"oye como va" features what types of rhythms?

Chapter 11 Music Journal

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Chapter 11 Music Journal Assignment.

Your Name

Bo Shen

Our Chapter Objectives

In this chapter students will learn about:

· Afro-Cuban roots of Latin music

· Spanish-Cuban roots of Latin music

· Instruments of Latin music

· Major genres of Latin American music

· Major practitioners of Latin music

· The musicultural history of the iconic composition “Oye Como Va”

Overview

The path to contemporary Latino/American music winds from Africana and European roots through Cuba and Puerto Rico to New York’s Latin neighborhoods and ballrooms and beyond. Influences include genres such as rumba, danzón, danzón-mambo, cha cha chá, mambo, jazz, rock, and contemporary dance club styles. The life and work of Tito Puente and comparisons of three influential recorded versions of his famous song “Oye Como Va” (by Tito Puente, Santana, and Tito Puente Jr., respectively) reveal key processes of musical and musicultural tradition and transformation. Also examined are selected musical traditions of Brazil, Argentina and Uruguay, Andean Bolivia and Peru, Mexico, and Trinidad.

The Chapter 11 Music Journal

Part 1: The Informative Contents

1. Define the following terms:

Key Terms

Definitions, Explanations, or Comments

Tropicália

Salsa

Latin Jazz

Rhythm section (piano, bass, percussion)

Riffs

Horn section (saxophones, trombones, trumpets)

Bossa Nova

Latino/American

Cha cha chá

Samba

Timbales

Tango

Steel band

Mariachi

Latin dance music (1. generic; 2. as Cuban-derived tradition)

Rumba

Danzón

Son

Danzón-mambo

Mambo

Latin rock

Newyorican

Conga drums (congas)

Bandoneón

Ayllu

Julajula

Adean folkloric music

Santería

Batá

Clave (rhythm)

Claves (instrument)

Bongó (bongo drums)

Charanga

Latin Dance (as contemporary dance-music genre)

Mambo kings (Machito, Tito Puente, Tito Rodríguez)

Instruments Used in Latin Musics

As you read through Chapter 11:

2. Briefly describe the Latin musical instruments in the chart below, how they are played, and the style or styles of music they are used in.

Instrument

Description

Used in:

Conga

Claves

Güiro

Maracas

Timbales

Bongó drums

Horn section (trumpet, trombone, sax)

Vibraphone

Flute

Violin

Guitar

Samba percussion instruments (various)

Berimbau

Pan (steel drum)

Guitarrón

Kena

Bandoneón

Vihuela

Julajula

Other instruments (add)

Latin Music Traditions and Transformations in South America, Mexico, and the Caribbean

Brazil: Samba, Bossa Nova, and Tropicália

With the arguable exception of Cuba, Brazil has exerted a greater influence on the global landscape of the contemporary musical world than any other country in Latin America. From the spectacular samba parades of Carnaval (Carnival) in Rio de Janeiro to the deeply African-rooted ritual musics of Bahia in the northeast and the modern, cosmopolitan sounds of MPB ( música popular brasileira ), Brazil, the largest country in South America, is and has long been a global juggernaut of musical richness and innovation.

Samba - Samba is the best-known Brazilian music internationally, having become almost synonymous with Brazil’s musical culture in much of the world’s eyes. Samba is actually an umbrella term for a number of distinct musical genres identified with different Brazilian regions, ethnic groups, and performance events. Read pages 228-229 and briefly respond to the following:

3. What are the distinguishing characteristics of Samba music?

4. Describe the connections of Samba performance with the annual festival known as Carnival (Carnaval do Brasil).

5. View the video below featuring just one of the numerous Samba Schools, describe and comment on what you are seeing and hearing here as filmed from the 2017 Carnival in Rio de Janeiro, Brazil.

Carnaval Rio de Janeiro desfile Beija Flor (Links to an external site.)Links to an external site. https://canvas.seattlecentral.edu/images/play_overlay.png

Bossa Nova - The elegant and intimate strains of Brazilian bossa nova would appear to represent the antithesis of the boisterous exuberance of Rio carnival-style samba, yet the two are related. Read pages 229-231 and briefly respond to the following:

6. Describe João Gilberto’s technique of transforming Samba rhythms into Bossa Nova guitar playing style. What is this guitar style called?

