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1493 claimed claimed by Spain Spain Spanish Spanish rule until until 1898 1898 1952 becomes becomes US Commonw Commonwealt ealth h Plen Plena a musi music c Manuel Manuel Canario Canario Jiménez Jiménez ○ 1895 1895-1 -197 975 5 ○ Responsible Responsible for popularizing popularizing plena ○ Commercialized Commercialized plena, but still respected respected it Ceasar Ceasar Concepci Concepcion on ○ Takes plena music a step further - more commercial ○ Influence Influence from Mambo and Big Band Rafael Rafael Cortijo Cortijo y so Combo Combo ○ Much darker skinned than early plena performers ○ Like Arsenio Arsenio Rodrigue Rodriguez z ○ Added Added conga conga drums drums to Plena Plena ○ Too authentic authentic - could not become globally popular Bomb Bomba a musi music c Dominican Republic
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1493 1493 Hispa Hispano nola la ○ Taino people refer to island as Quisqueya Quisqueya Few mineral resources - Spain Spain less interested 1844 Indepen Independen dence ce Truj Trujil illo lo ○ Dictator Dictator for 30 years years ○ Not original originally ly from from the elite class class ○ Massacred Haitians to eliminate border problem ○ Assasina Assasinated ted in 1961 1961 Angel Viloria y su Conjunto Típico Cibaeño ○ Merengue Merengue band band performing performing in US Latin community in 1950s 1950s ○ Son bands and mambo began to imcoperate imcoperate merengue ○ Sound Sound comes comes largel largely y from from polka polka 1960-1971 1960-1971 huge shift in society society -> urbanizatio urbanization n ○ Beginning Beginning of immigaration immigaration to USA and PR ○ Musical influences influences from rock and salsa Johnn Johnny y Ventu Ventura ra ○ Mere Mereng ngue ue ○ Synthesize Synthesize jazz/soul music with merengue merengue ○ More exuberant exuberant and faster merengue ○ No more more accor accordia dian n ○ No tamb tambur ura a ○ No guir guiro o
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○ Same instrumentation as Eddie Palmiri Wilfredo Vargas ○ Merengue ○ Kept cognas ○ Simplified traditional form of merengue ○ No more paseo - faster - higher energy ○ Sax takes role of accordion ○ Electric keyboard sounds like accordion ○ Biggest Hit: El Africano ■ In spanish for an American audience ■ Controversial lyrics Juan Luis Guerra ○ 440 band ○ Intricate vocal arrangements Blas Duran ○ Bachata musician Haiti One of the largest sugar producers - huge slave population 1804 Independence - first black republic ○ Dictatorship of King Kristov 1915 American invasion 1957 Duvalier Dictatorship begins Lwa: The oritias of voodoo Mambo: Female voodoo priest Gede: Deity of sexuality Barco Sanedi: Deity of the deat Legba: Like Elegua Hougan: Voodoo priest Rata drums: look like conga drums, but colored like African drums ○ Manman ○ Segon ○ Boula Lanbi: Conch shell Santeria adopted many traditions from voodoo Vaksin: wooden or bamboo trumpet Fon ○ People from Africa largly responsible for Voodoo ○ Play drum with one hand and stick Nemoures Jean Baptiste ○ Popularizes Mereng - calls it compas direk Rock was known as Yaya Konpa bands lose popularity to rock Konpa
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Hear symbol in background Symbol becomes part of organization of music Jamaica
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1494 Columbus takes Jamaica 1962 Independent from England Marcus Garvey ○ Founder of unieversal negro imporvment association Kumina Mento Ensemble Alpha Boys School Genres Plena ○ Puerto Rican ○ First associated with lower class citizens in town called Ponce ○ Panderetas: tambourines ○ Constructed like rumba - soloist interacts with drummers ○ Requinto: Lead drummer (higher pitch) ○ Music served as a way to remember and commemorate history - a musical newspaper ○ Often the music of protest ○ Mostly call and response ○ Often accordion and guitar ○ Commercialized, but not as popular as Cuban Son - more insulated Bomba ○ Call and response ○ Performers often dress like slave masters ○ More marginalized ○ Simple responsorial vocals ○ Afro-Puerto Rican secular music/dance genre - rumba ○ Played on bomba barrel drums ○ Simple responsorial vocals ○ Emphasis on solo dance performed in front of lead drummer ■ Lead drummer mimics and supports the dancers movements - like rumba ○ Performed in informal parties and in few predominantly black towns, especially Loiza Aldea Jibaro ○ Neo European ○ Peasant music - similar to Cuban guajiro ○ Guitar, guiro, cuatro ○ Cuatro interludes the montuno ○ Cuatro plays riff when trubador (main singer) is singing
