Puerto Rico 1493 claimed by Spain Spanish rule until 1898 1952 becomes US Commonwealth Plena music Manuel Canario Jiménez

1895­1975 Responsible for popularizing plena Commercialized plena, but still respected it

Ceasar Concepcion Takes plena music a step further ­ more commercial Influence from Mambo and Big Band

Rafael Cortijo y so Combo Much darker skinned than early plena performers Like Arsenio Rodriguez Added conga drums to Plena Too authentic ­ could not become globally popular

Bomba music

Dominican Republic 1493 Hispanola

Taino people refer to island as Quisqueya Few mineral resources ­ Spain less interested 1844 Independence Trujillo

Dictator for 30 years Not originally from the elite class Massacred Haitians to eliminate border problem Assasinated in 1961

Angel Viloria y su Conjunto Típico Cibaeño Merengue band performing in US Latin community in 1950s Son bands and mambo began to imcoperate merengue Sound comes largely from polka

1960­1971 huge shift in society ­> urbanization Beginning of immigaration to USA and PR Musical influences from rock and salsa

Johnny Ventura Merengue Synthesize jazz/soul music with merengue More exuberant and faster merengue No more accordian No tambura No guiro

Same instrumentation as Eddie Palmiri Wilfredo Vargas

Merengue Kept cognas Simplified traditional form of merengue No more paseo ­ faster ­ higher energy Sax takes role of accordion Electric keyboard sounds like accordion Biggest Hit: El Africano

In spanish for an American audience Controversial lyrics

Juan Luis Guerra 440 band Intricate vocal arrangements

Blas Duran Bachata musician

Haiti One of the largest sugar producers ­ huge slave population 1804 Independence ­ first black republic

Dictatorship of King Kristov 1915 American invasion 1957 Duvalier Dictatorship begins Lwa: The oritias of voodoo Mambo: Female voodoo priest Gede: Deity of sexuality Barco Sanedi: Deity of the deat Legba: Like Elegua Hougan: Voodoo priest Rata drums: look like conga drums, but colored like African drums

Manman Segon Boula

Lanbi: Conch shell Santeria adopted many traditions from voodoo Vaksin: wooden or bamboo trumpet Fon

People from Africa largly responsible for Voodoo Play drum with one hand and stick

Nemoures Jean Baptiste Popularizes Mereng ­ calls it compas direk

Rock was known as Yaya Konpa bands lose popularity to rock Konpa

Hear symbol in background Symbol becomes part of organization of music

Jamaica

1494 Columbus takes Jamaica 1962 Independent from England Marcus Garvey

Founder of unieversal negro imporvment association Kumina Mento Ensemble Alpha Boys School

Genres Plena

Puerto Rican First associated with lower class citizens in town called Ponce Panderetas: tambourines Constructed like rumba ­ soloist interacts with drummers Requinto: Lead drummer (higher pitch) Music served as a way to remember and commemorate history ­ a musical

newspaper Often the music of protest Mostly call and response Often accordion and guitar Commercialized, but not as popular as Cuban Son ­ more insulated

Bomba Call and response Performers often dress like slave masters More marginalized Simple responsorial vocals Afro­Puerto Rican secular music/dance genre ­ rumba Played on bomba barrel drums Simple responsorial vocals Emphasis on solo dance performed in front of lead drummer

Lead drummer mimics and supports the dancers movements ­ like rumba Performed in informal parties and in few predominantly black towns, especially

Loiza Aldea Jibaro

Neo European Peasant music ­ similar to Cuban guajiro Guitar, guiro, cuatro Cuatro interludes the montuno Cuatro plays riff when trubador (main singer) is singing

Two genres Seis Aguinaldo

Partically associated with christmas season Nueva Cancion

Left wing style of music ­ free Puerto Rico ­ socialist Bigger band ­ not typically person alone with guitar Many musicians met at university ­ urban context

