Quiz #3

The african continent

Africa is enormous contient, its landmass is second in size only to that of Asia, covering more than 11 million square miles and accounting for more than 20% of the earths land surface about one-sixth of the worlds population resides in Africa itself, and millions of people of african descent reside throughout the world in the african diaspora. with especially large population concentrations in United States, brazil, Caribbean(Cuba, Hati, Jamaican, trindad, tobago. and major european metropolises such as london and paris. Northern portion of the content of africa covers the vast Sahara desert. and its bordered along the northern cost by the meddiertian sea. region includes egypt, libya, tunisia, algeria, Morrcoco, and other north african nations. Islam is dominant reglion north african and arab culture

Creolized styles

Contrandaza and the danzon became important symbol of the emergent Cuban national identity that arose in the late 1800s in connection with a strong, anti-spanish rule nationalist movement shifted toward a more inclusive notion of what constituted cuban identity, one which whites, blacks and mulattos all had a place. gained international popularity 1920s- danzon became the national dance of cuba. performed on a sweet-sounding ensemble called the charanga.

Tropicilla

Founding fathers were Caetano Veloso, and Gilberto Gill they were from province of Bahia. epicenter of afro-disporic culture. cultural sensibilities were strongly defined by their Bahian roots. devotees of gilberto. and identified with bossa nova, other genres of briazllian. Equally inspired by the beatles, Jimi hendrix, james brown. sought to define a new medium and sociopolitical stance in the combining of many seemingly disparate elements. by using electric guitars in melodic composition with elements of tango and african things from bahian. rejected the third world country hiding. Manifesto Antrwopofgo, or Canniblist manifesto by braizliian Oswald de Andrade. the manifesto attacked a purist view of national culture and wholesale imitation of foreign models. Oswald advocated a selective devouring of elements of foreign cultures. Selective devouring, absorption, and transformation in music- musical cannablism in esscene- found sublimes forms of realization in the late 1960s, the psychedelic, avant-grade rock band from the sprawling metropolises of Sao Paulo in southern brazil

Latin Dance

Guaranchando, featured an innovative aranagment of oye coma va. was eclectically and electrically contemporary and solidly grounded in the latin music dance tradition of the elder puente, puente junior identified their style of music as latin dance, a hybrid of diverse contemporary music styles, pop,rock,hip-hop, techno, laced with mambo, cha cha cha, merengue, music is pan-latino, pan american in a very broad sense new explosion of authentic music created form the streets a novel synthesis of modern dance

Hereidarity jeli families

Kouyate, Diabate, Sissko(also spelled Cissokho)-can trace their lineage back across many generations. in some cases all the way back to mande court musicians, patronized by king Sunjuta himself.

Mexico:Mariachi

Mexico is home to great variety and rich history of diverse musical traditions, from corridos, banda music and norteno(tex mex) to mexican style music like cumbia and rocanrol(mexican rock) Mariachi is more than just music; it is a national symbol. Jose says that playing mariachi is like waving the mexican flag. Mariachi is like the flag wherever it goes. Darker side to the social history

Getz/Gilberto

Stan getz, Joao gilbert and Tom jobin all collaborated on the classic album 1964 getz/gilberto. featured jobin the girl from ipanema. gilbero sings it in portaeguese. getz .improvised saxophone

Sauta

What mode atlanta Kaira is played. which is one of the first principal modes in Mande music. its scale sounds much like a major scale starting on the pitch F, but with a raised fourth degree, that is F,G,A,B,C,D,E, (F) this is only a rough approximation, however, since there are microtonal subletites in sauta tuning that do not correspond to Standard western pitch intervals

Layered ostinatos with varied repetition

a standard device for creating polyphony in sub-Saharan african music is the layering of multiple, recurring patterns(ostinatos) one on top of another. illustrated in #3-14

Difference in tito and santana.

absence of the solo flute part, and the horn section, both of which are essentially replaced by and in some cases absorbed into carlos santos rock and blues inspired electric guitar playing embellishment of the traditional cha cha cha rhythmic groove with rock-style drumming prominent role of hammond B-3 ELECTRIC organ as a solo instrument and heavily blues and rock influenced style of improvised organ style. the subsituion of the horn riff dominated mambo sections of the puento original by improvised electric guitar and hammond b-3 solos in the Santa arrangement. Whole is greater than the sum of its parts in terms of dinsincitive musical effect. these differences lately explain the rock anthem like character of santana versions, which is drastic difference from cha cha cha character of of puente rendition.

Clave

all the rhythms of rumba come from this. consist of a pair of thick, round sticks that are struck together. four variants. basis of all latin american music. very fundamental to the dance its the presence is simply felt.

