Music Final

Agogó

- Agogo - essentially two cowbells o An agogô (Yoruba: agogo, meaning bell) is a single or a multiple bell now used throughout the world but with origins in traditional Yoruba music and also in the samba baterias (percussion ensembles). The agogô may be the oldest samba instrument and was based on West African Yoruba single or double bells. The agogô has the highest pitch of any of the bateria instruments.

Ayllu

Andean lineage group or kin-based community. o local communities centered on familial lineage, specific location, and cultural practice o ayllu means native community. The ayllu is defined by extended family lineages, particular locations of residence and ancestry, and unique cultural practices - including musical ones - that foster social solidarity and facilitate harmonious relationships with the natural world and the spirit realm. o Music is an essential component of ritual and daily life on all levels in the ayllu. Particular instruments, traditions, and styles of music have specific associations with seasonal obervances, agricultural rituals, life cycle events (birth, marriages, funerals, etc,) and religious ceremonies.

Bandonéon

Bandoneon- (similar to accordion - elaborate fingering layout that makes it difficult to play.) o played in Zum o The predominant tango instrument by the end of the 19th century was the bandoneon, a box shaped button accordion originally brought to Argentina from Germany.

Surdo

Bass drum in samba music?

Quechua, Aymara

Indigenous languages of the Andes regions and Spanish o Quechua was the language of the great empire of the Inca civilization during pre conquest times, to which many Andean peoples trace their ancestry. o Aymara has more than two million speakers today and is identified historically with the ancient Aymara civilization.

Jhaptal

Jhaptal: 10 beats o common hindustani tal o somewhere between a rhythmic cycle and a beat o (2 + 3 + 2 + 3)

o Abierto

Open conga stroke

o Estapao

Push stroke - not quite a slap

o Bajo

bass, tone

Carlos Santana

o (born 1947) o Born in Mexico. Played gigs in tiawana. Moved to San Diego? Fran? idk o Played at Woodstock and got famous there o Mixed latin and rock and roll aesthetic o Starts with congas o Pretty radical in 1969 and in 1970 Oye Como uva was much more popular. o his version was more popular that Tito Puente's. Tito got his royalties but still kind of a slap in the face.

Armonía

o Armonía section - harmony - guitars - vihuela - this and guitar have chords - Guitarron - 5 strings - plays bass line o The visual, guitar, and gutarron together constitute the armonia section of the ensemble, with the name armonia referencing the primarily harmonic (chordal accompaniment) function if this set of instruments.

Bongó

o Creol instrument. Group in Cuba first to ... - macho - high pitched - embra - low pitched o when playing bongo you play - sun clave --> 2/3 and 3/2 - Rhumba Clave --> 2/3 and 3/2. They play on some kind of log. o Bongos relate to what conga plays

Enrique Jorrin

o cha cha cha comes from mambo PL 11-37 La Engandora, Enrique Jorrin o Violinst and bandleader, took the music in another direction altogether beginning in 1950. o He made the first cha cha cha ever recorded. o there are singers in the cha cha cha. But it was not harmonized vocal textures and involved patterns of vocal calla nd response found in earlier cuban musics such as rumba and son. Here they were substituted for by simpler, mainly unison singing textures.

Pérez Prato

o mambo came from Cuba and became a thing in NYC o Mambo - PL 11-38 Mambo No. 5 Perez Prato o The musician commonly credited with the "invention" of the mambo (from a Congolese word meaning "chant") was the Cuba bandleader Perez Prado, who spent the majority of his career touring and recording in Mexico and elsewhere outside of Cuba. o He had the first international mambo hit.

Sam

o marks the beginning and end of each cycle (i.e. the first beat - but also the last) o The first beat of each cycle of a tala (which generally is also the last beat of the preceding cycle) is called sam.

Yambu

o slow rhythm o Small slow rhythm o old people dance it o Yambu - slow, dancing rhythm. older people. o Yamboo is a much slower, softer rhythm that demonstrates the subtlety and finesse of a male/female courtship dance.

Rag

o refers to melody o rag = broad formal structure for improvisation - really restricted o broad, formal structure for improvisation, slow to fast o has different parts: Alap, jor, Gat, Jhala o consist of melodic (rag) and rhythmic interplay (tal) o Soloist begins in free rhythm (alap) with the tambura, tabla joins at the gat when the tal rhythmic cycle is introduced. o A raga is a complete, self contained melodic system that defines parameters of melodic development in any piece using a given raga. o There are five features of ragas 1) An identifying set of pitches (ascending AND descending, microtones, etc) 2) A unique assortment of ornaments and melodic motives 3) A system of rules and ... 4) A répertoire of set compositions unique to that raga (same rules that guide the improvisation) 5) Extra - musical associations. Morning ragas etc. <-- question maybe. Know It is improvised, but tons of constraints o General format in raga performances: 1) Alap 2) Jor 3) Gat (chalan/ toda) 4) Jhala o gets faster over the whole piece Common set up: o Soloist (often sitar) o Tabla - accompaniment instrument. Sihai - that black dot that has weight and gives the drum pitch. o Tambura - 3-4 strings that plays drone o Raga: o made up of interrelated aspects o scale, motives, ornaments, extra musical associations: rags for different seasons/ different times of day. Very nuanced. o Rag is the melodic development of North Indian melodic motives. ------------------------------------- o Both Hindustani and Karnataka music build from highly complex and elaborate melodic systems called raga, employ systems of rhythm and meter known as tala, and deeply steeped in the spiritual and cultural traditions of hinduism. o Each raga has its own ascending and descending movement and those subtle touches and usage of microtones, and stresses on particular notes. o Ragas are precise melody forms o each raga is a complete and self contained melodic system that serves as the basis for all the melodic materials in any composition or performance created in that raga. o There are many different hindustani ragas. Each has a distinctive set of features. o Raga is an art of adornment, elaboration, virtuosity, and improvisations, and this applies as much to how the tabla player treats the tala as to how the sitar player treats the melody. o the idea of growth is applied not only to raga melody, but also to the music's rhythm, tempo, and dynamics, and even to the social relationships that a raga performance nurtures, whether between the performers themselves or between the musicians and their audience. o The raga is internalized not as some tangible music entity like a "piece of music" in the Western sense, but as a template for musical action that has been developed through many years of devoted study and practice. o Raga performances generally start with slow and abstract movement and become increasingly metrical and rhythmic as they accelerate to a very fast temped conclusion.

Yiya and Arka

yiya = leader. the four tube panpipe. Arka = follower. 3 tube panpipe. Everyone has something to contribute The total range of the yiya and the arka combined covers just over an octave.

• Son and • Rhumba

Son 3-2 x . . x . . x . . . x . x . . . Son 2-3 . . x . x . . . x . . x . . x . o Son Is Afro-Cuban dance music style that gained popularity from the 1920s onward, influencing related styles such as danzon, danzon mambo, and mambo, and prefiguring later developments like salsa and Latin jazz. Also historically important as a symbol of cuban nationalism. o Cuban son bands typically have the timbales, the conga drums, and the bongo drums. Rhumba 3-2 x . . x . . . x . . x . x . . . Rhumba 2-3 . . x . x . . . x . . x . . .x Difference: o the space between the 2nd and 3rd claps is slightly longer

o Secco

Slap

Nadia Boulanger

an influential French composer, conductor and music professor who taught many famous 20th century composers including Aaron Copland o 1877-1979 o Composition teacher in Paris o Over 600 famous composers studied with her, including Astor Piazzolla.

João Gilberto

o (1931 - 2019) o had effect on guitar playing o Guitar is very syncopated, never on beat in example o him with others was a musical pioneer of Bossa Nova. He was a singer and guitarist o They adapted rhythmic and other musical elements from the samba styles of the favelas and combined these influences with American jazz and popular music, as well as with choro and other styles from Brazil, to create a novel and cosmopolitan musical idiom. o The transformation of samba percussion rhythms into the Bossa nova guitar style developed by João Gilberto was especially ingenious. o João Gilberto cultivated a rhythmic approach to playing the guitar called batida.

Dizzy Gillespie

o 1947 o Major figure of Jazz o This kind of Jazzer's smalls grew IDK o Be Bop - happened in underground space during war o Dizzy was bored with it and trend to Latin American music? o Part of mixing different styles, Jazz, clave, layered ostinato, etc. o African American jazz musicians including trumpet great Dizzy Gillespie have made seminal contributions to shaping the history of this domain of latin music o Jazz improviser o The founded of bebop jazz o His combination of musicianship, showmanship, and wit made him a leading popularizer of the new music called bebop. o Bepop is a style of jazz characterized by a fast tempo, complex chord progressions with rapid chord changes and numerous changes of key, instrumental virtuosity, and improvisation based on a combination of harmonic structure, the use of scales and occasional references to the melody.

