DOCSLIB.ORG

1 Inventing New Marimba Performance from the African Balafon

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
1 Inventing New Marimba Performance from the African Balafon Inventing New Marimba Performance from the African Balafon Music Practice 1 2 The Antwerp Research Institute for the Arts (ARIA) Thesis for the degree of Doctor in Arts at the University of Antwerp to be defended by Adilia On-ying Yip Inventing New Marimba Performance from the African Balafon Music Practice Supervisors: Prof. dr. Kathleen Coessens & Prof. dr. Henk de Smaele Antwerp 2018 3 4 The Antwerp Research Institute for the Arts (ARIA) Proefschrift voorgelegd tot het behalen van de graad van doctor in de Kunsten aan de Universiteit Antwerpen te verdedigen door Adilia On-ying Yip Nieuwe Marimba Performance Uitvindingen vanuit de Afrikaanse Balafoon Traditie Promotoren: Prof. dr. Kathleen Coessens & Prof. dr. Henk de Smaele Antwerpen 2018 5 6 To my parents 7 8 ACKNOWLEDGMENTS This study was funded by the Royal Conservatoire Antwerp (Koninklijk Conservatorium, Artesis Plantijn Hogeschool Antwerpen). Although it is impossible to thank everyone who has helped me in the completion of this dissertation, I must acknowledge the unique contributions of certain individuals, to whom I am indebted: my artistic supervisor, Kathleen Coessens, for encouragement and patience throughout, and for the sharpness of perception in cutting the Gordian knot of my conceptual and organizational complexities. My academic supervisor, Henk de Smaele, provided the unceasing support and precise criticism on my work. Committee member Bart Quartier offered stimulating, detailed and useful suggestions on mallet performance. External jury member Valerie Naranjo spent uncountable hours of editing my manuscript till the last moment before sending the file to print. Coordinator Kevin Voets gave practical advice over various matters of doctoral trajectory. I am grateful to my balafon teachers and friends in Mali, Burkina Faso and Europe. They have, in great measure, created this dissertation. Gert Kilian, my first balafon teacher, gave me valuable information and helped me to gain access to the balafon world. Youssouf Keita, my African balafon teacher, taught me the balafon practice and the repertoire. Paul Nas was always there to answer my questions at anytime. Moussa Dembele gave me the invaluable experience of jamming with a balafonist in several performances. I would like to thank Anya, Eric, Carl, Jan, Frieder and Renauld, who have taken care of me during my adventurous trips in Africa. My gratitude to composers Michiel de Malsche, Enric Riu, Juan Albaraccin, Cornelia Zambila and Cheong Li for their artistic contributions in this project. I appreciate your talent and professionalism. And my friends and colleagues, who graciously shared tips in writing and reviewed the dissertation. Finally, and most profoundly: to my boyfriend Kenneth, who shared his artistic views and opinions towards my dissertation, and endured the tensions and deprivations of an almost drawn-out doctoral candidate. His daily new findings and jokes have kept my spirit up during the monotonous, lengthy revision period. And to my parents, who resolved my worries not passively, but by sharing their life-experience via countless long-distance calls over these years. I humbly offer my love and gratitude. 9 10 ABSTRACT IN ENGLISH The aim of this practice-based project is to search for new performance perspectives for the marimba (invented in the 1910s) by inquiring into the West African music tradition— the balafon of the Bobo and Bamana peoples living in Mali and Burkina Faso. Through a triangulation of research methodology—participant-observation (lessons with local musicians and interviews), literature (African ethnomusicology, phenomenology in music and music embodiment) and artistic practice (analyses and experiments in music)—I have gained insights into the artistic experience of stepping into the "unknown" balafon world. The written result is a discussion of how I have overcome the obstacles of learning, performing and listening to balafon music, and how these experiences have renewed and enriched my original artistic practice and ideas. Due to the music’s oral tradition, the balafon polyrhythm and melodic materials are embodied in forms of bimanual (two-hand) coordination patterns rather than symbolic representation. Music-making is largely informed by the performer's motoric sensory, and body movement is given a crucial role in music communication and sensory perception. The second purpose of this research is, therefore, to apply these balafon practices to Western performance. Many preceding Western contemporary and classical musicians have initiated music projects to adapt African musical materials to their creative processes, e.g. "Drumming" (Steve Reich, 1971), but barely a work grows