More than drumming

although drums and drumming have undeniable importance in many african traditions, it is important for us to remember that drumming is not the basis of must music in Africa, much of which does not include drumming at all.

Keita

anyone bearing the name keita is forbidden from being a jeli, indeed from performing music professionally in any context. this custom endures to the present, but there have people who have broken rank and defied it

Astor Pizillo influence on Tango

composed and performed tango in a matter that turned traditions and conventions of the music upside down and inside out. use of complex and unusual chords and harmonies, distotant melodies, and extend solo improvisations and new approaches to ensemble playing inspired by jazz and experimental western art music garnered many admirers but he also enraged tango purists who regarded his music as a desperation of tango tradition. continues to have his detractors but overall arc of tango history has lead to a broad acceptance of his music and undeniable the most influential tang musician of his era.

Traditional Mande

are preserved and continue to develop both within mali itself and throughout former realm of the Mande empire. consist of two large groups, geographically defined subgroups; The Mainkia of Mali and Guiena and and the Mandinka of Senegal and Gambai(Senegambia). Collectively both groups are referred to as the Mandenka, and their myriad of related languages and dialect fall within the Mande language group Colonial history also left a mark on mande culture. Senegal, Mali and Guiena are former french colonies, where the official language is french. tiny nation of Gambia, a former british colony, has english as well, while Gueina bissue was formally colonized by portugal and retains portugesse as its official language.

An royal akan drum

are principally a matriennal people, which means that they trace their decent lines through the side of the mother. all akan can trance their ancestry back through their mother, maternal grandmothers, and earlier generations of matriarchs to a common ancestors are considered blood relatives belonging to the same clan all members of a clan are obligated to participate in rituals devoted to honoring their family ancestors, "a practice that is still central to akan identity even among those who have converted to christianity in former times akan chiefs were the political leaders of Akan societies today their leadership role has been overtaken to a significant degree by the Ghanian government most small scale claims involving land issues or domestic disputes are still mediated by village, districts or special chiefs use traditional music and music instruments to symbolize their power and stature purchasing a royal set of drums as as fortoform and sponsoring their persofmacnes is a long time chiefly tradition played when chief makes an entrance;processions, village ceremonies, funerals. the chief may dance at such occasions to the accompiament of fortoform. while brandishing a sword.

the king of salsa and jazz

became the king of a new kind of latin music dance that took shape in the 1970s, salsa, itself a new york musical invention with dedicely strong musical roots in the afro-cuban son. it adheres to the traditional structure and instrumentation of afro-cuban dance forms, but with significant embellishments, adaptions and new formats and influences. Eddie Palmeri, Johnny pacheco, Ray barato, and willie colon. Artists such as tito puente and mongo sanataria, who had been performing the same basic musical forms for the previous thirty years. adapted well and oppuruntiy to the new popular format. had a huge impact of Santano., cast a light on emerging stars of salsa as well, and salsa came from commercial viable product tito had little use for salsa but he recognized the promotional value and pragmatically accepted his title of de facto king.

Samba

best known brazillian music internationally, having become almost synonmous with brazils music culture in much of the worlds eyes. an umbrella term for a number of distinct musical genres identified with different bralizan regions, ethnic groups and performance events Polyrhthymic textures built from layers of driving, percussive rhythmic patterns are charasertics of many samba forms as are call and response singing, improvisational elements,

Salif Keita

best known radical royals. malian-born singer and world beat superstar. his music blends traditional jelyia stylistic features, a cutting edge contemporary popular sound, strong doses of social and political commentary. brought international attention to Malian traditional music and to major social, cultural and political issues affecting mali in particular and africa more broadly. best known and influential living "statesmen" of this improvised and troubled nation. a figure sounded by controversy, not so much for his boldness of his music but rather on account of his decision to be a professional musician despite his noble lineage.

Jazz influences

beyond the big band instrumentation, influences from american jazz were reflected in the harmones(chord and chord progression), rhythms, and arrganment of mambos, also in the highlighting of extended, improvised instrumental solos.

Creolized dance

blend african(Yoruba & Congolese) and European(especially spanish)elements became prominent in the 18th century. Before they had relied on cuban things such as waltz, minuet, mazurka for dance entrainment. Increasing disenchantment on part of the white cuban establishment with economic restrictions and governmental corruption and inefficiency issuing from spain led to a rejection of these cultural symbols of european past. cuban hybrid dance musics form emerged as cuban musicians from afro-cuban or mulutatto descent-grafted rhythmic and other elements adapted european dance-music forms.