Tango

o A Latin American dance performed at a moderately slow, walk-like tempo in 4/4 meter o Evolving dance genre - elements of flamenco, polka, contradance, cuban dance music, etc o Locally derived from milonga music of the gaucho (cowboys) --------------------------------------- o Sensuous dance music style of Argentina (also Uruguay) that achieved great international popularity in the 1920s and 1930s and was developed and transformed in later years by the innovations of modern masters such as Astor Piazzolla. o Tango is a highly sensual form of dance and music from Argentina. It has been poetically described as "the vertical expression of the horizontal desire" on account of its often overtly sexual character. Tango emerged from the hard streets, bars, and brothels of the port district of Argentina's capital city, buenes aires, during the latter part of the 19th century. The portenos (people of the port) who worked the docks were a diverse lot, comprising europeans, people of African descent, and criollos (creoles) of mixed ancestry. Their varied ethnicities and heritages prefigured the wide ranging musical influences that characterized the early development of tango: Spanish flamenco and contradanse, Italian song, Central European polka, African derived rhythms, and dance music styles from Cuba. o On a more local level, rural music from the Argentine countryside, and most especially the milonga song tradition of the gaucho cowboys 911-20) became central to the emergent style of tango. The predominant tango instrument by the end of the 19th century was the bandoneon, a box shaped button accordion originally brought to Argentina from Germany.

Cha cha chá

o A cuban dance-music genre characterized by relatively simple dance rhythms and singing; originated with Enrique Jorrin around 1950 and eventually gained international popularity. In the hands of Tito Puente and other New York bandleaders, the cha cha cha took on a new musical identity, leading to the style heard on recordings like Puente's original version of "Oye Como Va" o A cuban dance music genre that emerged around 1950 in the Cuban capital of Havan before being developed and gaining wide popularity in North America, Europe, and elsewhere. o In a standard cha cha cha, the timbales player marks out a basic beat of steady quarter notes in a four beat meter on a small cowbell. Sometimes extra notes are added between the main cowbell beats to embellish the rhythm. The cowbell, guiro, and maracas together, then, create this rhyme texture. Another percussive layer of cha cha cha rhythm is furnished by the conga drums, with the signature, syncopated rhythmic pattern called tumbao. Tumbao is a rhythm that can be traced back to traditional rumba styles (and that also finds parallels in ritual bata drumming). An additional layer of rhythm furnished by a small pair of drums called the bongo may be incorporated as well. o Though the clave rhythm is often not actually played in cha cha cha performance, its presence is clearly implied by the tumbao rhythm of the conga drums.

PL 11-20, Milónga del Solitario

o Argentina o Tango is locally derived from milonga music of the gaucho (cowboys) o PL 11-20 (Milonga del solitario) o underpinning rhythm of the guitar which is kind of duple meter but grouped in three. o it has groove ------ o o On a more local level, rural music from the Argentine countryside, and most especially the milonga song tradition of the gaucho cowboys 911-20) became central to the emergent style of tango.

PL 8-17, Rag Shuddh Sarang

o Bansuri o

Bols

o Bols are a system of onomatopoeic syllables that represent drum sounds o Bols form the foundation for understanding hindustani rhythm. o central to the oral tradition o Each drumming tradition... o name of a hit on the tala o A bol is a mnemonic syllable. It is used in Indian music to define the tala, or rhythmic pattern, and is one of the most important parts of Indian rhythm. Bol is derived from the Hindi word bolna, which means "to speak." o In the tabla just as in the case of the mridingum and pakhawaj one who has learned the art of playing these drums is taught to recite what he is going to play. What is recited is said to be the bol. The recitation contains various consonant vowel sequences. It is expected that the actual rendering on the drum mimics the bol.

Pandeiro

o Brazilian frame drum o like a tambourine

Theka

o Every tal has a theka. o Theka refers to the characteristic pattern of drum syllables that corresponds to a specific tal. o the drum patterns used to articulate the tala. o name of a hit on the tala --------------------------------------- o Beats o The skeletal drum pattern that outlines the basic structure of the tala cycle is called the theka. o This pattern is rarely heard unembellished in actual performance, except to some extent when the tabla first enters. o After this, the drumming tends to become highly elaborate in its varied rhythmic exploits and improvisations, to the point that the skeletal theka is largely obscured (though it still continues to function implicitly as the rhythmic foundation for the piece.

PL 11-25, Sikuri de Despedida

o Buenes Aires o Creating Andean music to sell people o Disco is not traditional o Take musical concepts like Andean pan pipes and then like how can we sell this? o The dominant medium of representation for Andean music and culture on a global scale, however, and even within countries like Bolivia and Peru themselves, is only tangentially related to the actual lives and musical practices of indigenous people in ayllu communities. o The dominant medium is the domain of so called Andean folkloric music, which first developed not in the Andes but in the urban environs of Buenes Aires, which crystalized in the "folk" clubs of Paris in the 1950s before ultimately being reappropriated by Bolivians and other South Americans in connection with several nationalist movements that swept the continent beginning in the mid 1960s. o For most people in the world who live beyond the confines of isolated ayllu communities of the Andes, it is assumed that the carefully crafted sounds and associated idyllic images of folklorized Andean music such as that heard on 11-25 are authentic representations of the raw, realties thing - that this is the kind of music you would hear being played if you trekked to some remote, pristine ayllu way up in the Andes that had magically remained impervious to modern influences. The marketing strategies for such music ensure that these kinds of illusory assumptions are maintained to the greater extent possible, since the selling of "authenticity" is key. In contrast to tango or Bossa nova, which celebrate the modernist cosmopolitan spirit that pervades them, Andean folkloric music is essentially modern, cosmopolitan music disguised as an authentic expression of roots idigeneity. o The real roots of Andean folkloric examples such as 11-25 are to be found in 1940s Buenos Aires.

New Tango

o By the early 1900s, tango had eclipsed its lowbrow porteno origins and become an integral component of Buenes Aires popular culture. There was vocal resistance to the embrace of tango amongst the city's middle and upper classes, who regarded it as a potential corrupting influence - especially for youth - but this ultimately just proved to be fuel for tango's growing fire. The alluring apples of the dance and its music won out, and soon the tango was not only being danced and played through out buenes aires and in nearby cities such as Motevido (the capital of neighboring Uruguay), but was storming Europe.

Choro

o Choro - (Brazilian street style, PL 11-3, cristal - Brazilian nation genre) o used in Bossa nova

Rhumba Colombia

o Colombia is a very fast rhythm and dance showcasing male athleticism and bravado o la rumba - party- from Spain - referred to women of virtue. o Discriminated against la rumba so you could get arrested for playing at a rumba. o has 3 main rhythms? o Different conga strokes KNOW AND RELATE TO TABLA STROKES!!!!!!! Conga Strokes : Abierto Secco Bajo Estapao -------------------------- o The music of rumba also features a set of three drums - low, medium, and high pitched - played in a complex, polyrhythmic style. Rumba drummers today usually play the music on congas. o All of the rhythms in rumba music in a sense derive from a single rhythm called clave, which is played on an instrument, the claves, consisting of a pair of thick, round sticks that are struck together. o in traditional rumba performances, the percussion instruments (the three conga drums, the claves, and an additional wooden idiophone called palitos that usually plays an embellished version of the calve rhythm) accompany songs sung by a lead singer and a group of background singers (the Coro, or chorus). The singers interact with each other in call and response style.

Tabla • Daya • Baya • Sihai

o Common set up in North India is - The soloist: which can be lots of different instruments but is often the sitar. It is front and center and calling the shots. - The tabla is the next most important/. The sit silently for first half of song. o Tambura - in the back playing a drone. o Drum pattern o unusual to play standing up o A pair of tuned drums o Daya (lit. right) is the treble drum - The day is generally tuned to the drone pitch, or "sa" but can also be tuned to the 5th, or "pa" o Baya (lit. "left") is the bass drum o The tabla are the most common drums used in North India.; widespread usage dates around to the 18th century. o Sihai - the dots add weight to the hit which focuses the pitch. - Most common drums in North India. - hereditary drum makers that go back centuries - The language of the tabla is bols- do they represent drum sounds accurately o Musical role of the tabla o The tabla are used primarily for rhythmic accompaniment of vocal and instrument music o They used to just serve the singer buts its changed. Tabla is in all sorts of contexts now. o Tabla can also be used as a solo instrument --------------------------------------- o Rhythmic accompaniment instrument o a pair of single headed drums that are played by one player o The higher pitched, right hand drum, called the daya, has a tapering cylindrical shape and is made of thick wood. o The lower-pitched, left hand drum, the baya, has a kettle like shape and is usually made of metal. Both drums have goatskin heads. o To each is affixed a thick and prominent black "weight spot" that largely accounts for the distinctive sound and large range of timbres produced. o The leather straps that attach to the heads allow for tuning and allow for change in pitch.