7. Name two of the pioneering and influential composers/musicians of Bossa Nova and list some of their songs?

8. Click below to listen, describe, and respond to the musical activity in "The Girl From Ipanema" by Stan Getz.

"The Girl From Ipanema" (Links to an external site.)Links to an external site. https://olympic.instructure.com/images/play_overlay.png

Tropicália - During the same year that bossa nova was riding the crest of its wave of popularity with the unprecedented international success of “The Girl From Ipanema,” 1964, other events playing out in both political and musical arenas were impacting the Brazilian musical landscape on many fronts. One of the most important outcomes of this period of crisis in politics, popular music, and the arts more broadly was the emergence of tropicália. Read pages 231-234 and briefly respond to the following:

9. What political factors impacted the Brazilian musical landscape in the late 1960s?

10. Who were the leading musicians and bands of the tropicália movement?

11. Listen to and describe what you are hearing in “A Minha Menina” by Os Mutantes (CD ex #1-1).

Trinidad and the Steel Band Tradition - The musical highlight of the Trinidadian version of Carnival (which is presented as a nationalized secular event rather than a Catholic observance) is Panorama, a competition featuring enormous steel bands that consist of hundreds of instruments and include upward of 100 musicians each. The pieces performed by the competing groups in Panorama are extraordinarily long, complex, and virtuosic—and exciting. The best groups whip the massive crowds in attendance into a frenzy, and the ability to do just that is indeed essential to competitive success. Read the information contained in the “Insights and Perspectives” box on pages 230-231, and briefly respond to the following:

12. What are the origins and historical roots of the steel band?

13. What instruments are included in the typical steel band?

14. Describe how the pans of the steel band are constructed and tuned.

Argentina and Paraguay: Tango - Tango is a highly sensual form of dance and music from Argentina. It has been poetically described as “the vertical expression of a horizontal desire” on account of its often overtly sexual character. Tango emerged from the hard streets, bars, and brothels of the port district of Argentina’s capital city, Buenos Aires, during the latter part of the 19th century. Read the information on pages 234-236, and briefly respond to the following:

15. What eclectic musical influences came together in the early development of tango?

16. Who was the tango “superstar” during tango’s golden age (1920s-1930s)?

17. What are the key features of the tango dance?

18. Who was the dominant figure (Composer/Instrumentalist) in tango music during the second half of the 20th century?

19. What kind of instrument is the bandoneón?

20. As presented in "Fueye" CD4-1, how can the musical relationship between this instrument and the guitar be paralleled with the roles of male and female dancers in a tango dance performance?

21. Click below to view, describe, and respond to an excerpt of a live performance of the amazing Nuevo Tango composer and bandoneón player, Astor Piazzolla (1921-1992) performing his composition, "Libertango." Name the instruments you see in this ensemble and describe the musical activity you view and hear - (the cellist here is the world renowned Yo Yo Ma).

Astor Piazzolla and Ensemble performing "Libertango" (Links to an external site.)Links to an external site. https://canvas.seattlecentral.edu/images/play_overlay.png

Folkloric Andean Music of Bolivia and Peru - Music is an essential component of ritual and daily life on all levels in the Andean ayllu. Particular instruments, traditions, and styles of music have specific associations with seasonal observances, agricultural rituals, life-cycle events (births, marriages, funerals, etc.), and religious ceremonies (which in modern times encompass both indigenous belief systems and Catholicism, often in syncretic forms). Traditional Andean ayllu music is covered in this section of the chapter, but so too is Andean folkloric music, which is presented as a “modernist-cosmpolitan” idiom of broad international and commercial scope. Read the information on pages 236-239, and briefly respond to the following:

22. What are the two principal languages other than Spanish spoken by members of traditional Andean communities?

23. Describe the roles music plays in ritual and daily life in Andean communities.

24. Name the instruments in the standard Andean folkloric group?

Mexico: Mariachi - Mexico is home to a great variety and rich history of diverse musical traditions, with the mariachi tradition being arguably the best known internationally. Mariachi music emerged from the ranches and small towns of western central Mexico. As Mexico’s population became more urban in the twentieth century, so did mariachi music. Read the information on pages 239-243, and briefly respond to the following:

25. List three of the musical traditions (genres) found in Mexico.

26. What is Mariachi? How is Mariachi a “national symbol” to Mexican people and communities worldwide?

27. Click on, view, and describe the musical activity and the instruments being played in the video below featuring the fine group Mariachi Los Amigos:

Mariachi Los Amigos in concert - January 2013 (Links to an external site.)Links to an external site. https://olympic.instructure.com/images/play_overlay.png

The Roots of Latin Dance Music - From page 243 on, the focus of the chapter is on a musicultural trajectory with roots in West Africa and Spain that crystallizes in Cuba and also experiences important developments in Puerto Rico and the United States en route to its status as a pan-Latino phenomenon of Latin dance music. Read pages 243-246. Become familiar with the early history of the Spanish colonization of Cuba.

28. What two types of traditional, neo-African music developed in Cuba?

29. Define "Creolized dance-music styles." Identify and describe two of the several major dance-music forms. How did these "Creolized dance-music styles" became important symbols of the emergent Cuban national identity?

