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Describe native american music
Describe native american music
Describe native american music
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Carlos Chavez Obertura Republicana
Carlos Chavez’s Obertura Republicana is a politically motivated piece for orchestra. The piece is specifically based off of Mexico’s Indian heritage. The piece involves an arrangement of a traditional military march titled Zacatecas, the famous salon waltz, Club Verde and the revolutionary piece, La Adelita. After a few listens, I must say, it’s a loud, bombastic, march-like, Mexican sounding piece. To me there is no question of its national ties. I made a point to listen to a 1935 recording of the Mexico State Symphony.
Carlos Chavez Sinfonia India
In Carlos Chavez’s Sinfonia India, he makes a point to use actual themes he researched from the Huichol Indians of the state of Nayarit, the Yaqui Indians of Sonora, and a Seri melody for the finale. In this piece, Carlos Chavez makes a point to include an obscure native percussion instrument called the “Yaqui”. He makes a point to use various mixed meters (5/8 2/4 and 5/8 3/4). The colors that Carlos manages to get out of the orchestra, particularly through meter and percussion, are different than anything I’ve heard, yet he manages to keep it tied to understandable western music.
Alberto Ginastera Danzas Argentinas
Alberto Ginastera’s Danzas Argentinas is some of the most popular piano literature in Argentina. He uses many folk based rhythms and virtuostic content to portray what he had researched and grew up knowing as the Argentinian musical style. His first dance is based upon an Argentinian rhythm of the malambo, which is a solo male dance to show off virtuosic tap-dancing skills. The third dance is based upon music that is similar to that of malambo, but at a faster tempo and with fragments of Argentine folk music. Although at times the faster ...
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"The Cambridge History of Latin America." Google Books. N.p., n.d. Web. 17 May 2014. <http://books.google.com/books?id=3NiCQFfSGIkC&pg=PA313&lpg=PA313&dq=carlos+chavez+obertura+republicana&source=bl&ots=Jp3wnnLfmu&sig=Aa-BUEPyHXZhKj67mkSB5UsHylE&hl=en&sa=X&ei=N9R2U-fsBoK_oQSWr4D4AQ&ved=0CCUQ6AEwADge#v=onepage&q=carlos%20chavez%20obertura%20republicana&f=false>.
"Symphony No. 2 ("Sinfonía india") - Carlos Chávez | Details, Parts / Movements and Recordings | AllMusic." AllMusic. N.p., n.d. Web. 17 May 2014. .
"El amor brujo." LA Phil. N.p., n.d. Web. 17 May 2014. .
Web. 17 May 2014.
Chavez was a major leader in the Chicano movement that all started when he was nineteen years-old when he joined the NFLU (National Farm Labor Union). From then, he moved on to the CFO, where he moved up in rank quite easily which he eventually quit. After his nine year stint with the CFO, he then founded the union of t...
Peña, Manuel H. "Ritual Structure in a Chicano Dance." University of Texas Press: Latin American Music Review Spring- Summer 1980 1.1 (1980): 47-73. Print.
As a result, Buena Vista is basically a commercial product aimed at foreign audience. The album provides fourteen songs of different genres, most of them originated from Afro-Cubans, including son, darzón, bolero and the so-called Latin Jazz. However, the CD should not be considered the representative ...
The instruments used for this song is of a standard rock band; lead vocalist, electric guitar, bass guitar and drum kit. The genre for this song is determined by the steady and yet simplistic instruments used in this version. An interesting note is that the chorus is in the genre of rock but the verses combine the genres tango and reggae. This could be because merging these three different styles of music attracted the attention of youth more with rock being rebellious at that time and tango and reggae having a heavy beat for that time period. ...
... Richard. "Cesar Estrada Chavez."The Scribner Encyclopedia of American Lives, Vol 3: 1991-1993. Charles Scribner's Sons, 2001. Reproduced in History Resource Center. San Antonio College Lib., San Antonio, TX. 7 July 2014
LaFeber, Walter. Inevitable Revolutions: The United States in Central America. New York: W.W. Norton, 1984. Print.
