Music Exam 2

Reggeaton today

"Despacito" - Luis Fonsi ft. Daddy Yankee (2017) The riddim continues Tropical house - subgenre of house music House - genre of electronic dancehall, primarily through the use of dembow rhythm Into mainstream pop music through Justin Beiber's 2015 "Sorry" Loses indexical meaning and becomes more generic

Nueva Cancion

"new song" - emerged in late 1960's in Cuba, Chile, and elsewhere as a sort of self-conscious Latin American "protest music" emphasizing highbrow, progressive verses rather than dance rhythms and telenovela lyrics Emerged as a persistent, if marginal voice of progressive opposition, advocating Latino and working class solidarity and cultural renewal Despite sincere celebration of proletarian and folkloric values and concerns, most nueva cancion artists and audiences have been from the educate bourgeoisie Self-conscious usage of styles lacked authenticity Lack of pan-Latin medium often led the use of Yankee-style singer-songwriter soft rock as a musical lingua franca

Oye mi Canto (performed by N.O.R.E. featuring Nina Sky, Daddy Yankee, Gem Star and Big Mato)

(Puerto Rico) United States of America Crossover Chorus: names of Latino countries Hip hop influence Spanish and English Pan-Latino identity

Experiences

(of body + social environment) create certain habits in the girl such as the tendency to expect special treatment and to conceptualize herself in a particular way if she has some desirable traits

Salsa Origins

1966 Palaadium Ballroom closes Latin music underrepresented in recording industry White counterculture movement and civil rights movement not impact urban Latinos, until....Young lords (like Black Panthers) empowering young Puerto Ricans living in NY Cuban son (via Puerto Rico) became re-signified as an index of NY and Pan-Latino ethnic identity Comes at a time of changing demographics in NYC Fania records, founded in 1964 by Domincan born Johnny Pacheco and Itialian-American Jeryy Masucci coined term salsa for a new genre that downplayed Cuban origins Sought crossover appeal Fania All-stars and Salsa "Boom" Among the stars: Ray Barreto, Willie Colon, Hector Lavoe, Charlie and Eddie, Tito Puente, Johnny Pacheco, and Celia Cruz

Mambo

A Latin dance fad of the late 1940's and 50's that combined the rhythms of the Afro-Cuban son with the horn sounds of big-band jazz.

Cultural Formation

A group of people who have in common a majority of habits that constitute most parts of each individual member's self The pervasiveness and often the time depth of habits influencing individual thought, practice, and decision making that distinguish cultural formations from cultural cohorts Habits of the formation make up a baseline for what much of what individual members think and do Within a given formation, the members of different cohorts will be guided similarly by a majority of habits of the formation but will be distinguished as cohorts by the emphasis and development of selected habits The habits of thought and practice that pertain to a cultural formation operate across specific cohorts and underpin or create the conditions for the specific cultural cohorts that will emerge that formation

Nationalism

A political discourse, connects people to an identity group called 'nation' therefore feel they have the right to have a state Generates a 'national sentiment' It does not have to replace other identifications (family, village, neighborhood). Tries to make two different symbols mean the same thing for citizens: Nation & State

Hindewhu

A tube, between seven and eight centimeters long, cut from a hollow twig of a pawpaw tree in which the natural membrane at the node forms the base of the whistle Result is a continuous musical structure in which the whistled sound, of unchanging pitch but occurring frequently, constitutes the inevitable melodic axis around which the melody gravitate Can be performed solo or duo or multiple Having returned from a successful hunt, the hunters use this instrument to announce the news to the women and old people who stayed in the camp. The women answer by whistling and singing. This piece was played by a young Benzele woman who alternately whistled and sang. The main intervals which occur are ascending sixths, fifths, and fourth. On the surface Hancock's appropriation, Thomas' imitation, and Rowles' inspiration are distinct. Yet, as all jazz musicians know, the bounds of mimesis are wide open, and what constitutes a small imitative mutation in one instance appears more as artistic transformation in another. While players clearly recognize that some copies are closer to the source than others, or that some recordings copy pieces while others copy processes, textures, or grooves, all tend to either nonchalantly note or defensively argue that this is just "in the tradition," which is presumably similar to Herbie Hancock calling it "a brothers kind of thing"

Concert Music

Africans learned to read western music in school Learned to value clear diction when singing and transparent textures Concert style combined jazz-inflected instrumental accompaniment with suave African american vocal styles and harmonies popularized by groups like the Mills Brothers and the Ink Spots Sophisticated musical style, dress, and choreography matched mid class Africans sensibilities and musical values When African concert artists modeled themselves after England and US bands they were imitating the recordings of another country but not from another culture - part of same cosmopolitan culture Musical variety emphasized - drama, comedy, "latin" numbers Presentational and high fidelity music initially introduced through colonialism Presentational performance and listening to high fidelity recordings were dicent indicies that emerged with the emergence of a new site of the capitalist cosmopolitan formation Cosmopolitan as a type of transtate cultural formation with common habits of thought and practice shared among groups of people in widely dispersed locales explains how jazz, rock, and rap can be genuinely local in a variety of places at the same time

National Dance Company

Aimed at international arenas Goal was to revive indigenous dances Transition of takings participatory performance and putting it into a fixed presentational performance Directors of company chose master teacher performers for each of the regional dances Dancers were the first full time professionals in the indigenous dance field in Zimbabwe Indexical shift from region to nation fortified that the same troupe of dancers did all the representative dances and labeled them national Emmanuel Ribiero who worked with company between 1982-1990 argued company's performances should remain true to the original style where the dance had come from Emphasis on stagework, showmanship, and artistic development and the fact that the dancers were not from the locale, led to major changes in the dances to the point where the local people sometimes rejected the NFC versions of their dances

Mbira

An idiophone (specifically a lamellophone) Played by Shona people of Zimbabwe (very strong mass index) 22 flat metal "keys" attached to a board with a metal bridge Sometimes played with a gourd resonator Bottle caps on board and gourd

Nested Cultural Formations

Any given individual belongs to a variety of nested cultural formations of lesser to greater size, specificity, and intimacy

Influence of US music in the international emergence of reggaeton

As puerto rico's rap-reggae hybrid move from underground to mainstream, one can see and hear shifts in sonic, visual, and textual articulations of community Reggaeton was increasingly produced as the soundtrack of "perrero" and "bellaqueo", of highly sexualized dancing Reggaeton producers and performers seemed to embrace a number of sterotypes about race, gender, and nation Increasingly commonplace effects and affects of R&B and American pop can be heard in the singing styles of Latin pop ballads The production of compliations of discrete songs rather than dense, nonstop mixtapes is another attempt to bring reggaeton into the commerical marketplace Use of synthesizers and software move reggaeton towards futuristic synths, cinematic strings, bombastic effects, etc.