Tampura (tambura)

o Common set up in North India is - The soloist: which can be lots of different instruments but is often the sitar. It is front and center and calling the shots. - The tabla is the next most important/. The sit silently for first half of song. o Tambura - in the back playing a drone. --------------------------------------- o drone instrument o although the sitar is capable of supplying its own drone tones, another instrument, the tambura, is dedicated specifically to droning and serves no other function. o When one thinks of the word drone, a single, monotonous tone being sounded incessantly comes to mind. The drone of the tambura, however, is something else altogether. It swirls and whirls around the fundamental pitch brining out different tones and overtones to create a wavelike timbral effect.

Sitar

o Common set up in North India is - The soloist: which can be lots of different instruments but is often the sitar. It is front and center and calling the shots. - The tabla is the next most important/. The sit silently for first half of song. o Tambura - in the back playing a drone. --------------------------------------- o plucked chordophone instrument o lead melodic instrument o long necked, plucked chordophone o It's resonating body (resonator) consists of a half gourd covered over by an artistically decorated wooden "face". o The long wooden neck is hollowed out in a way that allows the strings running across it to be pressed in and out with the dinners of the left hand. This "bending" of the strings facilitates the production of many different kinds of melodic ornamentation. o The frets can be moved which allows for pitch changes. The three different kinds of strings - melody, drone, and sympathetic - combined with certain other design features, account for the unique timbre of the sitar.

Jhala

o Follows gat directly. Often signaled by sudden increases in tempo o Continues to speed up to the end o This is the section where... o it has a jump in tempo and has most virtuosic improvisation --------------------------------------- o raga forms typically end with a Jhala. The commencement of the Jhala is usually signaled by a sudden upward jump in tempo and intensity. From here, the tempo continues to accelerate further and the musical energy intensifies progressively right through to the finish. o An almost percussive style of playing on the solo instrument is characteristic of the Jhala, and this is reinforced by motoric rhythms in the drumming part.

Alap

o Free rhythm o Improvised o slow, abstract movement o no tala or percussion o freely improvised to introduce and establish the raga o Range expands as new notes... o missed stuff o 10 -20 minutes maybe - depends on musician. One note introduced at a time sometimes. --------------------------------------- o with the tambura, the drone instrument, in the background, the soloist does a free improvisation known as alap, after which he starts the theme based on a rhythmic framework known as tala. o The "slow and abstract movement" portion of an instrumental raga performance is contained in its opening section, the alap. o The alap is improvised by the melodic soloist (e.g. the sitar player) with only a drone accompaniment. There is no drumming, no meter, no set compositions. Woven into the alap are successive passages in which each of the principal tones of the raga in introduced and deeply explored. o As the various individual pitches are introduced, the broader dimensions of the raga's overall musical organization begin to blossom. The rhythm becomes more and more animated and the melodic range expands and grows as the soloist explores the raga in various octave registers. o Hearing an alap is like going to see a play and being introduced to all of the characters before the play proper begins, in a way that gives a deep sense of who those characters are and how they will act and interact as the play unfolds.

Bossa Nova

o Higher class white people. Fuses with jazz. o Relatively calm o Elements of - Choro (Brazilian street style, PL 11-3, cristal - Brazilian nation genre) o Samba elements - guitar - jazz o The girl from Impanema - Batida guitar style (samba rhythms) --------------------------------------- o Brazilian genre that emerged in the late 1950s and achieved great popularity both in Brazil and internationally in the 1960s; combined elements of samba and jazz in a cool, laid back style o The elegant and intimate strains of Brazilian Bossa nova would appear to represent the antithesis of the boisterous exuberance of Rio carnival style samba, yet the two are related. o Bossa nova originated in the late 1950s in the predominantly middle class (and white) South zone of Rio de Janeiro. Though not far geographically from the poor (and predominantly black) favelas located in the hills overlooking the wealthier southern areas, the musicultural scene of the South zone that gave rise to Bossa nova was a world apart. o The musical pioneers of Bossa nova - composer and pianist Antonio Carlos (Tom) Jobim, lyricist Vinicius de moraes, and singer and guitarist Joao Gilberto - adapted rhythmic and other musical elements from the samba styles of the favelas and combined these influences with American jazz and popular music, as well as with choro and other styles from Brazil, to create a novel and cosmopolitan musical idiom. o Equally if not more influential on the Bossa nova aesthetic overall were the interrelated cool jazz and West coast jazz movements that emerged out of the United States (especially California) during this period. The influence was mutual.

PL 8-21, Rag Sindhi-Bhairavi* (May be used for two separate examples on the exam)

o Hindustani Raga o It is tintal - a rhythmic cycle of a6 beats. 0:00 - 0:26 o Explanation by Shankar. o He plays the ascending (aroha) and descending (avroha) pitches of the basic scale of Raga Sindhi Bhairavi. You can hear, even this "basic" rendition of the scale is quite complex. 0:27-4:23 Alap o The first two things we hear once the performance proper begins (at 0:27) are the drone of the tambura and a taraf, which is a sweeping, downward run (glissando) across the sitar's 13 sympathetic resonance strings... 4:24 - 4:52 moving to jor 4:53 - 5:51 Jor (bridge) o The arrival of the jor is marked by steady, driving rhythms played on the two top strings of the sitar (called the jahla strings), which serve a specifically rhythmic function. o The near perpetual rhythmic motion created between these rhythmic strings and the melody of Shankar's continuing improvisation effect a change in mood from the opening alap and anticipate the new rhythmic character of the gat section to follow. 5:52 - 7:03 Gat (entrance of tabla playing in Tintal - 16 beat cycle) o The beginning of the gat, or main composition section of the performance, is signaled by the entry of the tabla drums, played by Chatur Lal. Following a virtuosic introductory flourish of tabla drumming and then a second taraf glissando on the sitar, Shankar plays a series of seven melodic notes with tabla accompaniment before he and Lal land decisively (and momentarily pause) on an eight melody note at 5:58. This note marks the beginning of the piece's first 16 beat tintal cycle. The cycle continues through to 6:04, at which point a second tintal cycle begins (and so on). o Shankar engages in what might be considered as a call and response sitar dialogue with himself. o The principal melodic motive of the gat recurs over and over, and in between statements of that motive Shankar fills in with brief passages of improvisation. The melodic motive is called a chalan; the improvised passages are called toda. 7:04 - 9:22 Extended improvisation, not chalan - TODA framework o Starting at 7:04, Shankar moves away from the chalan- toda alternating format momentarily and presents a more extended improvisation over the continuing tabla accompaniment. He returns to the chalan- toda alternation at 7:25, instating a section inclusding some inventive sitar- tabla interplay. o The rhythm gets especially complex starting around 8:13, at which point Shankar shifts from duple to triple subdivision of the beat and is deftly followed in that rhythmic shift by Lal on the tabla. 9:23 - 11:25 New melodic material, return of chalan (second part of the Gat) o The new material introduced in the sitar part at 9:23 marks the beginning of a second section of the gat called the antara (between). o This is followed by a return to the earlier melody (chalan) just over a minute later, which we hear three times before Shankar takes off again with yet another improvisation. After that there is a brief reprise of the chalan melody, followed by a dramatic jump upward in tempo. This sudden tempo change marks the beginning of the final section of the gat, called drut gat at 11:26 11:26 - 12:35 Drutgat - faster tempo, more active drumming o Here new melodic material is introduced once again and the music sets off on a progressive race to the finish, with the increasingly long and virtuosic improvisational passage of the sitar matched by increasingly active drumming on the tabla. 12:36 - end Jhala, Tihai at end at 14:49 o Another jump in tempo and driving rhythms highlighting the Jhala strings of the sitar signal the commencement of this closing section of the performance o Once the new, fast tempo and high spirited energy of the jhala have been established, Shankar begins to spin out a series of improvised passages that escalate in rhythmic complexity. o A series of exciting tempo accelerations and continually growing intensity drive toward the climatic, closing tihai at 14:49 --------------------------------------- o the ravi recording: he could condense an hour song to 15 minutes - which is why he is playing the Alap fastish. There are a lot of terms in this that we are supposed to know and there is a good chance they will be brought up in this context so know them in this context. o The performers are Ravi Shankar on Sitar and Chatur Lal on tabla o This has achieved the status of a classic. o It provided many western listeners with their first experience of Indian classical music. o Raga Sinai-Bhairavi belongs to the Bhairavi family of ragas. Bhairavi ragas are morning ragas. o They are identified with the female form of Bhairavi. o Though classified as a morning raga, it is often performed at night, specifically as the closing raga of an Indian classical music concert that begins in the evening. Since such concerts are generally Long, extending beyond midnight, this is deemed appropriate . o It is further classified as a light classical or semi-classical raga, it is sometimes even described as having a folk like character. AS such, it is never the main, central raga of Indian classical music concerts. Its conventional placement at the end of such concerts has particular functional aims: with its relative simplicity and highly melodic character, it serves to clam and relax the audience and the performers alike after the intensity and excitement of the main raga that normally precedes it. o It is also presented as a form of penance, a musical statement asking forgiveness for any mistakes or moments of impropriety- musical, spiritual, or otherwise - that may have occurred during the concert. o in sum, then, it is generally thought of as a light raga of feminine character that is played to calm and appease. o BUTTTTTT in this performance, Ravi Shankar plays against type and offers a boldly different interpretation. o His Sinhi- Bhairavi is rhythmically intense and muscular- even aggressive at times- and many things about this performance, from the bravura of Shankar's display of technical virtuosity to the melodic ornaments he employs, have the effect of transforming this oft-performed raga into something quite different than it usually is. o Shankar comes very close to passing the line of propriety here. o Why the arguably excessive exuberance? perhaps it stems from Shankar's attempt on this recording to make a strong impression on Western listeners new to Indian music. Or maybe it is a spirit for striking a balance between traditionalism and innovation that defined Shankar's life and musical career on so many levels.

