and breaks, solo emphasis, use of conga, use of two trumpets. Sonero (singer of son) improvisation. First traveled to NYC in 1940s, worked with machito & Mario Bauza, Israel “Cachao” Lopez, Chano Pozo (drummer and composer). Conjuntos of Arsenio Rodriguez – tres reaches pinnacle import, expanded son sound to return to the African derived elements from rural areas but also continued trends of Europeanization – synthesis , added a campana, conga drum, second trumpet, and piano, incorporated the tumbao. Turned Blind at a young age when a horse kicked him in the face. Became an icon of the 1970s salsa scene. salsa scene, “king of salsa” 1970s
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"paso en tampa"
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son about Arsenio Rodridguez's adventure in America. The difficulty in not knowing English. Sung about the inequalities towards the Cubans. Contains a tres solo (montuno) composed by Rodriguez
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Congolese influences
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can be found in the religious rituals of Palo Monte sects
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Chano pozo
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Percussionist, singer, dancer and composer. Played huge role in the founding of Latin Jazz. Composed "Rumba en swing."
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Guajira
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refers to the music of the Cuban countryside, the structure text, and musical elements which derive primarily from Spanish musical tradition. Melody and texts of the guajira were adapted to the son instrumentation.
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Don Azpiazu
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Started using rumba in reference to the Son. NYC in the 30s. Listening: “El Manicero”; popularized Cuban music worldwide.
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Miguelito Valdes
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Babalu" (popularized by Desi Arnaz); refers to Babalu aye/ San Lazaro (one of the orishas). Sung in the group 'Casino de la playa.'
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Beny More
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Cuban singer, composer, band leader. Son genre with mambo rhythm. Starting to emulate jazz big bands in the US (Duke Ellington, etc.) Listening Example: “Bonito y Sabroso”. Emergence of big Cuban-style orchestra
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Perez Prado
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Mambo. Piano player and bandleader, from Cuba. Became Very Popular especially in Mexico and Hollywood. Listening “Cherry pink and apple blossom white”, heard in the "Prado" album (1955)
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Charanga
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Cuban instrumental dance music; experimental because of use of European instruments; associated with danzón; use of flutes and timbales (cuban development from tympani). use of violins is very important. Listening by Orquesta Aragon is an example of Charanga music. (NOTE: Charanga refers to the group: Charanga is a term given to traditional ensembles of Cuban dance music. They made Cuban dance music popular in the 1940s and their music consisted of heavily son-influenced material, performed on European instruments such as violin and flute by a Charanga orchestra.)
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Contradanza
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Afro-Cuban interpretation of the French contredanse; becomes danzón; European upper-class couple’s dance
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danzon
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Four-part Cuban piece; 1920s addition of montuno section; purely instrumental(no lyrics); Cuban, but popularized in Mexico. originally a European-descendant upper class dance music.
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timbales
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Based on the European timpani drum; high pitched with metal casing used in charanga music and later incorporated into son and salsa
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flute
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French instrument used in the contradanza and charanga
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Danzon form
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ABAC (four part form); instrumental; began integrating elements of the son
-Cuban, but also popularized in Mexico -intrinsically matched to the culture of dance |
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Arcano y sus Maravillas (leader: Antonio Arcano)
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wrote “Africa,” which is strictly notated, but opens up as the song progresses and choreography becomes more free; influenced development of mambo genre. increasing afro-cuban influence
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Nicolas Guillen
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African and European poet; basis of “Sensemaya”; Afrocubanismo; wrote poems Afro-Cuban slang / vernacular and wrote his poems in the very rhythm of the Cuban son itself; he was inspired by the son; wrote in the vernacular language. moved away from decima forms
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“Motivos del Son”
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Poem by Nicolás Guillen that emphasized melodic, rhythmic of the son
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Amadeo Roldan
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Composed European classical adaptations of the son and Afro-Cuban music; raised standards of Philharmonic Orchestra of Havana as conductor; contributed to development of professional musical life in Havana
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Alejandro Garcia Caturla
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Composed European classical adaptations of the son and Afro-Cuban music; wrote “Danza del Tambor,” part of Tres Danzas Cubanas; achievement in Cuban musical nationalism. His first works were written in a popular vein (bolero, cancion, danzones) and then turned to Afro-Cuban culture, ; assimilated Afro-Cuban folk music, wrote orchestral piece "La Rumba"
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Documentary on salsa
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Salsa as an American commercialization of the Cuban son. (marketing)
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Tito Puente
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Puerto Rican percussionist, Mambo and Latin jazz; “El que sabe sabe” One of the main salsa musicians. Plays timbales.
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Celia Cruz
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Cuban Queen of Salsa who lived in New Jersey; “Canto a Chango” and “Feliz Encuentro”; sang salsa songs about her homeland, Cuba
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Poncho Sanchez
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Mexican-American conga player, Latin jazz leader, and salsa singer
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Ruben Blades
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Panamanian salsa singer, songwriter, and Latin jazz and Afro-Cuban musician; also lawyer, actor, and politician; created the “thinking person’s dance music”; wrote “Pedro Navaja,” about a thug who dies during a robbery. Ran for President of Panama. Brought political aspect to salsa music. His lyrics are politically conscious. Started as a corista.
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Documentary on the Plena - title: "Plena: canto y trabajo"
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Purely Puerto Rican; told stories of all kinds, like crimes, etc.; upper class tried to repress this music; expressed political and social issues; arose at the beginning of the century in the sugar areas along the southern coast of the island; superseded danza, bomba, and musica jibara in popularity; “national music”; solid, steady bass percussion with a little improv; long call and response that increasingly becomes shorter and more intense
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“Alo, quien nama?”