BaMbuti instruments

BaMbuti don't have instruments Some aerophones (whistles, flutes, and trumpets, like molimo) Some rhythm sticks and rattles Some groups use a musical bow

Kasia All Stars

Based in Kinshasa, Dem. Of Congo Group of musicians from different musical traditions of the region in Kasia Success of a compilation album called congotronics in world beat market (especially Electronic Dance Music Scene) Add Western instruments (especially electronic ones) to trasitional indigenous music of the Congo

Social identities

Based on some kind of iconicity - the recognition of similar habits or features that allow individuals to group themselves and to group others Any two objects of people will likely have a variety of similarities and differences and people learn and sometimes choose to focus on some features rather than others depending on past experiences and goals in the situation

Donkillo

Basic vocal melody (tuneful)

Bira Ceremony

Bira - a ceremony held to contact one's ancestors Resolve a family issue, illness, or the apparent intervention of the ancestor Communicate through medium possession Entire village may attend, musicians are invited Must choose instruments & songs based on ancestor's preferences in life Drink special home-brewed beer Starts like a casual party, moves into music/dance during the medium possession Core and Elaboration parts core parts- drumming, hosho shaker, mbira, clapping, singing simpler roles (clapping, singing, dancing) are very important Dense sound creates heightened atmosphere Open form allows performances to last as long as necessary Everybody dances: Without dancing the spirits won't come

Bira Ceremony

Bira - ceremony to contact ancestors Held b/c someone in family might be sick or having a difficulty Also held to stay in touch with, consult, or honor particular ancestors Ancestor's attend ceremony through body of person who serves as the spirit's medium Music and dance used to attract certain ancestor Decisions made about what type of music is played to attract the right ancestor A week before the ceremony, family brews a special seven day beer and make other preperations

Pidigori (performed by Thomas Mapfumo and the Blacks Unlimited)

Chimurenga music based on mbira music. Electric guitars, electric bass, drum set, voice. Zimbabwe. Chimurenga, Zimbabwean popular music that delivers messages of social and political protest through an amalgam of Western popular styles and assorted musics of southeastern Africa—particularly those featuring the Shona mbira (thumb piano)

Characteristics in Shona Participatory Music

Claim music and dance best at dawn Enhances closeness Element of time important as is the effort and sacrifice involved in supporting the ceremony Range of roles - Highly skilled drummers, Mbira players, Singers, Dancers, Clappers Musical roles determined by skill, not gender Distinctions of skill and specialization articulated publicly Tradition that highest skilled drummer can be challenged as a neophyte who can only clap the basic pulse Emphasis on expanding technical capabilities while also catering to different levels of competence Better players responsible for maintaining rhythmic groove Songs relatively short Major musical contrasts not present Intensity in dynamics and tempo changes produced organically through participants Shona drums and hosho provide rhythm for dancing Percussion strokes arranged to fall slightly before and after the basic pulse Creates rhythmic tension that provides power and energy for singing and dancing Density created through vocal layering and overlap Unison singing structured in wide intonational bands with some singing sharp and other flat Mbira pitches tuned slightly off to create complex overtones Hocketing and interlocking Call-and-response singing type of interlocking Dancers contribute to rhythm by stomping, clapping, etc. Can interlock dance moves with others Important for social intimacy among participants Song highly repetitive for long time Long duration is opportunity for elaboration parts to add to dynamism Singers look across room to interlock with a specific person People's focus changes throughout long performance - kaleidoscope effect Complex musical relationships built on basis of a security in constancy Synchrony in sound is a confirmation that a participant has been seen and heard and valued by group

Cohorts vs. formations

Cohorts are differentiated from the cultural formation by different levels of shared habits of thought and meaning attached to a particular object, institution, or practice i.e. Religious beliefs and practices can be the basis of an identity cohort within a broader cultural formation (Going to church on Sunday), but if the religious group isolates itself and its tenets become the primary basis for living, it becomes a cultural formation (Amish)

Diasporic formations

Combine habits from the original home and their new home and are influenced by the cultural models from other places in the diaspora Unified by at least symbolically emphasizing their allegiance to their original homeland and by social networks across the sites Both immigrant and diasporic formations involve immigration and both involve subjective identification with the formation

Cuban Son

Combines european and african musical characteristics Sung in spanish Instrumentation includes string and wind instruments from spain and percussion modeled on african instruments Binary (2 part) form ○ 1st part (canto or verso), similar to European music = Verse and chorus ○ 2nd part (montuno) similar to African music = Call and response; Cyclic

Factors keeping salsa in holding pattern for most decades

Cultural and linguistic Americanization has led to many latino youth shunning salsa Merengue boom Movement of salsa towards sentimental love lyrics and away from its barrio orientation made it more bland, depoliticized pop (Salsa romantica)

Trans-state Cultural Formations

Cultural formations that exist across borders Immigrant communities, diasportas, and cosmopolitan formations are three prominent transsate types each with its own characteristics and dynamics Immigrant communities - members are dispersed geographically across state boundaries and combine habits based on models from their original homes and their new "host" society home To be in an immigrant community, one must associate with others on basis of "original home" identity and operate within community networks in host country to a significant degree such that the community forms an enclave and supports prominent models for specialization

Hierarchy and the Anlo-Ewe

Dance drumming has an important place in society Dance drumming clubs of various types - mutual aid societies (pool resources for funerals), schools, youth groups, etc. Hierarchical structure - Female and male elder; Composer - creates a distinct style for the group; Lead drummer - leads the ensemble; Experienced participants; Supporting song leaders (assist the composer); Supporting drummers Rest of ensemble - singers, dancers, hand-clapping, rattles

