Ch Feliz Navidad

Total Page:16

File Type:pdf, Size:1020Kb

Ch Feliz Navidad FelizJose Feliciano © 1970 Navidad all rights reserved G Am7 D Feliz Navidad. G C G Intro D7 G Feliz Navidad. G C Feliz Navidad. C D D7 G Prospero Ano y Felicidad. G Am7 D Feliz Navidad. D7 G Em Feliz Navidad. Em C Feliz Navidad. C D D7 G Prospero Ano y Felicidad. G C D I wanna wish you a Merry Christmas. D7 G Em I wanna wish you a Merry Christmas. Em C I wanna wish you a Merry Christmas, C D D7 G G7 From the bottom of my heart. G7 C D I wanna wish you a Merry Christmas. D7 G Em I wanna wish you a Merry Christmas. Em C I wanna wish you a Merry Christmas, C D D7 G From the bottom of my heart. !1 History ”Feliz Navidad” is a macaronic (more than one language) Christmas song written in 1970 by the Puerto Rican singer-songwriter José Feliciano. With its simple yet powerful Spanish chorus "Feliz Navidad, próspero año y felicidad" and equally stirring English verse "I wanna wish you a Merry Christmas from the bottom of my heart", it has become a classic Christmas pop song in the United States, throughout the Spanish-speaking world and internationally. Feliciano's version of "Feliz Navidad" (in which he plays both an acoustic guitar and a Puerto Rican Cuatro) is one of the Jose Feliciano most downloaded and aired Christmas Image from seventies music - WordPress.com songs in the United States and Canada. It was recognized by ASCAP as one of the top 25 most played and recorded Christmas songs around the world. The Puerto Rican cuatro is the national instrument of Puerto Rico. It belongs to the lute family of stringed instruments, and is guitar-like in function, but with a shape closer to that of the violin. The word cuatro means "four", which was the total of strings of the very first Puerto Rican cuatro. They now come in eight string “Southern” and ten string “moderno” configurations. Wikipedia & Rick Larson asyougosongs.com !2.
Recommended publications
  • 2015 Review from the Director
    2015 REVIEW From the Director I am often asked, “Where is the Center going?” Looking of our Smithsonian Capital Campaign goal of $4 million, forward to 2016, I am happy to share in the following and we plan to build on our cultural sustainability and pages several accomplishments from the past year that fundraising efforts in 2016. illustrate where we’re headed next. This year we invested in strengthening our research and At the top of my list of priorities for 2016 is strengthening outreach by publishing an astonishing 56 pieces, growing our two signatures programs, the Smithsonian Folklife our reputation for serious scholarship and expanding Festival and Smithsonian Folkways Recordings. For the our audience. We plan to expand on this work by hiring Festival, we are transitioning to a new funding model a curator with expertise in digital and emerging media and reorganizing to ensure the event enters its fiftieth and Latino culture in 2016. We also improved care for our anniversary year on a solid foundation. We embarked on collections by hiring two new staff archivists and stabilizing a search for a new director and curator of Smithsonian access to funds for our Ralph Rinzler Folklife Archives and Folkways as Daniel Sheehy prepares for retirement, Collections. We are investing in deeper public engagement and we look forward to welcoming a new leader to the by embarking on a strategic communications planning Smithsonian’s nonprofit record label this year. While 2015 project, staffing communications work, and expanding our was a year of transition for both programs, I am confident digital offerings.
    [Show full text]
  • 1 Eugenio Maria De Hostos Community College / CUNY
    Eugenio Maria de Hostos Community College / CUNY Humanities Department Visual & Performing Arts Unit Academic Program Review Fall 2016 Second Draft Academic Program Mission Statement The Visual & Performing Arts Unit fosters and maintains the history and practice of all aspects of artistic endeavor in the College and the community. Through its curriculum, members of the College community and other members of the urban community explore, interpret, and apply the artistic practices that lead to a better understanding of themselves, their environment, and their roles in society. Description of the Unit The VPA Unit is the largest unit of the Humanities Department. It serves approximately 1,125 students from all majors at Hostos every semester. With courses as far ranging as painting and drawing, art history, public speaking, acting, music, and photography, students can pursue many possible creative paths. Those who elect to earn credits in the visual and performing arts will find a variety of approaches to learning that include lecture and studio based classes as well as workshops that allow for the exploration of extracurricular interests or even for the development of career centered skill sets vital to the pursuit of employment opportunities. The successful completion of courses in the arts are a useful and, in many cases, essential basis for study in other disciplines. They are also a valuable source for personal development. Students interested in planning a concentration in the visual and performing arts are advised to consult with the Visual and Performing Arts Coordinator. The Media Design Programs were originally housed in the VPA Unit, but operate as a separate unit due to the considerable growth of students and courses.