What do Atlanta kara and secokoy keitas, "donouya"

both have complex polyphonic feature layered ostinatos, varied repetitions, and improvisation. both include performance in the kumbengo, birimitanigo and sataro styles that are characteristics of jeliya music. both are intensely conversational on mutiple levels, with the various voices sometimes speaking all together at once and other times engaging in call and response dialogue both provide rich timbrical variety, especially through manipulation of the large range of timbres available on the kora.

Karia the piece

came to be closely associated with the Malian struggle for independence from french colonial rule. its melody became well known and popular among the Malian people, inspiring many different texts reflective to different aspects of the nationalist struggle. Sidki traveled widely throughout Mali, performing karia and other jeliya pieces to galvanize the Malian nationalism movement in true jeli fashion, he attuned the ancient jeliya repertoire to the needs, demands, and issues of his own time. formed a link between the grandeur of the Mandes proud historian legacy and vision of Malis future as a modern mande nation.

Absence, or at least limited use, of singing

compared to related cuban forms like son, there was relatively ln ittle focus on singing and in turn on song texts- in mambo. With its emphasis on short ,often meaningless vocal interjections, it was the perfect style for an audience who doesn't speak spanish. this was important since mambo was designed to appeal to latino and non-latino audiences like(and succeeded in doing so)

what do many musicias of sub-sahara african and of west africa have

despite all of this diversity they do exhibit certain key, readily identifiable features and music cultural characteristics that are widely shared( and that are prominent in many african disaproic musics as Ethnomusiclogists identify these musicians as Africanisms we have encountered some of these already;others will come up in connection with selections still to be explored.

Astor Pizzilla

dominant figure in tango music through the second half of the 20th century. was classically trained composer, bandleader, and bandoneon virtuoso. his music and legacy continues to shape and define the music cultural world of tango internationally. Born in Argentina in 1922 but moved with his family as a child, returning to native argentia to live in 1937. showed talent on the bandoneon from a young age and while still in his teens he had performed with carlos gardel and anibal trilo, the foremost master of the bandoneon in the pre pizziolo era. 1950-got a scholarship to study in paris with famous composer Nadia boulanger. encouraged a more compositional style that was built on foundations of tango and and transformed it through western music, jazz and other traditions. did this with Quiento Nuevo Tango. that he founded in 1960. with boundless energy and innovation.

Coast jazz movements

emerged out of the united states(especially california) during this period. the influence was mutual. Bossa nova became the rage in jazz circles and achieved immense popularity through collaborations of american jazz musicians like the tenor saxophonist stan getz and Joao gilbert and tom jobin.

Charanga

featured a wooden flute and two or more violins backed by a piano, a string bass, or guiro(wooden scraper idiophone) and a pair of drums which were the forerunners of the modern timbales. Maracas(shakers) were often used as well.

Music of Rumba

features set of three drums- low, medium, and high pitched play on a complex, polyrhythmic style. the modern, barrels-shaped conga drums used by many contemporary latin and popular music groups are descents of the original rumba drums called the ngome. usually play on congas.

urban mariachi moderno

found in rural traditions of the Mexican countryside, especially those of Jalisco in the west of mexico. from that came the son jaliscience one of the many regional genre of son. spanish for song;plural form of sons that were adopted and adapted in mariachi. regarded as the bedrock of of the mariachi repertoire.

Viheula/guitarron

has fiver strings and is smaller than a standard guitar. used for chords and rhythmic accompaniment and sometimes for the playing of melodies as well. similar in appearance but much larger; indeed it is huge.serves as the bass instrument the viheula, guitar, guitarron, together constitute the ammonia section of the ensemble, which refers to the primarily harmonic function of this set of instruments. The singers, violinist, and trumpet players furnish most of the melodic material. harmonization of melodies in the violin, trumpet, and vocal parts is also characterized of the marichi style, in some smaller ensembles are used.

Secoku keita

he also broke rank for pursing a musical career. foune is included on CD set #2-7 features an ensemble of musicians signing and performing on drums from different regions of west africa. these drums include the sobar of the Wolof people, the bougarbo of the dioloa, the djemba of Guiena and mandkia(mande) serouboa Traditionally the drums don't go well together but in keitas arrangement they blend very efficiently in the lively, polyrhythmic accompaienmetn in the song which is about twin sisters in a jeli family whose clairvoyance enables them to give advice to their elders on spiritual matters.