Gharana

o Indian system of master-pupil teaching o Like jeli o Musical families/ lineages (not strictly hereditary ) - Each has a different style/ approach to playing a repetoire - most claim lineage to Tansen (or tyagaraja in the south) o Oral tradition- note by note - here is how you play o Lineages. musical families. Who you studied with. Tansen is major figure. Swami taught him who performed only for Gods or something like that. o Hierarchy: how does it work historically in Indian society? teacher is also at higher status than the student. Mirrors hierarchy. In Indian social life there was the caste system which is hereditary social status. The caste system is not allowed anymore but it still manifests in Gharana. o The instruments have a hierarchy too: 1) soloist (sitar) (tabla) 2) Tabla (starting to become a solo instrument) 3) tempura --------------------------------------- o The Gharana is the principal social institution through which knowledge of raga is disseminated and legacies of raga performance from musician to musician and generation to generation.

PL 11-45, Oye Como Va (Tito Puente)*

o Interesting time when Tito released this song. it was when the US and Cuba had missiles pointed at each other. Cold War context. o Sort of in one section o Simple ostinato - cha cha cha o Form of Oye Como Va, pg 262 0:00 - 0:45 Introduction - instrumental with cha cha cha rhythm - unison riff at 0:38 0:46 - 1:04 singing - half of unison riff <-- only time with no cha cha cha 01:05 - 1:55 Mambo section - layering saxophone, trombone, and trumpet melodies - adding one melodic instrument at a time - Big Band mambo 1:56 - 2:18 singing 2:19 - 3:13 Second mambo section 3:14 - end Encore mambo -ostinato form - 8 beat phrase that goes over and over again and we add to it o Identity of Oy Como Va? o Geographic - comes from everywhere. Tito is from New York. It got famous in NY. But he is Puerto Rican. o Musically - It is a cuban piece - cha cha cha comes from mambo PL 11-37 La Engandora, Enrique Jorrin - Tito Puente himself insisted throughout his life that his musical identity was principally Cuban rather than Puerto Rican or American. o Each of these recordings tells its own tale of the form and substance of pan- Latino cultural identity at a particular historical junction. Each also reflects on a broader musicultural history of interrelationships between the US, Puerto Rico, and Cuba. o Indeed, the clave rhythm, of which there are actually 4 variants, is the basis of virtually all forms of Latin dance music, including cha cha cha tunes like "Oye Como Va". o The historical importance of the danzon-mambo is twofold, since its influence fed directly into the two most successful and influential Latin dance music phenomena of the early 1950s, big band mambo and cha cha cha. These two genres, in turn, would coalesce in the original Tito Puente version of "Oye Como Va" o Essentially a cha cha cha with big band mambo instrumentation, textures, and stylistics elements. Comparing it to the more traditionally cuban cha cha cha style of PL 11-37, one discovers both similarities and differences. While the basic groove and feel of the conventional cha cha cha dance rhythm are present in both, the tempo of "Oye Como Va" is considerably faster, giving it an edge and intensity that contrasts with the more relaxed feel of the other song. o Additionally, the organ and bass riffs of "Oye Como Va" that swirl around the foundational cha cha cha percussion groove (which is first introduced by clicked sticks and handclaps and is then reidforced by the full complement of timbales, congas, and guiro from 0:15 on) offer the Puente performance a deliciously funky and syncopated rhythmic flair, generating a kind of swagger. o Oye Como Va comes off as a bit more hard nosed an gritty, an effect al least partially attributable to its minor key o At 0:15, the entrance of a big band style horn section (saxophones, trumpets, and trombones) along with the full Latin percussion section puts the instrumentation squarely in the camp of big band mambo. The improvised, solo playing of the flute, however, forms a clear link to the charango instrumentation of Cuban style cha cha cha. o Reminiscent of traditional cha cha cha, too, is the sining in "Oye Como Va" which features a group of male vocalists who are also the instrumentalists in the band (as opposed to designated singers) singing a short and simple tune with a single line Spanish text in which a macho protagonist boasts about the potency of his "groove" to a mulatta dancer. o At 0:38, just before the singing begins, the entire band joins together in the playing of a syncopated, unison figure that is highly compelling. o Following a partial return of the signature unison figure at 1:01, the band launches into the first of two instrumental mambo sections - that is, mambo sections se to a cha cha cha rhythmic groove - beginning at 1:05. o Layered riffs (ostiantos) in the horn section grow progressively on top of a continuing cha cha cha groove in the rhythm section. o The saxophones start things off, repeating their riff over and over from 1:05 forward. Next come the trombones at 1:20 and then the trumpet riff at 1:36. Occasional vocal interjections like "uh-huh," along with a whistle or two and sporadic moments of flute improvisation, are thrown into the mic as well. o Following a partial return of the signature unison figure, a second singing of the "Oye Como Va" tune, and an exciting crescendo that builds through the whole band, the second mambo section arrives at 2:19. In this mambo, the saxophone, trombone, and trumpet riffs are more syncopated and complex than in the first mambo. The flute soloing is more animated here, too, and sporadic singing, vocal shouts, and whistling create a party like atmosphere. o Then, like a precision knife cutting through thick brush, the signature unison figure returns at 3:07 to close out the section. Then you thinks its over, then Tito kicks it up one last time for an encore mambo at 3:26, then finish up for real with a final statement of the signature unison.

Mughal Courts

o Islam in North India because of the Mughal courts o invaders that came in and established islamic courts in North India o Especially influential on Hindustani music and culture were the Muslim, Turko-Persian Mughals, who ruled over mlch of northern India from 1526 to 1857.

Gat

o Main section signaled bu the entry of the drums, tala. o composed melodies (chalan) are introduced o These serve as points of departure for improvised... o Chalan is composed melodies and toda is improvised interludes. as gat continues, improvisations get longer o Gat is where the composition comes in with the rules of rag and stuff. --------------------------------------- o The entry of drums (usually tabla) signals the beginning of the gat. This drumming establishes the tala, which serves as the foundational metric cycle for the music henceforth. o The gat is also the section of the form in which the raga's main, composed melody is introduced. This melody serves as the principal point of departure for various improvised passages, melodic and rhythmic variations, and new melodies. o with the commencement of the gat, a raga performance becomes a brilliant display of musical/ social interaction. The sitar player may be the "soloist" and the tabla player the "accompanist", but these labels are frequently eclipsed by the sense of equal partnership that is achieved in their musical dialogue. As the gat unfolds, the from part may move fluidly between accompanying the solo instrument in some parts, engaging in dialogue with it in others, and playing complex rhythmic unison passages together with it in still others. o The gat combines both composed and improvised passages and includes multiple subsections. o As the gat moves forward, two general patterns emerge: first, there is a gradual increase in tempo; second, patterns and sections become longer and increasingly complex.

