Module 1 AFRO-LATIN AMERICAN and POPULAR MUSIC

Total Page:16

File Type:pdf, Size:1020Kb

Module 1 AFRO-LATIN AMERICAN and POPULAR MUSIC Republic of the Philippines Department of Education Regional Office IX, Zamboanga Peninsula 10 Zest for Progress Zeal of Partnership MUSIC Quarter 2, Wk.1 - Module 1 AFRO-LATIN AMERICAN AND POPULAR MUSIC Name of Learner: ___________________________ Grade & Section: ___________________________ 0 Name of School: ___________________________ WHAT I NEED TO KNOW KkKNOW Music has always been an important part in the daily life of the African, whether for work, religion, ceremonies, or even communication. Singing, dancing, hand clapping and the beating of drums are essential to many African ceremonies, including those for birth, death, initiation, marriage, and funerals. Music and dance are also important to religious expression and political events. However, because of its wide influences on global music that has permeated contemporary American, Latin American, and European styles, there has been a growing interest in its own cultural heritage and musical sources. In this module, it contains review on the different elements of music and to analyze the characteristics of Afro-Latin American and popular music were: African music, Latin American music, Jazz music, and Popular music. Also includes the vocal forms, instruments, vocal and dance, and instrumental forms mentioned above. At the end of this module, you are expected to: 1. Analyzes musical characteristics of Afro-Latin American and popular music through listening activities. ( MU10AP-IIa-h-5) WHAT I KNOW Directions: Read and understand the questions carefully and write your answers on the blanks provided. 1. What is the overall quality of sound of a piece, most often indicated by the number/layer of voices in the music ? Answer: ________________ 2. What is the volume (loudness and softness) of a sound or note? Answer: ________________ 3. What is knownas tone color or tone quality and it is what makes a particular musical sound have a different sound from another? Answer: ________________ 4. What is the speed (fast and slow) of the underlying beat.? Answer: ________________ 5. Who is the “King of Pinoy Rap”? Answer: ________________ 1 WHAT’S IN ELEMENTS OF MUSIC TEXTURE is the overall quality of sound of a piece, most often indicated by the number/layer of voices in the music . TEMPO is the speed (fast and slow) of the underlying beat. DYNAMICS refers to the volume (loudness and softness) of a sound or note. also known as tone color or tone quality and TIMBRE it is what makes a particular musical sound have a different sound from another. WHAT’S NEW Directions: Identify the different musical characteristics of Afro-Latin American and Popular music. Write your answers in the table below. AFRO-LATIN AMERICAN AND POPULAR MUSIC Vocal Forms 1. African Music Vocal and Dance Forms 2. Latin American Music Instrumental Forms 3. Jazz Music Vocal Forms 4. Popular Music 2 WHAT IS IT Traditional Music of Africa Apala (Akpala) is a musical genre from Nigeria in the Yoruba tribal style to wake up the worshippers after fasting during the Muslim holy feast Ramadan. Juju is a popular music style from Nigeria that relies on the traditional Yoruba rhythms, where the instruments in Juju are more Western in origin. Zouk is fast, carnival-like hythmic music, from the Creole slang word for ‘party,’ originating in the Carribean Islands of Guadaloupe and Martinique and popularized in the 1980’s. Blues the notes of the blues create an expressive and soulful sound. The feelings that are evoked are normally associated with slight degrees of misfortune, lost love, frustration, or loneliness. Soul music was a popular music genre of the 1950’s and 1960’s. It originated in the United States. It combines elements of African- 3 American gospel music, rhythm and blues, and often jazz. The catchy rhythms are accompanied by handclaps and extemporaneous body moves which are among its important features. Spiritual, normally associated with a deeply religious person, refers here to a Negro spiritual, a song form by African migrants to America who became enslaved by its white communities. This musical form became their outlet to vent their loneliness and anger, and is a result of the interaction of music and religion from Africa with that of America. Call and response much like the question and answer sequence in human communication, it also forms a strong resemblance to the verse-chorus form in many vocal compositions. Latin American Music Cumbia became a popular African courtship dance with European and African instrumentation and characteristics. It contained varying rhythmic meters among the major locations – meter in Colombia; , , and meters in Panama, and meter in Mexico. Instruments used are the drums of African origin, such as the tabora (bass drum) and