Cantoria of Brazilian Caboclo is represented by the different types of singing that are used by the Caboclo. The Caboclo are that part of the population of Brazil that came as a mix of the European and American Indian ancestry. For them, music plays an important role in social festivities, ceremonies and religious rituals, great part of these events are associated with the rural life of this population. Caboclo usually belong to the poor working class that live in the rural areas of the Northeast part of Brazil and is characterized improvised sung contest. Forro is the most popular dance to accompany the Cantoria of Brazilian Caboclo, even though there many other developed music genres related to this population. The most popular assemble of instruments to …show more content…
It has a poetic text which is unique for its strophic forms and themes. Back in the days when Tonada was born, it used to be singed exclusively by females in solo. During the second half of the 20th century it started to be sung even by men. Despite the fact this kind of music used to be performed only in solo, in our days it can be performed even in duets or groups of three or four people. Different kind of Tonadas can be defined by the poetic form used and the occasion for which it is performed.
Cantoria of Brazil Caboclo can be defined by different music styles that have born during the last two hundred years. Cantoria music is mostly sung in duets with the two singers improvising their verses and alternating their strophes in a rhythmic way. The improvisation doesn’t take place just in-between the two singers but even with other participants of the singing occasion. The two contenders are already introduced with the melody of the song before the start of the singing contest, to give them the opportunity of thinking about the improvisation. The contenders make a great effort to get the appreciation of the audience, as the goal of
The importance of these, is that it would bring the attention of the audience. The band performed about 13 songs in total. It was a mixture of Banda songs and Corridos. The band’s songs talked about a lover and the longing of a loved one. The audience reacted in a good way. They were dancing of the floor section and they were cheering on the band, others were singing along with the singers meanwhile, others were recording them on their cell phones.
In Samba, Alma Guillermoprieto describes the Carnival celebrated every year in Rio de Janeiro, Brazil and explores the black cultural roots from which it takes its traditions as well as its social, economic, and political context in the 1980s. From her firsthand experience and investigation into favela life and the role of samba schools, specifically of Manguiera, Guillermoprieto illustrates a complex image of race relations in Brazil. The hegemonic character of samba culture in Brazil stands as a prevalent theme in numerous facets of favela life, samba schools, and racial interactions like the increasing involvement of white Brazilians in Carnival preparation and the popularity of mulatas with white Brazilians and tourists. Rio de Janeiro’s early development as a city was largely segregated after the practice of slavery ended. The centralization of Afro-Brazilians in favelas in the hills of the city strengthened their ties to black
Those sections facilitate the planning and the organization of a variety of worship services and special services such as Christmas, Easter, birthdays and funerals. A careful analysis of the HCC shows that one hundred and sixty-six hymns that were included on it comes from the Cantor Cristão and eighty-two hymns were exclusively composed by Brazilian musicians. This hymnal was published in 1991, precisely, after one hundred years of the publication of the first edition of the Cantor Cristão, which was the third Brazilian Protestant hymnal published in Brazil and the first Baptist hymnal printed in Brazil. Several Americans immigrated to Brazil during the American Civil War, and in 1871, a group of American missionaries and immigrants organized the first Baptist church in Brazil. “The first Brazilian Protestant hymnal organized in Brazil was the ‘Salmos e Hinos’, which was published in 1861. This particular hymnal is the official hymnal of the Congregational church in Brazil. The second Protestant hymnal published in Portuguese was the ‘Hinos e Cânticos Espirituais’. It was created in 1876 and edited by Richard Holden, who was an influential Scottish Protestant missionary in Brazil during that time.”
In the book Drink Cultura by Jose Antonio Burciaga talks about how it is not easy to get into one place and get anything you want in this world or something you wish for, but it’s something you have to work for, like any other person. It also explains how it is being an immigrant, and how it is to grow up in the United States as in immigrant and how had it is, and the obstacles that as in immigrant we have to overcome. Antonio Burciaga specifically talks in his book the Chicano history, the language that we speak as a person, the family values and how we as a Chicano stick together. One quote of Burciaga is “Naces pendejo, mueres pendejo --- You were born a pendejo and you will die a pendejo (Burciaga10)”. This particular quote caught my attention because the author gives you a taste of what he experienced, and what kind of language they used. “When the wells of emotion are filled only by resentment, a crying sense of injustice, racist, affronts, deliberately designed frustrations to personal development and social worthiness (Burciaga131)”. This quote talks about how we as Chicanos have the motivation by bringing in our passion from the past, but as soon as someone brings that wall down of us having that one positive outcome, we can go into a lot of resentment towards other people, and think to ourselves at some point that we are worthiness. In chapter “The Motherland” the author talks about the pride people take about being Latinos, he talks about being back in Mexico and how it’s all so different once you’ve lived on the other side, a quote that gives you a mental picture would be “Many white Euro-Mexican will shrug their shoulders, declare they are 100 percent Mexican do not partition or categorize their ancestry. On the contr...