    [Show full text]
  • José Gabriel Muñoz Interview Transcript
    Raíces Digital Archive Oral History Transcript José Gabriel Muñoz - Cuatrista October 20, 2019 [0:11] José Gabriel Muñoz: My name is José Gabriel Muñoz and I play the Puerto Rican cuatro. It’s used mostly for the folkloric music of Puerto Rico. [0:20] I grew up listening to the music in my household. My dad would always play the music. I was born in Puerto Rico so I had those roots of the music and the culture was always in my family. And my dad would always play the music so growing up, I was always listening to it, it was always basically a part of me. [41:00] But when I was about fourteen years old I saw someone play it in front of me for the first time, and it happened to be a young man, my same age, about fourteen-thirteen, fourteen, at the time, and that’s when it became palpable and real to me. Up until then it was listening to eight-tracks and cassettes, you know, the old guard of the music, as I would call it. [1:03] And so, many young people, as myself at the time, would interpret that as just music for old people, music of my grandfathers, of my older uncles and such. It wasn’t the here and now, hip type music. Up until I watched this young man play, right in front of me, and it became alive to me, and from that moment on is where the interest grew. [1:32] Nicole Wines: Can you talk a little bit about the instrument itself? [1:38] JGM: The instrument comes from the lute family, it is my understanding.
    [Show full text]
  • Jíbaro a Smithsonian Folkways Lesson Designed By: Sandra Sanchez University of Miami
    Jíbaro A Smithsonian Folkways Lesson Designed by: Sandra Sanchez University of Miami Summary: Puerto Rican culture is a representation of the diverse heritages of three cultural groups: Taíno Indians, Africans, and Spaniards. This lesson focuses on the Spanish influences found in Puerto Rico’s musical culture by studying jíbaro music. Suggested Grade Level: Grades 3-5, 6-8 Country: Puerto Rico Region: Caribbean Culture Groups: Puerto Rican, Spanish Genre: Instruments: Cuatro, Orff Instruments, Güiro Language: Spanish Co-curricular Areas: Language Arts, Social Studies National Standards: 1, 2, 3, 4, 6, 7, 8, 9 Prerequisites: Students should have had some experience using Orff instruments. Objectives • Students will be able to create lyrics using an assigned rhyming structure. • Students will be able to create rhythms to the lyrics of a décima. • Students will be able to improvise a melody with a given rhythm on an Orff instrument. • Students will be able to sing the response section to a call-and-response song. Materials 1. Mohr, Nicholasa and Antonio Martorell. 1995. The song of el coquí and other tales of Puerto Rico. New York: Viking. 2. Orff Instruments 3. Güiro and pua (güiro stick) 4. Musica del Pueblo Website: http://www.musicadelpueblo.org/ 5. Smithsonian Folkways, “Y amo la libertad (And I Love Freedom)” by Ecos de Borinquen from Jíbaro Hasta el Hueso: Mountain Music of Puerto Rico: http://www.folkways.si.edu/ecos-de-borinquen/jibaro-hasta-el-hueso-mountain- music-of-puerto-rico/latin-world/album/smithsonian 6. Smithsonian Folkways, “Seis Salinés” by Cuerdas de Borínquen from Puerto Rico in Washington: http://www.folkways.si.edu/puerto-rico-in-washington/caribbean-latin- world/music/album/smithsonian Lesson Segments 1.