Reggaeton - origins

Dancehall in Jamaica...To reggae...To Panama (Reggae Espanol)...To Reggaeton in Puerto Rico and other parts of the US ...To Latin markets across world Overlapping influence of Latin-Caribbean and African American music

Jamaican Dancehall

Dancehall is a genre of Jamaican popular music that originated in the late 1970s

Deep Forest

Deep Forest's lead song was also heard widely as the soundtrack to TV commercials where a nude mermaid splashed through lush mountain streams advertising Neutrogena skincare products The producers and musicians on this recording are donating part of their profits to The Pygmy Fund. Hallet's Pygmy Fund is specifically designed to help the Ef6, a group whose music was not sampled on the Deep Forest CD. As it turns out, inspection of The Pygmy Fund's tax returns for the years since Deep Forest reveals little change in their contribution base

Winsin and Yandel's 2003 version of "Dem Bow"

Dem bow becomes more of a reference to the style and dancing Radical shift in subject matter: homophobia, national pride, or anti-colonial positions disappear Courtship, sex, objectification of women Stereotypes of Latinos as hot-blooded or overly sexualized

Characteristics of Shona Participatory Music Making

Density: Buzzy timbres; dense overlapping textures Intonational Variation ("beating") Interlocking: Between lines of one instrument & between instruments Different levels of specialization allow for participation Playing, singing, clapping, dancing - roles by skill, not gender Cyclic form and variation, open form, long performance, feathered beginning/ending Polyrhythm: multiple simultaneous rhythmic "feels" 12-beat phrases, heard either in 3s or 2s. "Core" and "elaboration" parts.

Vocal Parts

Donkillo Sataro

Salsa Dura

Dura = hard Driving rhythms, aggressive Afro-carribbean indluenced Improvisation important Popular in 60's/70's Ex.) Plastico - Ruben Blades

Willie Colon

Early albums eptimozied the Fania style at its best and captured the fresh sound, restless energy, and aggressive dynamism of the barrio youth

El General ft. Brenda Ellis, "Son Bow"

El-general - reggae espanol Also panamanian but moved to NY Co-influence of Jamaica and Panama Includes references to NY continuing the connection to migrants (adding Puerto Rico and Columbia) Helped to popularize Reggae espanol but also Spanish rap more generally in US

Wa Muluendu (performed by Masanka Sankayi & Kasai All Stars featuring Mutumilayi)

Electro-traditional band. Kinshasa, Congo Group of musicians from different musical traditions of the region in Kasia Add Western instruments (especially electronic ones) to transitional indigenous music of the Congo The musicians originally come from five bands, all from the Kasai region

The Jalolu

Endogamy - only marry within the group Hereditary professional artists Spiritual force that allows you to create Speech, song, and instrument playing Men play specialized instruments and women play percussion and/or sing Oral historian, praiser, genealogist, announcer, diplomat

Mande of West Africa

Ethnolinguistic group with many subgroups Descended from mali empire (13th century) Social hierarchy and occupational specialization

Gender roles among Bambuti

Even though egalitarian, there is differentiation based on gender and age Male jobs and female jobs Different ceremonies Rite of passage - when members of a society are transformed from one type of social person to another (Coming of age, Academic, Religious) The elima ceremony is a rite of passage for womenhood No equivalent ceremony for boys, but first animal kill while hunting matters

Gadzo, Recorded by S.K. Ladzekpo. Ghana

Ewe dance-drumming. Theatrical dance. Two small drums, a middle-sized drum, bell and several rattles Call and response The sophisticated cross rhythms and polyrhythms in Ewe drumming are similar to those in Afro-Caribbean music and late jazz. Cyclical/Repetitive Warrior dance

Families

Families can be a cultural formation - habits are unique to and shared by its members across the mote specific gender, age, occupation, and interest-based cohorts that may exist within the family Families are fundamental type of cultural formation b/c involved in early socialization and habit formation

Indigenous Participatory Music in Murehwa

Farmers and herders b/c of aparthaid, blacks rellocated to tribal trust lands where they were not allowed to own homes in city or land designated as white area Musha = home and place where one's ancestors are buried Murehwa has musical events that are family sponsored ceremonies for ancestors between 1-3 generations back

Interest based cohorts

For interest-based cohorts, the conscious choice is involved in skill development and joining others who value f take part in the activity

Culture

Habits of thought and practice that are shared among individuals

Cosmopolitanism

Human beings are all part of one large community Shared constellation of habits at a trans-state level, but not attached to any idea of homeland

Dicent indices

Identity signs that are actually affected by the social position, experiences, and ingrained habits that they signify

Sataro

Improvised, declamatory signing style May include stories, proverbs, history, etc.

Madonna's Sanctuary

In Madonna's "Sanctuary" the pygmy like hoots and throbbing low bass notes frame seduction

Panamanian reggae en espanol

In Panama, reggaetón is a musical genre that is a combination of reggae, Jamaican dancehall, hip hop, soca, and various Caribbean music styles. Lyrics to reggaetón are typically sexually explicit and are generally rapped, but many reggaetón artists will also sing their lyrics.

Dembow style

In contrast to hip-hop or dancehall, the songs recorded by outside producers would not be featured instead the mixtapes showcased the work of the producers and DJ's who make them Mixes often identified under name of the producer Affirming and informing the music's projections of a modern, urban, Afro-Puerto Rican aesthetic, the artwork promoting the tapes often employed graffiti-style lettering and featured city skylines and lots of images of stylish and often dark-skinned, denizens of the underground As truly underground music, based on live performance practice and deeply informed by the musical ethics of reggae's version-based "riddim method" as well as hip hop's sample based collages the recordings produced advanced an approach utterly unconcerened with the strictures of copyright or bourgeois attitudes toward ownership Music brims with references to resonant musical texts Taken together the allusive tunes and texts of vocalists suggestively indexes NY Degree of intertextuality on such recordings is not only rather remarkable in its own right, then, it is also charged with significance A single samples will serve as the basis of hundreds of other songs With regard to reggae, the dancehall riddims most commonly sampled, replayed, and reconstructed in Puerto Rico at this time were such recent, popular productions Vocalists added another layer of intertexuality either by employing melodies drawn directly from dancehall songs or by borrowing some of the generic melodic contours that dancehall DJ's have long used The dense, distinctive intertextual mix of hip-hop and reggae embodied in mid-1990's underground recordings supported a youth and class-inflected cutlrual politics of blackness and did so by embracing the newyorican dimensions of Puerto Rican culture

Signs of Identity

In-group and out-group status are marked by a broad range of signs such as clothing, hairstyles, speech styles, etc.