Santna version of Oye coma va

helped make el rey bravo puentos second best selling album and became an audience favorite. recorded an infused rock cover versions of oye coma va. album became a mega hit, selling millions of copies was one of the two hit singles to come out of abraxes. rose to #13 on the billboard rock charts. a latin rock genre invented almost single-heartily by Santana. and one today that remains principally identified with its band and leader

What is found through sub Saharn africa

high developed forms of polyphonic music that are purely vocal, such as the traditional elephant hunting song of the Central africa Bambuti people heard of #2-4. the melodic complexity and and sublime beauty of music played on the mbira dzavadimu an instrument of the Shona people of Zimbabwe that is one of the many plucked idiophones In africa, is another high light of non-drumming based african musical artistry also large xlphohone orchestras,

Sadiki

his charisma and activism endeared him to the Malian people, but not to the french colonial authorities for his effort he was eventually arrested by the french and imprisnoed but all this did was energize the independence movement, which came to known as the KARIA movement. mali achieved its independence in 1960s. he was honored a national hero the nations first president. became an ambassador

three other traditions

huapnago: believed to have its roots in dance-music style of the Nahutual indians indiengous to the Huacesta region of northwestern mexico. Cancion Ranchera(rang song):an urban, stylized form of country music, that developed mainly in connection with the thriving film and radio industries of mexico city beginning in the late 1930s the Bolero ranchero; a suave, romantic style of mexican music that was originally derived from the cuban bolero. and the polka a popular dance of 19th century europe that spread through mexico and throughout the world. these help define the essence of mariachi music. son defined it as more than any other form of music. these just represent the tip of the iceberg many different styles of music have been absorbed into the mariachi style.

Tito and Santana similar features.

in a way its a straight up cha cha cha molded after the tito puente original versions in 1963. santana replaced the flute and horn riffs with his guitar to great effect. its a duplicate with a different instrumental texture, and a fused rhythmic base of rock-R&B. and cha cha. The oye coma va tune itself the key (a minor) the tempo the simple, one-line, spanish language song text the singing style(unsion/harmonized vocal texture, a group of male singers underlying cha cha cha groove basic form of arrangement

Drumming

in african nationalist movements and african responses to modern sociopolitical challenges and oppurunties alike, the revival revilitization and modernization of traditional forms of african music, dance, and ceremonial practices have figured prominetaley so has the development of new forms, and styles of music aimed at responding to, reflecting and affecting contemporary situations and circumstances. they build from a combination of indigenous african and international elements, the latter most proimintely influenced by US, carrbiean, and south american music that evolved within the africa diaspora.

How can the telling of this akan proverb be performed

in different ways. It may be recited in spoken words or it may be recited in drum speech This is because the language in which is composed,a dialect of twi is a tonal language

African Dispora

in the americans, africans, and european derived musics blended to form the foundations of many new types and styles of music it is to development that we trace the origins of ragtime, blues, jazz, rhythm-blues, soul, rock-roll, rap, hiphop, salsa, cuban son, puerto rican bombs, trindian steel band, jamaican reggae, braizllian samba, and scores of others musical genres and subgenera's too many numerous to mention Elements of these and many other musics of the african diaspora have been reabsorbed back into newer styles of music in africa and from there have gone on to influence other international styles. in short there is a continuous feedback loop between mother africa, the african diaspora, global music making on a worldwide scale.

Santeria

influence to the development of latin music. afro-cuban religion. regla de ocha and the secular, social dance music of traditional cuban rumba performed on a set of drums called the bata and each drum is a different size and pitch(low, medium, high) stringed bells attached to the lowest pitch lead drum enhance its timbre, providing an idiophonic element to the sound the drums play an interlocking style of complex polyrhythms lead drummers part is improvistiaton whereas the other two drummers are mainly based on reoccurring rhythmic patterns(ostinatos) accompany with sacred songs

Religion

is a pervasive force in life throughout sub-saharan africa, islam and christiany are widespread through their practice often represents a syncretism with indiengous forms of african religion that predated their arrival there are hundreds, if not thousands, of religions practiced in Sub-Saharan africa. Diversity of religious beliefs and practice is immense paying homage and due respect- to deities, venerated ancestors, community leaders, elders, and the creative and sustaining forces of natures- is a major priority of religious practice and social life generally. takes form of communal rituals, involving music, and the active participation of all in attendance (whether singing, instruments, dancing, clapping) diverse in its individual components, polyvocal in its articulation, unified in its totality is highly valued in the act of paying homage the spirtual/ social values of paying homage and collective expression are strongly reflected in all the music we examine.