PL 11-65, Oye Como Va (Tito Puente Jr.)*

o Remix of 1995 release o Sample of both Tito sr. and Santana versions o Creates a funk/ techno dance piece o eclectically (and electrically) contemporary and solid grounded in the Latin dance music of Puente sr. oPuente Jr. identified the style of this music as Latin Dance (not to be confused with the generic label "Latin dance music" used elsewhere in this chapter). Latin Dance is essentially a hybrid of diverse contemporary music styles - pop, rock, hiphop, techno, latino pop- "laced with influences of Mambo, cha cha and [Dominican] meringue". o La India, one of the two Latin female vocalists of the post Celia Cruz era, performed on this Remix of Jr.s original version. o In Tito Puente Jr.'s "Oye Como Va", the traditional cha cha cha rhythmic groove and many other features of both the original Tito Puente and Santan recordings are present. They undergo various types of transformations in this novel, Latin Dance musical context, however. For example. there are instances where synthesized or digitally sampled reconfigurations of the sounds of traditional Latin percussion instruments, a mambo horn section, and even a Hammond B-3 organ (sampled directly from Santana's "Oye Como Va" recording) replace the original instruments. o On the rhythmic level, a relatively conventional cha cha cha groove established at the beginning (0:07) is first embellished by the simple addition of off beats, "played" on electronic hi-hat cymbals beginning at 0:15. But from 1:12 on, the basic cha cha cha feel, while never disappearing entirely is subjected to a variety of rhythmic and timbral transformations that move the music in a progressively more funky and techno-influenced direction. o A new melody that provides an interesting counterpoint to the main "Oye Como Va" tune is introduced by La India at 1:25 and becomes a central feature of the arrangement henceforth. Many of the horn riffs from the original Titio Puente version are incorporated as well, but mainly in the form of digitally synthesized tones that give the music a very different character. Topping everything off is some brilliant timbales soloing that features both the elder and the younger Tito Puente playing together and trading licks. The dueling timbales increasingly become the driving fore of the music from 3:51 to the end, only to be subverted by a surprise cut to a sample from a classic Tito Puente (Sr.) recording that itself stops abruptly to end the track. Introduction 0:00 - 0:06 o Begins with the standard "Oye" organ riff, this time in the form of a heavily processed digital sample of the Hammond B-3 organ from the Santana recording (different key) SINGING OF MAIN TUNE, FIRST TIME 0:07-0:24 o Standard singing style (unison/harmonized texture; male singers); electronically enhanced cha cha cha groove (especially from 0:15 o Electronically processed guiro timbre, along with other digitally sampled and synthesized latin percussion sounds o Partial statement of "Oye" signature unison figure at 0:22. FIRST MAMBO SECTION (MAMBO 1) 0:25-0:49 o Melodic material based on horn riffs from Tito Puente's original version (sometimes including bluesy embellishments), but with simpler, shorter riffs and use of synthesizer timbres in place of actual horns. o Section concludes with partial statement of signature unison rhythmic figure followed by call and response vocal exclamation "Everybody say WHOA-paaa!" SINGING OF MAIN TUNE, SECOND TIME 0:50-1:11 o Off beat electronic hi-hat cymbal rhythm (like that heard earlier, at 0:15) fortifies the cha cha cha groove; some solo timbales improvisation interspersed. o return of signature unison figure (complete at 1:05. FUNK/CHA CHA CHA SECTION 1:12 - 2:24 o CHa cha cha groove radically transformed by funky, electronic percussion/ bass groove. o New melody introduced by female vocalist, La India, at 1:25 becomes counter melody to the main "Oye" tune. o Main "Oye" tune sung again as heavy funk/ cha cha cha groove continues at 1:41; syncopated interjections by La India between phrases. o From 1:55, mambo like riffs from synthesized "horns," group of male singers; La India continues. 2:25-3:50 o Contrast provided by introduction of new "bass" synthesizer ostinato, then heavy, steady beat bass drum pattern under a return of the main sung tune (at 2:32); texture changes again at 2:40, leading to a partial reprise of the signature unison figure, then more adapted materials from the Puente Sr. and Santana versions leading to the timbales feature section to follow. 3:51 - end o Improvised timbales soloing (Tito Puente and Tito Puente Jr. together) adds energy and excitement as the music builds toward the close. o Surprise ending (4:58) with a sudden cut to a sample from a classic Tito Puente (sr.) recording, which then ends the track abruptly mid stream. XF

PL 11-29, Cielito Lindo

o Mariachi - Mexico o in some forms of mariachi, ensembles of smaller size are employed. A case in point is out recording of "Cielito Lindo", which was performed by a popular mariachi group from Mexico called mariachi sol. We return to that recording now for a closer listen o Tradition mexica verse-chorus song that was reportedly composed in 1882. It has been performed and recorded in many different styles and settings and is probably the most well known Mexican song ever written o When played by mariachi groups, it most commonly takes the form of the version heard here, with a medium tempo and triple meter waltz style rhythm. o Intepreters of a historical bent have suggested that these lyrics reference armed bandits and drug runners of the 1600s who lived in these mountains. Romantics hear in these words a plainer message of adoration for the heaven sent, virginal, black eyed beauty that is the serenaders muse. o The instrumentation used by the mariachi sol on this track consists of a single trumpet, vihuela, guitar, and guitarron, plus a lead male vocalist and a male chorus. There are no violins.

PL 11-22, Zum

o Modern tango o Astor Piazolla (1921 - 1992) - modernized tango, from Italy, made Bandoneon famous (similar to accordion - elaborate fingering layout that makes it difficult to play.) o He emphasizes tango rhythm. So you get traditional feel coming out of new abstract texture.

Swami Haridas (1512 - ?)

o Most classical musicians in Northern India will trace their lineage based on their teachers o Swami is a composer/ musician/ mystical figure o Something like he was a God and he would only teach Tansen which is why Tansen is so amazing.

Tito Puente

o New Yorker o The king of latin music o king of timbales, king of salsa music, king of latin jazz. o He is a musician whose artistry and persona essentially define the musical tradition with which he is identified

Hindustani

o North India o implies strong hindu aspect, but north has more Islam influence and south has more hindu o North heard in Pakistan o Influenced by the Mughal courts o We look at Hindustani raga tradition - through Ravi Shankar piece kind of. o The hindustani tradition is the better known of the two outside of the Indian subcontinent, partly because of the global stature of Ravi Shankar and partly because of immigration patterns. ------------------------------------- o Common instrumental trio is Sitar, tambura (hindustani), and tabla

Anoushka Shankar

o One of Ravi's daughters o She is continuing his Maihar legacy as a sitarist

Oral transmission

o Oral tradition- note by note - here is how you play o this is how the Gharana teach. It is through transmission which is why people can trace their lineages. o Hierarchy is emphasized in how they are sitting. Often times master won't teach them right of way. Master might make them clean the house or do other obscure things. You have to become indebted to show your commitment to the task. o tal is orally transmitted o related to teaching circumstance. Taught one phrase at a time between one student and one teacher and you have to show you are devoted.

Sarod

o PL 8-15 o One of the major solo instruments. Press left hand nails into string. o a plucked chordophone

Violin

o PL 8-16 o particularly in South. Played differently so they can play ornaments. Instruments traveling and taking on new purposes/ o violin associated with the south --------------------------------------- o was adopted as an Indian concert instrument long ago and is prized for the voice like quality of its tone.

Shahnai

o PL 8-18 o Aerophone that uses a reed - double reed. Nasally sound quality. o The beginning part is a string instrument then the Shanghai comes in??? tempura playing in back. --------------------------------------- o Obo like

Sarangi

o PL 8-19 o Mainly strings bowed. but played on cuticle. Lower in hierarchy of classic instruments. Only recently has it become a solo instrument. --------------------------------------- o Bowed chordophone

Carnaval

o Pre - lent celebration o lots of samba music here. In Carnaval in Rio. o For the five days preceding Ash Wednesday, which marks the commencement of the lenten season (lent) in the catholic cycle of rituals, Rio essentially shuts down for Carnaval. The city's Carnaval celebration vies for the title of world's largest street party. o Millions of Brazilian participate actively in the festivities, joined by thousands of tourists who descend upon the city upon the event every year. o The highlight of the Carnaval is the samba parade. The gargantuan "samba schools" that compete for glory in the parade showcase elaborate themed floats and costumes, dancing, dramatic presentations, massive choruses singing songs composed especially for the occasion in call and response (the lyrics of the songs reflect the annual Carnaval theme, e.g., Brazilian folklore, racial equality), and propulsive rhythms furnished by ensembles highlighting the talents of hundreds, and in some cases over a thousand drummers. o An example of this dramatic and uplifting style of music, performed by a leading escolar de samba from Rio called Mocidade and featuring the famous samba singer Bruno Ribas, may be heard on PL 11-1.

Maihar gharana

o Ravi Shankar, Anoushka Shankar (Ravi's daughter), etc. o Ravi controversially taught a lot of US people o This is Ravi's musical lineage o Shankar was musically discipled by Baba. Ravi dedicated his life solely to music for about 8 years and was transformed into a master of raga. In becoming a disciple of Baba, Shankar also became a member of the highly famed and influential "family" or "school" of raga study and performance known as the Maihar Gharana, of which Baba himself was a founder.

