DOCSLIB.ORG

Music Education in the Caribbean and Latin America 1St Edition Download Free

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Music Education in the Caribbean and Latin America 1St Edition Download Free MUSIC EDUCATION IN THE CARIBBEAN AND LATIN AMERICA 1ST EDITION DOWNLOAD FREE Raymond Torres-Santos | 9781475833195 | | | | | Music: Caribbean & Latin America New York Times. One must understand these influences to have a deep understanding of the resulting Caribbean music that reflects the culture of the people. Honduras' capital Tegucigalpa is an important center for modern Honduran music, and is home to the College for Fine Arts. Of particular note is the strong representation of sources from the Caribbean and France not found anywhere else. The music of Honduras is varied. Rough Guides. Latin trap has become famous around The complex deep origins of Caribbean music are understood with a knowledge of Western Hemisphere colonial immigration patterns, human trafficking patterns, the resulting melting pot of people each of its nations and territories, and thus resulting influx of original musical influences. Archived from the original on October 1, Main articles: Music of Bolivia and Andean music. They use the call-and-response format, and lyrics are often light-hearted insulting, and discuss local scandals and rumors. Performance is often competitive in nature. Main articles: Music of Nicaragua and Palo de Mayo. The latter is based on European accordion music. For the first time ever it offers students and researchers an in-depth guide to the large body of materials available on masquerade and popular music traditions of the English- speaking Caribbean. Retrieved December 9, It has also been a means of folk communication, spreading news and political commentary across the island. Cuba has produced many musical genres, and a number Music Education in the Caribbean and Latin America 1st edition musicians in a variety of styles. Latin music portal. They encompass musical and cultural analyses, ethnographies, oral histories, popular histories and reportage along with a wealth of archival, audio-visual, and electronic resources. The music of Latin America refers to music originating from Latin Americanamely the Romance -speaking countries and territories of the Americas and the Caribbean south of the United States. The movement was known as the "Argentine Wave. Another popular style of music not native to El Salvador is known as Puntaa Belizean, Guatemalan and Honduran style. Many musical genres are native to Chile; one of the most popular was the Chilean Romantic Cumbiaexemplified by artists such as Americo and Leo Rey. National Heritage Library. Main article: Music of Haiti. This style of modern music reaching back to the roots of Vodou tradition came to be called mizik rasin "roots music" in Haitian Creole or musique racine in French. Soca is a style of Caribbean music originating in Trinidad and Tobago. When the Spanish conquistadors sailed across the Atlantic they brought with them a type of music known as hesparowhich contributed to the development of Dominican music. Haitian music combines a wide range of influences drawn from the many people who have Music Education in the Caribbean and Latin America 1st edition on this Caribbean island. Views Read Edit View history. Caribbean is also related to Central American and South American music. Yearbook for Traditional Music. Categories : Caribbean music Latin American music Lists of music genres. Svenska Edit links. Festive danzas are free-form, with the only rules being an introduction and a swift rhythm. The country's ancient capital of Comayagua is an important center for modern Honduran music, and is home to the College for Fine Arts. The Music Education in the Caribbean and Latin America 1st edition states have recently spawned a Tecktonik -style music, combining electro and other dance genres with more traditional music. Music from the Pacific coast such features rhythms such as the currulao —which is tinged with Spanish influence— and the Jota chocoana along with many more afro-drum predominating music forms —tinged with African and Aboriginal influence. Music education in the Caribbean and Latin America : a comprehensive guide Paraguayan music depends largely upon two instruments: the guitar and the harp, which were brought by the conquistadors and found their own voices in the country. Each of the European powers carved out their own cultures on their respective islands. A descendant of the boleroit has several variants such as salsa and cumbia. Its nearly entries cover all of the French-speaking islands, in particular Haiti, Martinique, Guadeloupe, and French Guiana, as well as their overseas enclaves in France, the United States and Canada. Main article: Music of Uruguay. One must understand these influences to have a deep understanding of the resulting Caribbean music that reflects the culture of the people. Folk music is played with guitarmarimba and other instruments. Download as PDF Printable version. Music Education in the Caribbean and Latin America 1st edition Read Edit View history. Raymond Torres-Santos, general editor, and to Rowan and Littlefield Education, for