Official lanuage of berlin

is french, but the traditional lanuage of the country major ethnic groups such as the Yoruba and the Fon, are widely spoken as well. angélique kidjo, a fon sings the majority of her songs in the fon language despite the cosmopoliation internationlism of her music, her linguistic preferences ties her and her artistry closely to her fon heritage

Akonta

is pronounced "a- kon-ta (with the highest pitch and accent on the last syllabus) is understood to mean mean brother-in law while, a-KON-TA(accent and highest pitch on the the middle syllabus) translates as mathematics by replicating the pitch the pitch, rhythm, and timbre patterns of verbal speech, certain Akan drums such as the atumpan are literally capable of speaking themselves.

form of samba that has the greatest global visalblity

is samba- enredo(theme samba) which originated in the 1930s and has been long identified with Carnval in rio de Janerio. Rio shuts down for carnival 5 days preceding ash wednesday its the largest street party in new orleans during mardi gras. Millions of brazlians participate in the activities. the highlight is the samba parade(desfile) the gargantuan "samba schools" compete for glory in the parade showcase themed floats and questions.

Oye coma va and emergence of pan latino identity

it played an important role in the forging of a new Latino social consciousness rooted in the concept of pan-latino identity. Symbolic eradication of the boundaries between latin music and rock served as a powerful symbol of conception of latino/americaness that insisted on inclusion while demanding distinctiveness of identity and that recognized the uniqueness of different latin nationalities and cultures while bulding bridges between them. titio was a unifying symbol of pan-latino culture and at center of social movement.

Samba percussion to bossa nova

it was developed by Joao Gilberto he cultivated a rhythmic approach to playing the guitar batida. accompanying chords were inserted between the syncopated notes of the sung or played melody while the upper and lower guitar strings were used for both chords and to reproduce the charasertic rhythms of high and low pitched samba percussion as heard earlier. aesthetic was profoundly different since the music had a soft dynamic level in a very low mellow, laid-back style. applied to the understood, hushed, almost whispered tones of bossa nova singing that was developed by giblerto.

Details of Kora

its a 21 string spike harp chordophone all spikes harps have a neck that pieces the resonator(body) of the instrument to form a post or tailpiece at the lower end they are unique to west africa Has a straight neck and a resonator made from a large calabash, or half gourd. Two parrell rows of strings pass through notches that are carved into the bridge. the strings are made out of nylon fishing line;prior to the introduction of nylon they were made from thin strips of twisted antelope hide. each string is attached to its own rawhide turning collar on the neck and passes to one side or the other of the bridge all 21 string meets at the bottom of the instrument, where they attach to an iron ring in the tailpiece

Driving, Afro-Cuban percussion rhythms

the syncopated, interlocking rhythms of the percussion section in mambo, all growing from the root rhythm of clave and reflecting the characteristic Cuban styles of rumba and son, served as the engine that drove the music.

Historical importance of Dazon Mambo

its a twofold, since its influence fed directly into the two most successful and influential latin dance music phenom a of the early 1950s. Big band mambo and cha cha cha. these two genres they would coalesce the original oye va coma. Represented a fusion of older dazon sensibilities with the retention of certain elements that had come into music via the dazon mambo, such as the use of conga drums the musical synthesis itself in cha cha cha was its underlying motivation. Jorin wanted to devise a cuban- dance music style that would appeal to non-cuban dancers, especially american. he was the first to compose la enganadora, after watching a group american dancers struggle to keep up with complex cuban rhythms on the dance floor.

Oye coma va and latin context

its an american song from New York, Puente was a lifetime new yorker, and a patriotic american citizen who served in the U.S. military during world war 2, he identified himself, ethnically and culturally as a puerto rican first and foremost. Oye coma va belongs to a legacy of latino musical culture that developed among puerto ricans, and americans of puerto rican descent in both the United states and Puerto rico neither principally puerto rican or american but cuban. belongs to the musical cha cha chi. a cuban dance genre that developed in the 1950s. in the cuban capital havana being gaining popularity anywhere else. Insisted his own musical identify was cuban rather than puerto rican or american. king of latin jazz

Oye Coma Va

its essentially a cha cha cha with big band mambo instrumententions, textures and stylistic elements.

Bala

its one of the principal designed jeli instruments. it is a xylophone constructed of between 17 and 21 hard wooden slats of different lengths that are suspended over a wooden frame in ascending pitch order.

Altana Karia

less an example of cross-cultural fusion that is contemporary reinterpretation of the piece "Karia", a now classical composition of jeli reprerirotie that is usually attributed to toumanis father, Sidki diabate, and is said to date from the 1940s possibly earlier Sidki was known during his lifetime as the king of Kora. one of the greatest musical artists of his generation, whose death was cause for national mourning in his adopted homeland of Mali. Born in Gambina but moved too and settled in Mali played a seminal role in bringing the Kora to broad international attention His classical 1971 duet with master djelimindo Siosko, ancient strings was the first internationally distributed recording the feature the instrument, achieved commercial success. because of him that the piece is recognized.