out of an inquiry into the embodied performance practice of the non-Western genre. This yields as artistic outcome—five commissioned compositions for the marimba and a concert program "In the Heat of the Moment". Keywords: marimba, balafon, body movement, music embodiment 11 ABSTRACT IN DUTCH Het opzet van dit op de praktijk gebaseerde artistieke onderzoeksproject is om op zoek te gaan naar nieuwe perspectieven in de uitvoeringspraktijk van de marimba (een instrument uitgevonden in de jaren 1910) door een studie van West-Afrikaanse muzikale tradities, meer bepaald in het balafonspel van de Bobo en Bamana in Mali en Burkina Faso. Door een triangulatie van onderzoeksmethoden—participerende observatie (lessen met lokale muzikanten en interviews), literatuurstudie (Afrikaanse enthnomusicologie, fenomenologie van muziek en muzikale belichaming) en artistieke praktijk (analyse en muzikale experimenten)—verwierf ik inzicht in de artistieke ervaring om de onbekende wereld van de balafon te betreden. Het geschreven resultaat is een beschrijving en bespreking van hoe ik de obstakels heb overwonnen in het leren, het bespelen en het beluisteren van de balafonmuziek, en hoe deze ervaringen mijn artistieke praktijk en ideeën hebben verrijkt. De orale traditie maakt dat de polyritmie en melodische materialen in de balafonuitvoering belichaamd zijn in vormen van tweehandse coördinatiepatronen, veeleer dan in symbolische weergave. Muziekuitvoering is in belangrijke mate bepaald door het motorische aanvoelen en lichaamsbeweging krijgt een cruciale rol in muzikale communicatie en zintuigelijke waarneming. De tweede bedoeling van dit onderzoek is daarom gericht op het toepassen van deze balafoonpraktijken binnen Westerse opvoeringen. Heel wat Westerse hedendaagse en klassieke muziekanten hebben muzikale projecten opgezet waarin Afrikaanse elementen werden aangepast en ingezet in het eigen creatieve proces (bijvoorbeeld “Drumming”, Steve Reich, 1971), maar zelden of nooit groeide zo’n werk vanuit de belichaamde uitvoeringspraktijk van niet-Westerse genres. De artistieke output van dit project resulteerde in vijf nieuwe composities die in opdracht werden gecreëerd voor de marimba en in het concertprogramma “In the Heat of the Moment”. Trefwooden: marimba, balafoon, lichaamsbeweging, muzikale belichaming 12 TABLE OF CONTENTS List of figures .............................................................................................................................. 15 List of videos ............................................................................................................................... 17 List of paper presentations, lecture recitals and performances ............................................... 19 CHAPTERS Introduction ................................................................................................................................ 21 1. In the dawn of change .................................................................................................... 43 Adapting to the performance practice of the West African balafon 1.1 The balafon workshops: learning how to play the instrument 1.2 The instrument and playing technique 1.3 The experience of learning the balafon practice 1.4 Reflections on my artistic practice 2. The performer's body is present .................................................................................... 65 Musical motion versus music-producing movement in performance 2.1 The primordial perception of motion in listening and performing 2.2 The artistic idiosyncrasy in different music cultures 3. The praxis of African rhythm .......................................................................................... 87 3.1 Understanding African polyrhythm from a pragmatic perspective 3.2 The social-cultural implications in African rhythm 4. The idiom of body movement in performance ............................................................ 121 4.1 Mapping movement patterns to the shape of the instruments 4.2 Mapping the musician's concepts and intentions to the shape of the instrument 4.3 Embodying the movement idiom 5. The movement idiom in balafon music ........................................................................ 153 An analysis using movement representation graphs (MRG) 5.1 Movement Representation Graph as the analytic method and tool 5.2 The purpose of Movement Representing Graph 5.3 Analysis 6. Artistic outcomes .......................................................................................................... 171 Five commissioned works Sound Portrait V | Enric Riu (2014) De Perjulio de la Nieve | Juan Albaraccin (2016) Mal/oxin Suite | Michiel de Malsche (2016) 13 Inner Sight Etudes | Cornelia Zambila (2016) Transposons | Li Cheong (2017) 7. Oral tradition in contemporary ensemble practice ....................................................