Habit formation

Incipient habits are shaped bu the values and examples or core people around the child and reinforced by praise child shows interest or ability in a valued activity Along with mental and physical disabilities, a prominent reason that individuals might not develop musical competence is social and cultural inhibition which deprives people of the interaction necessary to develop the capability Competence in performance will be lower among the general population in places where musica and dance are assumed to be specialist activities and not regularly practiced by everyone

Sub-Saharan Africa General Musical Traits

Interlocking - Melodies and rhythms; Call and response; Space for many participants to ass parts Density - Polyphonic/polyrhythmic; Preference for dense textures Cyclical form and variation - Ostinato; Gradual (intensive) variation Course and elaboration - Core-integral parts; Elaboration- not integral, different skill levels Presentational and participatory practices do co-exist What makes up a "piece" - Harmonic, temporal, and melodic character of ostinato; Certain melodies and text; Length, order of pieces, improvisation may vary Music tied to everyday life (work songs, rituals, etc.)

Herbie Hancock's Watermelon Man

Intro was imitating Pygmy music "hindewho" Onomatopoeic imitation by BaBenzele pygmies of the Central African Republic for the alternation of voice with the sound of a single pitch papaya stem whistle Said he didn't need to credit the Pygmy people because they are brothers making African music Headhunters album had many symbols relating to African-American nationalism. On album cover, Hancock is covered by a Baule mask, Afro hair style, Large African necklace, Yoruba gourd rattles, Afro-centric music

Cosmopolitan cultural formations

Involve prominent constellations of habits that are share among widely dispersed groups in countries around the world but are not traced to any particular homeland Cosmopolitans do not subjectively identify with or even recognize cosmopolitanism as the basis of cultural formation No defined by immigration status but rather by the major adoption of cosmopolitan life ways and habits of thought

Thomas Mapfumo

Involved in Chimurenga (resistance movement) that led to the creation of Zimbabwe Familiar with indigenous village music Went to urban school, and listened to American bands His bands played Shona songs, rock and roll, surf rock, South African pop, etc. Incoporated mbira music into cosmopolitan style to create new genre called Chimurenga Participatory became more presentational Mbira performance of "Pidigori" and Mapfumo's version Listen to high melodic line, to low bass line, and singing quality

Identity

Involves the twin aspects of unifying ourselves (emphasizing similarities) with some people and differentiating ourselves from others Do this for host of practical and emotional reasons - creating labor unions, nation-states, interest groups, etc. Issues of personal, social, and economic security are at the heart of social group formation and identity

Mande Guitar Bands

Jalolu that incorporate guitar to local tradition Ali Farka Toure (1939-2006) and Toumani Diabate perform "Debe"

Shabba Ranks "Dem Bow"

Jamaica Dancehall - coming from reggae but more digitally produced, hip-hop influenced Rapping over a digitally produced backing track called the riddim This riddim used so often that is took on the name of the song "dembow" Anti-imperialist/anti-colonialist Homophonic/anti-gay

Watermelon Man (second version) (performed by Herbie Hancock)

Jazz/funk. Voice and bottle used at the beginning and 5' minutes. United States of America. Uses synthesizers On the intro and outro of the tune, percussionist Bill Summers blows into a beer bottle imitating hindewhu, a style of singing/whistle-playing found in Pygmy music of Central Africa.

Ala l'a ke Mande (performed by Kunye Saho, kora and voice)

Kora music. Mali On this recording one can clearly hear the metal jangles buzzing and the relatively soft volume of the kora compared to the voice. As is apparent here, the birimintingo sections provide a greater degree of musical contrast, departing from the basic kumbengo ostinato. This type of instrumental interlude that alternates with the basic ostinato is distinctive from Shona mbira performance or a Pygmy song, where variations and improvisations are added to and over the basic cycle. Nonetheless, the conception of what constitutes a "piece," that is, a series of stock resources that are uniquely arranged and improvised on according to the needs of a given performer and occasion, are similar between the Mande and the Shona.

Kora Parts

Kumbengo Birimintingo

Molimo Ceremony

Lasts longer Molimo = "animal of the forest" Women and children not allowed at the ceremony Overnight ceremony Men must stay up until dawn Men sing, younger men dance Some men go into forest and play Molimo Reverent, spiritual ritual to please the forest Believe forest is a god When bad things happen, it is because the forest is asleep and needs to be woken happily with music

Gasolina (performed by Daddy Yankee featuring Glory)

Looped samples and voice. Reggaeton. Puerto Rico. All the signs that reggaeton have. Transnational identity and music genre. Dembow rhythm. Produced by Luny Tunes Synth beats (hip hop/techno) Tropical genres (Caribbean) Pasodoble rhythms (Matadores/Spain) Voice (Dancehall DJ's) Dembow rhythm (reggae/Jamaica) "Gasolina" as a metaphor can be interpreted different ways

Patriotism

Love of country, pride in being a citizen

Shona

Majority ethnolinguistic group in Zimbabwe Tribes rather than unified cultural formation Participatory music practices in ceremonies at home Based on life events (wedding, funeral, etc.) rather than the calendar. Ancestors are important for the living & involved in daily life

Cuban instrumentation

Maracas Bongos Guitar Trumpet Claves Bass Tres

Nhemamusasa (performed by Chris Mhlanga and Bernard Matafi, mbiras)

Mbira music. Two mbiras and a hosho (shaker). Zimbabwe numerous intertwined melodies, often with contrasting and syncopated rhythms cross-rhythm Bottle caps, shells, or other objects are often affixed to the soundboard to create a buzzing sound when the instrument is played. In a traditional setting, this sound is considered extremely important, as it is believed to attract ancestral spirits. Shona mbira music Played inside a gourd for more resonance Ostinato: continually repeated rhythm Polyrhythms: rhythm that uses 2 or more rhythms simultaneously (duple sound of the ostinato and the triple sound of the jangling bottle caps from the mbira) Density: buzzy timber of the mbiras, polyphonic texture created by the two instruments Bira: Shona ceremony involving spirit possession

Pidigori (performed by Chibora family)

Mbira music. Zimbabwe.