Canciones de arargue, or songs of bitterness – was the original name for the creolized form Bachata. Many closely associate Bachata with the other Caribbean styles of the African diaspora such as merengue and son. In Intro to Music Cultures of the World we were tasked with attending a world music concert. I chose to attend a Bachata concert because I already had an interest in Caribbean music. The concert was not as I had expected, but was rather intriguing and thoroughly enjoyable. In this report I hope to analyze Bachata’s roots, report on its concert style, and compare it to another piece in the genre.
Cumbia originated in the coastal region of Colombia in the early 1800’s. There were three predominant cultures in Colombia at that time: the indigenous peoples, the Spaniards, and the African slaves. The cumbia began with the essential instrumentation of the tambor drums and the gaita flutes, which derive from both indigenous and Congo-based African roots. The genre was entertainment for the slaves, beginning as a courtship dance. It later became an outlet for national resistance and protest as Colombia was contesting for its independence. The music was able to diffuse throughout the nation, spreading from the coast, primarily for the reason that many African populations were scattered in various regions. Barranquilla, a port city in Colombia, was the core of where the music became established and played for the masses, and where instruments such as horns and bass began to be incorporated into cumbia, giving it a more Latin feel. As cumbia evolved and spread to Mexico around the 1930’s, it changed from the influence o...
Music comes in many shapes and forms, and has been a magical element of inspiration and encouragement throughout time. The art of music derives from many different things, such as culture and traditions. One such type of music is mariachi music, deriving from Mexican culture and traditions. Mariachi music is often an upbeat rhythm, consisting of a band of up to six to eight violins, two trumpets and a guitar. Unlike modern music and other music bands alike, mariachi bands lack in numbers when it comes to band size. Though they are small, their music brings great significance and life to the places they perform and the people that they touch with their joyous music. In this paper, I will be comparing the culture and style of mariachi music to twentieth century modern music.
Brazil was and still is a country where the wealthiest live side by side to the poorest of the poor, conservative traditions exist side by side with extreme liberals, extreme beauty with grotesque ugliness, In an attempt to join these elements together the tropicalistas adopted many musical genres such as samba, frevo, Jovem Guarda, choro, bolero, Anglo-American pop and rock, and avant-garde art music, molding them all together to a single unit. The process the tropicalistas went through to create their songs has been called “cultural cannibalism” (Perrone, Dunn
Music and dance are important parts of Peruvian culture. “Andean Folk Music is common in Peru. People perform a stylized dance to energetic music mixed with sad songs. Popular instruments include clay panpipes, flutes, conch shell trumpets, and puma-skin drums”(Falconer, Kieran, and Quek 102). The music follows themes of religion, war, and profanity. Peruvians are always found dancing, whether at a festival, carnival, or just for fun. Music shows important parts of Peruvian culture.
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.
...ajority of Brazilians can trace their ancestry back to European, German, Italian, Portuguese, Spanish, and Africa, and in fact, Indigenous Brazilians form less than 1 percent of population (The World Book Encyclopedia 567). Today, the three main ethnic groups are there of African descent, European origin, and mixed ancestry. The mixed race consist of caboclos or mixed Indian, and mulattoes or mixed African and European (The World Book Encyclopedia 568).
The harmony of the group is perfectly shown in this song. When a person hears it for the first time it sounds like one person sings it. The song opens with hope, “Helplessly Hoping”, that even in despair, there is hope. The word choice in the song is evocative and elegant, but it can have different meanings. The words are full of mystery, and the alliteration can make one’s spirit uplifting. The song is a non-verbal dialogue between a guy who loves a girl, waiting for her, and wonders about her love for him. The guy is being her harlequin, who hovers close to her, so she could notice him. The guy sees the girl’s good qualities, and true and kind spirit she has. Spirit is considered something that flows in the air, so that is why he wished he could fly and grasp her.
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.
The melodies of Argentina have been viewed around the globe as one of the most tantalizing, romantic, extravagant, popular display of emotion. The Tango, originating from Argentina, is widely popular around the world. Some see the Tango to be just a dance; however, the people of Argentina see it as a genre of music as well. The Tan...
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