Popular Music of Latin America

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Popular Music of Latin America Lorie L. Francis Terms • Rock nacional • La Ola Inglesa • La Onda • Refrito • Vallenato • Forro • Mambo • Salsa • Tango The Music “La mecedora” • “La Plaga” performed by Los Teen Tops • “Heidra venenosa” performed by Rebeldes del Rock – First rock and roll ecording to be broadcast on Mexican radio in 1959 Café Tacuba Romulo Castro • Punta – Garifuna are the people that dot the Caribbean coast from Belize to Nicaragua – Punta was created by these people • La rosa de los vientos – “The Rose of the Winds” – Popular song or cumbia – Written shortly after US military invasion that overthrew general Manuel Noriega Habanera The Habanera • Utilizes the habanera rhythm – A type of “long-short-long-long” rhythm • Most famous habanera? – Used in opera • La habanera by Ernesto Lecuona Tres Lindas Cubanas Mambo Kings Nueva trova • Late 1950s and early 1960s – Nueva trova: New style – Vieja trova or trova tradicional: Old style – Movement was officially recognized in 1967 with the Encuentro de la Cancion Protesta • United States sees artists such as Bob Dylan and Joan Baez • Hasta siempre, Comandante was written as a serious counter to the “fluff” that was coming from the US Salsa • Resurgence of Latin music – Not meant for the Carribean, but for New York city • Generally in two parts – Main body of the song – Followed by the faster “montuno” in a quick call and response style • Salsa bands often have special effects such as clothing, lighting, and choreography Forro • General word for “party” • Northeast area of Brazil • Separation of cosmopolitan areas and country • Often the lyrics describe the harshness of migratory, low-income groups. • Luiz Gonzaga (1912-1989) – King of Baiao – “Asa Branco” Carlos Gardel Astor Piazzolla “Los sobrevivientes” Seru Giran.

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Music of Latin America (In English)
Music of Latin America (in English) Class Code MUSIC – UA 9155 Instructor Juan Raffo Details Email: [email protected] Cell/WhatsApp: +54 911 6292 0728 Office Hours: Faculty Room, Wed 5-6 PM Class Details Mon/Wed 3:30-5:00 PM Location: Room Astor Piazzolla Prerequisites None Class A journey through the different styles of Latin American Popular Music (LAPM), Description particularly those coming from Argentina, Brazil and Uruguay. Their roots, influences and characteristics. Their social and historical context. Their uniqueness and similarities. Emphasis in the rhythmic aspect of folk music as a foundation for dance and as a resource of cultural identity. Even though there is no musical prerequisite, the course is recommended for students with any kind and/or level of musical experience. The course explores both the traditional and the contemporary forms of LAPM. Extensive listening/analysis of recorded music and in-class performing of practical music examples will be primary features of the course. Throughout the semester, several guest musicians will be performing and/or giving clinic presentations to the class. A short reaction paper will be required after each clinic. These clinics might be scheduled in a different time slot or even day than the regular class meeting, provided that there is no time conflict with other courses for any of the students. Desired Outcomes ● Get in contact with the vast music culture of Latin America ● Have a hands-on approach to learn and understand music ● Be able to aurally recognize and identify Latin American music genres and styles Assessment 1. Attendance, class preparation and participation, reaction papers (online): Components 20 % 2.
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Colombian Nationalism: Four Musical Perspectives for Violin and Piano
COLOMBIAN NATIONALISM: FOUR MUSICAL PERSPECTIVES FOR VIOLIN AND PIANO by Ana Maria Trujillo A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Major: Music The University of Memphis December 2011 ABSTRACT Trujillo, Ana Maria. DMA. The University of Memphis. December/2011. Colombian Nationalism: Four Musical Perspectives for Violin and Piano. Dr. Kenneth Kreitner, Ph.D. This paper explores the Colombian nationalistic musical movement, which was born as a search for identity that various composers undertook in order to discover the roots of Colombian musical folklore. These roots, while distinct, have all played a significant part in the formation of the culture that gave birth to a unified national identity. It is this identity that acts as a recurring motif throughout the works of the four composers mentioned in this study, each representing a different stage of the nationalistic movement according to their respective generations, backgrounds, and ideological postures. The idea of universalism and the integration of a national identity into the sphere of the Western musical tradition is a dilemma that has caused internal struggle and strife among generations of musicians and artists in general. This paper strives to open a new path in the research of nationalistic music for violin and piano through the analyses of four works written for this type of chamber ensemble: the third movement of the Sonata Op. 7 No.1 for Violin and Piano by Guillermo Uribe Holguín; Lopeziana, piece for Violin and Piano by Adolfo Mejía; Sonata for Violin and Piano No.3 by Luís Antonio Escobar; and Dúo rapsódico con aires de currulao for Violin and Piano by Andrés Posada.