    [Show full text]
  • Isolation on and Off the Island: the Politics of Displacement in Contemporary Spanish Caribbean Fiction
    ISOLATION ON AND OFF THE ISLAND: THE POLITICS OF DISPLACEMENT IN CONTEMPORARY SPANISH CARIBBEAN FICTION By Gretchen Susan Selcke Dissertation Submitted by the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in Spanish August, 2015 Nashville, Tennessee Approved: William Luis, Ph.D. Cathy L. Jrade, Ph.D. Benigno Trigo, Ph.D. Lorraine M. López, Ph.D. Copyright © 2015 by Gretchen Susan Selcke All Rights Reserved To my husband Phil for his unwavering love and support and To my daughter Belén Amanda iii ACKNOWLEDGEMENTS This work would not have been possible without Vanderbilt University’s Department of Spanish and Portuguese. I am grateful for financial support from Vanderbilt’s Graduate Select Scholars Award, the Center for the Americas’ Fellowship, the Library Dean’s Fellowship for the Manuel Zapata Olivella Correspondence Collection, and the E. Inman Fox Graduate Teaching Award. These awards and fellowships, among others, helped me to complete this project. I am especially indebted to Professor William Luis, my first and greatest champion. He is a wonderful mentor and scholar whose lasting contributions to Latino Studies shape the field. Thank you to Professor Cathy Jrade, who as Department Chair for most of my tenure at Vanderbilt, provided guidance and set an example of professional excellence. To Professor Benigno Trigo, thank you for your careful attention and support. To Professor Lorraine López, thank you for your encouragement and willingness to support graduate education. My committee has been tested, and I am forever in their debt. I am grateful to all of those with whom I have had the honor to work during this and other projects.
    [Show full text]
  • About the Puerto Rican Arts Alliance (PRAA)
    _________________________________________________________________________________ 3000 N. Elbridge Ave., Chicago, IL 60618 - 773-342-8865 - praachicago.org - facebook.com/PuertoRicanArtsAlliance About the Puerto Rican Arts Alliance (PRAA) The Puerto Rican Arts Alliance (PRAA) is dedicated to preserving culture by maintaining traditions, promoting the arts, providing educational opportunities, and cultivating pride in heritage for future generations. The organization works toward this mission through separate - but interconnected - program areas and activities that include school-based programs, workshops, community outreach, and exhibitions. The organization has more than 20 years of experience working within the community, specifically with youth. PRAA offers unique programs that increase knowledge, impact identity, and inspire creativity. Through programs at three community locations -- Humboldt Park Field House, PRAA Center and the Latin Music Project Center – PRAA serves a diverse audience of 30,000 individuals each year. About the Latin Music Project The Latin Music Project (LMP) is an afterschool program offering classes in cuatro, guitar, violin, ensemble performance and Latin music fundamentals. Classes are offered for children/youth from all backgrounds, aged 4-18 years. Participants will learn how to read music, how to play traditional Latin American songs and how to perform as a group. Classes are held at the Latin Music Project Center (2958 N Milwaukee Ave, Chicago). Advanced students may audition to join PRAA's Latin Music Project Ensemble, gaining additional experience performing at community events and practicing once per week year-round. 2020-2021 Program Dates: Fall Classes September 28 – December 16, 2020 Fall Final Concert Thursday, December 17, 2020, 6-8pm Spring Classes February 1 – April 26, 2021 Spring Final Concert Thursday, April 37, 2021, 6-8pm No classes are held when CPS is closed.
    [Show full text]
  • Volume-7-No-3
    iro y Maraca Volume 7, Number 3 July 2003 A Publication of the Segunda Quimbamba Folkloric Center, Inc. La Monoestrellada in the Lone Star State: The Meteoric Rise of Austin's Puerto Rican Folkloric Dance By Juan Cartagena In the southern part of Texas, San Antonio and beyond, three flags with slow, undulating waves in a hot, unforgiving Texan sun are prominent in airports and other locales. In the center, the stars and stripes hold court. To the left, the unflinching waves of the lone star state flag of Texas is noticeable. To the right are the proud red, white and green colors of the bandera de Mexico. The flags are a clear reminder of the profound relationships, tor- tured and at times complementary, between Texas and the land of Aztlan. About 70 miles north in Austin, Texas, the impact of Mexican life and culture within the state capitol does not wane, despite the city's reputation as the most diverse of Texas' communities. It is representative of the extensive and ever growing Mexican influence in all things Latino within the United States; a growing influence that every Latina and Latino should recognize with- in the U.S. — that the Latinization of the United States is dominated by Mexico, no matter how prominent and com- mercialized Cuban and Puerto Rican images have manifested themselves in recent years. It is the music of Mexico and its offshoots, banda and norteno music that is far and away the biggest selling music among Latinos in this country. For decades now, Mexican Americans have composed approximately 60% of the Latino population of the United States.