cleves. Tango may have been of African origin meaning “African dance” or from the Spanish word taner meaning “to play” (an instrument). Cha cha is a ballroom dance the originated in Cuba in 1953, derived from the mambo and its characteristic rhythm of 2 crochets – 3 quavers – quaver rest, with syncopation on the fourth beat. Bossa Nova means either “trend” or “something charming,” integrating melody, harmony, and rhythm into a swaying feel, where the vocal style is often nasal. Salsa is a social dance with marked influences from Cuba and Puerto Rico that started in New York in the mid 1970’s. Its style contains elements from the swing dance and hustle as well as the complex Afro-Cuban and Afro-Carribean dance forms of pachanga and guaguanco. 4 Rumba is a repetitive melody with an ostinato pattern played by the maracas, claves, and other Cuban percussion instruments. It contains jazz elements that became a model for the cha cha, mambo, and other Latin American dances. Reggae is an urban popular music and dance style that originated in Jamaica in the mid 1960’s. It contained English text coupled with Creole expressions that were not so familiar to the non- Jamaican. Foxtrot is a 20th century social dance that originated after 1910 in the USA. It was executed as a one step, two step and syncopated rhythmic pattern. The tempo varied from 30 to 40 bars per minute and had a simple duple meter with regular 4-bar phrases. Paso doble (meaning “double step”) is a theatrical Spanish dance used by the Spaniards in bullfights, where the music was played as the matador enters (paseo) and passes just before the kill (faena). Jazz Music Ragtime is an American popular musical style mainly for piano, originating in the Afro-American communities in St. Louis and New Orleans. Its style was said to be a modification of the “marching mode” made popular by John Philip Sousa. Big Band refers to a large ensemble form originating in the United States in the mid 1920’s closely associated with the Swing Era with jazz elements. Jelly Roll Morton who was an American ragtime and early jazz pianist and composed Frog I More Rag. Scott Joplin, who also composed the popular Maple Leaf Rag, Solace, and The Entertainer. Joplin is also known as the “King of Ragtime.” 5 Big band music originated in the United States and is associated with jazz and the swing. Among the great big bands were the Glenn Miller Orchestra (A String of Pearls, Moonlight Serenade, In The Mood, American Patrol, and Smoke Gets in Your Eyes); the Count Basie Orchestra (April in Paris); and the Benny Goodman Orhcestra (Sing, Sing, Sing); while some solo signers such as Cab Calloway (Minnie the Moocher) Doris Day (Stardust, I’m in the Mood for Love); Roy Eldridge, and others also collaborated with big bands. Bebop or bop is a musical style of modern jazz which is characterized by a fast tempo. The speed of the harmony, melody, and rhythm resulted in a heavy performance where the instrumental sound became more tense and free. Jazz rock is the music of 1960’s and 1970’s bands that inserted jazz elements into rock music. A synonym for “jazz fusion,” jazz rock is a mix of funk and R&B (“rhythm and blues”) rhythms. Popular Music Ballad originated as an expressive folksong in narrative verse with text dealing typically about love. Standard Its style is mostly in a slow or moderate tempo with a relaxed mood. It also features highly sing able melodies within the range and technical capacity of the everyday listener. Rock and roll was a hugely popular song form in the United States during the late 1940’s to the 1950’s. It combined 6 Afro-American forms such as the blues, jump blues, jazz, and gospel music with the Western swing and country music. Disco music pertained to rock music that was more danceable, thus leading to the establishment of venues for public dancing also called discos. Alternative music was an underground independent form of music that arose in the 1980’s. It became widely popular in the 1990’s as a way to defy “mainstream” rock music. Thus, it was known for its unconventional practices such as distorted guitar sounds, oppressive lyrics, and defiant attitudes. Elvis Presley’s style was the precursor of the British band known as The Beatles, whose compositions further boosted rock and roll as the favorite genre of the times. Examples of The Beatles’ songs in this genre are I Saw Her Standing There, Get Back, While My Guitar Gently Weeps, Rock and Roll Music, and Ticket to Ride. Rap was also made popular by such composers and performers as Francis Magalona (Mga Kababayan Ko and Watawat) and Andrew E (Humanap Ka ng Pangit). Francis Magalona was born on October 4, 1964 and died on March 6, 2009. He is also known as Francis M, “Master Rapper,” and “The Man From Manila.” He was a Filipino rapper, songwriter, producer, actor, director, television host, and photographer.
