Graduate Courses Spring 2021
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Schedule Announced for Puerto Rican Super-Group Plena Libre's 2019-20
Contact: Margo Strebig Director of Communications & PR University of Chicago, Department of Music 773.702.3427 [email protected] Photos: http://bit.ly/PlenaLibre1920 For Immediate Release September 25, 2019 Schedule announced for Puerto Rican super-group Plena Libre’s 2019-20 UChicago residencies Activities will include performances, dance workshops, round-table discussions, and more. Chicago (Hyde Park) – The University of Chicago Department of Music is pleased to announce the schedule of events for Puerto Rican band Plena Libre’s 2019-20 residencies. The band, which is the University’s newest Don Michael Randel Ensemble-in-Residence, will participate in a rich variety of events and programs, including concerts, workshops, moderated public discussions, classroom visits, and more. Nominated for multiple GRAMMY and Latin GRAMMY awards, Plena Libre has earned acclaim for taking the once-dormant style of plena music and reclaiming it for a new generation. Featuring three vocalists, bass, drums, horns, and requinto guitar, the group infuses their contemporary Caribbean compositions with a deep sense of the unique indigenous musical traditions developed in Puerto Rico over a century ago. “The University is honored to welcome Plena Libre as the Don Michael Randel Ensemble-in-Residence,” said David Levin, Senior Advisor to the Provost for Arts. “We look forward to sharing the distinctive musical style of Puerto Rico through a wide variety of adventurous and creative programming.” Over three separate weeks in November, March, and April-May, Plena Libre will give four public performances, accompany three Puerto Rican dance workshops, lead workshops with University instrumental ensembles, participate in luncheon discussions with the Center for Latin American Studies, visit music and Spanish language classes, and more. -
LA BOMBA DEL CHOTA, Una Explosión De Saberes, Propuesta Para El Aprendizaje Integral
PONTIFICIA UNIVERSIDAD CATÓLICA DEL ECUADOR FACULTAD DE CIENCIAS DE LA EDUCACIÓN ESCUELA DE EDUCACIÓN MUSICAL ALVARO MIGUEL ROSERO PONCE LA BOMBA DEL CHOTA, una explosión de saberes, propuesta para el aprendizaje integral. Director: Dr. Fernando Palacios Mateo. PhD QUITO, febrero 2019 PONTIFICIA UNIVERSIDAD CATÓLICA DEL ECUADOR DECLARACIÓN y AUTORIZACIÓN Yo, ALVARO MIGUEL ROSERO PONCE, C.I.100152111-9 autor del trabajo de graduación titulado: “LA BOMBA DEL CHOTA, UNA EXPLOSIÓN DE SABERES, PROPUESTA PARA EL APRENDIZAJE INTEGRAL”, previa a la obtención del grado académico de LICENCIADO EN CIENCIAS DE LA EDUCACIÓN MENCIÓN EDUCACIÓN MUSICAL en la Facultad de Ciencias de la Educación: 1.- Declaro tener pleno conocimiento de la obligación que tiene la Pontificia Universidad Católica del Ecuador, de conformidad con el artículo 144 de la Ley Orgánica de Educación Superior, de entregar a la SENESCYT en formato digital una copia del referido trabajo de graduación para que sea integrado al Sistema Nacional de Información de la Educación Superior del Ecuador para su difusión pública respetando los derechos de autor. 2.- Autorizo a la Pontificia Universidad Católica del Ecuador a difundir a través de sitio web de la Biblioteca de la PUCE el referido trabajo de graduación, respetando las políticas de propiedad intelectual de Universidad. Quito, 14 de febrero de 2019 DIRECTOR: Dr. Fernando Palacios Mateos, PhD LECTORES Mgtr. Fernando Avendaño León. Mgtr. Marcelo Luje Morales. Agradecimientos Con este trabajo de investigación agradezco la gran oportunidad de estudiar y la generosidad con la cual me fueron compartidos muchos saberes, valores y conocimientos. A las personas que formaron parte de esta propuesta: dirigiendo, escuchando, leyendo, conversando, escribiendo, corrigiendo, fotografiando, tocando, jugando, soñando, construyendo, grabando para todos un abrazo. -
HISPANIC MUSIC for BEGINNERS Terminology Hispanic Culture