Mbuti and Song of the Forest

Mbuti must attract the attention of the forest, must soothe it with the strength of sound that is fully articulated in the achievement of song "Song is used to communicate with the forest, and it is significant that the emphasis is on the actual sound, not on the words" "The sound 'awakens' the forest...thus attracting the forest's attention to the immediate needs of its children. It is also of the essential nature of all songs that they should be 'pleasing to the forest.' " Ideal is quiet - Quiteness associated with the forest; Joy is an intensification of quietness and brings good hunting, good weather, good health, etc.; Ekimi = quiet Music creates satisfaction in Mbuti which is conveyed to the forest through song Thus quiet is social cooperation, embodied in good hunting, singing, dancing, feasting. And noise embraces "laziness and aggressiveness and disputatious" The cries announced by noise and silence, where poor hunting, social disintegration, sickness, or death emerge and linger, indicate that the forest is "sleeping." The main function of the trumpet is to sing, and to pass on the song of the Mbuti into the forest. It is taken off to a distance from where it picks up the song from the men around the molimo hearth and echoes it into the night. This way, the Mbuti say, the forest is sure to hear it and be pleased

World beat

Mixing traditional musics from non-western countries with cosmopolitan types Participatory musics become more presentational Adds electronic instruments (electric guitar, synthesizers, etc.) Uses exoticism (type of essentialism) to sell to a cosmopolitan audience Reduce nuanced characteristics of original music to a few characteristics to represent the whole to then sell to cosmopolitans Exoticisms - mental characteristics that evoke mental image (through signs) of a far-off land Indigenous peoples may not be involved with or see profits of this music

Style and Structure of Salsa

More prominent use of trumpet, trombones, timbales More strident playing style Some Puerto rican elements (singing "le-lo-lai") Borrowing elements from jazz Emphasis on solo improvisation Cyclical rhythmic patterns for each instrument Lyrics more focused on urban life, and frequently reflect issues important to Puerto Ricans in NY (Newyoricans)

Ruben Blades

Most distinguished figure in salsa Skilled instrumentalist (guitar) and composer Intelligent lyrics Political songs His famous songs are epigrammatic character studies that personify with a mixture of criticism and empathy, the vanities and travails of urban proletarian Latinos English and Spanish lyrics Stylistically, some of his later music draws eclectically from reggae, meringue, and rock

Polyphonic singing

Multiple melodies, all equally important, fit together

Cuban Dance Crazes in NYC

NY was a major center for Cuban music since 1940's Dancing at the Palladium Ballroom (opened in 1947) Influence of large jazz bands (more piano, brass, percussion) New inventions - Mambo and Boogaloo

The Salsa Life

NYC remains the capital and creative hub of salsa Lower echelon consists of lesser-known bands that play cover versions of other groups' hit songs Groups with dozens of big name songs NY musicians mix of Dominicans, Cubans, and a few Anglo horn players Pros of salsa life - camaraderie among musicians, glamour of being a minor star, and exhilaration of playing music Cons of salsa life - low pay, fights at clubs, gigs fall through, drugs, etc. Business aspect of salsa scene in the US tended to be dominated by a few imperialistic moguls Much of the crisp, flawless, mechanical slickness of modern salsa records devices from the way they are recorded Became norm to record parts separately Live version of song much different from recording - usually twice as long, with an extended montuno section often incorporating improvised solos Subculture of dance "on two" - take first step of the four-beat pattern on the second rather than the first of fourth beat of the measure - more flashy style

How does music relate to an egalitarian social structure?

Non-specialized performers Particpiatory performance

Dem Bow (performed by Shabba Ranks)

Notable riddim in a Dancehall song. Jamaica. Backing track that become primarily reggaeton. Influenced by hip-hop. Rapping over a digitally produced backing track called the riddim. Anti-imperialist/anti-coloniast Homophonic/anti-gay

Hindewhu

Onomatopoeic imitation of music of the Ba-Benzele people Alternating voice with the sound of a single pitch papaya stem whistle Through hocketing, creates melody

Sula

Ordinary people - non-specialists including farmers, merchants, urban workers, and aristocracy

Reggaeton

Originates in Puerto Rico Not a mainstream genre - underground music Puerto Rican DJ Playero and DJ Negro making underground mix tapes Alternation of dance hall and hip-hop Conscious linkage to African American hip hop But style of rapping more reminiscent of dancehall Music becomes known as "melaza" (molasses), "musica negra" (black music), and even simply hip hop and reggae After "underground" period, in 200's becomes more mainstream and commercialized Crossover, using references to salsa, mergenue, and bachata Lunny Tunes, a production duo involved in early reggaeton Less samples and more use of newly composed synthesized sounds Greater influence of African American hip hop and pop

Salsa

Outstanding salsa figures in 1970's/80's - Eddie Palmieri and Ruben Blades Justification for the new term "salsa" was the way in which the music voiced the militant self-consciousness of the new generation of Latinos (the soul of the barrio) Spirit explicit in song texts Songs dealt with love, American imperialism, etc. Mix of attitudinal stances Songs portrayed ghetto lawlessness and foreshadowed hard-core rap Salsa reflected mood of Latinos in 1970's - their consciousness of marginalization, their politicization, their enhanced awareness of one another all of which were reinforced by the mass media and the migrant experience Salsa was rooted in the NY barrio but it soon became an international phenomenon Salsa's international pan-Latin character was inherent even in the NY context

Oye Mi Canto - Nore ft. Nina Sky, Daddy Yankee, Gem Star, and Big Mateo

Pan-Latino identity Latin american musicians but made in the US Crossed over into the hip hop charts English and spanish lyrics

Nando boom "Ellos Benia"

Panamenian musicians maintain audible engagement with Jamaica "reggae espanol" Less US/hip-hop influence than Puerto Rico Acknowledges spanish heritage More dancehall riddims and remakes Kick and snare drum are the same but added the timbal Cover songs, versions in Spanish Spanish language cover of "Dem Bow" This is the recording that is used in many of the reggaeton songs going forward

Anlo-Ewe Music and Religion

Performing at funerals is a major function of dance-drumming clubs Decreased ancestors are important for the living Drumming at funerals allows souls to move on Contexts for performance - funerals, political events, social occasions, etc.

