Musc 102 Midterm 1

-traditional regional music

- musical forms emerged during colonialism

- a combo of indigenous, African, and European musical heritage

- many forms across different regions and states

- all forms have a communal celebration with percussive dance using zapateado and stringed instruments

- central to Southern Veracruz, the Sotuvento region into Oaxaca and Tabasco

- Afro-Mexican heritage via Africa + Cuba is particularly important

-Venezuelan predecessor of the joropo

- Brazilian generic term for a dance event

- communal festival/gathering

- Mexican couple dance resembling the Spanish jota in choreography and meter of its music

the wooden platform you dance zapateado on

- dance technique involving rhythmic striking of heels and toes against the floor or each other

- Bolivian energetic stamping dance

- rural Cuban dance associated with the punto campesino

- zapateo criollo, Peruvian dance genre based on foot stamping

- small acoustic lead-guitar type of El Salvador and Paraguay

- a four-stringed, narrow-bodied Mexican guitar, plucked with plectrum, fashioned from cow horn or a plastic comb

- type of jarana

- type of jarana

- type of jarana

- rhythm - Huapango (3/4)

- from the Huasteca region of Mexico (central)

- often characterized by falsetto singing, similar to yodelling

- violin leads

- not as large of a sound since it is in tríos

- more dancers than musicians

- rhythm - (3/4)

- from nahuetl word "cuachpanco" or "to stand over wood"

- violin

- jarana huasteca (5 strings)

- huapanguera

the bass instrument for Son Huasteco

lead instrument in Son Huastecto

- also a part of Mariachi

- the name of the communal festival of Son music in areas on the pacific coast of mexico

- tierra caliente - the hotland sof Michoacán

- sesquialeta: son rhythm for mariachi, alternates between half time and double time

- 5 strings, looks like jaranza azteca but has convex back

- 5 strings, looks like a small guitar, larger than vihuela but with no convex back

- melody, chords, and bigger than arpa in Son Jarocho

looks like vihuela but is much bigger

added to Mariachi in 1941 by Mariachi Vargas de Tecalitlan - not embraced at first

all white, usually known as peasant clothing

worn at the festival of the landed elite

- the son of the black woman

- anthem of mariachi music and considered the second national anthem

- speculated as commercialized interpretation of a son with many regional variants

- form of offering/prayers to deities through dance and movement

- danced by leaders/rulers (mainly) and "common people" (less so)

- intricate regalia originally worn by highest ranking leaders

- fundamental ceremonial drum of the Aztecs

- "venerable man/person"

- ometetotl = male and female energy as one

- 3 legs, elaborate carvings, played w. mallets

- center of a dance circle and communal gathering, like fandango

- city near Tenochtitlan

- location of major Aztec temple

- name for Santería

- Nigeria- country, area, and roots of regla de ocha

- sung in yoruba

- language of people of Nigeria who transferred Santería into Cuba

- Afro-Cuban descendants of Yorubans and original practitioners of regla de ocha

- traditional drum of Santería

- largest batá

- most vocal

- guides the conversations, constantly communicating something

- many elements of iprovisation

- deeper tone

- medium batá

- adds more to the conversation of drums

- smallest batá

- "child"

- holds down the ensemble, keeps rhythm, steady pulse

-larger side of the drum, deeper tone

- smaller side of the drum, higher tone

- Spiritual Santeria - spiritual and beyond

- Rumba - moving into popular music

- Comparsa -prof adds this one

- Son - coming form Cuba, many different forms in Mexico

- 19th century suburban Cuban musical genre at popular secular festivals

- Cuban-derived couple-dance genre

- tumbadoras - drums of Rumba

- smallest drum of Rumba, highest pitch, improvises the most

- drum of Rumba

- drum of Rumba

- tumba francesa, a former ballroom dance of Santiago de Cuba, now performed only by national troupes

- Cuban rhythm consisting of 3 + 2 or (reverse clave) 2 + 3

- in Cuba and other Latin American regions, two hardwood dowels struck together to mark the clave or basic meter

- both the heartbeat and an instrument

- divisible by 4

- a vocal solo introduction in Rumba, for Yambu and Guaguancó

- most symbolic

- starts during the colonial period of Puerto Rico

- always just one dancer

drums of Bomba

- slightly smaller than primo

- usually played by two people

- lead, moves in and out of a steady rhythm

- dancer is connected to this drum

- tiny barrel, played with sticks

most common rhythm in Bomba - 3 strong hits

primo + dance - important in Bomba

- looser rhythm but square and marcj-like, a little slower, more intricate dancing and body movement

drums of Plena music

- like a tambourine with no small cymbols, just the time and the head

- can march, and walk around with and do whatever

lowest tone of the panderetas, keeps the rhythm at base

middle tone pandereta

"Gourd," perhaps of native or Afro-Cuban or Puerto Rican origin (indigenous), a scraped gourd idiophone with inscribed grooves or notches, found throughout the Caribbean, Central America, and parts of Mexico

"The People's Newspaper in Song"

first known Plena ensemble

city where Plena emerged

- peoples from the Caribbean coming to Poncé and creating roots for music

Perico Ripiao- Nickname of small merengue típico dance music group in Dominican Republic, from the name of a 1930's brothel (traditional version with three key instruments)

- social dance music

- one of the most popular music exports in commercialized modern format

- form the Cibao region of the DR

- musical symbol of national identity

- normally two-row diatomic button accordion

- small, double-headed drum in merengue ensembles in Dominican Republic

- long, tubular Afro-Venezuelan membranophone made froma log with two skin heads, plated with one stick while held between the knees

- a steel scraper

Lidia Maria Hernandez Lopez

- first professional accordionist of her family

- became one of the first female instrumentalists

something

- music from the margins/POC

- two guitars, maracas, bass, bongo, güira

- Dominican version of the Cuban rooted and Mexican bolero

began to record after Melida Rodriguez passed away

- collaborate w. brother who was also a Bachata performer

- songs gave anger to the voice of women in struggles

- earned nickname "the torturer" or "the verdugo"

- spent time in El Cibao

Grupo Mano Blanco

Son Jarocho

Southern Veracruz to Sotavento Region

Los Camperos De Valles

Son Huasteco

Huasteca Region

Arpex

Son de Arpa Grande

hot lands of Michoacán

Mariachi Vargas de Tecalitlán

Modern Mariachi

Mexico City w. roots in Jalisco

Los Cenzontles featuring Julián González

Traditional Mariachi (no trumpets)

variant from Jalisco

Grupo Yacapixtla

Ceremonial Aztec danza

Tenochtitlán

Conjunto de Tambores Batá de Amado Díaz Alfonso: Toque

Regla de Ocha (santería)

Grupo Afrocuba

Traditional rumba guaguancó

Viento de Agua

Bomba

various areas

Viento de Agua

Plena

origins in Poncé

La India Canela

Merengue Típico

Cibao region

Aridia Ventura

Traditional Bachata

Monchy & Alexandra

Urban Bachata