HISPANIC MUSIC FOR BEGINNERS PETER KOLAR, World Library Publications Terminology Spanish vs. Hispanic; Latino, Latin-American, Spanish-speaking (El) español, (los) españoles, hispanos, latinos, latinoamericanos, habla-español, habla-hispana Hispanic culture • A melding of Spanish culture (from Spain) with that of the native Indian (maya, inca, aztec) Religion and faith • popular religiosity: día de los muertos (day of the dead), santería, being a guadalupano/a • “faith” as expession of nationalistic and cultural pride in addition to spirituality Diversity within Hispanic cultures Many regional, national, and cultural differences • Mexican (Southern, central, Northern, Eastern coastal) • Central America and South America — influence of Spanish, Portuguese • Caribbean — influence of African, Spanish, and indigenous cultures • Foods — as varied as the cultures and regions Spanish Language Basics • a, e, i, o, u — all pure vowels (pronounced ah, aey, ee, oh, oo) • single “r” vs. rolled “rr” (single r is pronouced like a d; double r = rolled) • “g” as “h” except before “u” • “v” pronounced as “b” (b like “burro” and v like “victor”) • “ll” and “y” as “j” (e.g. “yo” = “jo”) • the silent “h” • Elisions (spoken and sung) of vowels (e.g. Gloria a Dios, Padre Nuestro que estás, mi hijo) • Dipthongs pronounced as single syllables (e.g. Dios, Diego, comunión, eucaristía, tienda) • ch, ll, and rr considered one letter • Assigned gender to each noun • Stress: on first syllable in 2-syllable words (except if ending in “r,” “l,” or “d”) • Stress: on penultimate syllable in 3 or more syllables (except if ending in “r,” “l,” or “d”) Any word which doesn’t follow these stress rules carries an accent mark — é, á, í, ó, étc. -
University of Florida Thesis Or Dissertation Formatting Template
DANCING PLENA WITH THE BISHOP: AN ANALYSIS OF LORENZO HOMAR’S EL OBISPO DE PONCE LINOCUT PRINT By ANA D. RODRIGUEZ A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2016 © 2016 Ana D. Rodriguez I dedicate this effort to the younger and future generation of my family, hoping it serves as an example and inspiration ACKNOWLEDGMENTS First of all, I want to thank my family for their continuous support throughout my studies, my parents, Irma and Ramón, and my sisters, Gina, Cindy, Angie and Paula. I am especially grateful of my aunt Miriam Viruet for giving me shelter during the two weeks I spent collecting research material in Puerto Rico. I need to add into the family support group, my cousin Yahaira Sánchez for helping me collect text resources for my writing. From the University of Florida School of the Arts, I want to recognize and express my gratitude to Dr. Maya Stanfield-Mazzi, Chair of my Committee, for her patience, her guidance with my manuscript, and for keeping the faith in my work. To Dr. Efrain Barradas, for advising me to use the portfolio of Las Plenas from the Smathers’ Libraries Special Collections, for our conversations about Lorenzo Homar, and for being an inspiration. To Dr. Robin Poynor, for accepting to be a member of my committee and trusting my work. I also would like to acknowledge Dr. Margarita Vargas- Betancourt, Caribbean Basin Librarian at UF Smathers’ Library Latin American and Caribbean Collection (LACC), for all her continuous advice and support given during the making of this thesis. -
Creolizing Contradance in the Caribbean
Peter Manuel 1 / Introduction Contradance and Quadrille Culture in the Caribbean region as linguistically, ethnically, and culturally diverse as the Carib- bean has never lent itself to being epitomized by a single music or dance A genre, be it rumba or reggae. Nevertheless, in the nineteenth century a set of contradance and quadrille variants flourished so extensively throughout the Caribbean Basin that they enjoyed a kind of predominance, as a common cultural medium through which melodies, rhythms, dance figures, and per- formers all circulated, both between islands and between social groups within a given island. Hence, if the latter twentieth century in the region came to be the age of Afro-Caribbean popular music and dance, the nineteenth century can in many respects be characterized as the era of the contradance and qua- drille. Further, the quadrille retains much vigor in the Caribbean, and many aspects of modern Latin popular dance and music can be traced ultimately to the Cuban contradanza and Puerto Rican danza. Caribbean scholars, recognizing the importance of the contradance and quadrille complex, have produced several erudite studies of some of