Recommended publications
  • OPM Vol. 06 300 Songs
    OPM Vol. 06 300 Songs Title Artist Number A WISH ON CHRISTMAS NIGHT JOSE MARI CHAN 22835 ADJUST SOAPDISH 28542 AGAC LA MANESIA PANGASINAN SONG 22999 AGAWAN BASE PERYODIKO 22906 AKALA KO AY IKAW NA WILLIE REVILLAME 22742 AKING PAGMAMAHAL REPABLIKAN 35077 AKO AY MAY LOBO CHILDREN 35115 AKO'Y BINAGO NIYA EUNICE SALDANA 35377 ALAB NG PUSO RIVERMAYA 27625 ALL ME TONI GONZAGA 35135 ALWAYS YOU CHARICE 28206 ANG AKING PUSO JANNO GIBBS feat. KYLA 28213 ANG HIMIG NATIN JUAN DELA CRUZ BAND 22690 ANG PANDAY ELY BUENDIA 22893 ANTUKIN RICO BLANCO 22838 ARAW-ARAW NA LANG AEGIS 22968 ASO'T PUSA HALE 28538 AWIT NG PUSO FATIMA SORIANO 22969 AYANG-AYANG BOSTON 22950 AYOKO SA DILIM FRANCIS MAGALONA 22751 AYUZ RICO BLANCO 22949 BABY DON'T YOU BREAK MY HEART SLOW M. Y. M. P. 22839 BACK 2 U CUESHE 28183 BAGONG HENERASYON HYMN JESSA MAE GABON 35052 BAHAY KUBO HALE 28539 BAHOO POKWANG 28182 BAKASYON PERYODIKO 22894 BAKIT GAGONG RAPPER 22729 BAKIT KUNG SINO PA GAGONG RAPPER 22725 BAKIT LABIS KITANG MAHAL GAGONG RAPPER 22744 BALASANG KAS NAN MONTANIOSA APOLLO FAGYAN 22963 BALITA GLOC 9 feat. GABBY ALIPE of URBA 22891 BALIW KISS JANE 35113 BANANA (RIGHT NOW) Tagalog Version BLANKTAPE 22747 BANGON RICO BLANCO 22890 BAR-IMAN TAUSUG 28184 BARKADA HABANG BUHAY CALSADA 35053 BAW WAW WAW FRANCIS MAGALONA 22773 BINIBINI BROWNMAN REVIVAL 22743 BONGGACIOUS POKWANG 22959 BULALAKAW HALE 28540 BUS STOP ELY BUENDIA & FRANCIS M. 35120 CAN'T FIND NO REASON LOUIE HEREDIA 22728 CAN'T HELP FALLING IN LOVE SAM MILBY 22896 CHIKA LANG `YON BLANKTAPE 28202 CHRISTMAS BONUS AEGIS 35201 CHRISTMAS MORNING ERASERHEADS 35134 CHRISTMAS PARTY ERASERHEADS 35167 microky.com | 1 Title Artist Number COULD WE GARY V.