Load more

Recommended publications
  • The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification
    The KNIGHT REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification by Roderic C. Knight, Professor of Ethnomusicology Oberlin College Conservatory of Music, © 2015, Rev. 2017 Introduction The year 2015 marks the beginning of the second century for Hornbostel-Sachs, the venerable classification system for musical instruments, created by Erich M. von Hornbostel and Curt Sachs as Systematik der Musikinstrumente in 1914. In addition to pursuing their own interest in the subject, the authors were answering a need for museum scientists and musicologists to accurately identify musical instruments that were being brought to museums from around the globe. As a guiding principle for their classification, they focused on the mechanism by which an instrument sets the air in motion. The idea was not new. The Indian sage Bharata, working nearly 2000 years earlier, in compiling the knowledge of his era on dance, drama and music in the treatise Natyashastra, (ca. 200 C.E.) grouped musical instruments into four great classes, or vadya, based on this very idea: sushira, instruments you blow into; tata, instruments with strings to set the air in motion; avanaddha, instruments with membranes (i.e. drums), and ghana, instruments, usually of metal, that you strike. (This itemization and Bharata’s further discussion of the instruments is in Chapter 28 of the Natyashastra, first translated into English in 1961 by Manomohan Ghosh (Calcutta: The Asiatic Society, v.2). The immediate predecessor of the Systematik was a catalog for a newly-acquired collection at the Royal Conservatory of Music in Brussels. The collection included a large number of instruments from India, and the curator, Victor-Charles Mahillon, familiar with the Indian four-part system, decided to apply it in preparing his catalog, published in 1880 (this is best documented by Nazir Jairazbhoy in Selected Reports in Ethnomusicology – see 1990 in the timeline below).
    [Show full text]
  • ©Studentsavvy Music Around the World Unit I Thank You For
    ©studentsavvy Music Around the World Unit I thank you for StudentSavvy © 2016 downloading! Thank you for downloading StudentSavvy’s Music Around the World Unit! If you have any questions regarding this product, please email me at [email protected] Be sure to stay updated and follow for the latest freebies and giveaways! studentsavvyontpt.blogspot.com www.facebook.com/studentsavvy www.pinterest.com/studentsavvy wwww.teacherspayteachers.com/store/studentsavvy clipart by EduClips and IROM BOOK http://www.hm.h555.net/~irom/musical_instruments/ Don’t have a QR Code Reader? That’s okay! Here are the URL links to all the video clips in the unit! Music of Spain: https://www.youtube.com/watch?v=_7C8MdtnIHg Music of Japan: https://www.youtube.com/watch?v=5OA8HFUNfIk Music of Africa: https://www.youtube.com/watch?v=4g19eRur0v0 Music of Italy: https://www.youtube.com/watch?v=U3FOjDnNPHw Music of India: https://www.youtube.com/watch?v=qQ2Yr14Y2e0 Music of Russia: https://www.youtube.com/watch?v=EEiujug_Zcs Music of France: https://www.youtube.com/watch?v=Ge46oJju-JE Music of Brazil: https://www.youtube.com/watch?v=jQLvGghaDbE ©StudentSavvy2016 Don’t leave out these countries in your music study! Click here to study the music of Mexico, China, the Netherlands, Germany, Australia, USA, Hawaii, and the U.K. You may also enjoy these related resources: Music Around the WorLd Table Of Contents Overview of Musical Instrument Categories…………………6 Music of Japan – Read and Learn……………………………………7 Music of Japan – What I learned – Recall.……………………..8 Explore