Extensions

Physical objects and practiced developed to extend people's innate capabilities (Hall) Men use wind instruments to achieve higher pitch in indigenous Quechua music

schizophonic mimesis

Point to a broad spectrum of interactive and extractive practices. These acts and events produce a traffic in new creations and relationships through the use, circulation, and absorption of sound recordings The recordings of course retain a certain indexical relationship to the place and people they both contain and circulate. At the same time their material and commodity conditions create new possibilities whereby a place and people can be recontextualized, rematerialized, and thus thoroughly reinvented.

Sanctuary (performed by Madonna)

Pop. United States of America. Uses a looped sample of Herbie Hancock's "Watermelon Man" Madonna credits Herbie Hancock Representation of indigenous people as alluring - something you desire but cannot have.

Boogaloo

Popularized by Joe Cuba, Pete Rodriguez and others, fused hard-driving, medium-tempo, son-type beat with gospel style hand clapping on the backbeat and simple lyrics in english rather than spanish

Bogaloo

Popularized by Joe Cuba, Pete Rodriguez and others, fused hard-driving, medium-tempo, son-type beat with gospel style hand clapping on the backbeat and simple lyrics in english rather than spanish Quickly faded away before attracting much national notice Represented at once a lively historic moment of ethnic interaction and a transient stage when Newyoricans seemed to lack confidence to sing in Spanish and cultivate distinct Latino music style

World Music

Problematic term (western-centric) Used to refer to non-western indigenous/traditional music

Gasolina - Daddy Yankee ft. Glory

Produced by Luny Tunes Lots of signs Synth beats (hip hop/techno) Tropical genres (Caribbean) Pasodoble rhythms (Matadores/Spain) Voice (Dancehall DJ's) Dembow rhythm (reggae/Jamaica) "Gasolina" as a metaphor can be interpreted different ways

Nation

Refers to a cultural/identity unit that identifies itself in relation to political sovereignty, that is, having or desiring its own state Belonging to a nation is subjective condition based on national sentiment (feelings of belonging to this type of unit) whereas belonging to a state is an objective condition

Essentialism

Refers to the reduction of complex selves to a few emphasized aspects that are projected as fundamental and immutable Strategic essentialism typically used for situations where social groups "essentailize" themselves for political and social unification and this is often both necessary and positive Identity politics refers to the strategic use of group identities for political ends as well as to the struggles over who has the right or ability to control public representations of particular groups that in turn, affect the social status and life chances of group members

Son Bow (performed by El General)

Reggae in Spanish. Panama. Includes references to NY. Connection to migrants reaching to wider audience. Co-influence of Jamaica and Panama Includes references to NY continuing the connection to migrants (adding Puerto Rico and Columbia) Helped to popularize Reggae espanol but also Spanish rap more generally in US.

Reggaeton Style

Reggaeton was increasingly produced as the soundtrack of "perrero" and "bellaqueo", of highly sexualized dancing Reggaeton producers and performers seemed to embrace a number of stereotypes about race, gender, and nation Increasingly commonplace effects and affects of R&B and American pop can be heard in the singing styles of Latin pop ballads The production of compilations of discrete songs rather than dense, nonstop mixtapes is another attempt to bring reggaeton into the commercial marketplace Use of synthesizers and software move reggaeton towards futuristic synths, cinematic strings, bombastic effects, etc. DJ Blass credited as most audibly promoting the techno sound, conflating it with sexual license, and mark most of its mainstream hits Synthesized bass tones served instead to accentuate the kick drums on each beat often with a 1-V ("oompah" style) movement and sometimes tracing out simple chord progressions Integration of bachata into reggaeton speaks to the role of migration in reggaeton's formation

Reggaeton origins

Reggaeton's publicly negotiated narrative has tended to locate the music's genesis in Panama The rhythmic template of reggaeton has an overlap of various regional styles The accenting steady 4/4 pulse with 3+3+2 cross-rhythms is ubiquitous in Caribbean styles and given some differences in emphasis and arrangement can be heard in reggae The rhythmic orientation of reggaeton is derived directly from dancehall reggae Dancehall reggae's synthetic textures, dance tempos, rapid fire rap, and minimalist focus on 3+3+2 cross-rhythms starkly demarcated by heavy, synthesized drums, have more strongly influenced modern reggaeton Dancehall's uptake among young Panamanians and Puerto Ricans was no doubt related to its cultural connotations Proto-reggaeton draws equally onhip hop and reggae Many aspiring hip hop artists moved over the reggaeton Popularity of spanish rap - many spanish rappers in NY acknowledged their latinidad as a significant part of their cultural identity Rapped predominantly in English Reggaeton's prevailing rhythmic orientation derives rather directly from dancehall reggae and as such overlaps with a great deal of other Carribbean genres Reggaeton's 3+3+2 snares and 4/4 kicks distinguishes it from hip hop

Conflicting national origins of reggaeton

Reggaeton's publicly negotiated narrative has tended to locate the music's genesis in Panama while other places like Jamaica and NY remain significant Journalists and cultural nationalist eager to tie the sound of reggaeton to other Latin, Puerto Rican genres, or a combo of them

