Latin_lectures_Ch11

Latin_lectures_Ch11 - 1 MUH 2051/2512 Lectures:...

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1 MUH 2051/2512 Lectures: Latino/American Music (Chapter 11) (Blades: “Cuentas del Alma” [CD] as class begins) o http://www.youtube.com/watch?v=vVEgbv12ncc (Tito Puente playing “Oye” at daughter’s birthday party—discuss re: chapter) We begin by defining some basic terms and delimiting their usage within the particular context of this unit. o Key term: Latin dance music Generic and broad meaning (all music related to dance found throughout “Latin America” [define] and its international/diasporic extensions) Specific, unit-related meaning: a particular complex of dance-music genres linked to a Cuba/Puerto Rico/U.S./international track of development ( students should memorize the definition in italics on p. 220) o Key musical focus: The song “Oye Como Va” o Key cultural focus: musicultural history of pan-Latino culture and society, with specific focus on (note: see bullet list, p. 219, for more detailed breakdown) : Cha cha chá Newyorican music/culture Tito Puente Latin dance music (i.e., the “narrow” definition) Commercial music industry o Key recordings: “Oye Como Va” recordings of Tito Puente (original, 1963), Santana (1970), Tito Puente Jr. (2004[1996]) o Key related genres/historical developments West African and Spanish roots (especially re: batá drumming/Santería and rumba) Creolized Cuban dance-music forms of early 20 th c. (contradanza, danzón, charanga (type of ensemble), mambo, danzón-mambo, son , original cha cha chá) Stateside developments (mambo/big band mambo, cha cha chá, salsa, Latin jazz, Latin rock, diverse forms of modern Latino pop) o Key names: Tito Puente, Carlos Santana (and band Santana), Tito Puente Jr.; Arcaño y sus Maravillas (Antonio Arcaño, Orestes brothers), Enrique Jorrin, Machito and the Afro-Cubans (incl. Mario Bauzá), Tito Rodríguez Cuba, Creolization, and Roots of Latin Dance Music (222-225) Afro-Cuban roots (222-24): Spanish colonization o 1492, Columbus; 1511, settlers; sugar; eradication of Taino, etc.
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2 o African slaves (5 million plus; Yoruba and Congolese; 1790-1860 primary period of slave trade) o Why Cuban music sounds more “African” than music in British colonies: later arrival of most slaves (U.S./Brit. colonies stopped bringing slaves, 1804) Different attitudes toward slavery of British vs. Spanish (linked to Catholic vs. Protestant ideas) re: music/dance/worship of slaves Easier for Cuban slaves to buy their freedom (thus, large communities of free black/slave communities in Cuban towns cities by early 18 th c., and they carried on cultural traditions of African forebears) o Santería (Orisha religion) Syncretic religion of Yoruba derivation (Ifa) Batá drumming: Sacred, 3 drums [bells attached to lead/lowest “mother” drum], ensemble organization, polyrhythmic texture, context, songs in sacred rituals devoted to the pantheon of orisha: Shango (God of Thunder), Yemaya (God of the Seas and Lakes,
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This note was uploaded on 11/27/2011 for the course MUH 2512 taught by Professor Johnsmith during the Fall '10 term at FSU.

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Latin_lectures_Ch11 - 1 MUH 2051/2512 Lectures:...

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