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Plena standard by Mon Rivera about the strike of a seamstress against a factory owner
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Spanish American War (1898)
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Resulted in the annexation of Puerto Rico to the U.S. Triggered the ‘20s and ‘30s Puerto Rican migration to places like New York in search of work; automatic citizenship
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Migration to New York City
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Brought many musicians and artists to the City
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Mon Rivera
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singer and musician; master plenero; fast, humerous style; all trombone brass section to Afro-Puerto Rican orchestra music
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Bumbun Oppenheimer
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Early stage of plena; black Puerto Rican worker adopted from a German immigrant; became the first king of plena; created the style and many of the classics; used his cuarteros (young laborers) as his chorus (sometimes in a call and response pattern) in coplas and plenas and sang to the beat of ox and mule hooves while plowing; led first plena band and became first professional plenero; master of panderatas
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La Joya del Castillo
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Working-class Ponce neighborhood where Bumbun Oppenheimer is from; performed his latest compositions here for fellow pleneros and fans who gathered in the homes and storefronts; birthplace of Puerto Rican plena; artists shared compositions; destroyed when it was replaced with modern buildings
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Ponce
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region of Puerto Rico where La Joya del Castillo was located; known as the birthplace of the plena
main port of entry for "freed laborers" (especially as US and creole-owned sugar corporations blanketed the island with huge capitalist plantations) |
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El] Canario
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Salsa singer José Alberto from the Dominican Republic; moved to Puerto Rico at age seven with his family, then New York to sing with orchestras; started his own band; known for his voice and his whistling abilities
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Ismael Rivera
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Most popular Puerto Rican singer; salsero and master plenero; “Borinquen”; friends with Rafael Cortijo
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Rafael Cortijo
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Puerto Rican musician, orchestra leader, and composer; performed plena and bomba; master plenero
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pandereta
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Main instrument of plena; like tambourine without jingles; held frame drum
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three stages of plena
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Early stages (1900s-1926): Development of a distinct sound; Commercialization (1926-1950s): Emergence and consolidation, even among the cultural elite and Puerto Ricans living in New York, which was helped by onset of recording and radio; Back to “roots” (1950s–1960s): Mixing old with new, resulting in various stylistic innovations and return of plena to the streets
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Edwin Colon & Group
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“Aguinaldo” and “Carmencita”
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Plena instrumentation
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panderatas, conga drums (addition), guiro (scraper instrument), guitar-like instrument
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Bomba
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Puerto Rican folk dance music; more direct African instrumentation; root of the plena; dancers didn’t necessarily dance together, unlike the rumba
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bomba instrumentation
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Congas often replaced bongos, kuá (wooden instrument played with sticks), panderata sometimes added
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Victor Montanez examples
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Led El Safacón de la 102nd; “Bomba Calindé” (call and response, bomba drum, pandereta added)
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Musica jibara
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Music of the rural people, like “Aguinaldo”--comes from the word "jibaros," which was a name for the rural servants to elite classes; use of cuatro; décima lyric structure; poetic lyrics; no call and response, but still loosely African; associated with the following Puerto Rican dance music: seis, mapayé, and danza
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bomba musical structure
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Décima; no coro (call and response)
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cuatro
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guitar-like instrument used in musica jibara
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aguinaldo
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Jibaro music associated with Christmas
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decima
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octosyllabic ten-lined poetry; ABBAACCDDC
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Danza (Puerto Rican)
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not exactly like Cuban ver. It was composed from Western art music tradition. Has Cuban influence and European influence from contradanza
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Juan Gabriel
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Wrote “El México que se nos fue” (“The Mexico that Left Us), which represents the ranchera commitment to a lost, rural Mexico and the negative effects of globalization on Mexican society
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Maffesoli
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coined “new tribalism”
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New tribalism
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a postnational social group; a form of social organization that replaces associations, political parties, and other affiliations typical of modern life; emotionally-based; the domain of a tribe’s actions is not the territory demarcated by the geopolitical boundaries of the nation-state but a local geography; rockers are essentially members of a small subculture or counterculture that resists the processes of globalization by adhering to a local identity
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Carlos Monsivais
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Mexican journalist and writer; takes the use of English in rock songs as a sign of the inherent Americanization suffered by Mexico, as opposed to a mere awareness of the country in which Mexican rockers begin to sing
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Neoliberal capitalism
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Mexican government desired a capitalist economy so NAFTA was agreed upon which created free trade between Mexico and the US. This created a problem for working and agrarian population who could not survive in the new market; forced many to immigrate to the U.S. b/c of foreign owned industry in Mexico and a decrease of jobs. On the plus side created an interchange of the arts between Mexico and the U.S.
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resorte
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Rap/rock group who wrote “J.T.R.B.,” which discourages people from crossing the border to America because of basic economic needs and the like; their main idea in this song is that globalization makes Mexicans interconnected with other countries but does not remove the inequalities between the countries
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molotov
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a group that wrote “Frijolero,” (beaner) which describes crossing the border as a dangerous thing; examines political and social relations between the US and Mexico
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transculturation
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Defined by Spitta as a powerful concept for understanding border cultures; the consequence of cultural contact is the creation of a new culture, but sometimes borders are reinforced (representing a strong Mexican identity)
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multiple borders vs. multiple identities
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Identity not necessarily being associated with a certain regional location, but a mindset or emotional state
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Mr. PMosh
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Song by Plastilina Mosh (in Spanish except for chorus), who uses sexual imagery to represent the side of the border that addresses the romance that globalization represents for countries seeking a way out of poverty or underdevelopment; represents the cosmopolitanism that the processes of increased cultural communication makes possible and the increased contact between different people, but it doesn’t necessarily mean they’ll understand each other and that the hatred and fear will disappear
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