Discourse

Relatively systematic constellation of habits of thought and expression which shape people's reality about a particular subject or realm of experience - racial discourse, nationalist discourse, scientific discourse, etc. The premises (that skin color matters) and terms (white, black) of discourse bring each other into existence and function in a systemic way to shape people's habits of thought about particular aspects of life Once such habits of thought become deeply entrenched they frequently operate below low focal awareness Discursively produced categories like race, ethnicity, nation, modern should be understood as subjects or social analysis rather than objective rubrics that can be used in the process of social analysis and description

Cuban Clave

Rhythmic pattern used as a tool for temporal organization in Afro-Cuban music 2+3 pattern

Dembow

Riddim - backing track The dembow riddim becomes reggaeton's trademark "boom ch boom chick" Shabba Rank's beat, but sample from Ellos Benia Looped, compressed, remastered, and reconstituted dozens of times

Elima Ceremony

Rites of separation from previous existence Girls leave homes and live together with other girls of same age Rites of transition - no longer part of old or new existence within society Rites of reaggregation - being brought back into new existence within society

Salsa Characteristics

Salsa is a mixture of Spanish and African music The basic structure of a salsa song is based on the Cuban son, beginning with a simple melody and followed by a coro section in which the performers improvise Use of timbales and trombones, the occasional use of Puerto Rican elements like the declamatory exclamation le-lo-lai, its frequent lyrics about barrio life in New York and elsewhere Montuno break with call-and-response vocals, instrumental breaks and jazzy solos claves, cowbells, timbales and conga, guitar, trumpets, trombones, the piano, etc. Bands typically consist of up to a dozen people, one of whom serves as band leader, directing the music as it is played. Two to four players generally specialize in horns, while there are generally a one or two choral singers and players of the bongo, conga, bass guitar, piano and timbales.

Salsa vs. Son

Salsa music is a diverse and predominantly Cuban Caribbean genre that is popular across Latin America and among Latinos abroad that was brought to international fame by Cuban and Puerto Rican musicians. Salsa incorporates multiple styles and variations; the term has been used to describe most any form of popular Cuban/Puerto Rican-derived genre, such as chachachá and Son. Most specifically, however, salsa refers to a particular style developed in the 1960s and '70s by Puerto Rican and Cuban immigrants to the New York City area, and its later stylistic descendants including 1980s salsa romantica and other sub-genres

Plastico (performed by Ruben Blades)

Salsa with disco intro. (Panama/United States of America). Latin. Urban political issues, intro sounds like disco crossover appeal.

Bilongo (performed by Eddie Palmieri's orchestra, Ismael Quintana, voice, Eddie Palmieri, piano)

Salsa. (Puerto Rico/Cuba/United States of America). Latin. Borrowing elements from jazz. Emphasis on solo improvisation. Cyclical rhythmic patterns for each instrument.

I Need to Know (performed by Marc Anthony)

Salsa. (United States) Latin Salsa romantica. Love song, more pop song structure. Partial crossover, for more inclusion of Latinos. Polished, studio recordings. For a younger audience (young women) No improvisation

El Cantante (performed by Hector Lavoe)

Salsa. Puerto Rico/United States. Latin

Anlo-Ewe Musical Characteristics

Semi-professional - rehearsing, learning dances, and music is rigorous Interlocking parts, cyclical, core, and elaboration

Cultural Cohorts

Shared habits bind people into social groups according to specific aspects of the self

Hindewhu playing (performed by singer from the Ba-Benzele or BiAka Pygmies)

Singer is alternating with a blown bottle. Central Africa. Hindewhu is a style of singing/whistle-playing of the BaBenzélé pygmies of the Central African Republic. The word is an onomatopoeia of the sound of a performer alternately singing pitched syllables and blowing into a single-pitch papaya-stem whistle. Hindewhu announces the return from a hunt and is performed solo, duo or in groups.

Salsa Romantica

Slick, sentimental Pretty boy signers Sex appeal Younger audience (young women) Polished, studio recordings No improvisation Popular starting in 1980's

Cultural cohort

Social groupings that form along the lines of a specific shared habits Cultural cohort of identity cohort refer to social groupings that form along the lines of specific constellations of shared habit based on similarities of parts of the self

Nyamalo

Specialized craftsmen, like metal smiths, woodworkers, and musicians, the Jali (Jalolu)

Why is Music so Effective for Nationalism

Strong and multiple indexical connections are possible Repetitive, redundant Non-literate dependent Easily mass mediated (radio, internet)

Salsa Style and Structure

Style of salsa is a re articulation of the Cuban son Typical salsa song coheres to the pattern of the modern son Commences with a "song"-like first section with solo verses followed by an extended montuno with call-and-response vocals, instrumental breaks (mambo, mona) and improvised jazz-influenced solos all over the repeated harmonic rhythmic ostinato Band is 10-15 people: the leader, 2-5 horn players, and those who play piano, bass, drums, etc. Variety of horn instrumentation including the lean crisp format of just two trumpets, a brassy four trumpet section, or two trumpets plus trombones As in cuban son, the instrumental parts follow somewhat standardized accompaniment patterns especially in montunos Rhythmic ostinatos are two bar patterns fitting into the clave structure Piano part hits the downbeat in the odd numbered bars "anticipated bass" skips over the downbeats playing the chordal roots before the other instruments Salsa songs generally collaborative products of a songwriter and arranger Primary composer comes up with basic tune and lyrics and arranger composes and writes out the ensemble accompaniment

Nuture dilatect

Systems of values that define what is desirable or good in the artistic and effective realms of life also involve the nature

Habit

Tendency toward the representation of any particular behavior, thought, or reaction in similar circumstances or in reaction to similar stimuli in the present and future based on such repetitions in the past Habits are both stable and dynamic

Fania All Stars

The Fania All-Stars is a musical group formed in 1968 as a showcase for the musicians on Fania Records, the leading salsa music record label of the time

Frith

The artists and styles that one forms attachments to during these formative years often remain effectively powerful throughout one's lifetime b/c the music of one's youth indexes this tumultuous period of becoming

Salsa Chronology

The genre salsa originates in NYC Formed primarily from Cuban "son" and Puerto Rican "Plena" and "Bomba" Pre-salsa - Cuban Son and many Cuban dance crazes 1970's - Salsa dura (Hard-driving salsa) 1980's - Salsa romantica 1990's - Crossover 2000's - a little bit of everything

Semiotic density

The number of potential signs occurring simultaneously Songs have greater semiotic density than spoken word Music recordings and performances have great potential for creating dense combinations of icons and indicies to represent existing social identities and to provide models for possible ones

Identity

The partial selection of habits and attributes used to represent oneself as oneself to others by oneself and by others

Rallies

The rallies = Koreke index + Zezurur index + Ndau index + Murehwa index + Karanga index + cosmopolitan music indicies + ZAPU (index of party) + leaders (indicies of party) + symbols about the party and Zimbabwean nation = icon of unified, collective, traditional but modern nation

Montuno

The section of the song that includes improvisation, call and response, instrumentation, etc.