Ravi Shankar

o Ravi controversially taught a lot of US people o Video of him teaching his daughter. His daughter is sitting on the floor and he is on the couch. What do you notice?She is able to replicate him really well even though she is like 12. They are connected because they have been doing this for a long time. Hierarchy is emphasized in how they are sitting. Often times master won't teach them right of way. Master might make them clean the house or do other obscure things. You have to become indebted to show your commitment to the task. ------------------------------------- o Master Indian sitarist. o His musical innovations and contributions as a performer, composer, teacher, cultural icon, and international ambassador of Indian music had a profound impact on the shaping of the modern musical world on so many levels. o With the aid of Baba, Shankar came to be revered as one of the master sitar players, raga performers, and Indian music gurus of his generation. o Through his collaborations he also became a pathbreaking innovator of intercultural musical experimentation and India'a principal musical ambassador to the world.

PL 11-1, O Brasil de la Mancha

o Samba, Brazil o The highlight of the Carnaval is the samba parade. The gargantuan "samba schools" that compete for glory in the parade showcase elaborate themed floats and costumes, dancing, dramatic presentations, massive choruses singing songs composed especially for the occasion in call and response (the lyrics of the songs reflect the annual Carnaval theme, e.g., Brazilian folklore, racial equality), and propulsive rhythms furnished by ensembles highlighting the talents of hundreds, and in some cases over a thousand drummers. o An example of this dramatic and uplifting style of music, performed by a leading escolar de samba from Rio called Mocidade and featuring the famous samba singer Bruno Ribas, may be heard on PL 11-1.

Hammond B3

o Santanas version of Oy Como Va had a Hammond B3 Organ + rock drums instead of Mambo sections o Mambo sections replaced by guitar and organ solos o Hammond organ starts it out??? Maybe idk o The hammond B-3 organ, as heard in Santana's "Oye Como Va", was one of the emblematic sounds of rock music of the 1960s and 1970s. o The popular B-3 was manufactured from 1955 to 1975 and became a staple of not only rock music during that period, but of jazz, blues, and gospel as well. o It helped galvanize Latin dance music and its culture; because a symbol of an emergent pan-Latino identity; and brought newfound renown, wealth, and professional opportunities to Tito Puente himself.

Karnatak

o South India music o violin associated with the south o Southern Indias music is more related to hindu ------------------------------------- o Common instrumental trio: vina, tambura (Karnatak), mrdangam Similarities between Karnatak and Hindustani: o Both have a raga as basis of the melody o Tala as basis of rhythm/ meter o Singing highest form of musical expression o Instrumental traditions closely connected to parallel vocal traditions o related types of instruments

Zakir Hussein

o Tabla solo/ tabla beat science o son of Shankar's own long time musical partner, the tabla player o Possibly the greatest tabla master of his generation and a maverick intercultural music pioneer in his own right. o muslim?

Milónga

o Tango is locally derived from milonga music of the gaucho (cowboys) o PL 11-20 (Milonga del solitario) o underpinning rhythm of the guitar which is kind of duple meter but grouped in three. o it has groove o On a more local level, rural music from the Argentine countryside, and most especially the milonga song tradition of the gaucho cowboys 911-20) became central to the emergent style of tango.

Mambo Big Band

o The bands of a group of bandleaders in NYC known as the mambo kings - Machito and the Afro-Cubans and groups let by Tito Puente and Tito Rodriguez - who took mambo to its most sublime heights. Fusing the Prado style mambo with a deeper entrenchment in Afro-Cuban percussion and rhythm, as well as abundant use of borrowed elements from American Jazz and popular music of the day. they created something profoundly new and different. o Mambo, as developed by the big NY Latin dance bands was a musical genre defined by the following features: - Big band Instrumentation: This was adapted from the model of American big band swing and jazz of the era. The typical lineup included trumpet, trombone, and saxophone sections, plus a rhythm section of piano, bass, and three or more percussionists (with singers possibly in addition, depending on the arrangement). The percussion section featured the three types of drums also used in Cuban son bands: the timbales, the conga drums, and the bongo drums, along with additional Latin percussion instruments (cowbells, claves, guiro, maracas, etc.) - musical textures featuring layered ostinatos throughout the band - Driving, Afro cuban percussion rhythms - Jazz influence - Fast tempos and highly energetic playing - Absence, or at least limited use, of singing o big band mambo is the highly syncretic mambo style of the 1950s identified with New York - based bandleaders such as Tito Puente, Machito, and Tito Rodrigues. Incorpoarted more Afro-cuban and American jazz and popular music elements than did the earlier Cuban mambo style.

Batida guitar playing

o The girl from Impanema - Batida guitar style (samba rhythms) o The transformation of samba percussion rhythms into the Bossa nova guitar style developed by João Gilberto was especially ingenious. o João Gilberto cultivated a rhythmic approach to playing the guitar called batida. o In batida, the accompanying chords were inserted between the syncopated notes of the sung (or played) melody while the upper and lower guitar strings were used both for chords and to reproduce the characteristic rhythms of high and low pitched samba percussion instruments such as those heard earlier (PL 11-1). o Though much of the rhythmic content of batida- and of the corresponding bass and drum set parts that were typically partnered with it- was adapted from samba, the aesthetic was profoundly different, since the music was played at a soft dynamic level and in a very mellow style.

PL11-4, The Girl from Impanema

o The girl from Impanema - Batida guitar style (samba rhythms) o so Brazil? o Bossa Nova became all the rage in jazz circles and achieved immense popularity through collaborations of American jazz musicians like the tenor saxophonist Stan Getz and Bossa nova greats such as Joao Gilberto and Tom Jobim. The three collaborated on the classic 1964 album Getz/ Gilberto, which featured a performance of Jobim's "The Girl From Ipanema" in which Joao Gilberto sings the lyrics I nPortuguese (Brazil's national language) and his wife, Astrid, follows with an English language rendition. o Stan Get's breathy toned saxophone solo forms the perfect complement to the suave Gilbertos, and all of this is elegantly supported by Joao's batida style guitar playing and a topflight rhythm section also consisting of Jobim (piano), bassist Tommy Williams, and drummer Milton Banana.

Four Vedas

o The oldest and primary Hindu scriptures, these include hymns and chants, a guide to rituals, a source of information on magic, and musical notes. o So some story for talking about this music in terms of the divine. o Spiritual underpinning to this music. In service for the divine o The very early sacred hindu texts that have lots of references to music and fives the idea that music is a point of communication with the divine. key cultural underpinning. o 4 sep books fundamental to hinduism. They extend pretty far south too but not all the way. ------------------------------------- o Fundamental to the origin of hinduism were the four vedas. These ancient, seminal hindu scriptures in the Sanskrit language (in which the word for musician, baqawathar, also means "he who sings the praises of God" are believed by hindus to be of divine rather than human origin. o According to Ravi, Indian classical music evolved from Vedic chant through a centuries long process of musical transformation.

Tumbao

o The tumbao rhythm is the bass line or bottom rhythm (lowest pitch) played in the gauganco. (It is also one of the names for the lowest pitched conga drum.) o pattern played on the conga o Another percussive layer of cha cha cha rhythm is furnished by the conga drums, with the signature, syncopated rhythmic pattern called tumbao. o Tumbao is a rhythm that can be traced back to traditional rumba styles (and that also finds parallels in ritual bata drumming). o Though the clave rhythm is often not actually played in cha cha cha performance, its presence is clearly implied by the tumbao rhythm of the conga drums.

samba

o Wide spread o In all classes o African Drumming o Different immigrant contributions o Broad Classification - Layer percussion - call and response - Improviational elements - "O Brasil de La Mancha" PL 11-1 - Pandeiro - like a tambourine - Surdo - Agogo - essentially two cowbells at different pitches --------------------------------------- o Umbrella term for a wide range of musical traditions of Brazil that share in common Afro-Brazillian musical and cultural ancestry; energetic percussion, call and response singing, improvisation, and grand spectacle including dance and dramatic presentations characterize many samba performance styles. o The best known Brazilian music internationally, having become almost synonymous with Brazil's culture in much of the worlds eyes. o Samba is actually an umbrella term for a number of distinct musical genres identified with different Brazilian regions, ethnic groups, and performance events. All share in common a host of elements that in one manner or another may be traced to African origins, though these take on different forms and characteristics in the different samba styles. Polyrhythmic textures built from layers of driving, percussive rhythmic patterns are characteristic of many samba forms, as are call and response singing, improvisational elements, and other features that collectively inscribe African musicultural lineage upon samba's varied Brazilian incarnations.