Meaning of a word in tonal language

like twi is determined not just by the actual sounds of it syllabes, but also by the specific patterns of pitch, rhythm, and timbral inflection with which is articulated. the exact same word can thus mean completely different things, if pitch, rhythm, and timbre with which is uttered are altered.

Subsuharn africa

majority of african contient is located south of the Sahra, and is known as subsaharan africa. Selected musicacultural traditions originating in western regions of subsuahrn africa, that is west africa form the main subject matter of this chapter. west african musical traditions are rich and varied in and of themselves and have had profound impact on the course of musical developments worldwide over the past several centuries. this was the region of the contient from which most african slaves were brought to the americans.

Female Jeli

may referred to as a jelimuso(jelimuscola). while men both play and sing instruments, the women normally specialize in singing exclusively. In modern times, several jelimusolu have emerged as major stars of both contemporary Mande and African panculutral music. the most revered and famous of these is Kandi Kouyate.

Egalitarism

music encodes core values that inform traditional social and cultural life in the Andean highlands. does not imply that all people of allyu are regarded as equals in all ways. some families have more land than others some people have specific skills that others lack. women and men have different modes of interaction and so on no application of egiliatrism principles in the conspicuous absence of turnio calls formal structures or institutions of coercion or control through which certain individuals can force their will on others. decision making requires group consceous everyone has to agree on a particular decision or project if full participation is needed. individuals don't like to stand out in group settings. profound musical manifestations in many ways

Andes

musical and cultural traditions of the andes such as those described above have been well documented in ethnomusicological publications, ethenograhic films and music recordings. representation of andes music is represented in boliva, and peru, is only tangentially related to the actual lives and musical practices of indiengodous people in allyu communities.

Roles of jeliu

not just as musicians, but as historians, genealogists, and social and political commentators. traditionally they alone had the right to sing about certain sensitive issues of mande social and political life only traditionally been permitted to perform on designated jeli instruments, including the kora and others. stimaga attached to musicians from non-jeli families who play such instruments

fast tempos and highly energetic playing

the tempos of the mambos were upbeat and the music was exciting and emintely dancing (though not easy to dance to unlike the cha cha cha)

Musical traditions from Latin America

samba, bossa nova, tropicalia from brazil, steel band from Trinidad, tango traditions of argentia, Uruguay, folk, folkloric musics of the Bolivian and Peruvian andes, and mexican mariachi. latin american music that crystallized in Cuba out of syncretism of West african and spanish elements experienced important developments in puerto rico and was further cultivated and redefined in a myriad of ways in the united states. out of this rumba, danzon son, dazon-mambo, cha cha chi, mambo, latin jazz, salsa, latin rock and a host of contemporary latin popular music styles.

Koni

plucked chordophone akin to the banjo. its the modern banjo direct african ancestor. the body or resonator is made from a hallowed-cut, canoe-shaped piece of wood covered by a tightly stretched animal hide the strings run along the neck which consists of a round, fretless stick that is inserted directly into the instrument.. held horizontally across the players lap and played more or less like a guitar. the size, pitch, range and number of strings vary. some have four some have five, or even seven, some are quite small, and have a high pitch range others are rather large, and function as bass instruments. guitar has been adopted as a jeli instrument. similarities between guitar and koni in terms of construction and basic playing techniques account for guitar ready adaption.

What is the kora

remarkable plucked chordophone of the Mande peoples of western africa with a history dating back centuries. Today the ancient legacy of the kora is preserved in the art of jelyia, the musical repertoire of the herdiarty "praise singer" or griot(families among the Mande)

Bossa Nova

represent the antithesis of the boisterous exuberance of Rio carnival style samba. Originated in the 1950s in the middle class( and white) south zone of rio de Janerio. not far from the poor favelas(slums) Antinoo Carlos(Tom) Jombin, lycrist Vinicius de Moraes, and singer and guitarist Joao Gilberto- adapted rhythmic and other musical elements from the samba styles of favelas combined with influence form american music and jazz.

Fontoform

royal akan drum provides an excellent interaction to the concept of a conversation played out in musical tones between multiple participants "speaking" all together at once and in turn

Mande history and culture

span across the modern nations of mali, guiena, guiena-bissau, senegal, and Gambina in western Africa. the great, ancient mande civilattion developed and spread along the three great waterways of this region; the western niger river, the sengeal river, and the Gambina river Before the present homelands of the mande were the domain of the powerful Mande empire otherwise known as the Mali empire. unified by the legendary warrior and hero sunjuta keita in the 13th century Centered south of present day Bambko, a city located on the banks of the Niger river in western Mali. Bamako is the capital of modern nation of mali and remains the heartland of Mande culture ruled by great hunters to an expansive and powerful west african empire under sunjuta form a large body of oral and written mande literature.