    [Show full text]
  • 1 Chapter Three Historical
    University of Pretoria etd, Adeogun A O (2006) CHAPTER THREE HISTORICAL-CULTURAL BACKCLOTH OF MUSIC EDUCATION IN NIGERIA This chapter traces the developments of music education in the precolonial Nigeria. It is aimed at giving a social, cultural and historical background of the country – Nigeria in the context of music education. It describes the indigenous African music education system that has been in existence for centuries before the arrival of Islam and Christianity - two important religions, which have influenced Nigerian music education in no small measure. Although the title of this thesis indicates 1842-2001, it is deemed expedient, for the purposes of historical background, especially in the northern part of Nigeria, to dwell contextually on the earlier history of Islamic conquest of the Hausaland, which introduced the dominant musical traditions and education that are often mistaken to be indigenous Hausa/northern Nigeria. The Islamic music education system is dealt with in Chapter four. 3.0 Background - Nigeria Nigeria, the primarily focus of this study, is a modern nation situated on the Western Coast of Africa, on the shores of the Gulf of Guinea which includes the Bights of Benin and Biafra (Bonny) along the Atlantic Coast. Entirely within the tropics, it lies between the latitude of 40, and 140 North and longitude 20 501 and 140 200 East of the Equator. It is bordered on the west, north (northwest and northeast) and east by the francophone countries of Benin, Niger and Chad and Cameroun respectively, and is washed by the Atlantic Ocean, in the south for about 313 kilometres.
    [Show full text]
  • 1 Song Title
    Music Video Pack Vol. 6 Song Title No. Popularized By Composer/Lyricist Hillary Lindsey, Liz Rose, FEARLESS 344 TAYLOR SWIFT Taylor Swift Christina Aguilera; FIGHTER 345 CHRISTINA AGUILERA Scott Storch I. Dench/ A. Ghost/ E. Rogers/ GYPSY 346 SHAKIRA Shakira/ C. Sturken HEARTBREAK WARFARE 347 JOHN MAYER Mayer, John LAST OF THE AMERICAN GIRLS 351 GREENDAY Billie Joe Armstrong OPPOSITES ATTRACT 348 JURIS Jungee Marcelo SAMPIP 349 PAROKYA NI EDGAR SOMEDAY 352 MICHAEL LEARNS TO ROCK Jascha Richter SUNBURN 353 OWL CITY Adam Young Nasri Atweh, Justin Bieber, Luke THAT SHOULD BE ME 354 JUSTIN BIEBER Gottwald, Adam Messinger THE ONLY EXCEPTION 350 PARAMORE Farro, Hayley Williams Max Martin, Alicia WHAT DO YOU WANT FROM ME 355 ADAM LAMBERT Moore, Jonathan Karl Joseph Elliott, Rick WHEN LOVE AND HATE COLLIDE 356 DEF LEPPARD Savage Jason Michael Wade, YOU AND ME 357 LIFEHOUSE Jude Anthony Cole YOUR SMILING FACE 358 JAMES TAYLOR James Taylor www.wowvideoke.com 1 Music Video Pack Vol. 6 Song Title No. Popularized By Composer/Lyricist AFTER ALL THESE YEARS 9057 JOURNEY Jonathan Cain Michael Masser / Je!rey ALL AT ONCE 9064 WHITNEY HOUSTON L Osborne ALL MY LIFE 9058 AMERICA Foo Fighters ALL THIS TIME 9059 SIX PART INVENTION COULD'VE BEEN 9063 SARAH GERONIMO Richard Kerr (music) I'LL NEVER LOVE THIS WAY AGAIN 9065 DIONNE WARWICK and Will Jennings (lyrics) NOT LIKE THE MOVIES 9062 KC CONCEPCION Jaye Muller/Ben Patton THE ART OF LETTING GO 9061 MIKAILA Linda Creed, Michael UNPRETTY 9066 TLC Masser YOU WIN THE GAME 9060 MARK BAUTISTA 2 www.wowvideoke.com Music Video Pack Vol.