    [Show full text]
  • Ment in Puerto Rican Chicago by Karen Serwer Secrist
    Construyendo nuestro pedacito de patria: Space and Dis(place)ment in Puerto Rican Chicago by Karen Serwer Secrist Department of Romance Studies Duke University Date:_______________________ Approved: ___________________________ Antonio Viego, Supervisor ___________________________ Esther Gabara ___________________________ Walter Mignolo ___________________________ Claudia Milián ___________________________ Richard Rosa Dissertation submitted in partial fulfillment of the requirements for the degree of PhD of Philosophy in the Department of Romance Studies in the Graduate School of Duke University 2009 ABSTRACT Construyendo nuestro pedacito de patria: Space and Dis(place)ment in Puerto Rican Chicago by Karen Serwer Secrist Department of Romance Studies Duke University Date:_______________________ Approved: ___________________________ Antonio Viego, Supervisor ___________________________ Esther Gabara ___________________________ Walter Mignolo ___________________________ Claudia Milián ___________________________ Richard Rosa An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of PhD in the Department of Romance Studies in the Graduate School of Duke University 2009 Copyright by Karen Serwer Secrist 2009 Abstract This dissertation explores the relationship between identity and place in the imagination, performance and production of post-World War II Puerto Rican urban space in Chicago. Specifically, I contend that the articulation of Puerto Rican spatiality in the city has emerged primarily as a response to the threat of local displacement as a byproduct of urban renewal and gentrification. I further argue the experience of displacement, manifested through territorial attachment, works to deepen the desire for community and belonging. Through a performance and cultural studies approach, this project works to track this recent history of Puerto Rican geographic and psychic displacement within Chicago as it is evidenced by various performative spatial interventions and manifested within the community’s expressive culture.
    [Show full text]
  • Society for Ethnomusicology 59Th Annual Meeting, 2014 Abstracts
    Society for Ethnomusicology 59th Annual Meeting, 2014 Abstracts Young Tradition Bearers: The Transmission of Liturgical Chant at an then forms a prism through which to rethink the dialectics of the amateur in Eritrean Orthodox Tewahedo Church in Seattle music-making in general. If 'the amateur' is ambiguous and contested, I argue David Aarons, University of Washington that State sponsorship is also paradoxical. Does it indeed function here as a 'redemption of the mundane' (Biancorosso 2004), a societal-level positioning “My children know it better than me,” says a first generation immigrant at the gesture validating the musical tastes and moral unassailability of baby- Holy Trinity Eritrean Orthodox Church in Seattle. This statement reflects a boomer retirees? Or is support for amateur practice merely self-interested, phenomenon among Eritrean immigrants in Seattle, whereby second and fails to fully counteract other matrices of value-formation, thereby also generation youth are taught ancient liturgical melodies and texts that their limiting potentially empowering impacts in economies of musical and symbolic parents never learned in Eritrea due to socio-political unrest. The liturgy is capital? chanted entirely in Ge'ez, an ecclesiastical language and an ancient musical mode, one difficult to learn and perform, yet its proper rendering is pivotal to Emotion and Temporality in WWII Musical Commemorations in the integrity of the worship (Shelemay, Jeffery, Monson, 1993). Building on Kazakhstan Shelemay's (2009) study of Ethiopian immigrants in the U.S. and the Margarethe Adams, Stony Brook University transmission of liturgical chant, I focus on a Seattle Eritrean community whose traditions, though rooted in the Ethiopian Orthodox Church, are The social and felt experience of time informs the way we construct and affected by Eritrea's turbulent history with Ethiopia.
    [Show full text]
  • 2012 Calendar Journal
    CALENDAR JOURNAL La Tuna Estudiantina de Cayey and the Hostos Center for the Arts & Culture present A revue of Puerto Rican music. Celebrating Puerto Rican Heritage Month and the 45th Anniversaries of Hostos Comunity College and La Tuna de Cayey Sat, Nov 17, 2012 ▪ 7:30 pm Main Theater - Hostos Community College/CUNY 450 Grand Councourse at 149th St. ▪ The Bronx Admission: $15, $10 - Info & tkts: 718-518-4455 - www.hostos.cuny.edu/culturearts 2, 4, 5, Bx1, Bx19 to Grand Concourse & 149 St. Made possible, in part, with public funds from the NYC Department of Cultural Affairs in cooperation with the New York City Council. COMITÉ NOVIEMBRE WOULD LIKE TO EXTEND ITS SINCEREST GRATITUDE TO THE SPONSORS AND SUPPORTERS OF PUERTO RICAN HERITAGE MONTH 2012 THE NIELSEN CompanY CITY UNIVERSITY OF NEW YORK Municipal CREDIT UNION 1199 SEIU UNITED Federation OF TEACHERS WOLF POPPER, LLP CON EDISON Hostos COMMUNITY COLLEGE, CUNY ACACIA NETWORK INSTITUTE FOR THE Puerto RICAN/Hispanic ELDERLY, INC. Colgate PALMOLIVE EL CENTRO DE ESTUDIOS PuertorriQUEÑOS HealthPRO MED LEHMAN COLLEGE, CUNY Puerto RICO CONVENTION BUREAU RAIN, INC. MEMBER AGENCIES INSTITUTE FOR THE Puerto RICAN/Hispanic ELDERLY ASPIRA OF NEW YORK EL CENTRO DE ESTUDIOS PuertorriQUEÑOS EL MUSEO DEL BARRIO EL PUENTE EUGENIO MARÍA DE Hostos COMMUNITY COLLEGE/CUNY LA CASA DE LA HERENCIA Cultural PuertorriQUEÑA, INC. LA FUNDACIÓN NACIONAL para LA Cultura POPULAR LatinoJUSTICE: PRLDEF MÚSICA DE CÁMARA National CONGRESS FOR Puerto RICAN RIGHTS – JUSTICE COMMITTEE National INSTITUTE FOR Latino POLICY Puerto RICO FEDERAL Affairs Administration COMITÉ NOVIEMBRE HEADQuarters INSTITUTE FOR THE Puerto RICAN/Hispanic ELDERLY 105 East 22nd st.