these genres, especially as flourishing in the Spanish Caribbean. However, these have tended to be narrowly focused in scope, and, even taken collectively, they fail to provide the panregional perspective that is so clearly needed even to comprehend a single genre in its broader context. Further, most of these pub- lications are scattered in diverse obscure and ephemeral journals or consist of limited-edition books that are scarcely available in their country of origin, not to mention elsewhere.1 Some of the most outstanding studies of individual genres or regions display what might seem to be a surprising lack of familiar- ity with relevant publications produced elsewhere, due not to any incuriosity on the part of authors but to the poor dissemination of works within (as well as 2 Peter Manuel outside) the Caribbean. -
Ceccon, Teresa Redacted.Pdf
Abstract The story of Latin American music and dance is one of cross-pollination where the dances, rhythms, instrumentation and social rituals of distinctive cultures coalesced into new forms of expression. Along the continuum of styles was Latin Jazz, the result of the mutual fascination that Afro-Cuban and jazz musicians shared for each other’s artistry. Most types of Latin music have their own dance forms, which evolved simultaneously with the music, often graduating from the streets to the dance clubs and sometimes to stages. Latin Jazz music took its own path, originating on the bandstand without the parallel emergence of a dance form one would officially call “Latin Jazz dance.” In my research, I set out to expand my understanding of the evolution of Latin Jazz music and dance and attempt to answer the question: How can I define Latin Jazz Dance and trace its evolution into what it is today? Armed with that knowledge, in the future I intend to teach dancers and choreographers about the music and dance and to stage works for concert performance in the genre. 1 MONTCLAIR STATE UNIVERSITY THE EVOLUTION OF LATIN JAZZ MUSIC AND DANCE – UNDER THE SKIN by Teresa Perez Ceccon A Master’s Thesis Submitted to the Faculty of Montclair State University In Partial Fulfillment of the Requirements For the Degree of Master of Fine Arts August 2020 College/School: College of the Arts Thesis Committee: Department: Dance ______ Christian von Howard __ Diann Sichel Committee Member Cristina Marte Committee Member 2 THE EVOLUTION OF LATIN JAZZ MUSIC AND DANCE – UNDER THE SKIN A THESIS Submitted in partial fulfillment of the requirements For the degree of Master of Fine Arts by Teresa Perez Ceccon Montclair State University Montclair, NJ 2020 3 Copyright © 2020 by Teresa Perez Ceccon. -
Puerto Rican Music in Wisconsin
' Chapter 37 Borinquen sue/a querido: Puerto Rican Music in Wisconsin Program 37 Performances 1. Sabor, "Consencias ." 2. Trulla Navidena, "Danza." 3. Trulla Navidena, "La banta negrita." 4. Bentetu, "Plena Bentetu." 5. Bentetu, "Bomba Medley." 6. Andando Solo, "En la vida todo es ir." 7. Trulla Navidena, "Cortando cana." Three Kings' Day ominoes were clicking in the basement of Centro de la Comunidad Unida in Milwaukee on the twelfth day after Christmas, Three Kings' Day, the DEpiphany . To the initiated, the sound is as evocative of home as the croak ing of coqui,the Puerto Rican frog. Hundreds of men and women had gathered to celebrate one of their most important holidays with dominoes, a popular game on the island . The room was filled with the aroma of arroz con gandules, a dish of rice and unique small beans, and a cascade of voices spoke Spanish with a Caribbean lilt. From one corner came music-the strumming of a guitar, the tremolo of a cuatro's strings, and the rhythmic scraping of a guiro. Instead of the snow and ice of January in Wisconsin, I could almost imagine that outside was Borinquen, as the celebrants affectionately called their tropical homeland . The Caribbean island of Puerto Rico was a Spanish colony until Americans took it as a U.S. territory early in this century after the Spanish-American War. As U.S. citizens, Puerto Ricans were free to immigrate and soon did, seeking work in larger mainland cities, especially New York. Puerto Ricans have diverse origins. The Taino were the indigenous people . -
Live Music Calendar & Daily Events • Monday Tuesday Tequila Tasting At
