1. The Garland Handbook Of Latin American Music Part Three: Nations and Musical Traditions, Caribbean Latin America, Puerto Rico

2. Cultural Heritage  Indigenous Taíno (as evident throughout the Antilles) Taíno (as evident throughout the Antilles) AeritoAerito  European Late Spanish settlement (1508) Late Spanish settlement (1508) Introduced new instruments (i.e., vihuela and fifes), metered poetry (i.e., the decíma), Christian based religious genresIntroduced new instruments (i.e., vihuela and fifes), metered poetry (i.e., the decíma), Christian based religious genres Church main context for official music activities during colonial period (as throughout the Caribbean and Latin America)Church main context for official music activities during colonial period (as throughout the Caribbean and Latin America) Peripheral status of colony within Spanish New World economy stimulated development of local music culturePeripheral status of colony within Spanish New World economy stimulated development of local music culture  African Unique African population Unique African population Free blacksFree blacks ladinos—Spanish speaking Christian Africans brought from Spain ladinos—Spanish speaking Christian Africans brought from Spain African slavesAfrican slaves Mainly from Guinea and Senegal, later Ghana, Nigeria, and Congo Mainly from Guinea and Senegal, later Ghana, Nigeria, and Congo Imported gradually—peaked mid -nineteenth century, unlike other parts of Americas Imported gradually—peaked mid -nineteenth century, unlike other parts of Americas

3. Musical Contexts and Genres  Religious Forms Reflect unique development of Catholic Church in New World Reflect unique development of Catholic Church in New World Rosario Cantao (“sung rosary”)Rosario Cantao (“sung rosary”) Developed outside context of Church in Puerto Rico Developed outside context of Church in Puerto Rico Three types Three types Rosario de promesasRosario de promesas Rosario a la Santa CruzRosario a la Santa Cruz Rosario para los muertosRosario para los muertos Rooted in Catholic tradition of praying the rosary (a type of meditative prayer bead) Rooted in Catholic tradition of praying the rosary (a type of meditative prayer bead) Incorporate European derived poetic forms (coplas, decímas, decimillas) Incorporate European derived poetic forms (coplas, decímas, decimillas) Accompanied by European derived stringed instruments (tiple or cuatro, and guitar) and a scraper (güiro) Accompanied by European derived stringed instruments (tiple or cuatro, and guitar) and a scraper (güiro) Context incorporates rituals involving Christian elements/icons used in unorthodox ways Context incorporates rituals involving Christian elements/icons used in unorthodox ways See Rosario de promesas (rosary of promises)See Rosario de promesas (rosary of promises)

4. Musical Contexts and Genres  Secular Forms Bomba Bomba African derived dance genreAfrican derived dance genre Means of expression, solidarity, and resistance for blacks during colonial period Means of expression, solidarity, and resistance for blacks during colonial period Musical development reflects process of musical acculturation, influence of other Afro-Caribbean traditionsMusical development reflects process of musical acculturation, influence of other Afro-Caribbean traditions Now generic name for several genresNow generic name for several genres distinguished by rhythmic pattern in second drum (sonador) distinguished by rhythmic pattern in second drum (sonador) Generally characterized by relation between dancer and first drum (repicador) Generally characterized by relation between dancer and first drum (repicador)

5. Musical Contexts and Genres  Secular Forms (cont.) Decíma and Seis Decíma and Seis European derived song and dance genresEuropean derived song and dance genres Decíma Decíma Form of metered poetry introduced by SpanishForm of metered poetry introduced by Spanish Follows formal structure and rhyme scheme (abba:accddc)Follows formal structure and rhyme scheme (abba:accddc) Decimilla—similar musical poetic formDecimilla—similar musical poetic form Seis Seis Musical form (instrumental)Musical form (instrumental) Two general types: for singing (i.e., seis con decíma), and dancing (zapateado)Two general types: for singing (i.e., seis con decíma), and dancing (zapateado) Name of genre generally corresponds with type of poetry, dance it accompaniesName of genre generally corresponds with type of poetry, dance it accompanies Plena Plena Dance genreDance genre Origins and development reflect influence of new immigrant communities, and of musical traditions from surrounding CaribbeanOrigins and development reflect influence of new immigrant communities, and of musical traditions from surrounding Caribbean

6. Puerto Rican Creole Forms  Acculturation Contemporary Puerto Rican cultural traditions and beliefs reflect complex processes involved in intercultural contact (acculturation, see pp. 78-79) Contemporary Puerto Rican cultural traditions and beliefs reflect complex processes involved in intercultural contact (acculturation, see pp. 78-79) Consider how this process is manifested in the cantao rosarioConsider how this process is manifested in the cantao rosario Questions for discussion Questions for discussion How might the context for the cantao rosario be considered a blend of folk and Roman Catholic beliefs and practices?How might the context for the cantao rosario be considered a blend of folk and Roman Catholic beliefs and practices? How might the cantao rosario compare with other syncretic sacred musical forms, contexts, beliefs and practices in the Caribbean (including African derived)?How might the cantao rosario compare with other syncretic sacred musical forms, contexts, beliefs and practices in the Caribbean (including African derived)?