    [Show full text]
  • Electrophonic Musical Instruments
    G10H CPC COOPERATIVE PATENT CLASSIFICATION G PHYSICS (NOTES omitted) INSTRUMENTS G10 MUSICAL INSTRUMENTS; ACOUSTICS (NOTES omitted) G10H ELECTROPHONIC MUSICAL INSTRUMENTS (electronic circuits in general H03) NOTE This subclass covers musical instruments in which individual notes are constituted as electric oscillations under the control of a performer and the oscillations are converted to sound-vibrations by a loud-speaker or equivalent instrument. WARNING In this subclass non-limiting references (in the sense of paragraph 39 of the Guide to the IPC) may still be displayed in the scheme. 1/00 Details of electrophonic musical instruments 1/053 . during execution only {(voice controlled (keyboards applicable also to other musical instruments G10H 5/005)} instruments G10B, G10C; arrangements for producing 1/0535 . {by switches incorporating a mechanical a reverberation or echo sound G10K 15/08) vibrator, the envelope of the mechanical 1/0008 . {Associated control or indicating means (teaching vibration being used as modulating signal} of music per se G09B 15/00)} 1/055 . by switches with variable impedance 1/0016 . {Means for indicating which keys, frets or strings elements are to be actuated, e.g. using lights or leds} 1/0551 . {using variable capacitors} 1/0025 . {Automatic or semi-automatic music 1/0553 . {using optical or light-responsive means} composition, e.g. producing random music, 1/0555 . {using magnetic or electromagnetic applying rules from music theory or modifying a means} musical piece (automatically producing a series of 1/0556 . {using piezo-electric means} tones G10H 1/26)} 1/0558 . {using variable resistors} 1/0033 . {Recording/reproducing or transmission of 1/057 . by envelope-forming circuits music for electrophonic musical instruments (of 1/0575 .
    [Show full text]
  • The Founding and Development of Louvain-La-Neuve, the Only New Town in Belgium
    17th IPHS Conference, Delft 2016 | HISTORY URBANISM RESILIENCE | VOLUME 05 Historical Perspectives | The Persistence of the Vernacular | Continuity- and Change- THE FOUNDING AND DEVELOpMENT OF LOUVAIN-LA-NEUVE, THE ONLY NEW TOWN IN BELGIUM Pierre Laconte Foundation for the Urban Environment The new university town of Louvain-la-Neuve originated from the 1968 decision of the French-speaking university to leave the old town of Louvain ( Leuven in Dutch) and to acquire farmland south of Brussels in order to create a new town. Its urban model was directly inspired by the town of Louvain with its mix of land uses, in contrast to the functionalist approach in which different land uses are kept separate. Uncertainty about future growth led to a linear form of development along a pedestrian spine and a string of small squares, to priority being given to access by public transport - thanks to the national railways’ investment in a new sub-surface station - and to the collection of storm water into a reservoir, treated as a lake. The pedestrian spine has been the backbone for the development of compact neighbourhoods on each sides and of a shopping mall directly linked to the railway station.This contribution endeavours to show how these initial aims have been pursued over almost half a century and what are the present perspectives. Keywords Barras, Blondel, density, design, functionalist, Lemaire, Leuven, lake, Lechat, neighbourhood, spine, square, pedestrian, piazza, reservoir, platform, Roland, university, urban, urbanised, underground, water, Woitrin How to Cite Laconte, Pierre. “The Founding and Development of Louvain-la-Neuve, the only new town in Belgium”.
