1. Part 3 The Growth of Vernacular Traditions Chapter 12: Latin Popular Musics America’s Musical Landscape 6th edition © 2010 The McGraw-Hill Companies, Inc. All rights reserved

2. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 2 Part 3: The Growth of Vernacular Traditions Chapter 12: Latin Popular Musics2 Latin Popular Musics Latin American music has enriched the popular and concert music of the United States for at least a century and a half This music is of more significance to North American popular music today than ever before Southwest United States Traditional Spanish dance music is played Other parts of the country Latin American dance music has affected pop and jazz “Latin Pop” is a category in its own right on the Billboard trade magazine popular music charts

3. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 3 Part 3: The Growth of Vernacular Traditions Chapter 12: Latin Popular Musics3 Latin Popular Musics: Early Twentieth Century Latin popular dances took the United States by storm First as exotic curiosities, then as fads, and finally entering mainstream American popular music The Argentinean tango The first Latin rhythm to affect American pop A graceful, yet torrid dance, sedate in tempo, sensuous 1911: The tango was introduced to Broadway audiences 1913: Made widely popular as danced by Irene and Vernon Castle in a musical A sophisticated fusion of European and African ingredients

4. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 4 Part 3: The Growth of Vernacular Traditions Chapter 12: Latin Popular Musics4 Latin Popular Musics: The Tango and the Habanera Lyrical tango melodies often suggest the influence of Argentina’s Italian population Tango rhythm is that of the Cuban dance, the habanera… Subdivides eight eighth-notes (four beats) into 3 + 3 + 2 Habanera beat has influenced United States popular music… In Louis Moreau Gottschalk’s piano pieces Jelly Roll Morton called it the “Spanish tinge” in ragtime W. C. Handy used habanera rhythm in the four-line verse— ”tango section”—between stanzas of “St. Louis Blues” The habanera beat has been heard as the basic rhythm of numerous pop styles

5. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 5 Part 3: The Growth of Vernacular Traditions Chapter 12: Latin Popular Musics5 Latin Popular Musics: Influence of Latin Performers 1930s: Several Latin dances entered American pop through big band music Especially that of popular bandleader Xavier Cugat, born in Spain and raised in Cuba Several renowned Latin performers began their careers at about that time Appearing in popular stage shows and later in film musicals Desi Arnaz and Carmen Miranda Three Latin areas—the Caribbean, Brazil, Mexico—have influenced popular, classical, and religious music in North America

6. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 6 Part 3: The Growth of Vernacular Traditions Chapter 12: Latin Popular Musics6 The Caribbean The slave trade bringing blacks to North America carried many slaves to the Caribbean islands These slaves managed better than their northern counterparts to preserve their cultural traditions The drumming largely forbidden in the North was tolerated south of the border African tribal religions blended better with the Christian Catholicism prevalent in Latin America than with the Protestantism characteristic of the North

7. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 7 Part 3: The Growth of Vernacular Traditions Chapter 12: Latin Popular Musics7 The Caribbean Since 1898 Puerto Ricans arrived to settle primarily in New York City Cubans have come to New York City as well as to Florida Cubans and Puerto Ricans brought African-derived musical and dance forms to the United States Because more African slaves originally were brought to Cuba, the black Cuban population is sizable and the African influence on its culture is strong Chicago and Los Angeles have people from Haiti, Trinidad, and other areas of the West Indies

8. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 8 Part 3: The Growth of Vernacular Traditions Chapter 12: Latin Popular Musics8 The Caribbean Santeria: The Way of the Saints Santeria is a religion created in the New World by slaves brought from West Africa to the Caribbean sugar plantations Nominally converted to Catholicism, slaves often fused their traditional beliefs and rituals with elements of their new religion Thus, in Cuba the religious practice called Santeria evolved  In the United States Santeria has members of the Cuban, Puerto Rican, African American, and Anglo- American communities Music is important to Santeria

9. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 9 Part 3: The Growth of Vernacular Traditions Chapter 12: Latin Popular Musics9 Santeria: The Music Traditional rhythms of Cuban batá drums accompany rituals Batá are double-headed, hourglass-shaped drums Believed to be shaped like the thunder ax of a god Both heads of the drums are sounded with the hands Each rhythm constitutes a musical prayer to a specific god An oral tradition rooted in ancient Africa, ensembles evolve their own performance style and technique Each Santeria song is associated with a particular deity Sung without harmony in call-and-response fashion The Leader improvises phrases in an open, relaxed vocal style characteristic of African practice

10. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 10 Part 3: The Growth of Vernacular Traditions Chapter 12: Latin Popular Musics10 The Caribbean: Bomba Bomba = African-derived Puerto Rican couple dance; one of the first Latin dances to become popular north of the border Allowing the man great flexibility and freedom to display dancing skills The female performs fixed steps The song’s text—in call-and-response fashion—concerns daily events With drums, optional maracas, guiro (see photo) and cowbell guiro

11. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 11 Part 3: The Growth of Vernacular Traditions Chapter 12: Latin Popular Musics11 The Caribbean: Rumba Rumba: A group of Afro-Cuban musical and dance forms Dancing couples hold each other a bit apart, shoulders level, moving hips Rhythm of two or four beats per measure, divided according to clave rhythm, tapped using claves (see image), which underlies Cuban dance music (refer to figure 12.3, page 212) claves First two measures: Habanera rhythm; second measure sounds on beats two and three; tempo variable but never very rapid

12. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 12 Part 3: The Growth of Vernacular Traditions Chapter 12: Latin Popular Musics12 Rumba is the style at the deepest roots of Cuban music Arrived in Cuba with African slaves Soon African languages were replaced by Spanish Melody lines adapted scales and figures from Spanish songs This synthesis seeded all Cuban music that followed… Including son, chachacha, conga, mambo, salsa, cabaret music, pop songs, classical Cuban compositions Around the world rumba reached into… Rhythm and blues, disco, Spanish flamenco-pop, African guitar-rock Rumba continues to evolve

13. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 13 Part 3: The Growth of Vernacular Traditions Chapter 12: Latin Popular Musics13 Rumba: Instruments Traditional instruments add to the exotic flavor of rumba Bongos Pairs of drums of different size Held between the knees Usually played with the fingers and hand, sometimes with a stick Bongos

14. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 14 Part 3: The Growth of Vernacular Traditions Chapter 12: Latin Popular Musics14 Rumba: Conga Drums, Timbales, Maracas The Conga drum is the largest of the Latin instruments Often played in pairs Sound is produced by their muleskin head Timbre varying according to whether it is struck by the heel, palm, or fingers of the hand Timbales Pairs of metal drums mounted on a stand, struck with a stick Maracas Pairs of gourds filled with pebbles or seeds Shaken or rotated by handles attached to one end

15. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 15 Part 3: The Growth of Vernacular Traditions Chapter 12: Latin Popular Musics15 The Rumba in the United States 1930s—Cuban and Puerto Rican musicians performed rumbas in New York’s uptown Latin district, El Barrio Xavier Cugat and other bandleaders entertained downtown ballroom crowds in a rhythmically simplified Americanized version of the rumba Tin Pan Alley songwriters produced songs with Latin American flavor, such as… “Heat Wave,” by Irving Berlin “Begin the Beguine,” by Cole Porter The beguine is a native West Indies dance

16. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 16 Part 3: The Growth of Vernacular Traditions Chapter 12: Latin Popular Musics16 The Caribbean: Cu-Bop 1940s: Cuban instruments and instrumentalists were strongly affecting jazz Another dance, the conga, a line or chain dance Cu-bop merges Latin rhythms with bebop Introduced by Dizzie Gillespie in a 1947 bebop concert From then on, Gillespie, Duke Ellington, Stan Kenton, and other musicians flavored much of their music with Brazilian, Cuban, Latin influences

17. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 17 Part 3: The Growth of Vernacular Traditions Chapter 12: Latin Popular Musics17 The Importance of Rhythm Rhythmic patterns are at the heart of Cuban (and African) drumming Over a constant pulse other pulses are layered, then varied Creating rhythmic expectation through repetition, then subverting it This is what a jazz soloist does  Jazz musicians adapted such techniques  Stan Kenton’s band used the Latin effect double-timing which subdivides the beat, implying a faster tempo

18. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 18 Part 3: The Growth of Vernacular Traditions Chapter 12: Latin Popular Musics18 The Caribbean: Mambo An Afro-Cuban form of big band dance music Tito Puente (1923-2000)—born in New York City to Puerto Rican parents—became known as the “Mambo King” for his sophisticated versions of this Latin dance Puente was a percussionist and bandleader of Afro-Cuban music, influenced by swing and Santeria Couples danced the mambo moving forward and back The slower, simpler chachacha, popular in the 1950s is closely related to or even a form of the mambo

19. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 19 Part 3: The Growth of Vernacular Traditions Chapter 12: Latin Popular Musics19 The Mambo’s Influence Merged with big band jazz Inspired many Tin Pan Alley songs recorded by… Perry Como, Nat “King” Cole, more The mambo affected 1950s rhythm and blues Introduced Latin rhythms into early rock  Bo Diddley, Ray Charles, James Brown absorbed Latin percussion sounds and rhythms into their own music

20. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 20 Part 3: The Growth of Vernacular Traditions Chapter 12: Latin Popular Musics20 The Caribbean: Salsa Late 1970s: Salsa emerged with new status Salsa = sauce (literal translation)—was a term for peppy sounds Today salsa sometimes refers to all African-Latin musics  Salsa had been dance band music with instrumentation, rhythms, flavor unlike swing band sound  Timbres: Voices, trumpets; or, flutes and violins  Rhythms: Complex; varied Puerto Rican, South American elements  Salsa had been a Cuban music considered a substyle of popular music for decades

21. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 21 Part 3: The Growth of Vernacular Traditions Chapter 12: Latin Popular Musics21 Salsa Sophisticated jazz musicians enthusiastically incorporated salsa rhythms into their virtuosic performances 1980s and 1990s Salsa in New York changed, acquiring a distinct African- American inflection The match of young freestyle singers with classic salsa rhythms has proved powerful, as revealed by brisk sales of recordings by salsa artists Marc Anthony and India (Lindabel Caballero)

22. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 22 Part 3: The Growth of Vernacular Traditions Chapter 12: Latin Popular Musics22 Listening Example 50 Ojos (“Eyes,” 1978) Composed by Willie Colón Performed by Rubén Blades (vocal) Willie Colón (trombone) Listening guide page 214 Rhythm: Clave rhythm Instrumentation: Brass with trombone on lead lines; percussion, including conga drum, timbales, bongos, maracas, claves, piano repeats syncopated patterns Form: Two-part Canto (narrative) and montuno (rhythmic, more instrumental) This performance exemplifies how salsa musicians absorb varied influences and apply them to this Cuban style Notice how the brass instruments sound like those of big band jazz Canto After a brass introduction, the first section, like the verse of a Tin Pan Alley song, presents the song’s narrative content Montuno The second section alternates instrumental and vocal performances, increasing intensity and rhythmic complexity

23. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 23 Part 3: The Growth of Vernacular Traditions Chapter 12: Latin Popular Musics23 Brazil The relaxed, easy pace of Brazilian music can be related to the sounds and inflections of the Portuguese language spoken in Brazil Brazilian dances—gentler, slower, less intense that the exciting Cuban and Puerto Rican musics—achieved their own popularity in the United States But never to the degree of the hot Caribbean sounds

24. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 24 Part 3: The Growth of Vernacular Traditions Chapter 12: Latin Popular Musics24 Brazil: Samba and Bossa Nova 1949: The Afro-Brazilian samba, sometimes called the national dance of Brazil, arrived in New York Became popular as sung and danced by the glamorous Carmen Miranda The word samba has religious connotations Samba has been the main dance at Rio’s Carnival, before Lent 1960s: Bossa Nova emerged as middle and upper class youth’s reaction against samba’s perceived commercialism Sometimes called jazz samba, it is derived from samba Bossa Nova used elements of cool and progressive jazz with sophisticated Brazilian rhythms

25. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 25 Part 3: The Growth of Vernacular Traditions Chapter 12: Latin Popular Musics25 Bossa Nova Less vibrant, more melancholy than Cuban-flavored music Bossa nova adapted beautifully to the world of jazz Flexible rhythms, colorful instrumentation Bossa nova met initial resistance from traditionalists They did not understand its elusive flavors, new sounds And, like bebop, bossa nova is for listening Bossa nova is not a dance, but a rhythm--with subtle, flexible polyrhythms  Samba had exotic stars singing, dancing, flashy band  Bossa nova—Soft singing, single guitar, at most a four- man band

26. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 26 Part 3: The Growth of Vernacular Traditions Chapter 12: Latin Popular Musics26 Bossa Nova: Antônio Carlos Jobim (1927-1994) A leading figure of the bossa nova movement The term bossa nova first emerged in the lyrics of the song “Desafinado,” by Jobim Bossa = slang for something particularly distinctive Nova = new “Desafinado” = off key—The lyrics say that by singing “off key” the singer tried to attract his beloved’s attention Early 1970s: Rhythms and melodies of bossa nova were added to much music, including but not limited to… Weather Report, with Brazilian percussionists; Brazilian singer of jazz and Brazilian music Flora Purim; Pat Metheny

27. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 27 Part 3: The Growth of Vernacular Traditions Chapter 12: Latin Popular Musics27 Listening Example 51 Desafinado (“Off Key”) by Antônio Carlos Jobim Lyricist: Newton Mendonca Performers: João Gilberto (vocalist, guitarist) and Stan Getz (jazz tenor saxophonist) Listening guide page 217 Meter: Four beats to the bar Tempo: Slow, relaxed Form: Strophic Gilberto’s calm voice is uniquely suited for the long, sinuous, chromatic melodic line; notice the harmonies to make the singer seem “off key.” If you say that I sing out of tune, love, I want you to know that this causes me great pain. Only the privileged have ears as good as yours. I only possess what God gave me. If you insist in classifying my behavior as antimusical I myself lying should argue that this is bossa nova, that this is very natural….

28. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 28 Part 3: The Growth of Vernacular Traditions Chapter 12: Latin Popular Musics28 Mexico Texas, New Mexico, Arizona, California absorbed many sounds from nearby Mexico… Where folk music and popular music strongly reflect the songs and dances of African slaves Country music of the Southwest shows the Mexican influence Woody Guthrie, playing music in Texas in the 1920s sometimes adapted Mexican topical ballads called corridos Corrido = Storytelling song, with roots in Mexico and the southwestern and western United States The Mexican ranchera (ranch song) “El Rancho Grande” became a standard of western swing bands

29. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 29 Part 3: The Growth of Vernacular Traditions Chapter 12: Latin Popular Musics29 Mexico: Dances Dances traveled back and forth between Spain and Mexico Dances acquired changes in name, instrumentation, performance style over time These dances became popular in the Southwest  Baile = traditional Spanish social dance popular in the Southwest before and after the Civil War, and, today  Bailes are performed to celebrate engagements, weddings, joyful events

30. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 30 Part 3: The Growth of Vernacular Traditions Chapter 12: Latin Popular Musics30 Mexico: Tejano and Norteño Music These are musical styles showing the influence of mid- nineteenth century immigrants from Germany, Poland, and what is now the Czech Republic Accordion in popular bands Oom-pah-pah beat of polkas to Spanish songs and dances Known as norteño in northern Mexico Known as tejano in south Texas

31. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 31 Part 3: The Growth of Vernacular Traditions Chapter 12: Latin Popular Musics31 Tejano Music 1950s: Tejanos were singing Tex-Mex rather than traditional Spanish 1960s and 1970s: Orchestral sound infiltrated many tejano bands 1980s: Keyboards were included in the bands 1995: Selena Quintanilla-Pérez was murdered The murder of this shining young star brought tejano music to national attention The music is now more familiar and popular as it evolves Today’s tejano groups mix salsa, meringue, techno, pop; accordion still dominates some ensembles

32. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 32 Part 3: The Growth of Vernacular Traditions Chapter 12: Latin Popular Musics32 Mexico: Conjunto Conjunto = An ensemble accompanying dance and song in norteño music, north and south of the Mexico-Texas border As Mexican Americans spread throughout the southwestern United States as well as north and east, conjunto ensembles played their traditional norteño music The ensembles included accordion, guitar, sometimes double bass, drums, later on sometimes saxophone They played polkas, waltzes, European dances popular in Mexico and the United States, and by the 1950s rancheras, corridos, and traditional Mexican songs

33. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 33 Part 3: The Growth of Vernacular Traditions Chapter 12: Latin Popular Musics33 Conjuntos: Recent Years Some modern conjunto musicians have resisted the traditional polka songs They have blended in other musical styles, including jazz, into performances Besides saxophones, some have keyboards and synthesizers, creating conjuntos orquestales Conjunto musicians have attracted enthusiastic new audiences to their música alegre (“happy music”) by… Traveling widely Teaming up with other musicians Adding conjunto beat to other popular musics

34. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 34 Part 3: The Growth of Vernacular Traditions Chapter 12: Latin Popular Musics34 Mexico: Mariachis Mariachis = Mexican groups of strolling musicians playing string instruments and often led by one or more trumpets Often perform in the southwestern United States By 1970s, folk, country, and rock rhythms and instrumentation reflected Mexican music, including mariachis The music is joyous, often played at weddings “Mariachi” may be derived from mariage, French for “marriage” Strolling mariachis entertain passersby

35. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 35 Part 3: The Growth of Vernacular Traditions Chapter 12: Latin Popular Musics35 Latin Music Today Latin music has become a vital force in the music of the United States Santana, Gloria Estefan, Ricky Martin, Jennifer Lopez, Christina Aguilera, Shakira 2000: The National Academy of Recording Arts and Sciences created a new Latin branch which presented the first Latin Grammy Awards that year Latin Grammy Awards categories include Pop, rock, tropical, regional, traditional, jazz, Brazilian, children’s, classical, production, video

36. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 36 Part 3: The Growth of Vernacular Traditions Summary36 Part 3 Summary: The Rise of Popular Culture The form of Sousa’s marches—a series of melodic strains— was also the form of ragtime, which was A written piano music combining black rhythmic effects with European harmony and form Syncopated melodies in the right hand accompanied by a simple duple left hand pattern By World War I, rags were published by Tin Pan Alley Many Tin Pan Alley songs had the spirit of ragtime The great popular songwriters wrote for Tin Pan Alley and for Broadway musicals  Irving Berlin, Cole Porter, George Gershwin

37. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 37 Part 3: The Growth of Vernacular Traditions Summary37 Part 3 Summary: The Jazz Age Black musicians combined… Forms, harmonies, timbres of white popular musics with… Creole, Caribbean, black African rhythmic and melodic techniques  This hot new music for dancing was called jazz Blues was An early manifestation of jazz Blues began as black folk song style, and evolved to…  A sophisticated, influential form of popular music Boogie-woogie transferred the form and harmonic structure of blues to the piano

38. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 38 Part 3: The Growth of Vernacular Traditions Summary38 Part 3 Summary: The Jazz Age New Orleans nurtured the first important black combos Soloists improvised on a given tune Combo members backed them up In Chicago later, white Dixieland bands imitated New Orleans jazz sound White and black teens and young adults danced to early jazz White middle-age people preferred sweet and symphonic jazz during the turbulent Depression years Not true jazz, these genres introduced the art of the arranger  They paved the way for the 1930s swing bands

39. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 39 Part 3: The Growth of Vernacular Traditions Summary39 Part 3 Summary: Jazz 1930-1960 Mid-1930s Jazz reached its peak of popularity, for about a decade Big bands played arrangements of blues and pop tunes Harmonies more adventurous, pieces more structured than earlier jazz Charlie Parker and Dizzy Gillespie rebelled against the commercialism and popularity of big band swing Established bebop, a music for listening—not dancing Bebop ushered in the age of modern jazz 1940s Singers replaced big bands in popularity

40. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 40 Part 3: The Growth of Vernacular Traditions Summary40 Part 3 Summary: Jazz 1930-1960 Jazz musicians have formed alliances with the world of concert music, producing… Symphonic works with jazzy flavors Jazz pieces in classical forms Third stream pieces in which jazz and classical music meet Influential musicians in concert jazz… Duke Ellington, Dave Brubeck, Charles Mingus Additional modern jazz types include… Progressive jazz, cool jazz, free jazz, fusion

41. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 41 Part 3: The Growth of Vernacular Traditions Summary41 Part 3 Summary: Country Music Rooted in rural and mountain folk traditions Jimmie Rodgers popularized hillbilly songs The Original Carter Family brought mountain music to the city Recordings, radio shows spread this music Country musicians absorbed many influences as they moved to different states; soon new styles evolved. In Texas, Western swing and honky-tonk was popular. Cowboy songs from films joined the hillbilly repertoire to produce country-western music. Except for bluegrass, country music consists primarily of songs. Roping a Maverick painted by Olaf C. Seltzer (1877-1957)

42. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 42 Part 3: The Growth of Vernacular Traditions Summary42 Part 3 Summary: Latin Popular Musics Latin dances invigorated the American pop music scene beginning in the 1930s Big bands popularized several dances from the Caribbean, Brazil, and Mexico The tango, bomba, rumba, and other Latin dances soon became a seemingly inherent part of the North American popular experience Brazil’s samba and bossa nova Mexican mariachis became an inherent component of southwestern music

43. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 43 Part 3: The Growth of Vernacular Traditions Chapter 12: Latin Popular Musics43 Image credits: Slide 10: Guiro, Royalty-Free/Corbis Slide 11: Claves, ibid Slide 13: Bongo Drums, ibid Slide 34: Strolling Mariachis © Corbis

44. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 44 Image credits: Slide 41: Roping a Maverick painted by Olaf C. Seltzer Part 3: The Growth of Vernacular Traditions Summary44