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FC List Through 20209
1000000104 Central and South American/ Iberia (Spanish & Portuguese) CENTRAL AND SOUTH AMERICA ANT 310L INTRO TO JEWISH LATIN AMERICA ANT 310L 9-AZTECS AND SPANIARDS (LAS 315) ANT 324L GLOBALIZATION IN LATIN AMER (LAS 324L) ANT 324L MAYA ART AND ARCHITECTURE-GUA (ARH 347M, GRG 356T, LAS 327 [5]) ANT 324L ARAB LATIN AMERICAS ANT 324R DAILY LIFE IN MESOAMERICA (LAS 324Q) ANT 662 FIELD ARCHAEOLOGY-BLZ ARH 341S ART CINEMAS OF THE AMERICAS (LAS 327-7) ARH 347N AZTEC RT AND CIVILIZATION ARH 370 ARCH/SCULPTURE IN MAYA WORLD ARH370J 1-ANCIENT MAYA WRTG AND HIST ARH 370J 2-SCRD LNDSCPS PRECLMBN WRLD GRG 323K SOUTH AMER: NAT/SOCTY/SUST-ECU HIS 306N INTRO TO JEWISH LATIN AMERICA HIS 310K LATIN AMER CIV: COLONIAL EXP (LAS 310 [1]) HIS 328M MODERN BRAZIL (LAS 366 [12]) HIS 346V 20TH-CEN RURAL LATIN AMER (LAS 366 [19]) HIS 346W CHURCH & STATE IN LAT AMER (LAS 366 [21], R S 368 [1]) HIS 350L CHILE: REVLUTN TO CNTERREVLUTN (LAS 366) HIS 350L 68-AFRO-LATIN AMERICA (AFR 372G [10], LAS 366 [31]) HIS 363K CUBA IN QUESTION-CUB (SPC 320C, LAS 328, AFR 372G) HIS 363K POLITICS OF FOOD IN LATIN AMER (LAS 366) HIS 363K 4-MAPPING LATIN MAERICA (GRG 356T [12], LAS 330 [4]) LAS 301 KEY IDEAS & ISS IN LAT AMER LAS 310 AFRICANS IN THE ATLANTIC WORLD LAS 310 AFRO-BRAZILIAN DIASPORA LAS 310 ISRAEL/LAT AM/JEWISH DIASPORA LAS 310 SEX/REVLTN MODERN LAT AMER LAS 310 DRUG HISTORY IN THE AMERICAS LAS 310 INTRO RELIG/LAT AMER/CARIB LAS 310 RACE, DEPORTATION, DIASPORA LAS 310 1-LATIN AMERICAN CIVILIZATION: THE COLONIAL EXPERIENCE LAS 310 5-FILM/HIST LAT AM: COLONIAL LAS 310 6-FILM/HIST
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MUS1211 Music of Latin America Pathways: Creative Expression
Humanities Department MUS1211 Music of Latin America Pathways: Creative Expression Description: A study of the music of Latin America including African, Native American and European cultural influences. Melodic patterns, rhythms and harmonic structures of the music, as well as the influence of social settings and religious rituals are examined and discussed. 3 hours, 3 credits Prerequisite: Eligibility for ENG1101 or ENG 1101CO or ENG 1101ML Objectives: Students will: Achieve a thorough understanding of basic music terms and their application to music in general. Compare and contrast the music of different countries and style periods studied. Gain an in-depth understanding of the cultural forces and traditions that influenced the works studied. Be able to differentiate between purely instrumental music, song, opera, musical, oratorio, ballet, and film music. Demonstrate knowledge of the skills of composers and performers involved in the creative process. Text: The Garland Handbook of Latin American Music Edited by Olsen and Sheehy , (Routledge). This text comes with two CDs of listening examples. Grading: Exam 1 25% Exam 2 (midterm) 25% Exam 3 25% Exam 4 (final) 25% Assessment of Student Learning and Outcomes: 1. Students will learn and apply fundamental concepts, here called musical elements, in exploring, discussing, and analyzing selected music compositions. This will be accomplished through class music listening sessions and subsequent discussion. The mastery of these concepts will be demonstrated through their use in discussion and through exams. 2. Students will analyze music from different countries and historical periods and learn the particular significance of each work in its own time and place. Students will demonstrate their knowledge of this through class discussion and exams.