Live Music Calendar & Daily Events Monday Tuesday Tequila tasting at 6.00 pm at Ziggy’s Bar Tequila is an elegant spirit of unique tastes and sensations that you will want to remember always. Our Tequila Tastings are guided by our experts, who will introduce you into our culture and you will quickly acquire an appreciation of the AGAVE world. “Mariachi Band” 7:30pm – 9:30 pm Mariachi is a musical expression that dates back to the at least 18th century in Western Mexico. It is a tradition that can be defined by various socio-musical elements. Mariachi instrumentation and texture, musical genres and subgenres, performance methods and styles, singing styles and forms, dance styles, performative space, performance clothing, and the word "mariachi". Each element has its own history, originated at varying moments in time and in different regions of the Western Mexican countryside, and some, if not all, had to converge in order for the mariachi tradition to become what it is. www.ziggybeachtulum.com Wednesday Saxophone Yuset Sax 7:30pm–9:30pm Well they say that music is the soul of the party, for this, Yuset Sax is an excellent saxophonist, so that our clients enjoy a good musical repertoire from sunset to nightfall. Thursday Mexican Wine Tasting at 6.00pm at Ziggy’s Bar Learn and taste our selected Mexican wine, paired by canapés from our chef, while we give you an introduction to the main regions that produce the best Mexican Wine and its different selection of grapes. ”La Bombonera” 7:30pm–9:30pm Reggae- Fussion Great Local Band playing a fussion-reggae-salsa. -
“Lo Bailan Las Rochas También Las Chetas”
Universidad de la República Facultad de Humanidades y Ciencias de la Educación Maestría en Ciencias Humanas, opción Estudios Latinoamericanos Tesis para defender el título de Magíster en Ciencias Humanas, opción Estudios Latinoamericanos Título “Lo Bailan las Rochas también las Chetas” Nene Malo Autora: Pía Bazzán Directora de Tesis: Rosario Radakovich Montevideo, 29 de noviembre de 2019 Aval de la Directora de Tesis Montevideo, 21 de noviembre de 2019. En mi condición de directora de la tesis “Lo bailan las rochas también las chetas” de Pía Bazzán avalo el trabajo realizado para su defensa ante un tribunal académico para la obtención del título de Magíster en Ciencias Humanas, opción Estudios Latinoamericanos de la Facultad de Humanidades y Ciencias de la Educación, Universidad de la República, Uruguay. Tengo la convicción de que la tesis ha alcanzado con creces los niveles de realización que se corresponden a los esperados en el nivel académico en el que se inscribe. Quiero asimismo destacar el compromiso y rigor con el que Pía Bazzán asumió su tarea, que impli- có entre otros, el esfuerzo por tejer una perspectiva propia desde abordajes teóricos interdisciplina- rios, así como su compromiso con los abordajes latinoamericanos para rastrear los orígenes y perspectivas acerca de la Música Tropical en distintos países de la región. A ello quiero agregar que el trabajo de la Licenciada Bazzán permitió un análisis sustantivo de las apreciaciones, experiencias, significados y controversias sociales que surgen a partir del gusto por la Música Tropical en sus diversas variantes, aportando análisis original lúcido y auspiciante para quienes venimos trabajando en el área de estudios culturales. -
Guide to the Raquel Z. Rivera Hip Hop/ Reggaetón Collection
Guide to the Raquel Z. Rivera Hip Hop/ Reggaetón Collection Archives of the Puerto Rican Diaspora Centro de Estudios Puertorriqueños Hunter College, CUNY 2180 Third Avenue @ 119th St., Rm. 120 New York, New York 10035 (212) 396-7877 www.centropr.hunter.cuny.edu Descriptive Summary Resumen descriptivo Creator: Raquel Z. Rivera, 1972- Creador: Raquel Z. Rivera, 1972- Title: The Raquel Z. Rivera Hip Hop/ Reggaetón Título: The Raquel Z. Rivera Hip Hop/ Reggaetón Collection Collection Inclusive Dates: 1977-2008 Años extremos: 1977-2008 Bulk Dates: 1995-2003 Período principal: 1995-2003 Volume: 9 cubic feet Volumen: 9 pies cùbicos Repository: Archives of the Puerto Rican Diaspora, Repositorio: Archives of the Puerto Rican Diaspora, Centro de Estudios Puertorriqueños Centro de Estudios Puertorriqueños Abstract: The Raquel Z. Rivera Hip Hop/ Reggaetón Nota de resumen: La Colección de Hip Hop y Collection helps document Puerto Rican contributions Reggaetón de Raquel Z. Rivera, documenta la to the creation and development of hip hop and contribución puertorriqueña a la creación y el reggaetón both in the United States and Puerto Rico. desarrollo del hip hop y el reggaetón tanto en los Highlights of the collection include an extensive Estados Unidos como en Puerto Rico. Parte importante audiocassette and compact disc collection, essays de la colección incluye una extensa compilación de written by Rivera on hip hop and reggaetón and paper cintas de audio y discos compactos, ensayos sobre hip documentation on numerous artists. hop y reggaetón escritos por Rivera y documentación en papel sobre varios artistas. Administrative Information Información administrativa Collection Number: 2005-07 Número de colección: 2005-07 Provenance: Raquel Z. -
TC 1-19.30 Percussion Techniques
TC 1-19.30 Percussion Techniques JULY 2018 DISTRIBUTION RESTRICTION: Approved for public release: distribution is unlimited. Headquarters, Department of the Army This publication is available at the Army Publishing Directorate site (https://armypubs.army.mil), and the Central Army Registry site (https://atiam.train.army.mil/catalog/dashboard) *TC 1-19.30 (TC 12-43) Training Circular Headquarters No. 1-19.30 Department of the Army Washington, DC, 25 July 2018 Percussion Techniques Contents Page PREFACE................................................................................................................... vii INTRODUCTION ......................................................................................................... xi Chapter 1 BASIC PRINCIPLES OF PERCUSSION PLAYING ................................................. 1-1 History ........................................................................................................................ 1-1 Definitions .................................................................................................................. 1-1 Total Percussionist .................................................................................................... 1-1 General Rules for Percussion Performance .............................................................. 1-2 Chapter 2 SNARE DRUM .......................................................................................................... 2-1 Snare Drum: Physical Composition and Construction ............................................. -
Análisis Del Léxico De La Música De Los Reguetoneros Puertorriqueños De
Georgia State University ScholarWorks @ Georgia State University World Languages and Cultures Theses Department of World Languages and Cultures 4-21-2009 El Reguetón: Análisis Del Léxico De La Música De Los Reguetoneros Puertorriqueños Ashley Elizabeth Wood Follow this and additional works at: https://scholarworks.gsu.edu/mcl_theses Part of the Other Languages, Societies, and Cultures Commons Recommended Citation Wood, Ashley Elizabeth, "El Reguetón: Análisis Del Léxico De La Música De Los Reguetoneros Puertorriqueños." Thesis, Georgia State University, 2009. https://scholarworks.gsu.edu/mcl_theses/6 This Thesis is brought to you for free and open access by the Department of World Languages and Cultures at ScholarWorks @ Georgia State University. It has been accepted for inclusion in World Languages and Cultures Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. EL REGUETÓN: ANÁLISIS DEL LÉXICO DE LA MÚSICA DE LOS REGUETONEROS PUERTORRIQUEÑOS by ASHLEY ELIZABETH WOOD Under the Direction of Carmen Schlig ABSTRACT This paper examines some of the linguistic qualities of reggaeton in order to determine to which extent the music represents the speech of the urban residents of Puerto Rico. The lyrics are analyzed in order to see if they are used only within the context of reggaeton or if they are part of the Puerto Rican lexicon in general. The political context of Puerto Rico with respect to the United States is taken in to consideration with the formation of Anglicisms and the use of English. The paper summarizes the current knowledge of the Puerto Rican lexicon and highlights two linguistic studies that focus on reggaeton in addition to providing general background information about the genre.