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Cuba music culture essay
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This is the festival of the general population living in the Cuban field, where the agriculturists tunes sound with the connivance of run of the mill instruments as the tres, the laúd, the güiro and the guitar. These gatherings incorporate moves as the zapateo and couples of vocalists who ad lib the verses of a tune creating the joy of the members. The guateque campesino is the regular structure in which a gathering of companions and neighbors meet to celebrate either the end of the harvest or a family remembrance. It is regular to see a vocalist ad libbing décimas as verses of a melody, and couples moving the zapateo, despite the fact that the last have been as of late substituted by the child. This Cuban musical type is additionally surely
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.
Each movement of the work corresponds accordingly to a different country in Europe at the time known for a particular style of dance. The Intrada would be the opening of the program, followed by the French Basse Dance, the English Pavane, the Italian Saltarello, the Spanish Sarabande, and finally concluding with the German Allemande. Even though the work was performed by a modern ensemble, where many instruments had not even been invented when music of this type was originally composed, the instrumentation of the brass section versus the woodwind section and the artistry of the musicians performing are able to recreate a much older style. Overall, the piece Courtly Airs and Dances, is an emulation of a style dating back to the Renaissance period of music, with each movement reflecting a particular style of dance characteristic to the culture of individual European
1. Wide-ranging, dynamically expressive tonal melodies are played in equal temperament and generated from logical tonal harmonic progressions. 2. A simple, isometric, and restricted rhythmic range is used. 3. The texture is homophonic, that is, a principal melody line with accompaniment. 4. Clear periodic formal structure is favored. 5. The instrumentarium is restricted and standardized.
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...
Veloso, Caetano, and Barbara Einzig. Tropical Truth: A Story of Music and Revolution in Brazil. Cambridge, MA: Da Capo, 2003. Print.
More than eight million copies sold is a great figure for any music album. However, for a CD labeled with World Music genre, that number means an unprecedented success. The album, named Buena Vista Social Club, has changed the attitude of the world to Cuban music forever. Nonetheless, Buena Vista has been criticized for being a commercial product, and for causing negative effects to Cuban society. Let us discover the story behind this phenomenon from Cuba, and more importantly, explore the music inside this brilliant CD.
Throughout the years Latin music has slowly made an impact in the music industry in the United States, from the traditional mariachi to the vibrant Rock en Español. But it is the controversial folk-music genre called narcocorridos that has made a major impact in the last few years in the United States, mainly the southwestern states that border with Mexico. Also called drug ballads, this subgenre of the traditional corrido has emerged since the 1990’s as the principal instrument to chronicle the odyssey of Mexicans across the Rio Grande in a drug-infested universe (Stavans). Played by the tuba, an accordion, drums and a guitar, narcocorridos are about violent confrontations between cartels and the luxury lives of powerful drug lords. With the violent drug wars in the last ten years in Mexico, narcocorridos have been the music trend to many, mainly the young generation. People get influence by this music and want to live the expensive and exotic life these drug lords live by. In this research paper I am going to explain how the emergence of narcocorridos has influenced the young generation and societies in the United States and Mexico.
To better understand why samba represents the Brazilian’s national identity, one has to understand the history of Brazil and samba. Samba can be heard all throughout Brazil. It is a musical genre complemented by song and dance that includes a group of percussion instruments and guitar. The puxador (lead singer) starts the samba, occasionally singing the same song for hours at a time. The obligation of maintaining thousands of voices in time with the drum rests on his shoulders. Bit by bit, the other members of the escola (samba group) come in, and with a whistle from the mestre de bateria (percussion conductor) - the most exciting moment of the parade occurs as the percussion section crashes in. The surdos (bass drums) keep the 2 / 4 meter, while caixas (snare drums) and tamborins accent the second beat. This percussion ensemble, speak of as the 'bateria', frequently includes instruments such as the agogo (double bell) and reco-reco (scraper), as well as the prato, repique, pandeiro, tamborim, and ganzathe. The only stringed instrument is the great pitched cavaquinho (ukulele). Together these instruments combine to create polyrhythms that cross and align, contrast and reinforce with each other in an animated style less formal than marcha or maxixe. Couples often dance to samba in physically tight, close movements similar to the lambada and l...
Gina Valdes in her poem English con Salsa used many literary techniques. One of them was humor and throughout the poem it is used greatly. An example of it starts in the beginning where the po...
Oct. 29: Puerto Rican Music Between Rafael Hernandez and Rafael Cortijo. Guest Lecture by Prof. Lise Waxer, Music Dept., Trinity College
Music is a form of communication, letting others knows what is going on in the country, political, social or economic and any other problems the people of the Caribbean faced. With so many different ethnic backgrounds in the Caribbean, they are people with Asians, Indians, and Africans descents. This created a language and culture barrier but each ethnic background shared a common link music. Music bridged the gap between the different ethnicities Music is part of everyone’s culture especially here in the Caribbean. Our culture is recognized worldwide for its music. The Caribbean has different genres of music such as calypso, reggae, dance hall, zouk and many others. Our music has roots in both African and European cultures. The drum rhythm comes from the African in...
On Wednesday, May 23rd, I attended the College Choir concert in the Reamer Campus Center. The choir performed a variety of songs, ranging from pieces in Latin to traditional American folksongs. Two of the pieces featured solos, and one even featured percussion instruments. Mrs. Elinore Farnum provided piano accompaniment for each of the songs, and performed beautifully. I was extremely impressed by the talented choir members and their ability to sing such a varied range of songs.
Wharram, Barbara. Elementary Rudiments of Music. Ed. Kathleen Wood. 2nd ed. Mississauga, Ont.: Frederick Harris Music, 2010. Print.
...re, Robin D, (2006) Music and Revolution: Cultural Change in Socialist Cuba. University of California Press: New York
...chestral introduction with an imperfect cadence. A strong rhythmic ¾ allegro passage, with sequences and descending scales is played by the orchestra, with timpani and cymbals. The music modulates, and a short, quiet woodwind passage is then alternated with an orchestral passage with dotted rhythms, creating a `terraced dynamics' effect. Part B begins with a major clarinet melody accompanied by pizzicato strings. A minor flute sequence follows, and is followed by a repetition of the oboe melody. A string sequence is then played, imitated by the oboe. There is a crescendo, then the rhythmic orchestral melody returns, alternated with a short flute passage. There are suspensions, descending scales and a crescendo, followed by a strong rhythmic passage with the timpani playing on the beat. Imperfect cadences are played, before the piece finishes with a perfect cadence.