Music Chapter 11

Front 1

what nation did samba originate from

Back 1

brazil

Front 2

when and where did tango originate

Back 2

Argentina - late 19th century

Front 3

what decade did samba enredo originate

Back 3

1930

Front 4

when and where did Andean folkloric music first originate

Back 4

buenos aires
-1950s

Front 5

ayllu

Back 5

native community, including family lineages, locations of residence and cultural practises

Front 6

clave

Back 6

fundamental rhythm of latin music, comes in 4 varieties and often played on claves

Front 7

what are the distinguishing features of samba

Back 7

1. polyrhythmic textures
call and response singing
percussive rhythmic patterns
improvisational elements
inscribe african musicultural lineage

Front 8

connection of samba with carnival

Back 8

samba music is played during carnaval, called samba enredo

Front 9

who were the musical pioneers and principle innovators of bossa nova

Back 9

antonio carlos jobim, vinicius de moraes, joao gilberto

Front 10

what elements from samba were adapted into bossa nova?

Back 10

percussion rhythms

Front 11

founding fathers of tropicalia

Back 11

caetano veloso and gilberto gil

Front 12

descibe musical cannabalism in 1960s

Back 12

encouraged the conflation of disparate influences, out of which could be created something unique

Front 13

what eclectic musical infulence came to bear in the early development of tango

Back 13

spanish flamenco and contradanse,
italian song traditions
central european polka
african derived rhythms
dance music styles from cuba

Front 14

who was the motion picture star whose on screen performance of tango launched a craze

Back 14

rudolph valentino

Front 15

describe the role music plays for andean communities

Back 15

1. seasonal observances
2. agricultural rituals
life cycle events
religious ceremonies

Front 16

describe interlocking parts technique used in paired panpap performance

Back 16

interlocking parts are called older and younger brothers. They are interdependant and alternate between yiya and arka players

Front 17

describe julujula panpite and how set is played

Back 17

two half instruments each played by a separate player
1.yiya
2. arka
play interlocking parts alternating between yiya and arka

Front 18

what are the instruments in the standard andean folkloric group

Back 18

kena
charango
guitar
bombo

Front 19

how and where has mariachi been used as a ational symbol to mexican communities worlwide

Back 19

mexicans, mexican americans, mexicans worlwide.
World cup matches, african american civil rights movement

Front 20

standard instruments of the mariachi

Back 20

1. trumpet
2. violin
3.vihuela
guitar
guitarron

Front 21

where are the roots of urban mariachi modern found

Back 21

rural traditions of the exican countryside especially of Jalisco

Front 22

early history of spanish colonization of cuba

Back 22

spanish settlers arrived in 1511
2. large sugar cane plantations established
3. brought over african slaves
4.

Front 23

what two types of traditional, neo african music developed in cuba were influential in the development of latin dance music

Back 23

santeria ritual drumming
2. Cuban rumba

Front 24

creolized dance music styles

Back 24

cuban hybrid music form blending african and european elements

Front 25

how did creolized dance become important symbols of the cuban national identity

Back 25

reflected a shift toward the notion that included whites blacks and mulattos all hacing a place. unified identity notion

Front 26

what is the instrumentation of the charanga ensemble that typically performed danzon music? how does it differ from later dance music ensembles

Back 26

1. wooden flute
2. 2 or more violins
3. piano
4. string bass
5. guiro
6. drums
7.shakers

later music, other instruments added like conga and cowbell

Front 27

which elements of afro cubanization were present in the danzon mambo?

Back 27

conga drums
syncopated ostinato figures
improvised flute solos
rhythm repetition

-influenced the latin dance music big band mambo and cha cha cha

Front 28

discuss the multicultural upbringing and eclectic musical background that shaped tito puentes identity

Back 28

born in newyork and of puerto rican descent.
1.traditional puerto rccan music
2.african cuban music
3.american song
4. african american jazz
5. big and swing
6.western art music

Front 29

describe the role of the palladium ballroom in teh development of latino music in the 1950s and 1960s

Back 29

reduce racial segregation
promoted latin music to other cultures