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New York University in Buenos Aires the Music of Latin America (In English) V71.9155.002
New York University in Buenos Aires The Music of Latin America (in English) V71.9155.002 Professor: Juan Raffo Aug-Dec 2011 Office Hours: Mon & Thr 7-8 PM, by appointment Mon & Thr 3:30-5:00 PM [email protected] Room: Astor Piazzolla 1. Course Description: A journey through the different styles of Latin American Popular Music (LAPM), particularly those coming from Argentina, Brazil and Uruguay. Their roots, influences and characteristics. Their social and historical context. Their uniqueness and similarities. Emphasis in the rhythmic aspect of folk music as a foundation for dance and as a resource of cultural identity. Even though there is no musical prerequisite, the course is recommended for students with any kind and/or level of musical experience. The course explores both the traditional and the comtemporary forms of LAPM Extensive listening/analysis of recorded music and in-class performing of practical music examples will be primary features of the course. Throughout the semester, several guest musicians will be performing and/or giving clinic presentations to the class. A short reaction paper will be required after each clinic. These clinics might be scheduled in a different time slot or even day than the regular class meeting, provided that is no time conflict with other courses for any of the students. Once a semester, the whole class will attend a public concert along with the professor. This field trip will replace a class session. Attendance is mandatory. In addition to that, students will be guided—and strongly encouraged—to go to public concerts and dance venues on their own.
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Oxnard Course Outline
Course ID: MUS R109 Curriculum Committee Approval Date: 03/14/2018 Catalog Start Date: Fall 2019 COURSE OUTLINE OXNARD COLLEGE I. Course Identification and Justification: A. Proposed course id: MUS R109 Banner title: Music of Latin America Full title: Music of Latin America B. Reason(s) course is offered: This course would be a valuable addition to Oxnard College's offerings in humanities for transfer. It covers musical aesthetics, concepts, and history in a similar vein to History of Rock or Music Appreciation, but through a lens that is more attuned to OC's student demographics. It would also have the ability to span several disciplines, making it a fitting course for programs in Spanish, or perhaps Anthropology. This course is intended to satisfy CSU GE-Breadth area C1 and IGETC area 3A, and local GE in area C1 where comparable courses in music and art appreciation are approved. C. C-ID: 1. C-ID Descriptor: 2. C-ID Status: D. Co-listed as: Current: None II. Catalog Information: A. Units: Current: 3.00 B. Course Hours: 1. In-Class Contact Hours: Lecture: 52.5 Activity: 0 Lab: 0 2. Total In-Class Contact Hours: 52.5 3. Total Outside-of-Class Hours: 105 4. Total Student Learning Hours: 157.5 C. Prerequisites, Corequisites, Advisories, and Limitations on Enrollment: 1. Prerequisites Current: 2. Corequisites Current: 3. Advisories: Current: 4. Limitations on Enrollment: Current: D. Catalog description: Current: This course is a survey of the diverse and rich musical traditions of Latin America from pre-colonialism to the present day. The course will focus on the origins, influences, and styles within specific countries and regions such as Mexico, Brazil, the Andes, the Caribbean, the United States, and others.