    [Show full text]
  • PH - Songs on Streaming Server 1 TITLE NO ARTIST
    TITLE NO ARTIST 22 5050 TAYLOR SWIFT 214 4261 RIVER MAYA ( I LOVE YOU) FOR SENTIMENTALS REASONS SAM COOKEÿ (SITTIN’ ON) THE DOCK OF THE BAY OTIS REDDINGÿ (YOU DRIVE ME) CRAZY 4284 BRITNEY SPEARS (YOU’VE GOT) THE MAGIC TOUCH THE PLATTERSÿ 19-2000 GORILLAZ 4 SEASONS OF LONELINESS BOYZ II MEN 9-1-1 EMERGENCY SONG 1 A BIG HUNK O’ LOVE 2 ELVIS PRESLEY A BOY AND A GIRL IN A LITTLE CANOE 3 A CERTAIN SMILE INTROVOYS A LITTLE BIT 4461 M.Y.M.P. A LOVE SONG FOR NO ONE 4262 JOHN MAYER A LOVE TO LAST A LIFETIME 4 JOSE MARI CHAN A MEDIA LUZ 5 A MILLION THANKS TO YOU PILITA CORRALESÿ A MOTHER’S SONG 6 A SHOOTING STAR (YELLOW) F4ÿ A SONG FOR MAMA BOYZ II MEN A SONG FOR MAMA 4861 BOYZ II MEN A SUMMER PLACE 7 LETTERMAN A SUNDAY KIND OF LOVE ETTA JAMESÿ A TEAR FELL VICTOR WOOD A TEAR FELL 4862 VICTOR WOOD A THOUSAND YEARS 4462 CHRISTINA PERRI A TO Z, COME SING WITH ME 8 A WOMAN’S NEED ARIEL RIVERA A-GOONG WENT THE LITTLE GREEN FROG 13 A-TISKET, A-TASKET 53 ACERCATE MAS 9 OSVALDO FARRES ADAPTATION MAE RIVERA ADIOS MARIQUITA LINDA 10 MARCO A. JIMENEZ AFRAID FOR LOVE TO FADE 11 JOSE MARI CHAN AFTERTHOUGHTS ON A TV SHOW 12 JOSE MARI CHAN AH TELL ME WHY 14 P.D. AIN’T NO MOUNTAIN HIGH ENOUGH 4463 DIANA ROSS AIN’T NO SUNSHINE BILL WITHERSÿ AKING MINAHAL ROCKSTAR 2 AKO ANG NAGTANIM FOLK (MABUHAY SINGERS)ÿ AKO AY IKAW RIN NONOY ZU¥IGAÿ AKO AY MAGHIHINTAY CENON LAGMANÿ AKO AY MAYROONG PUSA AWIT PAMBATAÿ PH - Songs on Streaming Server 1 TITLE NO ARTIST AKO NA LANG ANG LALAYO FREDRICK HERRERA AKO SI SUPERMAN 15 REY VALERA AKO’ Y NAPAPA-UUHH GLADY’S & THE BOXERS AKO’Y ISANG PINOY 16 FLORANTE AKO’Y IYUNG-IYO OGIE ALCASIDÿ AKO’Y NANDIYAN PARA SA’YO 17 MICHAEL V.
    [Show full text]
  • Stories Captured by Word of Mouth Cultural Heritage Building Through Oral History
    STORIES CAPTURED BY WORD OF MOUTH CULTURAL HERITAGE BUILDING THROUGH ORAL HISTORY Christine M. Abrigo Karen Cecille V. Natividad De La Salle University Libraries Oral History, still relevant? (Santiago, 2017) • Addresses limitations of documents • Gathers insights and sentiments • More personal approach to recording history Oral History in the Philippines (Foronda, 1978) There is a scarcity of studies and literatures on the status and beginning of oral history in the country. DLSU Libraries as repository of institutional and national memory Collects archival materials and special collections as they are vital sources of information and carry pertinent evidences of culture and history. Oral history is one of these archival materials. Purpose of this paper This paper intends to document the oral history archival collection of the De La Salle University (DLSU) Libraries; its initiatives to capture, preserve and promote intangible cultural heritage and collective memory to its users through this collection, and the planned initiatives to further build the collection as a significant contribution to Philippine society. ORAL HISTORY COLLECTION (OHC) OF THE DLSU LIBRARIES Provenance The core OHC came from the family of Dr. Marcelino A. Foronda, Jr., a notable Filipino historian and from the Center for Oral and Local History of the university, which was later named in his honor, hence, the Marcelino A. Foronda Jr. Center for Local and Oral History (MAFCLOH). Collection Profile FORMAT Print transcript Audio cassette tape Collection Source (in
    [Show full text]
  • Ang Novelty Song Sa Pilipinas*