30. Click on the video below to experience some Cuban Son. Musically describe what you are hearing and seeing here.

Son de Cuba - La Negra Tomasa - Cuba ilé trio en Plaza Yungay (Links to an external site.)Links to an external site. https://canvas.seattlecentral.edu/images/play_overlay.png

Big Band Mambo - Although cha cha chá declined as an international mass culture phenomenon after its heyday in the early 1950s, it took on a new life in Latin ballrooms, serving as a contrast to big band mambo numbers and evolving into new style strongly influenced by big band mambo.

31. The first international mambo hit, “Mambo #5,” was recorded by Perez Prado in 1949. Listen to and describe “Mambo #5” - be sure to list any of the characteristics (located on page 249 of our textbook) you recognize in this recording.

Mambo #5 - Perez Prado (1949) (Links to an external site.)Links to an external site. https://canvas.seattlecentral.edu/images/play_overlay.png

32. Listen to and describe Lou Bega's version of "Mambo #5". How is Lou Bega’s 1999 version different than Prado’s version of the same title.

Mambo #5 - Lou Bega (Links to an external site.) (Links to an external site.)Links to an external site. https://canvas.seattlecentral.edu/images/play_overlay.png

“Sambia” - Machito and the Afro-Cubans, CD4-6 - As a teenager, Tito Puente joined Machito and the Afro-Cubans and began to master the Cuban rhythms that would become such a major factor in his own music in later life. Machito had formed this group in 1940 as a reaction to the “watered-down” music of Latin society bands such as that of Xavier Cugat and forged an innovative sound combining classic Cuban son with big band jazz. Among those influenced by Machito was a young Stan Kenton. Read the “Insights and Perspectives” box on Machito and the Afro-Cubans on page 251 as a prelude to listening to CD4-6.

33. Briefly compare “Sambia” by Machito and the Afro-Cubans to “Brazil” performed by Xavier Cugat and his Orchestra (below). Listening carefully and compare "Brazil" to “Sambia” by Machito and the Afro-Cubans (question 35)--what differences do you notice in rhythms used, the tempo, instrumentation (instruments being played), overall style or feel, and other features. Finally, do you agree or disagree with the categorization of Cugat’s sound as “watered-down”? Why or why not?

Brazil - Xavier Cugat and his Waldorf Astoria Orchestra 1943 (Links to an external site.)Links to an external site. https://olympic.instructure.com/images/play_overlay.png

“Oye Como Va,” Tito Puente, CD4-7 By the time he released “Oye Como Va” in 1963, Tito Puente was a popular dance band leader with almost 40 albums to his credit. Read pages 250-255 and 261-266 to follow Puente’s rise through the ranks of New York bandleaders and the development of Latino music in New York and beyond. The guided listening sections for the recording are on pages 252-255.

34. Use the chart below to write comments and observations about each section of “Oye Como Va.”

Section

Comments/Observations

0:00—0:45

Introduction (Instrumental)

0:46—1:04

Singing of Main Tune,

First Time

1:05—1:55

First Mambo Section

(Mambo I)

1:56—2:18

Singing of Main Tune, Second time

2:19-3:13

Second Mambo Section

(Mambo II)

3:14-end

Encore Mambo Section

(Mambo III)

35. Listen to and describe “Oye Como Va,” by Santana, CD4-8 - Santana recorded what is arguably the most familiar version of “Oye Como Va” in 1970, a year after their successful performance at Woodstock and the release of their debut album. In some respects, this version may be viewed simply as a cha cha chá with a bit of rock style, instrumentation, and aesthetics thrown into the mix to spice things up. However, the cultural and musical significance of difference runs much deeper. Read pages 254-258 prior to listening to CD4-8. Use the chart below to make observations and comments about each identified section of CD4-8.

Section

Comments/Observations

0:00—0:37

Introduction

0:38—0:56

Singing of main tune,

First time

0:57—1:44

First improvised solo

(Electric guitar)

1:45—2:07

Interlude/Transition # 1

2:07—2:47

Second improvised solo

(Hammond B-3 electronic organ)

2:48—2:58

Interlude/Transition # 2

2:59—3:21

Singing of main tune,

Second time

3:22—End

Third improvised solo

(Electric guitar)

Building Pan-Latino Identity through Music - Santana’s hit recording of “Oye Como Va” not only brought Latin music into the world of rock, but galvanized Latin dance music culture and became a symbol of an emerging pan-Latino identity. After reading pages 261-262, briefly respond to the following:

36. Where did Salsa music “originate” and what were its musical roots?

Chapter 11 Music Journal - Part 2: Reflections

What, in this chapter, was new to me?

What, in this chapter, would I like to know more about?

Of the musical examples in this chapter, which did I enjoy the most? Why?

Of the musical examples in this chapter, which did I enjoy the least? Why?

Other thoughts or comments about Chapter 11

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