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Music of Latin America
Missouri University of Science and Technology Scholars' Mine Course Materials Open Educational Resources (OER) 01 Jun 2019 Music Appreciation: Music of Latin America Lorie L. Francis Missouri University of Science and Technology, [email protected] Follow this and additional works at: https://scholarsmine.mst.edu/oer-course-materials Part of the Music Commons Recommended Citation Francis, Lorie L., "Music Appreciation: Music of Latin America" (2019). Course Materials. 3. https://scholarsmine.mst.edu/oer-course-materials/3 This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License. This Course materials is brought to you for free and open access by Scholars' Mine. It has been accepted for inclusion in Course Materials by an authorized administrator of Scholars' Mine. This work is protected by U. S. Copyright Law. Unauthorized use including reproduction for redistribution requires the permission of the copyright holder. For more information, please contact [email protected]. Music Appreciation: Music of Latin America Lorie L. Francis, Associate Teaching Professor Class expectations What is this class all about?? Syllabus A printable version is located within canvas Quick overview of syllabus It is important to remember this is a blended class No class is held on Fridays Procedure for checking out a drum for practicing Rooms are only open certain hours Drums CANNOT be taken out of the building Best way to contact me is through email [email protected] Office hours are 1:00-2:00 Monday and Wednesday;
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Gershwin, Copland, Lecuoña, Chávez, and Revueltas
Latin Dance-Rhythm Influences in Early Twentieth Century American Music: Gershwin, Copland, Lecuoña, Chávez, and Revueltas Mariesse Oualline Samuels Herrera Elementary School INTRODUCTION In June 2003, the U. S. Census Bureau released new statistics. The Latino group in the United States had grown officially to be the country’s largest minority at 38.8 million, exceeding African Americans by approximately 2.2 million. The student profile of the school where I teach (Herrera Elementary, Houston Independent School District) is 96% Hispanic, 3% Anglo, and 1% African-American. Since many of the Hispanic students are often immigrants from Mexico or Central America, or children of immigrants, finding the common ground between American music and the music of their indigenous countries is often a first step towards establishing a positive learning relationship. With this unit, I aim to introduce students to a few works by Gershwin and Copland that establish connections with Latin American music and to compare these to the works of Latin American composers. All of them have blended the European symphonic styles with indigenous folk music, creating a new strand of world music. The topic of Latin dance influences at first brought to mind Mexico and mariachi ensembles, probably because in South Texas, we hear Mexican folk music in neighborhood restaurants, at weddings and birthday parties, at political events, and even at the airports. Whether it is a trio of guitars, a group of folkloric dancers, or a full mariachi band, the Mexican folk music tradition is part of the Tex-Mex cultural blend. The same holds true in New Mexico, Arizona, and California.
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Musical Cultures of Latin America
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Syllab 334 Mus of Latam
Syllabus MUS 334/MUS/380/AFR 374/LAS 326 Musics of Latin America Instructor: Robin Moore Instructor's office: MBE 3.210 Office Tel.—512 471-0373 Email: [email protected] Office hrs: Thurs 1-3pm or by appt. Class times: Tues-Thurs 11am-12:15pm Class location: MRH 2.634 Teaching assistant: Jeannelle Ramirez [email protected] Lab location: MRH 2.604 Unique numbers and labs for Music (MUS 334): Lab Mon 5-6pm (21735) Lab Wed 5-6pm (21740) Lab Mon 6-7pm (21745) For African and African American Studies (AFR 374F): Lab Mon 5-6pm (30290) Lab Wed 5-6pm (30295) Lab Mon 6-7pm (30300) For Latin American Studies (LAS 326): Lab Mon 5-6pm (40275) Lab Wed 5-6pm (40280) Lab Mon 6-7pm (40285) Description This survey course considers Latin American music within a broad cultural and historical framework. Latin American musical practices are explored by illustrating the many ways that aesthetics and society are embodied in and negotiated through performance. Our discussions will be framed by a range of concepts pertinent in Latin American contexts such as diaspora, colonialism, mestizaje, hybridity, migration, and globalization. The course carries a Global Cultures flag. Global Cultures courses are designed to increase your familiarity with cultural groups outside the United States. You should therefore expect a substantial portion of your grade to come from assignments covering the practices, beliefs, and histories of at least one non-U.S. cultural group, past or present. Readings Music of Latin America syllabus, p. 2 One textbook has been ordered for the course, Musics of Latin America (W.W.
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A Survey of Choral Music of Mexico During the Renaissance and Baroque Periods Eladio Valenzuela III University of Texas at El Paso, [email protected]
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