Cowhide

stretches over the opening of the calabash and is attached to it with decorative tasks. a soundhole:circular, square, or triangular in shape- is cut into the right side of the resonator and a high bridge is mounted onto the face.(leading them to classify the kora as a bridge harp)

Complex polyphonic textures

textures featuring multiple layers of instruments/voices are common in sub-saharan africa. The fortomfrom music of CD Ex. #3-14 and all of the other music we will explore later in the chapter exempflying this feature

Big band instrumentation

that was adapted from the model of american big band swing and jazz of era. the typical lineup included trumpet, trombone, and saxophone sections;plus a rhythm section of piano, bass, or three or more percussionist(with singers possibly in addition, depending on the arrangements) the percussion section the three types of drums used in Cuban son bands; the timbales, the conga drums, and the bongo drums, along with additional latin percussion instruments(cowbell, claves, gurio, maracas, etc)

Latin Music defined

the Latin in latin music refers to Latin America. large and culturally diverse region of the world encompassing all of south america and various nations of central america, mexico and the carribean. Latin music- is any music originating from anywhere in this vast region.

whats valued in many modes of social and conversational and interaction in west africa

the ability of many voices to speak and be heard simultantelosuy, and in the process to express a unified diversity of views and perspectives it resonates strongly in the social interaction of music making.(polovocality) Exploring how this works is our main musicultural force.

Compare and contrast oye coma va and el bodeugruo

the basic groove and feel of the conventional cha cha cha dance and rhythm are present in both the tempo of both songs; the tempo of one coma va is slightly faster, giving it an edge and intensity that contrasts with the more relaxed el boderugo. the organs and basic riffs of oye coma va that swirl around the foundational cha cha cha percussion grove, offers a funky and syncopated rhythms flair, generating a kind of swagger that has no parrell in El boderugo. use of organ is a novel feature. minor key also creates contrast. which is common. its a bit hard-nosed and gritty due to the minor key.

Santana big break

the big break came when they were invited to perform at Woodstock, the historic 1969 rock festival that would come to define and era and a generation. created a sensation. launched them into stardom, esblaished their latin rock sound as a staple of american youth. came to know them through the film woodstock. exposed their fans to the their revolutionary fusion of afro-latin rhythms and rock and roll and got them dancing. and running off to the record store. Played in woodstock at 1969, Santana was released on columbia records in the fall,it was a major commercial hit, sold more than 2million copies, and produced a major hit evil ways which was a rocked up version of a standard latin dance, band style cha cha cha, recorded and performed by Willie Bobo. by new york latin bandleader.

Andean Folktronic music

the dominant medium is the domain. first developed not by the andes but in the urban environs of Buenos aires and which crystallized in the folk clubs of paris in the 1950s before ultimately being reapproriated by bolivans and other south americans in connection with several nationalist movements that swept the contient in the beginning of the mid 1960s. Thomas Turino, the classic sociological theories of max weber, characterizes of the phenomena of andean folkloric music as a modernist-cosmopolition cultural formation

Kora

the instrument of the Mande people of West Africa combines guitar and harp like features. It is probably the most widely known and appreciated non percussion instrument of Sub Saharn africa on a worldwide scale Became an international symbol of Africa music in such the way that the sitar has become an international symbol for India sound has come to international attention both through the global exposure of its traditional musical repertirore and through its prominent use in intercultural popular, experimental, jazz-based music styles.

Juljula

the interlocking parts of paired panpipe instruments such as the siku and the juljula, the latter of which are played by members of the Quechua-Speaking Kalankira community of the aylu of Machu in North Potosi, bolivia for harvest season rituals

What does this chapter explore?

the musical element of polyphony, music of "many sounds", of "many parts" Yet it is most appropriate to describe this chapter as polyvocality, many voices. the music we will explore is not generally conceived of by its makers as existing sole for its own sake. its a form of conversation in which people alternately speak in turn and all at once.

Musical textures featured layered ostinatos throughout the band

the percussionist, pianist, bassist, saxophonists, trombonist and trumpet players- featured ostinatos, or riffs that were repeated over and over again often with variations and layered one atop of another, resulting in layered ostinatos. inspired by cuban son and danzon mambo, created a tight composite rhythm that had a unique drive and an electrifying appeal to dancers.

How to perform on the kora

the performer holds the instrument by two handgrips mounted on either side of the neck and plucks the strings with only the thumbs and forefingers. only play from a seated position on the floor to add resonace to the sound Playing while standing or sitting down. use of amplification compensates for the loss of resonance that may occur when certain nontraditional methods of playing are employed.