    [Show full text]
  • African Drumming in Drum Circles by Robert J
    African Drumming in Drum Circles By Robert J. Damm Although there is a clear distinction between African drum ensembles that learn a repertoire of traditional dance rhythms of West Africa and a drum circle that plays primarily freestyle, in-the-moment music, there are times when it might be valuable to share African drumming concepts in a drum circle. In his 2011 Percussive Notes article “Interactive Drumming: Using the power of rhythm to unite and inspire,” Kalani defined drum circles, drum ensembles, and drum classes. Drum circles are “improvisational experiences, aimed at having fun in an inclusive setting. They don’t require of the participants any specific musical knowledge or skills, and the music is co-created in the moment. The main idea is that anyone is free to join and express himself or herself in any way that positively contributes to the music.” By contrast, drum classes are “a means to learn musical skills. The goal is to develop one’s drumming skills in order to enhance one’s enjoyment and appreciation of music. Students often start with classes and then move on to join ensembles, thereby further developing their skills.” Drum ensembles are “often organized around specific musical genres, such as contemporary or folkloric music of a specific culture” (Kalani, p. 72). Robert Damm: It may be beneficial for a drum circle facilitator to introduce elements of African music for the sake of enhancing the musical skills, cultural knowledge, and social experience of the participants. PERCUSSIVE NOTES 8 JULY 2017 PERCUSSIVE NOTES 9 JULY 2017 cknowledging these distinctions, it may be beneficial for a drum circle facilitator to introduce elements of African music (culturally specific rhythms, processes, and concepts) for the sake of enhancing the musi- cal skills, cultural knowledge, and social experience Aof the participants in a drum circle.
    [Show full text]
  • Explore Music 7 World Drumming.Pdf (PDF 2.11
    Explore Music 7: World Drumming Explore Music 7: World Drumming (Revised 2020) Page 1 Explore Music 7: World Drumming (Revised 2020) Page 2 Contents Explore Music 7: World Drumming Overview ........................................................................................................................................5 Unit 1: The Roots of Drumming (4-5 hours)..................................................................................7 Unit 2: Drum Circles (8-10 hours) .................................................................................................14 Unit 3: Ensemble Playing (11-14 hours) ........................................................................................32 Supporting Materials.......................................................................................................................50 References.................................................. ....................................................................................69 The instructional hours indicated for each unit provide guidelines for planning, rather than strict requirements. The sequence of skill and concept development is to be the focus of concern. Teachers are encouraged to adapt these suggested timelines to meet the needs of their students. To be effective in teaching this module, it is important to use the material contained in Explore Music: Curriculum Framework and Explore Music: Appendices. Therefore, it is recommended that these two components be frequently referenced to support the suggestions for
    [Show full text]
  • Ps 109:30A) the Contribution of Leuven Biblical Scholarship to the Field in the Past Fifty Years and the Future of Biblical Studies in Light of Psalm 109 Ma
    Louvain Studies 42 (2019): 365-395 doi: 10.2143/LS.42.4.3287164 © 2019 by Louvain Studies, all rights reserved “With my mouth I will give thanks...” (Ps 109:30a) The Contribution of Leuven Biblical Scholarship to the Field in the Past Fifty Years and the Future of Biblical Studies in Light of Psalm 109 Ma. Maricel S. Ibita Introduction My heartfelt thanks to the Faculty of Theology and Religious Studies (FTRS) of the KU Leuven for the invitation to give this lecture from the part of the Research Unit Biblical Studies (RUBS) on the occasion of the golden jubilee of the International Programmes in English.1 My gratitude also to the Ateneo de Manila University for the research leave grant to prepare for this lecture and its publication. While my initial excitement in drafting this piece was almost dampened by the enor- mity of the task to reflect on the future of biblical studies, it was replaced by a deep gratitude for the contributions of the KU Leuven to my own personal, academic and professional formation. Within the limited time and space, I apologize for any oversight as I paint in broad strokes the unique contributions and influences of our research unit to the greater field of global biblical studies, the current challenges for biblical research, and the possible trajectories for biblical criticism, with Psalm 109 as a test case as it talks about an ‘unsilent’ mouth (109:1), evil mouths (109:2), and praising mouth (109:30). The mouth here serves as a synecdoche, that is, with a generalizing and integrative function,2 for the whole person.
