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 …show more content…
In actuality, Armando Robles Godoy’s father, a Peruvian composer and ethnomusicologist named Daniel Alomía Robles, composed what we know as the melody of “El Cóndor Pasa” as part of a seven part orchestral musical score for a 1913 Peruvian zarzuela (Spanish musical genre) named El Cóndor Pasa (Cerrón Fetta). Only the two parts known as the “pasacalle” and “kashua” are performed in the recorded versions. In all known recordings, the pasacalle is performed before the kashua. In most versions incorporating singing, including the Simon and Garfunkel version, the kashua is omitted (Cerrón Fetta). Once the melody we know as “El Cóndor Pasa” began to be played independently of the zarzuela, Daniel Alomía Robles patented/legally registered the piano arrangement on May 3, 1933 by The Edward B. Marks Music Corp. in the Library of Congress, under the number 9643 (Wikipedia, “El Cóndor Pasa”). Some sources argue that on this date, Alomía Robles actually sold the rights to the Marks Music Corp., not legally registered it (Cerrón Fetta). It is also said that when Los Incas recorded “El Cóndor Pasa,” when wondering how to credit the song, he contacted the Sociedad Argentina de Autores y Compositores de Música to figure out whether or not there was a composer associated with the work. In turn, the …show more content…
In 2004, Peru declared this song as part of the official national cultural heritage (Guerra). However, commenters from Bolivia, Ecuador, and elsewhere often try to claim the melody as their own, and these countries have tried the same on a much larger scale. In 2009, Bolivia's Cultural Minister, Pablo Groux, officially recognized the song as Peruvian, not Bolivian (Guerra). However, there is some merit to their claims, as Alomía Robles acknowledged himself that the song was inspired by the folksongs he collected in the Andes. Alomía Robles spent the majority of his time in Peru collecting stories and myths of the folk music of the Amazon jungle regions and the mountains of the Andes, but also visited Bolivia and Ecuador (Wikipedia, “Daniel Alomía Robles”). There is no way to tell the extent to which Alomía Robles utilized the songs he collected in his composition, from mere inspiration to downright copying. The musicologist Luis Alberto Salazar Mejía evidenced that the first ten notes of the pasacalle are similar to those of other musical themes, among them one of the Preludes of Bach, the Turkish March of Mozart, “Canto de las Ñustas” by Leandro Alviña, and almost a dozen pieces that appear among the compilations
On October 23, 2016 I went to a concert type of event that different music groups were performing. This event is what Hispanics call a “Jaripeo Baile,” which is a place that people can see other people bull riding like in the rodeo, but this event was only about music groups performing. One of the music groups that performed was a band called “Josecito Leon y Su Internacional Banda Roja.” While I watched the band’s performance it reminded me of how it relates to the themes that were from our readings and discussions that we had throughout the semester.
Mariano Escobedo was a healthy man he was my Grandparents great great grandparent. He was a Mexican General from Mexico. He wanted to govern Mexico, he fought against dynasty and he won. Escobedo fought against the French Invasion in Mexico to govern Mexico. He became a great general who fought against Napoleon III (French.) In Mexico City airport and in Monterey his name is printed and also in some streets of difference parts of Mexico. Mexico had borrowed money from England, France and Spain. In 1861 representatives from this countries got together in London to find a way to get Mexico to pay this countries. Troops from this three countries went to Veracruz in 1862. They were welcomed from representative from Mexico. The general Juan Prim, from Spain accepted the way Mexico was going to pay little by little so as England. The representative from France is not accepted he wanted the money and ordered his troops to prepare to fight. The government of Benito Juarez organize the defense. He made in charge the general Ignazio Zaragoza to get to Puebla and fight with the French. They attacked each other in the " Fuertes de Loreto y Guadalupe. The troops of Zaragoza, helped from the Indians Zacapoaxtla. In 1862of Mat 5 they won against the French. The emperor from France, Luis Napoleon Bonaparte, wanted to extend his powers in America and in Asia. He dreamed to form a great empire. Mexico took advantage of that situation to peek an European emperor to govern Mexico and to stop the politic anarchy. Luis Napoleon made them recommend Fernando Maximiliano de Habsurgo, brother of the emperor Francisco Jose. Maximiliano accepted his embarkation to Mexico but with her wife, the princess Carlota Amalia de Belgica. Luis Napoleon send his army to wish napoleon luck. Austria and Belgica also send troops. The emperors arrived to Mexico at the end of 1864. In Veracruz, Puebla were great big welcomes. To confront the invaders, to the president Juarez formed a government itinerante, who traveled from the capital to the north border. From this places it continue the position of the millitar action from the armies from the North, West, command from
Ragland, Cathy. Música Norteña: Mexican Migrants Creating a Nation between Nations. Philadelphia, PA: Temple UP, 2009. Print.
Elena Poniatowska escrita durante una epoca de cambio en Mexico. Antes de sus obras las mujeres mexicanas eran sometidos, docil, y pasivo. En la tiempo de sus obras las mujeres estaba tratando salir de los estereotipos de antes. Esta problema social tomo un afecto en Elena. Aunque ella no viene de un movimiento literatura directamente, ella escrita con el concepto de compremetido. En su narrative El Recado ella crea un mujer estereotipical que no puede controlar sus emociones. La titula es eso porque ella viene a ver su amante, pero el no esta, asi ella escribe las cosas que sentia. La perspectiva es de un personaje y ella nunca interacta con otros personajes. En facto la unica descripcion de un personaje otro de la protagonista es de su amante Martin. Habla de otros personajes, pero solamente de sus acciones. Porque ellas es la unica perspectiva que tenemos es sencillo a sentar compasion para una protagonista de quien nombre no aun sabemos. Ella da la descripcion de toda que vea, y mas importante todo que se sienta. Tambien tropos y figuras retoricas dan un tono significante al poema. Estos sentimientos de la portagonista y el tono emocional de la narrativa transporta una tema de una mujer estereotipical y debil quien quiere ser reconocido.