    [Show full text]
  • Doctoral Dissertation Template
    UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE THE INFLUENCE OF SALSA IN THE CELLO WORKS OF WILLIAM ORTIZ A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS By PAULA SANTACRUZ ROSARIO Norman, Oklahoma 2019 THE INFLUENCE OF SALSA IN THE CELLO WORKS OF WILLIAM ORTIZ A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY THE COMMITTEE CONSISTING OF Dr. Jonathan Ruck, Chair Dr. Gregory Lee Dr. Eugene Enrico Dr. Frank Riddick Dr. Julie Ward © Copyright by PAULA SANTACRUZ ROSARIO 2019 All Rights Reserved. Acknowledgements I would like to thank composer William Ortiz for his interest and support throughout the creation of this document and for his permission to present my performance editions in it. Furthermore, I would like to thank my colleagues and friends John Rivera Picó and Verónica Quevedo for their work in the digitalization of Ortiz’s works for cello. These performance editions were achieved thanks to their help and dedication in support of my work. I would also like to express my gratitude to the committee members for guiding me through the process of completing my requirements for the Doctor of Musical Arts degree. It has been a great learning experience, and I can only hope to help my students in the same way you have all helped me throughout my years at The University of Oklahoma. I am forever grateful to my friends and family for believing in me and always being there throughout my critical moments of self-doubt or plain tiredness. Thanks to all who believed in this project and its relevance.
    [Show full text]
  • “Lamento Borincano”--Canario Y Su Grupo (1930) Added to the National Registry: 2017 Essay by Mario C
    “Lamento Borincano”--Canario y Su Grupo (1930) Added to the National Registry: 2017 Essay by Mario C. Cancel-Bigay (guest post)* Carnario y Su Grupo On “Lamento borincano” and Its Many Lives According to Rafael Hernández Marín (1891-1965), the Afro-Puerto Rican composer of “Lamento borincano,” it was on a cold December day in 1929, as he reminisced with some friends about the warmth of his homeland of Puerto Rico in a Harlem restaurant, when he approached an “almost-falling-apart-piano in a corner” and began to “spontaneously” compose the famous bolero (qtd. in Glasser 1995: 163-164). A few months later, on July 14th 1930, “Lamento borincano” was recorded for the first time by Canario y Su Grupo for RCA Victor in New York City. The song not only became a hit and an unofficial anthem for Puerto Ricans from the island and the diaspora but, being his first recording, it also helped to launch the career of lead singer Pedro Ortiz Dávila--“Davilita”--who was 18 at the time. Manuel “Canario” Jiménez, for his part, leader of Canario y Su Grupo, already had vast experience recording. In time, he would become a renowned performer and composer of plena music, an Afro-Puerto Rican genre with Anglo-Caribbean influences born around the beginning of the 20th century in Ponce, Puerto Rico. The instrumentation of the song was simple: it included guitars, maracas— a legacy of Puerto Rico’s original inhabitants, the Taínos—and claves, the wooden sticks so emblematic of Afro-Cuban music. Curiously, the version recorded by Canario y Su Grupo was “incomplete” insofar as it lacked one of the song’s stanzas (Malavet Vega 2015: 40-41).
    [Show full text]