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Two genres ■ Seis ■ Aguinaldo ● Partically associated with christmas season Nueva Cancion ○ Left wing style of music - free Puerto Rico - socialist ○ Bigger band - not typically person alone with guitar ○ Many musicians met at university - urban context Reggaeton ○ Rhythms rooted in older Cuban Habanera and Tango rhythm Merengue ○ Derived from French contradance ○ Instrumentation ■ Tambora - two headed drum played with stick and hand ■ Button accordion - most important ■ Metal guiro ■ Marimba ○ Paseo, Merengue, Jaleo ■ Jaleo is slow section ■ Merengue tempo picks up - similar to canto ■ Jaleo has call and response, improvisation ○ Most requested Latin Carribbean music in the USA during the mid 1980s Bachata ○ Similar to blues tradition ○ Male dominated ○ Topics of sorrow ○ Typically two electric guitars with a unique twangy feel ○ Tight, nasal vocal quality, one or two guitars, maracas or guira, bongo, tambura, marimba or electric bass ○ Captures everyday life in barrio Rara ○ Carnival centered music ○ Rural celebration ○ Vaskin- bamboo trumpets Petwo ○ Group of people from the Congo coast ○ Petwa is god of war ○ Large impact on voodoo ○ Play drum with two hands Mereng ○ Cinquillo beat ○ Elite music Mini Djaz Kompa
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Rock band formula of two guitars, one bass, and drum-conga-cowbell; some use an alto sax or a full horn section, while others use a keyboard, accordion or lead guitar. ○ Haiti ○ Electric guitar take place of time in Cuban music ○ Hear symbol in background - becomes part of the organization of the music Music Angaje ○ Protests music in Haiti Voodoo Rock Kumina ○ Kbandu - Large drum ○ Playing cast - small drum ○ Scrapers ○ 2 types of kumina drum ■ Bailo ● Jamaican Creole, less sacred ● Performance and exhibition ■ Country ● Ki-Kongo language and is used to communicate with the spirits during mayal ○ Zombis - ancestor spirits - communicate with them ○ Kumina Queen leads animal sacrifice Mento Ensemble ○ Guitar, banjo, rumba box ○ Lyrical ○ Music that was supposed to sound like Jamaican people speaking on street Raboday ○ Music of the poor people of Haiti ○ Somewhat removed from traditional Haitain Voodoo ○ Upper class looks lowly upon it Soundsystem ○ Jamaican ○ Group of disc jockeys, engineers and MCs playing ska, rocksteady or reggae music ○ Selector chooses chooses track ○ Ska ○ Persistent strong chord played on the off beat 2-4 ■ upstroke or skank ■ Musically, it can be characterized with a drumbeat on the 2nd and 4th beats (in 4/4 time) and with the guitar hitting the 2nd, 3rd and 4th beats. T ○ Clanky sound due to instruments ○ Different than R&B
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Ska combined elements of Caribbean mento and calypso with American jazz and rhythm and blues. It is characterized by a walking bass line accented with rhythms on the upbeat. Rocksteady ○ More relaxed rhythm ○ Tempo slower than R&B ○ After Ska, precursor to reggae ○ One drop" drum beat, characterized by a heavy accent on the second and fourth beat of every bar ○ Rocksteady uses some of the musical elements of rhythm and blues (R&B), jazz, ska, African and Latin American drumming, and other genres. One of the most easily recognizable elements, as in ska, are offbeat rhythms; staccato chords played by a guitar and piano on the offbeats of the measure. This offbeat can be counted so that it falls between each count as an "and". Example: 1 and 2 and 3 and 4. The perceived tempo became slower with the development of rocksteady than it had been in ska and this led to a number of changes in the music. The guitar and piano players began to experiment with occasional accents around the basic offbeat pattern. Deejay ○ Jamaican music for a reggae or dancehall musician who sings and "toasts" to an instrumental riddim. ○ Deejays who are more likely to sing ○ Selector chooses the rhythm Dub Poet ○ Lynton Kwesi Johnson ○
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Santa Maria ○ Accompanied by accordion Santa Maria - Manuel Jimenez ○ More commercial salon style style ○ No clave - not Afro-Cuban derived ○ Traditional street melody, but harmonized ○ Jazz and son inspiration ○ Competed with son music, but not as commercially popular ○ Audible pandereta A Los Boricuas Ausentes - Cesar Concepcion ○ “Beach wedding - a biq a be” all white james bond ○ Commercial plena ○ Nostalgic - played for Puerto Ricans