Bansuri

o bamboo flute o Tranverse aerophone o thought that Krishna ( a hindu diety) himself played it and that's how he would woo women. --------------------------------------- o also prized for its voice like timbre o Flute

Tihai

o comes at the end of sections. Kind of rhythmic cadence. o Any phrase that repeats three times and lands on sum o Used for musical punctuation and transitions in hindustani music o Tihai's can be very simple or incredibly complex. o name of a hit on the tala o specific phrase. ends with a sum --------------------------------------- o Musicians are finishing their performance with something called a Tihai, in which the same rhythmic pattern is played three times in succession, with the final statement of the pattern landing precisely on sam to end the piece. o The tihai functions as a rhythmic cadence, an ending pattern that provides a satisfying sense os closure at the end of a musical performance or section of a musical performance o Because the basic rhythmic pattern of the Tihai is of an irregular length, it creates a highly syncopated effect and the sense of rhythmic "dislocation" seems to intensify with each repetition (sometimes varied repetition) of the pattern. This creates an exciting rhythmic tension that is satisfyingly resolved when everything comes back together empathetically on the performance's final, climatic note. The musicians must carefully calibrate the length of the Tihai to ensure that it does indeed land back on sam as it is supposed to.

Chalan

o composed melodies (chalan) are introduced in the Gat o Chalan and today are in the gat - know the alternation between the two! o Chalan is composed melodies and toda is improvised interludes. as gat continues, improvisations get longer

Timbales

o contradance - dancesung is only pattern they played? o Timbales is kind of soloist --------------------------------------- o Percussion instruments o Latin "drum set" featuring two or more relativly high pitched metal sided drums (the timbales), plus cowbells, woodblock, cymbals, and sometimes additional drums and other percussion instruments

PL 11-24, Kacharpaya

o farewell o An example of Andean panpipe music from Bolivia that exhibits many of the same features as the JulaJula music discussed above. it is performed in the same type of "leader/follower" interlocking parts, employs basically the same pentatonic (five note per octave) scale of D E G A B, and includes multiple sets of panpipes that cover lower and higher octave ranges. o The same cultural values of cooperation, interdependence, and egalitarianism that Henry Stobart highlights in his research on Juljula music pervades this music as well. o There is one important difference, however: whereas julxjula music is rarely accompanied by drumming, the instrumentation here includes five large, deep tined drums called phutuca is accompaniment of the 18 panpipes employed. o Such music is played at the close of traditional Adean ceremonies and rituals

Wawanco

o from Havana o Wawanco (Havana and Matanzas)- faster, dance music. 2 varieties o The gauganco's tempo lies somewhere in the middle. It's a courtship dance where the male is continually trying to vacanao ("vac-ooh-now", spanish for "vaccinate") the female, who warily covers up when needed.

Julajula

o have interlocking effect. 2 instruments that complement each other and together they create the scale o The egalitarian ideal od the ayllu has profound musical manifestations on many levels. One of the clearest examples is to be found in the interlocking parts of paired panpipe instruments such as the situ and the julajula, the latter of which are played by members of the Quechua speaking Kalankira community of the ayllu for harvest season rituals. o A julajula actually consists of two "half" instruments, each played by a separate player. One player performs on a panpipe with four tubes (pipes) the are tuned to four of the seven pitches of the scale used in julajula music; his partner plays on a panpipe of there tubes tuned to the scale's three remaining pitches. The four tube panpipe is called the yiya. (from the Spanish word guia, meaning "leader"); its three tube counter part is called the arka ("follower")

Toda

o in PL 8-21, Rag Sindhi-Bhairavi* o Chalan and today are in the gat - know the alternation between the two! o Chalan is composed melodies and toda is improvised interludes. as gat continues, improvisations get longer

Mambo

o mambo came from Cuba and became a thing in NYC o Mambo - PL 11-38 Mambo No. 5 Perez Prato o Highly Afro- cubanized form of latin music that was crystallized by Perez Prado but today is principally identified with 1950s New York Latin big bands like Machete and the Afro-Cubans and the bands of Tito Puente and Tito Rodriguez. o mambo is a genre of cuban dance music pioneered in the late 1930s and later popularized in the big band style by Perez Prado. It originated as a syncopated form of the danzon, known as danzon mambo, with a final, improvised section, which incorporated the guajeos typical los son cubano. These guajeos became the essence of the genre when it was played by big bands, which did not perform the traditional sections of the danzon and instead leaned towards swing and jazz. o cha cha cha replaced mambo. o elements of afro cubinzation were present at multiple levels in the danzon mambo. Conga drums were added to the standard charanga percussion section of timbales, guiro, and maracas.

Bagqawathar

o means musician, or "he who sings the praises of God". o in connection to the four vedas

Jor

o more rhythmically steady o intermediary section, or "bridge" o jor = transition from Alap to gat - just the soloist but it has a steady pulse and the alap does not. o Jor and gat are typically the longest --------------------------------------- o The jor is an intermediary section that serves as a musician bridge between the introductory Alap that precedes it and the main section (the gat) that follows it in a standard raga performance. o It is characterized by playing on the solo melodic instrument that is more rhythmically active, steady, and energetic than that heard in the alap. Despite the increased rhythmic regularity and activity of the jor, there is still neither a set metric style (tala) nor drumming accompaniment in this section.

PL 11-55, Oye Como Va (Santana)*

o music in the process of tradition o Formally intact - builds up layered ostinato in same way o Same cha cha cha underlying rhythm o Horns replaced by his guitar o Hammond B3 Organ + rock drums instead of Mambo sections o Mambo sections replaced by guitar and organ solos o Took jazz and added latin and rock? idk o Hammond organ starts it out??? Maybe idk o "Oye Como Va" is "an international anthem". "The most played Latin tune in the world", and a song which, in 1970, turned the worlds of rock and pop music upside down when it was recorded by the latin rock band Santana and became a commercial mega hit the likes of which had never been seen before in the domain of latin music. o In 1970, santana, a San Francisco - based rock band with a Latin dance band twist, recorded a rock infused cover version of "Oye Como Va" and included it on their second album. Oye was a hit single and rose to #13 on the Billboard rock charts, an unprecedented achievement for a recording of a tune that had been take "right out of the Latin catalog" of standard dance band numbers. o With "Oye Como Va", Latin rock, a genre invented almost single handedly by Santana and one that remains even today principally identified with that band and its leader, guitarist Carlos Santana. o Beyond its own success Santana's "Oye Como Va" also would have far reaching effects on the career of Tito Puente, the "salsa explosion" of the 1970s, and the consolidation of a new and cosmopolitan pan- Latin identity that was closely tied to Latin music. o Carlos Santana was born in Mexico in 1947. COMPARED TO TITO SR. o In most respects, Santana's "Oye Como Va" is a straight up cha cha cha modeled after the Tito Puente original version of 1963. o In comparing the two, Steven Loza states: "Santana replaced the flute and horn riffs with his guitar to great effect. Otherwise, however, Santana's arrangement is basically a duplicate (minus some extra Coro (chorus) and horn sections in Puente's arrangement) with a different instrumental texture and a fused rhythmic base of rock R and B and cha cha". Loza is correct, at least technically. Here is a list of basic musical features that remained intact from Puente's version to Santana's: o The "Oye Como Va" tune itself o The key (A minor) o The tempo o The simple, one line, Spanish language song text o The singing style (unison/ harmonized vocal texture; group of male singers). o The underlying cha cha cha groove o The basic form of the arrangement The main areas where Satana departs from Puente are in: o The absence of the solo flute part and the horn section, both of which are essentially replaced by, and in some cases absorbed into, Carlos Santana's rock and blues inspired electric guitar playing o The embellishment of the traditional cha cha cha rhythmic groove with rock style drumming (played on a drum set) o The highly prominent role of the Hammond B-3 electric organ (played by Santana keyboardist Gregg Rolie) as a solo instrument, and the heavily blues and rock influenced style of the improvised organ solo. o The substitution of the horn riff dominated mambo sections of the Puente original by improvised electric guitar and Hammond B-3 organ solos in the Santana arrangement. Introduction 0:00 - 0:37 o Opens with the standard "Oye" organ riff (as in Puente original), but with the distinctive Hammond B-3 organ timbre creating a very different effect; also, no clicked sticks/ clapping groove here, and the bass part is more prominent in the mix o Standard cha cha cha groove established with entry of percussion section at 0:08; no horns; electric guitar (played by Carlos Santana) replaces the flute of Puente's version on the melody and bluesy guitar licks give the music a different character as well o Signature unison figure arrives at 0:30. FIRST IMPROVISED SOLO (ELECTRIC GUITAR) 0:57-1:44 o Played by Carlos Santana, electronic distortion enhances the basic timbre of the instrument o Replaces the first mambo section (mambo 1) of the Puente arrangement o Though the horn section is absent, Carlos Santana's guitar solo actually builds mainly from lines adapted from the original Puente horn riffs (enhanced by occasional bluesy riffs at the ends of phrases). o Percussion instruments played more freely are than in Puente (e.g.m improvised drum fills in conga and timbales part) and more of a rock feel is evident in the rhythmic groove, though a cha cha cha foundation still predominates. INTERLUDE/ TRANSITION #1 1:45-2:06 o Frist, return to opening organ riff (over cha cha cha rhythmic groove). o second, contrasting section (1:53) with very different mood and style o Third, dramatic crescendo at 2:04 (akin to the big crescendo at the comparable point in the Puente arrangement) SECOND IMPROVISED SOLO (HAMMOND B-3 ELECTRIC ORGAN) 2:07-2:47 o Played by Gregg Rolie; note distinctive timbre of the Hammond B-3. o Replaces second mambo section (mambo ii) of Puente arrangement. o Role immediately rips into a heavy, rock and blues style solo that takes the piece far from its latin roots and into new musical territory. INTERLUDE/ TRANSITION #2 2:48-2:58 o Shorter than first interlude/ Transition section o partial return of signature unison figure at 2:56 SINGING OF MAIN TUNE, SECOND TIME 2;59-3:21 o sung as before o singing followed by an extended crescendo buildup at 3:14 (again reminiscent of the Puente recording). THIRD IMPROVISED SOLO (ELECTRIC GUITAR) 3:22-end o Played by Carlos Santana o Begins like the first guitar solo, but then venture further afield into rock-blues territory; as solo progresses, Santana shifts back and forth between Latin, rock, and blues styles, creative a highly effective and fluid blend of stylistic elements o Performance concludes with a final full statement of the signature unison figure at 4:06.