    Ang Novelty Song Sa Pilipinas* New Era University Fame Pascua, M.A. Panimula ng musika ay isang sining na bahagi ng kultura ng bawat tao o grupo ng tao. Ito ay nasa anyo ng pagkanta ng mga himig at liriko at/o pagtugtog ng mga musikal na instrumento na lumilikha ng mga tunog at himig. Ayon kay Delia Gamboa Besa sa kanyang sanaysay na “Contemporary Philippine Music” (1998), ang musikaA sa Pilipinas ay sinasalamin ang mayamang kulturang nag-uugat pareho sa katutubong pinagmulan at sa impluwensya mula sa labas, at gayundin sa resulta ng pag-aangkop dito at Pascua... pagsasanib ng mga ito. Dahil dito, nauri ni Besa ang musika sa Pilipinas sa tatlo: (1) ang katutubo, (2) ang may impluwensyang1 Espansyol, at (3) ang may impluwensyang Amerikano. Mapapansin na ang ganitong pag-uuri ng musika sa Pilipinas ay sinusundan ang tipikal na kronolohiya ng kasaysayan ng Pilipinas bagama’t ang uri ng musika ay hindi lamang nakakulong sa partikular na peryodisasyon. Maari itong magpatuloy o hindi, mangibabaw pa o hindi na (bagamat umiiral pa rin) sa partikular na panahon. Gayunpaman, hindi kumpleto ang ganitong pag-uuri ng musika sa Pilipinas (kung tuluyang ibabatay sa kronolohiya ng kasaysayan ng Pilipinas) dahil sa walang banggit sa kung ano na o paano natin tatawagin ang musika ng mga Pilipino pagkatapos ng kolonyal na panahon? Bagamat nagbanggit ng “contemporary Philippine music” si Besa sa pamagat ng kanyang artikulo hindi naman ito nagliwanag sa kung “ano” ito o ang kumakatawan dito bagkus tumalakay sa sitwasyon ng “contemporary music”—na sa kabuuan, unti-unti nang napapamayanihan ng mga Filipino— gayunpaman ay nahaharap pa rin sa mga suliranin.
    [Show full text]
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title Hip-hop, Streetdance, and the Remaking of the Global Filipino Permalink https://escholarship.org/uc/item/16q5z7gp Author Perillo, Jeffrey Lorenzo Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Hip-hop, Streetdance, and the Remaking of the Global Filipino A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Jeffrey Lorenzo Perillo 2013 © Copyright by Jeffrey Lorenzo Perillo 2013 ! ABSTRACT OF THE DISSERTATION Hip-hop, Streetdance, and the Remaking of the Global Filipino by Jeffrey Lorenzo Perillo Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2013 Professor Susan Leigh Foster, Committee Co-Chair Professor Victor Bascara, Committee Co-Chair New York-based African American, Latino, and Caribbean immigrant youth of the 1960s and early 1970s gave life to one of the world's major contemporary cultural movements: Hip-hop. Initially misunderstood as a faddish form of Black male musical expression, Hip-hop's cultural resistance practices were quickly recognized as four core elements (emceeing, turntablism, graffiti art, and b-boying/b-girling). In the global context, Hip-hop has generated scholarly discourse that points to either the cultural globalization of American Blackness or a "global village." My project interrupts this conversation and focuses on the unique, multi-site cultural history of Filipino identity as constituted through practitioners of Hip-Hop dance. My work argues that a community of Filipinos, situated in different geo-political loci—Berkeley, California, Honolulu, Hawai‘i, and Manila, Philippines—configure prevailing concepts of Hip-hop while remaking conditions of ! ii dispossession and displacement in the late twentieth and early twenty-first centuries.
