Latin test 3

Gaucho

A South American horseman from the plains regions of Argentina and Uruguay or from Rio Grande do Sul in Brazil. Gaucho music features solo singing and dancing accompanied by the guitar.

Tamboril

A common name for a single or double-headed drum in carious regions of Spain and Latin America. In Uruguay, the tamboril is an important national instrument associated with candombe. The tamboril played in candombe is a single headed drum of African origin that is carried over the players shoulder and is played with two hands, one of which holds a stick.

Dissonance

A harsh or unpleasant musical sound that creates a sense of tension, as if it needs to resolve. Unresolved dissonances frequently occur in contemporary music.

Bombo

A large double-headed cylindrical drum played with sticks and known throughout the Andres and parts of Argentina. Goat or llama hair is typically left on the leather drumheads, giving the instrument a muffled sound.

Chacarera

A lively Argentine couples dance that alternates between ¾ and 6/8 meter and is traditionally performed by an acoustic violin, guitar and bombo.

Lunfardo

A rioplatanse dialect that blends Italian linguistic characteristics with local patterns of speech. Lunfardo words appear frequently in the lyrics of tango songs.

Payada

A rioplatense vocal competition that derives from the tradition of improvised poetry of the Iberian Peninsula. The payada is based on the improvisation of sung stanzas of poetry by two singers, accompanied by guitars. It can be compared with the Cuban Controversia genre and the Brazilian Cantoria.

Sincopa

Sincopa, syncopated tango figure. 1 + +3 (4) +

Fugue

Literally "flight." The fugure is structured classical genre that consists of two or more independent lines, called voices. It begins with a main theme that the voices present in turn as they "flee" from eachother.

Zapateo

A specific dance style derived from Spanish sources, characterized by motion primarily from the waist down and the tapping of the dancer's shoes against the floor to create percussive sounds or rhythms. Such dancing characterizes many genres of Latin American Music. The term may also refer to specific dance genres that use this gesture.

Compadrito

A stereotype of a rioplatense male from the lower classes, associated with the marginal social environment of early tango. Tango lyrics and rioplatense literature portray the compadrito as a courageous fighter, an arrogant bully, and a sensuous dancer.

Décima

A ten line poetic form derived from medieval Spain. Many forms of sung decimal continue to be performed throughout Latin America

Criollo

A term used to describe music descended from Spanish roots and that developed in the Americas. It also has specific local meanings. In argentina, it is used to describe music that is sung in Spanish and has predominantly European characteristics. In Peru, it refers to the people, culture, and music of the coast, as distinct from the indigenous and mestizo Andean highlands.

Candombe-

A term with multiple meanings. Most commonly it is defined as an Afro-Uruguayan song and dance genre performed at carnival that uses a specific drum call played by a percussion ensemble. See also Tamboril

Bandoneón

An accordion like instrument of German origin associated with the tango that is also used in contemporary traditional-music ensembles. It has 38 buttons in the upper and middle registers and 33 buttons in the lower register

Rioplatense

An adjective describing music (as well as people, places, and things) from the region encompassed by the Rio de la Plata estuary and including Argentina, Uruguay, and Paraguay, and parts of southern Bolivia.

Tango

An argentine and Uruguayan popular genre that arose at the turn of the twentieth century in the surroundings of Buenos Aires and Montevideo. The tango uses a duble or quadruple rhythm and features an accordion-like instrument known as the bandandeon

Malambo

An improvised Argentinian dance performed by two competing gauchos is characterized by variations on the repeated chord progression played by the guitar along with vigorous zapateo dancing.

Marcato

marked with emphasis quarter note pulse

Payador

one who sings a payada

Pampas

planes region of Argentina, Uruguay, and southern Brazil that was home to the gaucho and that also encompasses the modern Capital Cities of the Montivideo (Uruguay) and Buenos Aires (Argentina).

Milonga

the traditional song genre of Argentina and Uruguay is syncopated duple meter with guitar accompaniment. Alternatively this term they referred to an urban popular dance or to any place where tangos are performed.

Milonga para una niña

• Alfredo Zitarrosa • Milonga • Contrast between vocal and instrumental sections • Speech-like vocal style with limited range • Each decimal following the rhyme scheme ABBAACCDDC • Dramatic pauses after the 8th line of each stanza

Malambo

• Atahualpa Yupanqui • Extended techniques included gople (strikes on the body of the guitar) • Increasing rhythmic activity that parallels the heightened intensity of the dance.

Por Una cabeza

• Carlos Gardel • Tango cancion o Contrast between A and B sections o Speech like A section in a major key with rubato o Marcato quadruple rhythms in the orchestra o Similiarity of the vocal style to Zitarrosa's milonga o Vocals, strings, piano, two bandoneones, and back up singers

Chacarera del Paisano

• Performer- Sixto Palavencio • Chacarera • Listen for: o Rural-urban conflict in the lyrics o Violin dominates the ensemble and harmonized with voice o All stanzas have the same music (strophic form) o Use of the signature Chacarera Rhythm (between compound duble and simple triple) o Two large sections (primera and segunda)

La Camorra I

• Piazolla • Nuevo Tango • The grunt • Complex dissonant polyphony • Alternation between fast rhythmic sections with a clear beat and slow nostalgic sections (with rubato) • Improvised solos in the solo sections.