Jeli

the principal exponents of the kora and its art have always belonged to a heredity class of professional mande musicians the griots(praise singers, praise musicians) of Mande culture

Praise songs

the repertoire centers on praise songs- which were formerly sung to honor of modern politicians or other patrons wealthy enough to retain a jelis service. an important new network of jeli patronage is the worlds music industry. today is is international music promotors and record producers, rather than Mande kings and princes, who often account for the livelihoods and prestige of top exponents of jeliya musical artistry many lead mande kora players have taken up residence in new york, paris, london.

Jeliu

they are the purveyors of the hallowed mande musical art of Jeliya. people born into these families have the exclusive right and are even bound to many duties. such as devoting their lives to preserving and cultivating jeilyas classic repirotre.

Mambo kings

they crystallized mambo into a distincitve genre- Machio and afro-cubans and groups led by tito puente and tito rodriguez- who took mambo to its most sumbline height. 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 "For the first time" Charely Gerad; a new cuban style originated outside of the island" Mambo, as developed by the big New York Latin dance bands of tito puente and his contemporaries in the early 1950s was defined by these features.

Santana oye coma va AND tito puente.

tito made more money from Santans recording than he did from any of his own recordings, much more in fact. made more money off that than his entire life before that. revitalized puentos carrerr and the latin american seen more broadly. before that latin music had been in a state of decline, the rock and roll of the 1950s had smashed the mambo and the cha cha crazes in the US. plethora of new rock and pop styles pushed latin american music out of stoplight even more. market narrowed to latin american communities. members of younger generation gravitated away from latin american bands and toward pop rock. also because of the cut off with the us from cuba did not help. Santana oye coma va; helped swing the pendulum of commercial viability back in the direction of cuban musics;brought youth culture and latin music back togther and opened the door to a new age of latin music.

Isisthaymia and ladysmith black Mambazo

under the long direction of its longtime leader Joseph Shabbila, the brilliant South African vocal group lady smith black Mambazo has been the domaint force in ischiathamyia music for decades. Isisthaymia is an a cappella(unaccompanied vocal) genre that emerged out of synthesis of traditional music of Zulu peoples in southern africa and christian hymnody introduced by european missionaries. Initially developed mainly by black South african migrant laborers who worked under oppressive conditions as miners. During the 20th century issthaymia became an important symbol and medium of cultural expression for Zulus and other black south africans and formed the basis of a vibrant and exciting musical tradition Competitions showcased representative groups from different townships going to head to head in musical battles that highlighted intricate choreography and impressive showmanship

The Danzon Mambo

was a highly afro-cubizanized version of the earlier danzon. Principal charanga group responsible for its development was Arcano y sus Maravillas or (Maravillos) led by flutist antonio arcano, but other two members of the band, the brothers Oresterez Lopez and Irsael Cachao lopez, were the principal innovators of the danzon mambo.

Carlos Gardel

was both an agent and beneficiary of tangos transformation and vastly increased stature in Argentina and around the world leading superstar during tangos golden age of the 1920s-1930; witnessed the progression consolidation of tangos dancing contradictory mix of earthy sensuality and middle class kitsch. which arose within a violent and dangerous friction of bodies, colliding often in a passion which seems controlled by the dance itself. respectability hid darker undercurrents in the obvious macho domination of th female and female in a series of intricate steps and close embraces which were high sexual acts. They embodied in the tango songs and musical styles of the golden age period and gardel himself came to embody them in his alternately suave and aggressively macho-romantic image and lifestyle. stardom with the ascent of radio, recordings, and film and his permanent legend status was ensured by tragic death in an a airplane crash in 1935

Elements of Afro-Cubinzation

were present at mutiple levels of danzon mambo. Conga drums were added to the standard charanga percussion section of the timbales, guiro, and macras. the complex and syncopated rhythms played on the conga added a strong imprint of afro-cuban rhythmic character to the music- this imprint reflected influences from the son especially a cowbell was added to the percussive arsenal of timbal players paving the way for the development of the standard drum kit setup of modern timboleres like Tito puente(consisting of 2 or more metal sided timbale drums, cowbells, woodblock, one or more cymbals and sometimes more instruments.

Modern Mariachi

what is known throughout mexico. the musical format and instrumental lineup of this crystallized in the 1950s among bands in mexico city, the central location of the musical development since its emergence there around the 1920s lineup consists of trumpets(usually 2 or more), violins(3+) viheula, guitar, guitarron. trumpet, violin, guitar are of standard form. the viheula and guitarron are of from mexico and from spanish prototypes.