    [Show full text]
  • The Philip Glass Ensemble in Downtown New York, 1966-1976 David Allen Chapman Washington University in St
    Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) Spring 4-27-2013 Collaboration, Presence, and Community: The Philip Glass Ensemble in Downtown New York, 1966-1976 David Allen Chapman Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Part of the Music Commons Recommended Citation Chapman, David Allen, "Collaboration, Presence, and Community: The hiP lip Glass Ensemble in Downtown New York, 1966-1976" (2013). All Theses and Dissertations (ETDs). 1098. https://openscholarship.wustl.edu/etd/1098 This Dissertation is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Music Dissertation Examination Committee: Peter Schmelz, Chair Patrick Burke Pannill Camp Mary-Jean Cowell Craig Monson Paul Steinbeck Collaboration, Presence, and Community: The Philip Glass Ensemble in Downtown New York, 1966–1976 by David Allen Chapman, Jr. A dissertation presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2013 St. Louis, Missouri © Copyright 2013 by David Allen Chapman, Jr. All rights reserved. CONTENTS LIST OF FIGURES ....................................................................................................................
    [Show full text]
  • Year 8 Unit 1
    Y E A R 8 U N I T 1 – AFRICAN MUSIC LP5 LEARNING OBJECTIVES LEARNING OUTCOMES (Pupils should know/understand/be able to do/be aware (The evidence to show that pupils have achieved the of by the end of the lesson) learning objectives) Learn about African musical instruments Level 3 (working towards) All Pupils : Use features of African music such as rhythms, Know that African music is often performed using different types of drum, but other percussion instruments (pitched and unpitched) cyclic rhythms, polyrhythms and syncopation to are also used. begin creating a group piece of African-inspired Compose and record own rhythm performing on a suitable music instrument and turning it into a cyclic rhythm Level 4 (working at) Most Pupils Make connections between African musical instruments and those available within the classroom Compose and accurately record own rhythm, with some syncopation, performing it individually and as part of a group polyrhythmic texture Level 5/6 (working beyond/GAT) Some Pupils : Identify and correctly name a range of African musical instruments Take on a leading role in organising a group polyrhythmic texture showing awareness of how different cyclic rhythms fit together LESSON STRUCTURE NC KS3 POS Identify and use the Learning about African Musical Instruments – Video 3 (& Cover/Homework 3) inter-related dimensions Watch Video 3 with pupils, showing a selection of different African musical of music expressively and with increasing instruments in action. Pause and discuss the questions contained on the video at sophistication, including use of tonalities, appropriate intervals, inviting pupils to make connections between traditional African different types of scales musical instruments and those available in the classroom.
    [Show full text]
  • Land- ​ En Volkenkunde
    Music of the Baduy People of Western Java Verhandelingen van het Koninklijk Instituut voor Taal- , Land- en Volkenkunde Edited by Rosemarijn Hoefte (kitlv, Leiden) Henk Schulte Nordholt (kitlv, Leiden) Editorial Board Michael Laffan (Princeton University) Adrian Vickers (The University of Sydney) Anna Tsing (University of California Santa Cruz) volume 313 The titles published in this series are listed at brill.com/ vki Music of the Baduy People of Western Java Singing is a Medicine By Wim van Zanten LEIDEN | BOSTON This is an open access title distributed under the terms of the CC BY- NC- ND 4.0 license, which permits any non- commercial use, distribution, and reproduction in any medium, provided no alterations are made and the original author(s) and source are credited. Further information and the complete license text can be found at https:// creativecommons.org/ licenses/ by- nc- nd/ 4.0/ The terms of the CC license apply only to the original material. The use of material from other sources (indicated by a reference) such as diagrams, illustrations, photos and text samples may require further permission from the respective copyright holder. Cover illustration: Front: angklung players in Kadujangkung, Kanékés village, 15 October 1992. Back: players of gongs and xylophone in keromong ensemble at circumcision festivities in Cicakal Leuwi Buleud, Kanékés, 5 July 2016. Translations from Indonesian, Sundanese, Dutch, French and German were made by the author, unless stated otherwise. The Library of Congress Cataloging-in-Publication Data is available online at http://catalog.loc.gov LC record available at http://lccn.loc.gov/2020045251 Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”.