Shared habits

The shared habits that facilitate communication and identification are fundamental to social relations but cultural process and society are not the same We belong to social groups and are part of society, whereas the habits shared among actual groups of people (cultural phenomena) are parts of and belong with us

The Anlo-Ewe

Togo and Southern Ghana Extended families are important for social organization - patrilineages Political hierarchy - paramount chief, town chiefs, clan leader, lineage leader, and ward leader

Culture

Tylor - concept of culture is the complex whole which includes knowledge, belief, art, morals, law, custom, and any other capabilities and habits acquired nu man as a member of society Kroeber - culture is shared and supra individual, culture can only exist when a society exists and conversely every human society is accompanied by culture Culture is inherited Culture is independent of specific people Each society is accompanied by a culture Cultural phenomena consists of habits of thought an practice shared among individuals within social groups of varying sizes and specificity and along different lines of common experience and identification

The Kora

Unique to the Mande 21 strings 2 handed plucking of interlocking parts Metal plate with jangles can be attached to bridge

Characteristics of pygmy music

Unique wordless yodeling, resulting in disjunct melodies, usually with descending contours; and a varied and densely textured multipart singing, as complex as any other indigenous African style Choral music is built up from continuously varied repetitions of a short basic pattern, which takes shape as different voices enter, often with apparent informality, and fill out the texture with a variety of techniques that include hocket, ostinato, canonic imitation and parallel part movement The frequently clear division of the total cyclic pattern between leader and chorus, common in other African styles, is absent in their most typical music, or obscured by a high degree of overlap between parts, by the passing round of what might be regarded as soloistic parts from one to another, and by a considerable freedom to improvise solo within the metrical and harmonic constraints of the pattern. Some scholars see in this a reflection of the essentially democratic, non-hierarchical structure of pygmy social units. Other traits of pygmy music are repetition by echo or ornamented imitation; the augmentation, diminution and extension of intervals; the use of tritonic, tetratonic and, most often, pentatonic scales; the superimposition of diverse rhythmic structures above a rhythmic ostinato; polyrhythm; and canon and improvisation. The polyphony of the Pygmies is particularly noteworthy; unison singing hardly exists. When two Pygmies sing together, their voices interweave and cross, creating a close-textured polyphony in which each melodic line is allowed to develop largely independently of the other The elements of this polyphony are ostinato figures, continuous or broken pedal points, melodic imitations, melismatic improvisations, movements of parallel fifths, half-spoken, half-sung interjections, or even strict contrapuntal variations in a style reminiscent of passacaglia The verbal element occupies a minimal place in these songs; a single word constantly repeated, even a few isolated syllables, may constitute all the textual support provided

Dembow

Used to describe genre tied with underground music that used a Dem Bow riddim Term re-signified so it lost much of its connection to the idea of giving into the forces or oppression and corruption Dem bow came to stand as a flexible set of musical tool which could be used in combo with other resonant signifies while retaining a distinctive sonic profile Standard dem bow pattern features tonally rich bass drum accenting beats 1 and 3 atop an underlying dryer kick drum which marks each beat of every bar

Musical Charcteristics

Vocal music is central Text not as important (often short) All adult men sing Polyphonic (dense, layered texture) Cyclical Interlocking - including hocketing Tied to specific social contexts and functions

Elima Girls Initiation Music. Recorded by C. Turnbull and F. Chapman

Voices. Congo/Central Africa. BaMbuti vocal music. Elima: pygmy puberty ceremony for which women are the primary singers Chorus provides ostinato (8 beats) Various lead singers provide higher-pitched descending melodic variations over the ostinato Interlocking call-and-response

Cultural realm

Within a society each individual is a vector for cultural similarities and differences with other along a variety of habit trajectories because of similar or different experiences, social positioning, and aspects of the self

Forest People

baMbuti (Mbuti) Subsistence and economics Foragers, nomadic Move from place to place Small bands of 15-60 people Not governed by a single political organization Egalitarian - share food and resources equally Equal access to power, wealth, prestige Divisions based on age and gender Everyone does same work Relatively equal gender relationships - but distinct roles "double life" - Spend part of year in Bantu speaking villages Participate in Bantu music and rituals No one leader

Musica negra

black music

Kora

bridge harp

Cultural formations

broader more pervasive patterns of shared habits

Self

comprises a body plus the total sets of habits specific to an individual that develop through the ongoing interchanges of the individual with their physical and social surroundings

Gankogui

double-bell

Mimesis

imitation, usually in art

Birimintingo

improvised instrumental interludes

intensive vs. extensive

intensive - slight variations (participatory) extensive - big changes that require preparation (presentational)

True self

learned habit of though based on social conceptions of person hood emphasizing innate characteristics

Shona

majority language in Zimbabwe

Cultural nationalism

nation building aspect of nationalist movements that music and dance often play a prominent role

Bomp bomp

onomatopeic phrase gesturing to the proclivity for tracing out the 3+3+2 by employing two kicks followed by a snare

Metonymic

part of indexical signs that stand for whole

Axatse

shaker

Kumbengo

short ostinato

Schizophonia

splitting of the source of the sound and its electroacoustic reproduction

Musica melaza

sugar music

Riddim

the instrumental "groove" created to accompany reggae songs: includes the repeating rhythmic and melodic patterns of the bass, drum, and other instruments

Kustsinhira

to follow

Kushaura

to lead

Jerusarema

type of dance drumming

Balo

xylophone