Reggaeton Rhythms rooted in older Cuban Habanera and Tango rhythm

Merengue Derived from French contradance Instrumentation

Tambora ­ two headed drum played with stick and hand Button accordion ­ most important Metal guiro Marimba

Paseo, Merengue, Jaleo Jaleo is slow section Merengue tempo picks up ­ similar to canto Jaleo has call and response, improvisation

Most requested Latin Carribbean music in the USA during the mid 1980s Bachata

Similar to blues tradition Male dominated Topics of sorrow Typically two electric guitars with a unique twangy feel Tight, nasal vocal quality, one or two guitars, maracas or guira, bongo, tambura,

marimba or electric bass Captures everyday life in barrio

Rara Carnival centered music Rural celebration Vaskin­ bamboo trumpets

Petwo Group of people from the Congo coast Petwa is god of war Large impact on voodoo Play drum with two hands

Mereng Cinquillo beat Elite music

Mini Djaz Kompa

Rock band formula of two guitars, one bass, and drum­conga­cowbell; some use an alto sax or a full horn section, while others use a keyboard, accordion or lead guitar.

Haiti Electric guitar take place of time in Cuban music Hear symbol in background ­ becomes part of the organization of the music

Music Angaje Protests music in Haiti

Voodoo Rock Kumina

Kbandu ­ Large drum Playing cast ­ small drum Scrapers 2 types of kumina drum

Bailo Jamaican Creole, less sacred Performance and exhibition

Country Ki­Kongo language and is used to communicate with the spirits

during mayal Zombis ­ ancestor spirits ­ communicate with them Kumina Queen leads animal sacrifice

Mento Ensemble Guitar, banjo, rumba box Lyrical Music that was supposed to sound like Jamaican people speaking on street

Raboday Music of the poor people of Haiti Somewhat removed from traditional Haitain Voodoo Upper class looks lowly upon it

Soundsystem Jamaican Group of disc jockeys, engineers and MCs playing ska, rocksteady or reggae

music Selector chooses chooses track

Ska Persistent strong chord played on the off beat 2­4

upstroke or skank Musically, it can be characterized with a drumbeat on the 2nd and 4th

beats (in 4/4 time) and with the guitar hitting the 2nd, 3rd and 4th beats. T Clanky sound due to instruments Different than R&B

Ska combined elements of Caribbean mento and calypso with American jazz and rhythm and blues. It is characterized by a walking bass line accented with rhythms on the upbeat.

Rocksteady More relaxed rhythm Tempo slower than R&B After Ska, precursor to reggae One drop" drum beat, characterized by a heavy accent on the second and fourth

beat of every bar Rocksteady uses some of the musical elements of rhythm and blues (R&B), jazz,

ska, African and Latin American drumming, and other genres. One of the most easily recognizable elements, as in ska, are offbeat rhythms; staccato chords played by a guitar and piano on the offbeats of the measure. This offbeat can be counted so that it falls between each count as an "and". Example: 1 and 2 and 3 and 4. The perceived tempo became slower with the development of rocksteady than it had been in ska and this led to a number of changes in the music. The guitar and piano players began to experiment with occasional accents around the basic offbeat pattern.

Deejay Jamaican music for a reggae or dancehall musician who sings and "toasts" to an

instrumental riddim. Deejays who are more likely to sing Selector chooses the rhythm

Dub Poet Lynton Kwesi Johnson

Songs Santa Maria

Accompanied by accordion Santa Maria ­ Manuel Jimenez

More commercial salon style style No clave ­ not Afro­Cuban derived Traditional street melody, but harmonized Jazz and son inspiration Competed with son music, but not as commercially popular Audible pandereta

A Los Boricuas Ausentes ­ Cesar Concepcion “Beach wedding ­ a biq a be” all white james bond Commercial plena Nostalgic ­ played for Puerto Ricans

Adopts social and political commentary modernized to talk about Puerto Rican struggle

American sweet big band and Cuban mambo sound Cuban style anticipated bass Crooning vocalist