magnificently unveiling a significant cultural and sociological subject, one which, until now, has been greatly ignored in the United States. Crowley For the first time ever it offers students and researchers an in-depth guide to the large body of materials Music Education in the Caribbean and Latin America 1st edition on masquerade and popular music traditions of the English-speaking Caribbean. After the nationalistic period of the s Aymara and Quechuan culture became more widely accepted, and their folk music evolved into a more pop-like sound. Redirected from Music of Latin America and the Caribbean. Category WikiProject. Afro-Latin America, — It is led by a single singer, who improvises. Afro-Caribbean Territorial evolution. In the s, for example, it was decreed that a dance called "Xuc" was to be the "national dance" which was created and led by Paquito Palaviccini's and his Orquestra Internacional Polio ". Uruguayan tango and milonga are both popular styles, and folk music from along the River Plate is indistinguishable from its Argentine counterpart. Peruvian music is made up of indigenous, Spanish and West African influences. More recently, musical styles such as reggaeton and bachata have also become popular. See also: Son music. The first type is black music from the coastal Esmeraldas province, and is characterized by the marimba. Music from Chilean PolynesiaMusic Education in the Caribbean and Latin America 1st edition Nui music, is derived from Polynesian culture rather than colonial society or European influences. Hidden categories: CS1: long volume value CS1 maint: multiple names: authors list Articles with short description Short description is different from Wikidata Wikipedia articles needing clarification from June Browse content by continent and country. As rural farmers moved to San Juan, Puerto Rico and other cities, they brought plena with them and eventually added horns and improvised call and response vocals. It is rhythmically complex, with percussion instruments including skratji a very large bass drum. Slater Sounds and Colours. Cariso is a kind of Trinidadian folk music, and an important ancestor of calypso music. Namespaces Article Talk. Jamaican Popular Music, from Mento to Dancehall Reggae: a Bibliographic Guide by John Gray Despite its global popularity, reggae, and the myriad Jamaican popular music forms which led up to it creation, has long lacked a bibliographic resource that could assist its legion of fans, students and scholars. Danza is a very sophisticated form of music that can be extremely varied in its expression; they can be either romantic or festive. Although commonly misportrayed as buskersmariachis musicians play extremely technical, structured music or blends such as jarabe. Mestizaje that has been enriched by cultural exchange caused by several waves of migrations originating in Europe, in various parts of the Caribbean mostly Barbados, Trinidad, Jamaica and Saint Lucia in Asia and several points in South and North America. The music of Latin America refers to music originating from Latin Americanamely the Romance -speaking countries and territories of the Americas and the Caribbean south of the United States. The term Kaseko is probably derived from the French expression casser le corps break the bodywhich was used during slavery to indicate a very swift dance. Another popular style of music not native to El Salvador is known as Puntaa Belizean, Guatemalan and Honduran style. Music of Latin America A performance takes on an added dimension when the audience can anticipate the response of one performer to a difficult passage of music or clever lyrics created by another. It has much in common with the music of the Venezuelan Llanos. The music, traditions, and history of more than two dozen countries--such as Argentina, Brazil, Costa Rica, Cuba, El Salvador, Guatemala, Honduras, Mexico, Panama, Spain, and Venezuela-- are detailed, allowing readers to see past common stereotypes and appreciate the many different forms of this broadly defined art form. Retrieved December 3, Uruguayan music has similar roots to that of Argentina. Black Music Music Education in the Caribbean and Latin America 1st edition Journal. The entries in this expansive encyclopedia range over topics as diverse as musical instruments, record cover art, festivals and celebrations, the institution of slavery, feminism, and patriotism. Recensioner i media. Main article: Music of Venezuela. That few Malagasies came to the Americas casts doubt on this etymology, but it is significant because it emphasizes what Fouchard and most Haitians consider the African-derived nature of their music and national identity. For the first time ever it offers students and researchers an in-depth guide to the large body of materials available on masquerade and popular music traditions of the English-speaking Caribbean. It is influenced by hip hop and Latin American and Caribbean music. In the s, commercial success came to the musical genre that came to be known as mizik rasinor "roots music". Bari is a festival, dance, drum and song type from the Dutch Antillean island of Bonaire. Soca is a style of Caribbean music originating in Trinidad and Tobago.