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Adopts social and political commentary modernized to talk about Puerto Rican struggle ○ American sweet big band and Cuban mambo sound ○ Cuban style anticipated bass ○ Crooning vocalist Huy Que Pote - Rafael Cortijo ○ “Ooy ooy in very beginning” ○ Dance oriented plena ○ Retains traditional genre’s raw barrio proletarian ○ Afro-Caribbean flavor ○ Uses traditional stock melody - bass on downbeat vs Cuban-style anticipation ○ Conga drums added ○ Too authentic to become globally popular ○ Instrumental interlude - mambo section Bomba ○ Guy call and response with guys ○ See genre section ○ Clave Muevete - Dark Latin Grooves (DLG) ○ Mix of salsa, rap and reggae ○ Salsa reggae ■ Genre never caught on ○ Not light skinned - more connection to audience ○ Hear the trombone section La Murga ○ No anticipated beat ○ 4 on the floor - slowed down disco beat ○ No clave ○ Canto and mambo section ○ Andalusian Cadence ○ Montuno section ■ Rap on top ■ Various Jamaican vocal techniques Merengue Cibaeno - Nico Lora ○ Added alto saxophone-brought in from German polka and Jazz ○ accordion ○ Paseo section: slow start - derived from contradanza where people would walk slowly around the dance floor to find a partner ○ Jaleo section: similar to mambo section in salsa - virtuosic instrumental ■ No vocals, high energy, more repetition ○ Fast tempo ○ Prominent drumming pattern of tambura ○ Saxophone - jazz influence Pambiche - En La Batea
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Starts quicker repeats “La Batea” in beginning Simpler version of merengue Popular during the US occupation ■ Simplistic poetic form with coded messages ■ A lot of text repetition ○ No Paseo Santiago - Julio Alberto Hernandez ○ “Sounds like warner bros intro” ○ Performed by Orquesta Nilo Menendez in Cuba ○ Merengue ○ Sounds more in line with what we heard in Puerto Rico and Cuba ■ Has Haitian influence ○ Trying to be different than Europe - truly Dominican ○ No Vocals ○ Cinquillo rhythm Compadre Pedro Juan - Luis Alberto ○ “baile…. baile….” padre pedro jaleo ○ Performed by Nini Vásquez y susÿ Rigoleros, featuring Tavito Vasquez, alto saxophone ○ accordion ○ Paseo - Merengue - Jaleo ○ Improvised sax section ■ Unique from Jazz ○ Jaleo section has call and response of lead singer and chorus - vocal improvisation ○ Style is also referred to as Perico Ripiao (ripped parrot) style ■ an aesthetic that starts to emerge in performance practice ■ More aggressive, higher energy, loud ■ Referred to as tigueraje (tigerness) El Vironay ○ Opens with accordion ○ says “El vironay” as response ○ Written by Rafael Ignacio and performed by Angel Viloria y su Conjunto Típico Cibaeño. Visa Para su Sueno - Juan Luis Guerra ○ manana ○ About the desire to go to America ○ Longer canto section ○ Poetic nature of music ○ Marriage of poverty and music ○ Lyrics highly relatable to people ■ Pan latinismo
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Pelando pa’ que Otro Chupe - Blas Duran ○ Bachata ○ Hear the twangy guitar ○ Bongas prominent in the rhythm ○ Tamburine ○ Appealing as it was slow - simple to dance to - slower than merengue Papa Legba ○ Only vocals nasal voice in beginning ○ Tamburine!! ○ Haitian ○ Legba is trixter god ○ Leader, chorus, 3 drums, hand percussion ○ Low drum is the lead - solo instrument ○ Call and response ■ Messy with a lot of overlap ■ More complicated sound ■ Heterophony Rara Celebration ○ Additive arranging ○ Historical influence from Tito Puente ○ 8 or so vaskin add complexity ○ Transcends people to another place Petwo Celebration ○ Call and response ○ Sounds very African ○ See above Maria ○ jewish wedding / batmitzvah ○ Mereng style ○ Cinquillo beat ○ Chamber orchestra ■ Saxaphone ■ No drums A La Cote Gain Femm - Jazz des Jeunes ○ “muy muy muy” ○ Voodoo Jazz ■ Rara with jazz ○ Starts cinquillo then rara comes in ○ Jazz big band instrumentation ○ Less metallic, stronger voice than Cuba, puerto Rico ○ Krooner - sweeter voice Tioule No. 3 - Nemours Jean-Baptiste ○ Male chorus