Huy Que Pote ­ Rafael Cortijo “Ooy ooy in very beginning” Dance oriented plena Retains traditional genre’s raw barrio proletarian Afro­Caribbean flavor Uses traditional stock melody ­ bass on downbeat vs Cuban­style anticipation Conga drums added Too authentic to become globally popular Instrumental interlude ­ mambo section

Bomba Guy call and response with guys See genre section Clave

Muevete ­ Dark Latin Grooves (DLG) Mix of salsa, rap and reggae Salsa reggae

Genre never caught on Not light skinned ­ more connection to audience Hear the trombone section La Murga No anticipated beat 4 on the floor ­ slowed down disco beat No clave Canto and mambo section Andalusian Cadence Montuno section

Rap on top Various Jamaican vocal techniques

Merengue Cibaeno ­ Nico Lora Added alto saxophone­brought in from German polka and Jazz accordion Paseo section: slow start ­ derived from contradanza where people would walk

slowly around the dance floor to find a partner Jaleo section: similar to mambo section in salsa ­ virtuosic instrumental

No vocals, high energy, more repetition Fast tempo Prominent drumming pattern of tambura Saxophone ­ jazz influence

Pambiche ­ En La Batea

Starts quicker repeats “La Batea” in beginning Simpler version of merengue Popular during the US occupation

Simplistic poetic form with coded messages A lot of text repetition

No Paseo Santiago ­ Julio Alberto Hernandez

“Sounds like warner bros intro” Performed by Orquesta Nilo Menendez in Cuba Merengue Sounds more in line with what we heard in Puerto Rico and Cuba

Has Haitian influence Trying to be different than Europe ­ truly Dominican No Vocals Cinquillo rhythm

Compadre Pedro Juan ­ Luis Alberto “baile…. baile….” padre pedro jaleo Performed by Nini Vásquez y susÿ Rigoleros, featuring Tavito Vasquez, alto

saxophone accordion Paseo ­ Merengue ­ Jaleo Improvised sax section

Unique from Jazz Jaleo section has call and response of lead singer and chorus ­ vocal

improvisation Style is also referred to as Perico Ripiao (ripped parrot) style

an aesthetic that starts to emerge in performance practice More aggressive, higher energy, loud Referred to as tigueraje (tigerness)

El Vironay Opens with accordion says “El vironay” as response Written by Rafael Ignacio and performed by Angel Viloria y su Conjunto Típico

Cibaeño. Visa Para su Sueno ­ Juan Luis Guerra

manana About the desire to go to America Longer canto section Poetic nature of music Marriage of poverty and music Lyrics highly relatable to people

Pan latinismo

Pelando pa’ que Otro Chupe ­ Blas Duran Bachata Hear the twangy guitar Bongas prominent in the rhythm Tamburine Appealing as it was slow ­ simple to dance to ­ slower than merengue

Papa Legba Only vocals nasal voice in beginning Tamburine!! Haitian Legba is trixter god Leader, chorus, 3 drums, hand percussion Low drum is the lead ­ solo instrument Call and response

Messy with a lot of overlap More complicated sound Heterophony

Rara Celebration Additive arranging Historical influence from Tito Puente 8 or so vaskin add complexity Transcends people to another place

Petwo Celebration Call and response Sounds very African See above

Maria jewish wedding / batmitzvah Mereng style Cinquillo beat Chamber orchestra

Saxaphone No drums

A La Cote Gain Femm ­ Jazz des Jeunes “muy muy muy” Voodoo Jazz

Rara with jazz Starts cinquillo then rara comes in Jazz big band instrumentation Less metallic, stronger voice than Cuba, puerto Rico Krooner ­ sweeter voice

Tioule No. 3 ­ Nemours Jean­Baptiste Male chorus

Voudoo is erased shift in cultural perspective Konpa Direk Features accordion ­ goes up More prominent saxophone

Rit Komesyal ­ Nemours Jean­Baptiste “se sedille” Kompa Direk Sounds kind of like Elvis