Throughout the semester, various styles of music and the aspects of culture associated with these styles have been analyzed. Musical elements such as dynamics, texture, form, timbre, melody, instruments, etc., have been used to thoroughly explore each kind of music from different areas of the world, with an emphasis in music from Africa, India and Indonesia. These aspects of music go far beyond just music itself. Culture also plays a huge role in music and the accompanying musical elements. Each country and culture has a different style and distinctiveness that add to what makes the music of that certain culture unique. Music in Africa may differ dramatically from music in Indonesia or India not only due to those certain elements but also due to how it is interpreted by people and what it represents for those people. In addition to this, what one may consider music in one culture may not be music to another. These differences have been made apparent in the several demonstrations that we have been exposed to in class.
Oct. 29: Puerto Rican Music Between Rafael Hernandez and Rafael Cortijo. Guest Lecture by Prof. Lise Waxer, Music Dept., Trinity College
Mexico was home to rich landowners that ruled like medieval Dukes on large domains, keeping their workforces impoverished, deep in debt, and with barely enough basic necessities for survival. The sheer destruction wrought by ten years of war and chaos has proven to be a deep well of inspiration for Mexico's artists and writers that will be analyzed through the following investigation question. How was the Mexican Revolution the principle cause for the rise of different artistic movements in the first quarter of the 20th century? The inner search for national identity established conflicts prior to this event, therefore in order to execute a thorough analysis, research will emphasize on contextual information starting in the year of 1910 up until 1920. Ideals of the Mexican Revolution, forms of cultural expression dealing with the Mexican Revolution, and how the conflict gave birth to a variety of new artistic currents will be investigated through the use of credible websites, academic journals, and books that provide original research and firsthand experience.
The world music phenomenon has been shaped and has evolved overtime. Its distribution has affected much of today’s music. Nueva Canción is one genre that has a deep historical story, of which gives us understanding of how the people and events of history influenced the way music is today by globalisation, migration and commodification and their political and social struggles of which they endured and found hope through their music. Many people worked together to get through this upheaval, and even when some were persecuted for what they stood for, they persevered. The music that came from this revolution is a testimony for their memorable work, making this genre of world music significant and worthy of recognition and respect.
Segovia asked Ponce to write works for the guitar. In response Ponce produced the four movements Sonata Mexicana and the setting of a Mexican folksong, La Valentina. Ponce?s and Segovia?s relationship became more than mutual professional connection, it developed into close personal friendship which allowed Segovia to impose his creative preferences on Ponce?s compositions (Segal 221). In one of his letter, Segovia gave specific instructions on what type of music he needed for each performing occasion. For instance, in Concierto del Sur Segovia suggested using rasgueado chords to accompany the development of second theme ,and these were indeed added by Ponce to the piece. Ponce accepted Segovia?s participation in the creative process but he still was able to make his own decisions (Segal 225). Under a close working relationship, Ponce viewed the guitar
Latinoamericanitas, 1976. Print. Vélez, Germám. Phone Interview. February 10th, 2011. Waterman, Richard Alan. Folk music of Puerto Rico . Washington: Library of Congress,
Silvestre Revueltas' Sensemaya is one that is musically perplexing and loaded with unpleasant and direct surfaces score. It starts with an undulating, puzzling climate. Steady rhythms, with real Hispanic percussion, and current arrangements, abrasive songs and harmonies, make a practically mechanical sound and wood take up the tuba discourse and are transported with various dynamic and cadenced expression.
Upon learning of this assignment, I immediately intended to write about Simon and Garfunkel’s version of “El Cóndor Pasa,” which they officially titled on the album as “El Cóndor Pasa (If I Could).” I automatically assumed that Simon and Garfunkel had covered a traditional originally Spanish-language folksong, merely based off of its simple lyrics (I assumed they had been translated) and the use of an instrument that sounded to me like some sort of wooden flute (I associated this with folk music/assumed this flute to be a folk instrument). The flute was featured, indeed, a traditional Andean flute called then quena. Apparently, Simon and Garfunkel also assumed “El Cóndor Pasa” was a folksong, and that is why they covered it. However, both of
Much G. L., 2004, Democratic Politics in Latin America: New Debates and Research Frontiers, Annual Reviews