    [Show full text]
  • Chua at Campomanes – Francism DLSU Arts Congress
    MAKABAGONG EMILIO JACINTO Ginhawa, Liwanag, Dilim at Iba Pang Mga Dalumat ng Bayan at Katipunan sa mga Awitin ni Francis Magalona 1 Michael Charleston B. Chua 222 Pamantasang De La Salle Maynila Pangalawang Pangulo, Philippine Historical Association Alvin DD.. Campomanes 333 University of Asia and the Pacific Tagapangulo, UP Lipunang Pangkasaysayan (2007-2008) Sasaysayin ng papel ang mga dalumat at diwa ng Himagsikang 1896 na nasalamin rin sa Kapanahong Kasaysayan sa mga awiting nilikha ng Hari ng Pinoy Rap, Francis Magalona. Sa kanilang mensahe ng pag-iisa ng loob at kaisipan ng lahat ng tumubo sa Sangkapuluang ito, ginamit nina Emilio Jacinto at Andres Bonifacio ng Katipunan ang mga dalumat ng bayan noong 1892-1896. Sa Kartilya ng Katipunan, Dekalogo, at iba pang mga sulatin, makikita ang mga dalumat ng Kalayaan, Kaginhawaan, Liwanag, Dilim, Puri, Kabanalan, Dangal, Pag-ibig sa bayan at isa’t isa, at marami pang iba. Ang pagpapatuloy sa kasaysayan ng ating bansa ay nasasalamin sa nagpapatuloy na kamalayan ng mga dalumat na ito. Halos isandaang taon matapos itatag ang Katipunan, pumaimbabaw ang karera ng “Hari ng Pinoy Rap” na si FrancisM sa kaisipan ng mga kabataan. Inangkin niya ang isang dayuhang porma ng musika na popular noon at nilapatan ng mensaheng nagmula sa kamalayang pangkalinangan ng bayan. Mula sa kanyang unang hit song na “Mga Kababayan Ko,” makikita na ang malay na diwang bayan ni FrancisM. Batay sa kasabihan at sikolohiyang Pilipino, ang awitin na ito ang naging bagong Kartilya na nagsaysay ng pagkakakilanlang Pilipino noong Dekada 1990. Sinundan ito ng iba pang mga awitin na nagpatunay lamang na tulad ng Katipunan, konsistent ang mensahe ni FrancisM ng pagmamahal sa bayan at bandila hanggang sa ito ay sumakabilang-buhay nitong nakaraang 6 Marso 2009.
    [Show full text]
  • THE ORIGIN and DEVELOPMENT of JUJU MUSIC: 1900-1990 Abstract the Europeans Introduced Various Forms of Western Music Which Inter
    THE ORIGIN AND DEVELOPMENT OF JUJU MUSIC: 1900-1990 OGISI, ABOYOWA ARUGHA Ph.D Abstract The Europeans introduced various forms of Western music which intermingled with indigenous music resulting in neo-traditional and syncretic forms of music including popular music genres. Until the early 1980s, Nigerian popular music was largely neglected and many key areas such as its history remained unaddressed. Although the history of juju has received some attention, there is a growing need for various perspectives and the advantages that go with such to be investigated. This paper is a contribution in that direction. It examines the development of juju from its early beginnings in the early 1900s to when it ceased being a major popular music genre in 1990. Findings revealed that juju is indebted to several musical traditions: western folk songs, European sea shanties, church hymnody, soldiers' songs, minstrelsy and Yoruba traditional music. Through social intercourse, these traditions fused and produced juju. Until the early sixties its patronage was within Yoruba land but by the early 1960s it had made inroads into other parts of the country and so by 1970 it was a dominant popular music genre in Nigeria. It produced several hits and mega stars arising from the oil boom economy of the early 1970s before it was eclipsed by the rising wave of gospel music. Introduction The ascendancy of popular music amidst other music types from the late 1940s has resulted in its being the most patronised music type in Nigeria. Contrary to expectations that the types of music that receive scholarly attention is predicated on its social significance, popular music remains the least researched among the various types of Nigerian music.