Tintal

o one of the most famous talas in Indian music; 16 beats divided into 4+4+4+4 o 16 beat cycle o in Ravis song 5:52 - 7:03 in the Gat (entrance of tabla playing in Tintal - 16 beat cycle) o literally 3 claps o super slow o 16 beats. 3 claps. 1 wave called a khali - gives a feel to the rag

Mariachi

o one of the most popular Mexican music o very regional styles o Typical mariachi o Melodía section - Trumpets - Violins - ensemble - Voice [Bel Canto (think Italian Opera), solo/male choros known as Coro] o Armonía section - harmony - guitars - vihuela - this and guitar have chords - Guitarron - 5 strings - plays bass line o traditionally a male dominated genre. Machismo. --------------------------------------- o Popular music of Mexico that developed mainly in Mexico City through the synthesis of regional forms from rural areas (such as the sonf forms of Jalisco) and an eclectic range of Mexican and international musical styles. The best known type of Mexican music, however, certainly beyond Mexican communities worldwide, mariachi is more than just music; it is a national symbol. o throughout its modern history, mariachi has been exploited in the perpetration of negative, condescending Mexican stereotypes. o The mariachi musical style that is known throughout Mexico and the world today is mariachi moderno. The standard musical format and instrumental lineup of this style crystalized around 1950 among bands in Mexico City, the central location of the msucis development since its emergence there around 1920. That lineup consists of trumpets (usually two or more), violins (typically three or more), vihuela, guitar, and guitarron. The vihuela and the guitarron were developed in Mexico from Spanish prototypes and are unique in origin to certain areas of western Mexico. o Harmonization of melodies in the violin, trumpet, and vocal parts is also characteristic of the mariachi style.

Tal

o refers to rhythmic theory as well as specific rhythmic cycles in hindustani music. o tal means clap o tal is orally transmitted o Cyclic o cycle of beats that is repeated o rhythmic framework o each tala has a set number of beats ranging from 3 or 4 to over 100. 16 in tintal. 10 in Jhaptal. o tals are asymmetrical - the shape is defined by what is known as "khali" (literally empty) beat section. - on drums, khali is marked by the absence of bass; when clapping a tal it is marked with a wave o There are hundreds of tals in theory, but in practice only a small number are performed. o Common hindustani tals include: Tintal: 16 beats Jhaptal: 10 beats Ek tal: 12 beats Rupak tal: 7 beats o Tala (Tintal, Jhaptal) - Bols, theta, tihai <-- names of different hits on the tal - theka - the drum patterns used to articulate the tala. - Tihai - rhythmic cadence? and ends on sum? --------------------------------------- o Tala is systems of rhythm and meter in a raga o the rhythmic framework of a raga performance, and especially the metric cycle in which the music is grounded, is called the tala. o There are many different talas. Like meters in western music each tala has a specific number of beats/. Talas range in length from simple cycles of three or four beats to ver complex one. o Two popular talas are: - Tintals: 16 beat tala - Jhaptal: 10 beat tala

Khali

o tals are asymmetrical - the shape is defined by what is known as "khali" (literally empty) beat section. - on drums, khali is marked by the absence of bass; o Tintal- 16 beats. 3 claps. 1 wave called a khali - gives a feel to the rag --------------------------------------- o Beat 9 in a tintal is marked by a silent wave, which is executed by turning your right hand over from back to front so that you end up with the palm facing upward. This wave gesture signifies the Khali, or "empty" beat of the tintal cycle. It arrives exactly halfway through the cycle and essentially represents the opposite of the very "full" sam bear, where all the different elements of the music come together (sam literally translates as "together").

Tansen (1562 - 1607)

o taught by Swami o most Gharna claim lineage to Tansen (or tyagaraja in the south) o Tansen is major figure. Swami taught him who performed only for Gods or something like that. --------------------------------------- o Members of the gharana trace their heritage through their own guru back through the guru's guru and so on through the generations to the founder of the gharana. The founder, in turn, typically traces his (or in some modern instances, her) lineage to the legendary 16th century musician Tansen (1562-1607), who is revered as the wellspring of Hindustani musical culture. Tansen himself is believed to have revived his extraordinary musical and spiritual gifts from divine powers.

Traje de Charro

o traditional dress of the mariachi - cowboy look o Mexican cowboy suit

Congas/Tumbadoras

o uses hammer (marteo?) technique? o Small drum o from Africa o conga - macho - male - embra - female - pattern = tumbao o question/ answer on the conga o open tone (underside of knuckles) o Slap? (with finger tips) o Congas lay down the foundation o They have three Rhumba Rhythms - Yambu - slow, dancing rhythm. older people. - Wawanco (Havana and Matanzas)- faster, dance music. 2 varieties - Tumbao - Rhumba Colombia ... -------------------------- Large, barrel shaped drums of Afro-Cuban origin and West African derivation. Usually played in sets of three, either by three separate players or by just one player. Used in rumba and in most styles of Latin music.

Guiro

o wooden scraper idiophone o scraper-type idiophone, often in the shape of a fish, that is used in many styles of Cuban music and in other Latin American musics as well.

Clave

o works with all percussion o little sticks? o clave plays underlying rhythm - pulse o 4 basic clave rhythms pg 252 o clave is 3-2 or 2-3 (2 short beats followed by 3 long) pairing o Bo didley used this in American rock music -------------------------- o All of the rhythms in rumba music in a sense derive from a single rhythm called clave, which is played on an instrument, the claves, consisting of a pair of thick, round sticks that are struck together. o Indeed, the clave rhythm, of which there are actually 4 variants, is the basis of virtually all forms of Latin dance music, including cha cha cha tunes like "Oye Como Va". Clave is so fundamental to Latin dance music that it is often not even actually played; rather, its presence is simply felt, but the musicians, dancers, and listeners alike.

Astor Piazzolla

tango composer, brought tango up to classical standards o kind of invented new Modern tango o Astor Piazolla (1921 - 1992) - modernized tango, from Italy, made Bandoneon famous (similar to accordion - elaborate fingering layout that makes it difficult to play.) o He emphasizes tango rhythm. So you get traditional feel coming out of new abstract texture. o The dominant figure in tango music through the second half of the 20th century was the classically trained composer, bandleader, and bandoneon virtuoso Astor Piazzolla. o In the 1950s, Piazzolla received a scholarship to study in Paris with the famous composition teacher Nadia Boulanger. She encouraged him to develop a new compositional style that at once built on the foundations of traditional tango and transformed it through the infusion of elements borrowed from Western art music, jazz, and other traditions. o This Piazzolla did with relish, most notably with the famous Quinteto Nuevo Tango that he founded in 1960. With boundless energy and innovation, Piazzolla composed and performed tango in a manner that turned the traditions and conventions of the music upside down and inside out (11-22) !!!!!. His use of complex and unusual chords and harmonies, distant melodies, and extended solo improvisations and new approaches to ensemble playing inspired by jazz and experimental western art music garnered many admirers, while at the same time enraging tango purists who regarded his music as a desecration of tango tradition.