    [Show full text]
  • Wavedrum Voice Name List
    Voice Name List Live mode Button Program Bank-a Programs 1 98 The Forest Drum 2 61 D&B Synth Head Rim Head Rim 3 15 Djembe (Double-size) No. Program No. Program Algo. Inst. Algo. Inst. Algo. Inst. Algo. Inst. 4 49 Steel Drum (F-A-B -C-F) Real Instrument 51 Balafon 7 51 25 81 Bank-b 0 Snare 1 (Double-size) 29 - - - 52 Gamelan 9 76 18 63 1 35 Tabla Drone 1 Snare 2 (Double-size) 30 - - - 53 EthnoOpera 7 61 15 72 2 75 Dance Hit Drone (Key of F) 2 Snare 3 (Double-size) 31 - - - 54 Koto Suite 20 79 20 66 3 0 Snare 1 (Double-size) 3 Velo Ambi Snare 19 17 2 12 55 Compton Kalling 20 5 22 15 4 50 Broken Kalimba 4 Multi Powerful Tom 5 22 24 21 56 Wind Bonga 7 8 19 28 Bank-c 5Krupa Abroad 2 267 10 57 Personality Split 7 10 16 78 1 59 Snare/Kick 2 (Double-size) 6 Pitched Toms w/Cowbell 19 24 4 22 Bass Drum/Snare Drum split 2 67 Kenya Street Rap 7 Ambi Taiko 9 23 19 12 58 Snare/Kick 1 (Double-size) 35 - - - 3 19 Conga (Double-size) 8 Viking War Machine 12 34 9 20 59 Snare/Kick 2 (Double-size) 36 - - - 4 82 DDL Mystic Jam 9 Vintage Electronic Toms 26 31 2 14 60 Kick The Synth 4 11 4 1 10 Okonkolo → Iya Dynamics 10 60 18 21 61 D&B Synth 4 16 23 85 11 Iya Boca/Slap Dynamics 10 58 14 29 62 Voice Perc.
    [Show full text]
  • Improvisation in Latin Dance Music: History and Style
    City University of New York (CUNY) CUNY Academic Works Publications and Research John Jay College of Criminal Justice 1998 Improvisation in Latin Dance Music: History and style Peter L. Manuel CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/jj_pubs/318 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] CHAPTER Srx Improvisation in Latin Dance Music: History and Style PETER MANUEL Latin dance music constitutes one of the most dynamic and sophisticated urban popular music traditions in the Americas. Improvisation plays an important role in this set of genres, and its styles are sufficiently distinctive, complex, and internally significant as to merit book-length treatment along the lines of Paul Berliner's volume Thinking in Jazz (1994 ). To date, however, the subject of Latin improvisation has received only marginal and cursory analytical treat­ ment, primarily in recent pedagogical guidebooks and videos. 1 While a single chijpter such as this can hardly do justice to the subject, an attempt will be made here to sketch some aspects of the historical development of Latin im­ provisational styles, to outline the sorts of improvisation occurring in main­ stream contemporary Latin music, and to take a more focused look at improvi­ sational styles of one representative instrument, the piano. An ultimate and only partially realized goal in this study is to hypothesize a unified, coherent aesthetic of Latin improvisation in general.
    [Show full text]