    [Show full text]
  • Writers' Avenue
    Writers’ Avenue Issue 2 December 2013 Writers’ Avenue Issue 2 Issue 2: “Winter” Like snow falling in winter, a writer's pen moves with such intricacy, carefully weaving the stories of life. Every character conceived like snowdrops from the sky, every moment unfolding like breeze of the cold winter solstice. Page 2 Writers’ Avenue Issue 2 Editors’ thoughts Leys It's been a whirlwind of a year, mostly not in a good way. To say that it's been an eventful year is an understatement. Politics, conflicts, typhoons and earthquakes and calamities...that's just here in the Philippines! Perhaps it was all due to the unluckiness of the number 13? In any case, with so many depressing events going on and, for some, so much trauma to live through, the holidays just seem so difficult to celebrate this year. But perhaps it's because of our terrible luck that we need to celebrate the holidays even more? It has been one hectic year and we all deserve to have fun after all we've been through. David Time flew by so fast! Last time I checked it was only August five minutes ago. Kidding aside! A lot of things have happened this year and there were some things that we didn’t expect coming along the way. But the good thing is that another chapter of our lives is yet to be unfolded and it would be an avenue for each of us to start all over again. The year 2013 though, has both been good and bad for me.
    [Show full text]
  • The New Manila Sound: Music and Mass Culture, 1990S and Beyond James Gabrillo
    The New Manila Sound: Music and Mass Culture, 1990s and Beyond A dissertation submitted for the degree of Doctor of Philosophy in Music James Gabrillo Peterhouse, University of Cambridge November 2018 This dissertation is the result of my own work and includes nothing which is the outcome of work done in collaboration. I further state that no substantial part of my dissertation has already been submitted, or, is being concurrently submitted for any such degree, diploma or other quali- fication at the University of Cambridge or any other University or similar institution. It does not exceed the word limit prescribed by the Degree Committee. "2 of 293" The New Manila Sound: Music and Mass Culture, 1990s and Beyond James Gabrillo Abstract This dissertation provides the first detailed account of the mass musical culture of the Philippines that originated in the 1990s and continues to be the most popular style of musical entertainment in the country — a scene I dub the New Manila Sound. Through a combination of archival research, musical analysis, and ethnographic fieldwork, my ex- amination focuses on its two major pioneers: the musical television programme Eat Bula- ga! (Lunchtime Surprise) and the pop-rock band Aegis. I document the scene’s rise and development as it attracted mostly consumers from the lower classes and influenced oth- er programmes and musicians to adapt its content and aesthetics. The scene’s trademark kitsch qualities of parody, humour, and exaggeration served as forms of diversion to au- diences recovering from the turbulent dictatorship of Ferdinand Marcos from 1965 to 1986, when musical works primarily comprised of state-commissioned nationalist an- thems, Western art music, and protest songs.
    [Show full text]
  • New Media and the Karay-A Ethnic Group of the Philippines
    The Dialogical Processes of Vernacular Mediation: New Media and the Karay-a Ethnic Group of the Philippines A thesis submitted to the University of Adelaide in fulfillment of the requirements for the degree of Doctor of Philosophy in Media MARIANE S.A. MEDINA UMALI B.Sc., Development Communication, University of the Philippines Los Baños Discipline of Media School of Humanities and Social Sciences June 2013 Abstract This thesis examines the extent to which vernacular mediation, or the ongoing, sociohistorically situated, and discursive communicative acts through new media technologies, enables the cultural participation and emancipation of marginal groups. It investigates how the ethnolinguistic group Karay-a appropriated the Internet and digital music and video production technologies to reinvent their stereotyped identities, develop collectivity, and work towards the goal of bringing socioeconomic emancipation to their homeland of Antique in Western Philippines. By following a cultural studies approach to examine three cases of vernacular mediation, this thesis aims to explore how the dialogical interaction of new media technologies, audience or individual agency, institutional logics, and asymmetries in power enable and shape a specific emancipatory aim without foreclosing their future potentials. Through an analysis of the musical subgenre Original Kinaray-a Music (OKM), the online community Kinaray-a.com, and the digital short film Handum produced by the marginal group, this thesis argues that vernacular mediation practices have the potential to facilitate cultural participation by enabling expressions and meanings to be reshaped and shared. The sharing of meanings adds to the social and cultural capitals of marginal individuals and enables them to forge social ties.
    [Show full text]