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○ Voudoo is erased ○ shift in cultural perspective ○ Konpa Direk ○ Features accordion - goes up ○ More prominent saxophone Rit Komesyal - Nemours Jean-Baptiste ○ “se sedille” ○ Kompa Direk ○ Sounds kind of like Elvis Chauffeur Automobile - Weber Sicot ○ no vocals ○ Drum in beginning ○ Kadans rampa - same as kompa direk excpet second drum on 4th beat ○ Peanut vendor melody ○ Partially hear La Bomba ○ Long improv sections ○ All instrumental, jazz solos called descargas - means cuban jazz session Nidia - Ibo Combo ○ Mini jazz konpa ○ Electric guitar playing with sax ○ No lyrics, but feels like should have lyrics ○ Hear section of guajira music ○ Electric guitar take place of time in Cuban music New York City - Tabou Combo ○ “Cadillac driving to the beach in the night” ○ Mini djaz kompa ○ Guitar ○ Mixture of creole and spanish Mario Mario - Tabou Combo ○ Funky sound ○ Mini djaz kompa ○ 4 or the floor disco beat ○ Cinquillo beat - very fast ○ Bass had prominent role - comes from religious tradition of playing from bottom up Ayiff Pa Fore - Manno Charlemagne ○ lead by bass ○ Hati is not a forest ○ Trubadou ○ Critique of new CNG government ○ Real slow tempo "Se Kreyól Nou Ye" - Boukman Eksperyans ○ “Sounds like Seal”
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○ Voodoo Rock ○ We are creole ○ Pan African ○ Rata drum - lowest part of music Revivalist Zion Sunday Service ○ European marching band instruments ■ Bass and snare ○ Not African instruments ○ Melodic and harmonic content from english church practices on 2 and 4, same type of accent as Jazz and Swing ○ Singing protestant hyms ○ On the half beat ○ Kamina bandu - heart beat rhythm We are going home ○ Played on 2-4 beat ○ Low notes on rumba box ○ Playing kamina bandu ○ Rastafariansim Mango Time ○ Horrible sounding frog sound ○ Mento ensemble ○ Like an english folk song Touch Me Tomatoe - Jolly boys ○ Same topic as reggaeton Aint that a shame - Fats Domino ○ R & B influence Simmer Down - The Wailers ○ Ska My Boy Lollypop - Millie ○ Ska Oh Carolina ○ Nyabinghi drumming - sacred rastafarian ○ Kamina tradition ○ Hear the low beat sound Tougher Than Tough - Derrick Morgan ○ Rocksteady ○ “who is goin’ fear now boys” ○ court boys Wake the Town - U Roy ○ just talking nonsense ○ repeats people ○ Reggae deejay song ○ Electric organ on offbeat
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○ More independent bass line ○ Slower tempo ○ High hat patterns "Hasta Que Te Conoci" - Marc Anthony ○ Salsa ○ Cha cha ○ Violin ○ Churranga ○ Guiro ○ Clave Readings Island Sounds in the Global City: ○ Black and Puerto Rican overlap in Rap culture From Bomba to Hip Hop: Flores ○ Latin NYC = Puerto Rican ○ 1920 Immigration reform USA Merengue Bachata A Day for the Hunter ○ Social class ○
What is Ethnomusicology ? Ethnomusicologists study music, but their primary aim is to understand how music works within a given culture or society. They not only listen to the way music is performed, but they look at the environment or context in which music is made. This double vision that ethnomusicologists develop, simultaneously looking at music and culture, is what makes ethnomusicolgical research interesting and difficult. Since everyone is exposed to some kind of music, you will bring your own expertise to the musical observation project. We all observe music to some degree in our daily lives. However, in this musical observation paper, you will be called upon to listen critically to music and observe behavior associated with musical performance in a way that demands different techniques and ideas. Before discussing some of the different techniques that ethnomusicologists use to study music, we need a working definition for ethnomusicology. We define ethnomusicology as the study of music in its cultural and social contexts. The cultural context is where we look to determine the meanings that people assign to music. Different cultures have different ways of categorizing what English-speaking Americans call music. Although all cultures practice what we call music, not all cultures have special words for music, nor do they use the word music the same way
English speakers do. For example, in Arabic speaking countries, the word music, which is linguistically similar to 'music', refers only to instrumental music. The social context of musical performance refers to the situations in which music h performed: the people who make music, listen to music and participate in nonmusical ways in a music event all play important parts in the musical performance. While a culture might have generally accepted ideas about the definition of music (like in the case of Islamic countries), different groups within a single culture can perform very different kinds of music.
