1. Section Three: Latin American Music

2. Four Major Categories of Latin American Music
Indigenous Music
Iberian (Spanish/Portuguese) and mestizo (mixed ancestry) Folk Music
African influenced Music
Urban Popular Music

3. Indigenous Peoples Mexico and Central America: Aztec, Maya, and Inca.
South America, over 100 languages and 2000 dialects.
Several conquests over the past 500 years, Spanish or Portuguese; genocide of much indigenous population, early 16th century

4. Instruments Indigenous music Post-colonial
Flutes, ocarinas, conches, panpipes, and various percussion instruments
Vocal music, often associated with rituals and hymns
Post-colonial
String instruments, related to violin, harp, guitars
Other wind instruments including accordion, and brass instruments.

5. South America Andes Mountain Region

6. Andes Village Musicians, featuring panpipes & drums

7. More panpipes

8. Chilean Nueva Canción h “El Aparecido” (CD 2:7)
Voice & Instruments including Charango, kena, multiple percussion
sesquialtera = simultaneous feeling of 6/8 and 3/4 meters, such as this Chilean “cueca” rhythm
Variants of both Major and minor scales.
Counterpoint between two different vocal parts.
Reflects (through text) political upheaval, often through metaphor and making hero larger-than-life.
Good example of nueva cancion, a modern and socially conscious musical style and message that draws attention to the struggles for dignity by everyday people.

9. Bolivian K’antu h “Kutirimunapaq” (CD 2:8)
“Hocketing panpipes, with rhythmic melodies played in parallel fifths and octaves and a strong, steady rhythm on a large drum.”
Instruments including multiple (over 20!) zampoña, wankara drum, and ch’inisku (triangle).
hocket = alternating notes of melody among several voices and/or instruments (as in the panpipes of this example).
Doubling of melodic line in parallel octaves and fifths.
Formal structure of ABC, and repeated
Continuous dancing along with the music

10. The Quichua of the Northern Andes of Ecuador
Comunas (small clusters of houses) on the slopes of Mt. Cotacachi
Language is Quichua

11. Traditions Traditional agriculture and material culture
Maize; Cabuya cactus provides fiber
Homes are one room, covered patio, mud walls, dirt floor
Men wear white or blue shirts, white pants, dark poncho, hats; women wear embroidered blouses, shawls, two skirts with two belts; dress not changed much since 16th century

12. Strong sense of community
Common language, dress, material culture
Same diet of beans and potatoes
Weekly markets
Periodic community work projects
Fiestas
Communication carried by foot; walking, or purina, is vital to daily life

13. Sanjuán A type of song played at the festival of St. John the Baptist
A type of dance performed at that festival
Now a popular song form

14. Harp Without pedals (one scale) In the region for hundreds of years
Initially brought from European missionaries
Typically a male occupation

15. Ensemble Harp

16. Form of sanjuanes Strophic Phrase length often lasts eight beats
Rhythm of first half often identical with second half (isorhythm)
Some sanjuanes are sung, while others are instrumental
Walking and wandering is an important metaphor in text

17. Ecuadorian Sanjuán hMuyu Muyari Warmigu (CD 2:9)
Imbaburu harp (& golpe) and voice
Double-couplet form
One primary motive (“A” theme)
Alternation between Major & minor - bimodal or just two chords?

18. Another Ecuadorian Sanjuán
hIlumán tiyu (CD 2:10)
Violin, kenas, guitars, drum, and voice
Classic sanjuán
Highly popular song in the 1980s and 1990s
Composer was saying “remember me”

19. A “Hybrid” Sanjuán hMe Gusta la Leche (CD 2:11)
Rhythm & lead (requinto) guitars, bomba drum, metal güiro, and voice
Blending of many cultures– Quichua, African, Spanish– to make Afro-Ecuadorian music

20. The Andean Ensemble Phenomenon
Widespread phenomenon in the Andes and beyond
Music making is an important means of socialization among Quichua youths
Featured regularly for tourists
In the United States, many groups have become popular and widely known
Peruvian wayno
hAmor imposible (CD:12)
Performed by Chaskinakuy

21. Afro-Peruvian Landó hAzúcar de Caña (CD 2:13)
Full ensemble including guitar, bass, drums and percussion instruments such as the Quijada (cow’s jawbone), and solo voice with chorus.
Popular music song form
Text concerned with harvesting, milling (in the trapiche), and using sugar cane (as in guarapo)
Sensuous music, sí?

23. Dances in South America
Many forms (chacarera, criolla, zamba, cueca, marinera, etc.)
Joropo is the national dance of Venezuela
Another major form is the huayno, which is call sanjuanito or sanjuan in Equador.
Some religious plays/festivals plays include dances.

24. African Influenced Music
Sub-Saharan African influence significant.
Much stylistic integration; definition of “black” music difficult to make.
Stronger influence than previously thought, especially in the complex rhythms in Cuba, Haiti, Jamaica, and Trinidad.
To lesser degree throughout South America.

25. Carnival or carnaval festivities
In days leading up to Ash Wednesday, many Latin American communities have carnaval festivals and parades
Largest is in Rio De Janiero, Brazil
Many of the spectacular outfits are created in the poor black Favela communities.

26. Carnaval in Rio De Janiero, Brazil

27. Some forms had roots in carnival music but also targeted tourists
Major Caribbean forms:
Calypso
Steel band music
Reggae

28. The Salsa Phenomenon
Cuban son, developed first in New York City among Latino communities made up primarily of Puerto Rican and Cubans
Combines various styles, call-response, polyrhythm, improvisation, and strong percussion.

29. Urban Popular Music
Through much of 20th Century, Latin rhythms have been popular through the Americas (Harry Belafonte, Andrews Sisters, popular artists like Ricky Martin).
Big band era (Xavier Cugat, Tito Puente, Cuban bands)

30. Homework - due Monday, 11/28 Online Quiz, Chapter 8 (“Tutorial Quiz”)
Define the following, using examples:
Sesquialtera
Hocket
Nueva Cancion
Study Questions (p. 300)
1, 2, and 11

31. Music of Mexico Native music of Olmeques, Aztecs, Incas Mariachi Music
Contemporary popular music

32. Pre-colonial Music

33. Instruments Ocarina (at left), and other flutes and wind instruments
Drums and Percussion, such as frame drums, rattles, cylindrical drums, and log (slit) drums.

35. Mariachi

36. Mariachi Instruments & Costume
Guitar
Guitarra de Golpe
Vihuela
Guitarron
Violin(s)
Trumpet(s)
Voice(s)
Harp [rare]
Costume is borrowed from Charros (Mexican cowboy). The “traje” includes fancy, traditional attire including boots, sombrero, snug trousers or skirt, and highly adorned jackets.

37. Mariachi Music
Mariachi groups have an almost universal repertoire. These include songs such as La Bamba, Cielito Lindo, Jalisco, El Son de la Negra and El Rey.
The definitive song form is the son. The son in indigenous to mariachi music and has several notable characteristics. The rhythmic pattern is an alteration between 3/4 and 6/8 with heavy syncopation.
Trumpets and violins make extensive use a grace notes
Lyrics are often humorous or nonsensical