People do not take into account the impact that colonialism had on Mexico and Mexico’s culture of dance and music. The merging of Indigenous tradition and European culture left a strange mark in Mexico, where both those diverse cultures were combined into its own Mexican identity. There is no bigger example of this than the traditional Mexican dance, of the state of Michoacán el danze de los viejetos or in English the dance of the old men. What the dance used to represent pre and post the conquering by Spain is radically different, since Mexico itself changed through colonization. The dance of the old men is still being danced now but the original meaning and what it represents now has changed,
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. ...
Over the course of history, music has developed from a personal, academic pursuit to an extension of a global marketplace and an attribute of this global community. In order to better address this conversation and the surrounding idea, Feld utilizes the platform he has developed to pose the argument that music has long been cultivated as a means of communication and interaction. This relationship is developed and analyzed as a case study in this article, which happens to be in discussing a traditional lullaby first developed in the Solomon Islands, which was in turn recorded by a European pop group that sold millions of copies of a rendition of the song. Furthermore, the article goes to show the trend of music to be redistributed and developed in the sense that it is later reused by a popular jazz musician in Europe. Feld then begs the question about the nature of the redistribution of music and whether this facilitates a hybridization of music or an alienation and artistic degradation of the original work for the indigenous artists.
The song stayed on the Billboard Hot 100 for 60 weeks and the group that was credited with singing this song was Los Del Rio. These were two Spaniards – Antonio Romero and Rafael Ruiz. This is where the song gets its interesting history. These two performers attended a private party in Caracas, Venezuela and it was there that Romero was inspired to recite a verse to honor a flamenco dancer named Diana Patricia. In the verse he addressed her as “Magdalena” - a reference to Mary Magdalene. When it came time to record the song Los Del Rio changed Magdalena to Macarena. Macarena was the neighborhood in which they lived in Seville, Spain. However the chorus was not changed – “Give joy to
Young, innovative musicians have attempted renewed classic tango styles, repertoires and practices by creating innovative projects. This refurbishment of tango has allowed local identities to be celebrated. Ensembles like 34 Punaladas has renewed the image of Gardelian tango, including old and new lunfardo lyrics and including elements of poverty, bitterness and injustice. Other artists create a spin on original compositions such as Daniel Melingo who includes electronic instruments, sampling techniques, rock styles, and Latin American idioms.
Bachata originated from the Dominican Republic in the early 20th century. During dictator Trujillo’s rule, Merengue was the official music to the nation. Because many Dominicans did not accept their African roots, their dances and rhythms were oppressed. Bachata, with its African influences, was considered crude and lower class, only played by campesinos- peasants. It was only popular in the rural parts of the Dominican Republic. However beginning in the early 60s, bachata was steady becoming tolerated, and eventually loved. (Pacini)
This paper will be discussing the origin, roots history and evolution of Salsa music. The paper will also discuss some of the most successful Salsa musicians including Celia Cruz, Edi Palmeiri, Willie Colon and the Fania band or Fania All Star.
Tito Puente is the original author of “Oye Como Va”. This song was made in 1963 by him. However many believed that Carlos Santana is the author of this piece. Tito in his day was known as the “King of Jazz” because of the type of music he performed. He was known for putting together different styles of music and making it into his own and also putting a twist on Latin music. Oye Como Va is more of a modern sounding type of music to me and that is one of the reasons why I like it so much. There are several of instruments used in this piece. The way the melody switches is so appealing to me. The s...
This is a critical acclaim encyclopedic production in which reflects on as well as celebrates the history of the roots of rhythm the popular sounds we call Latin music, to the tribal celebrations in African jungles and the wild carnivals which focuses on array artists such as Gloria Estefan, Tito Puente, Dizzy Gillespie, Desi Arnaz, Celia Cruz, Ruben Blades, Isaac Oviedo, King Sunny Ade also the rare archival footage features Dizzy Gillespie's 1948 number "Manteca," bandleader Xavier Cugat's "Gypsy Mambo," and a cartoon clip of Donald Duck doing "Tico Tech
According to his review of A Guide to Latin American Music by Gilbert Chase, Charles Seeger describes Chase’s description of the music culture, “The quantitative distribution of more than 2700 entries, which include some multiple listing, is interesting” (Seeger, 1946, 304). Chase explains a plethora of countries in Latin America and their specific musical features. Furthermore, thanks to his detailed work, the reader can see how many common features can be seen. Firstly, a common feature among all genres is the use of aerophones. The aerophones used could include, panpipes of various varieties, flutes, trumpets (as seen at the Boogat performance in Ottawa) and many more. Another common feature among all the genres is a strong rhythmic presence. In essentially all Latin American music, a steady, metrical rhythmic quality can be heard keeping the music energetic and easy to follow. To keep the rhythm, another common feature to Latin American culture is the drum. Most commonly found in the Afro-Latin genre, as a result of influence from African culture, can be seen throughout Latin America. A popularized western form of this type of music, is that of mariachi. Finally, Latin American culture is known for its vibrancy in their music. The music is generally quite expressive of feelings, strong moral messages found in protest songs, and their colorful, elaborate