Load more

Recommended publications
  • Sonic Modernities of Our Present By
    Remixing Relationality: ‘Other/ed’ Sonic Modernities of our Present by Mark V. Campbell A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Sociology and Equity Studies Ontario Institute for Studies in Education University of Toronto © Copyright by Mark V. Campbell 2010 Remixing Relationality: ‘Other/ed’ Sonic Modernities of our Present Doctor of Philosophy 2010 Mark V. Campbell Sociology and Equity Studies University of Toronto Abstract Far from simply playing music, the turntable has, in recent decades, been transformed into a musical instrument. Those that play these new instruments, called Turntablists, alter existing sounds to produce new sonic arrangements, exceeding the assumed use value of the turntable. The turntable’s transformation from record player to instrument captures one of the ways in which Afrosonic sound making activities refuse to conform to existing paradigms of music making in the western world. Throughout the African diaspora, it has been the musics from various regions and nations that continually capture the attention of the world’s music connoisseurs. This dissertation examines the ways in which careful consideration of the sonic innovations in Afrodiasporic cultures produce alternative paradigms through which we might analyze contemporary life. The following chapters interrogate turntablism, remix culture and hip hop music as subtexts that elaborate a foundational narrative of Afrodiasporic life. These subtexts are used as tools to examine the various ethnoscapes of Black Canadian life, official multiculturalism and notions of home within the African diaspora in Canada. The dominant narrative of the African diaspora explored in this work, housed within the sonic, elaborates a relational conception of freedom and modernity born out of the ii particularities of Afrodiasporic life in the west.
    [Show full text]
  • 'Police on My Back' Was Written in England by Eddy Grant and Recor
    This is the Author's Accepted Manuscript of a publication in Social Identities, vol 19, no 5 (2013), pp. 536-551. ‘Police On My Back’ and the Postcolonial Experience ‘Police On My Back’ was written in England by Eddy Grant and recorded by his group, the Equals, in 1967. Since then it has been covered by a number of artists. In this article I am concerned with the original and four covers. Over the forty years between the Equals version of the song and the final version with which I am concerned the meaning of the lyrics has changed from being an expression of Jamaican rude boy culture to being a song that expresses the oppression of migrants from British and European colonies living in the metropoles of the colonisers. This article tracks the changes in musical and lyrical expression in the song against the increasingly oppressive circumstances of those migrants and their descendents. These are the circumstances that contributed to the British riots of 1981 and of 2011, and the French riots of 1981 and the many subsequent riots climaxing in those of 2005. ‘Police On My Back’ has always been hybrid. Grant’s version placed rude boy lyrics with a British beat group sound. Later, as the lyrics came to reflect the circumstances of the migrants, so the musical backing came to include a variety of musical forms many of which expressed the heritages of the performers and asserted the legitimacy of those heritages in a multicultural context. 1 ‘Police On My Back’; postcolonial; Equals; the Clash; Lethal Bizzle; riots One song that can be read as a marker of the changing experience of migrants in Britain and Europe is ‘Police On My Back’.
    [Show full text]
  • The Antigua and Barbuda Review of Books Volume 8 Number 1 Fall 2015
    THE ANTIGUA AND BARBUDA REVIEW OF BOOKS VOLUME 8 NUMBER 1 FALL 2015 Tim Hector on Gregson Davis Gregson Davis on Tim Hector Lawrence Jardine on Tim Hector Tim Hector on Jamaica Kincaid Dorbrene O’Marde on Tim Hector Joanne Hillhouse on Dorbrene O’marde Hazra Medica on Marie-Elena John Tim Hector on Novelle Richards Edgar Lake on Henry Redhead Yorke Charles Ephraim on Tim Hector Lowell Jarvis on Tim Hector Tim Hector at Brown University And Much Much More ... THE ANTIGUA AND BARBUDA REVIEW OF BOOKS A Publication of the Antigua and Barbuda Studies Association Volume 8 • Number 1 • Fall 2015 Copyright © 2015 Antigua and Barbuda Studies Association Editorial Board: Ian Benn, Joanne Hillhouse, Paget Henry, Edgar Lake, Adlai Murdoch, Ermina Osoba, Elaine Olaoye, Mali Olatunji, Vincent Richards Paget Henry, Editor The Antigua and Barbuda Studies Association was founded in 2006 with the goal of raising local intellectual awareness by creating a field of Antigua and Barbuda Studies as an integral part of the larger field of Caribbean Studies. The idea for such an interdisciplinary field grew out of earlier “island conferences” that had been organized by the University of the West Indies, School of Continuing Edu- cation, in conjunction with the Political Culture Society of Antigua and Barbuda. The Antigua and Barbuda Review of Books is an integral part of this effort to raise local and regional intellectual awareness by generating conversations about the neglected literary traditions of Antigua and Barbuda through reviews of its texts. Manuscripts: the manuscripts of this publication must be in the form of short reviews of books or works of art dealing with Antigua and Barbuda.