Chauffeur Automobile ­ Weber Sicot no vocals Drum in beginning Kadans rampa ­ same as kompa direk excpet second drum on 4th beat Peanut vendor melody Partially hear La Bomba Long improv sections All instrumental, jazz solos called descargas ­ means cuban jazz session

Nidia ­ Ibo Combo Mini jazz konpa Electric guitar playing with sax No lyrics, but feels like should have lyrics Hear section of guajira music Electric guitar take place of time in Cuban music

New York City ­ Tabou Combo “Cadillac driving to the beach in the night” Mini djaz kompa Guitar Mixture of creole and spanish

Mario Mario ­ Tabou Combo Funky sound Mini djaz kompa 4 or the floor disco beat Cinquillo beat ­ very fast Bass had prominent role ­ comes from religious tradition of playing from bottom

up Ayiff Pa Fore ­ Manno Charlemagne

lead by bass Hati is not a forest Trubadou Critique of new CNG government Real slow tempo

"Se Kreyól Nou Ye" ­ Boukman Eksperyans “Sounds like Seal”

Voodoo Rock We are creole Pan African Rata drum ­ lowest part of music

Revivalist Zion Sunday Service European marching band instruments

Bass and snare Not African instruments Melodic and harmonic content from english church practices on 2 and 4, same

type of accent as Jazz and Swing Singing protestant hyms On the half beat Kamina bandu ­ heart beat rhythm

We are going home Played on 2­4 beat Low notes on rumba box Playing kamina bandu Rastafariansim

Mango Time Horrible sounding frog sound Mento ensemble Like an english folk song

Touch Me Tomatoe ­ Jolly boys Same topic as reggaeton

Aint that a shame ­ Fats Domino R & B influence

Simmer Down ­ The Wailers Ska

My Boy Lollypop ­ Millie Ska

Oh Carolina Nyabinghi drumming ­ sacred rastafarian Kamina tradition Hear the low beat sound

Tougher Than Tough ­ Derrick Morgan Rocksteady “who is goin’ fear now boys” court boys

Wake the Town ­ U Roy just talking nonsense repeats people Reggae deejay song Electric organ on offbeat

More independent bass line Slower tempo High hat patterns

"Hasta Que Te Conoci" ­ Marc Anthony Salsa Cha cha Violin Churranga Guiro Clave

Readings

Island Sounds in the Global City: Black and Puerto Rican overlap in Rap culture

From Bomba to Hip Hop: Flores Latin NYC = Puerto Rican 1920 Immigration reform USA

Merengue Bachata A Day for the Hunter

Social class

What is Ethnomusicology ? Ethnomusicologists study music, but their primary aim is to understand how music works within a given culture or society. They not only listen to the way music is performed, but they look at the environment or context in which music is made. This double vision that ethnomusicologists develop, simultaneously looking at music and culture, is what makes ethnomusicolgical research interesting and difficult. Since everyone is exposed to some kind of music, you will bring your own expertise to the musical observation project. We all observe music to some degree in our daily lives. However, in this musical observation paper, you will be called upon to listen critically to music and observe behavior associated with musical performance in a way that demands different techniques and ideas. Before discussing some of the different techniques that ethnomusicologists use to study music, we need a working definition for ethnomusicology. We define ethnomusicology as the study of music in its cultural and social contexts. The cultural context is where we look to determine the meanings that people assign to music. Different cultures have different ways of categorizing what English­speaking Americans call music. Although all cultures practice what we call music, not all cultures have special words for music, nor do they use the word music the same way

English speakers do. For example, in Arabic speaking countries, the word music, which is linguistically similar to 'music', refers only to instrumental music. The social context of musical performance refers to the situations in which music h performed: the people who make music, listen to music and participate in nonmusical ways in a music event all play important parts in the musical performance. While a culture might have generally accepted ideas about the definition of music (like in the case of Islamic countries), different groups within a single culture can perform very different kinds of music.