    [Show full text]
  • Body (Im)Potent Culture, Capitalism, and the Afrodescendant’S Fight for Her Body
    BODY (IM)POTENT CULTURE, CAPITALISM, AND THE AFRODESCENDANT’S FIGHT FOR HER BODY by Caril Sebastian A thesis submitted in conformity with the requirements for the degree of Master of Arts Graduate Department of Leadership, Higher and Adult Education Ontario Institute for Studies in Education University of Toronto © Copyright by Caril Sebastian 2014 BODY (IM)POTENT CULTURE, CAPITALISM, AND THE AFRODESCENDANT’S FIGHT FOR HER BODY Master of Arts 2014 Caril Sebastian Department of Leadership, Higher and Adult Education University of Toronto Abstract In 2000, the United Nations emphasized a number of Millennium Development Goals, to include, ‘Promot[ing] gender equality and empower[ing] women.’ For women of African heritage residing in the region of Latin America and the Caribbean the promise of equity is belied by socio-political realities which propagate the marginalizing of Black women. ‘Body (Im)potent: Culture, Capitalism, and the Afrodescendant’s Fight for Her Body,’ considers the extent to which the trans-Atlantic slave trade located the Black woman’s body as a unit of work. Further, this thesis explores the ongoing disparities between the Black woman’s view of her own body, and pervading discourses which define that body according to the needs of a dominant class—a Marxist perspective which posits that the potential of human self-actualization is often sacrificed on the altar of capital. ‘Body (Im)potent’ highlights that the promise of empowerment and equality must also be considered from the standpoint of those unique West African-inspired cultural movements which informed Black resistance, and which continue to influence the self- image of the region’s Afrodescendants, maintaining a womanist view of the Black woman as a socio-political (and physical) agent.
    [Show full text]
  • The Antigua and Barbuda Review of Books Volume 6 Number 1 Summer 2013
    THE ANTIGUA AND BARBUDA REVIEW OF BOOKS VOLUME 6 NUMBER 1 SUMMER 2013 Poetry with Rowan Ricardo Phillips John Hewlett Marcus Jeffers and Edgar Lake Patrick Lewis on Kortright Davis George Roberts on Kortright Davis Gregory Frohnsdorff on Frederick Jewett Leara Rhodes on Jamaica Kincaid Jessica Byron on Paget Henry Robert Glen on John Luffman Edgar Lake on Mrs. Lanahan Neil Roberts on Paget Henry And Much More……. THE ANTIGUA AND BARBUDA REVIEW OF BOOKS A Publication of the Antigua and Barbuda Studies Association Volume 6 • Number 1 • Summer 2013 Copyright © 2013 Antigua and Barbuda Studies Association Editorial Board: Ian Benn, Joanne Hillhouse, Paget Henry, Edgar Lake, Adlai Murdoch, Ermina Osoba, Elaine Olaoye, Mali Olatunji, Vincent Richards Paget Henry, Editor The Antigua and Barbuda Studies Association was founded in 2006 with the goal of raising local intellectual awareness by creating a field of Antigua and Barbuda Studies as an integral part of the larger field of Caribbean Studies. The idea for such an interdisciplinary field grew out of earlier “island conferences” that had been organized by the University of the West Indies, School of Continuing Edu- cation, in conjunction with the Political Culture Society of Antigua and Barbuda. The Antigua and Barbuda Review of Books is an integral part of this effort to raise local and regional intellectual awareness by generating conversations about the neglected literary traditions of Antigua and Barbuda through reviews of its texts. Manuscripts: the manuscripts of this publication must be in the form of short reviews of books or works of art dealing with Antigua and Barbuda.
    [Show full text]