The Musical Contexts World Music Guide To
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Beyond Salsa Bass the Cuban Timba Revolution
BEYOND SALSA BASS THE CUBAN TIMBA REVOLUTION VOLUME 1 • FOR BEGINNERS FROM CHANGÜÍ TO SON MONTUNO KEVIN MOORE audio and video companion products: www.beyondsalsa.info cover photo: Jiovanni Cofiño’s bass – 2013 – photo by Tom Ehrlich REVISION 1.0 ©2013 BY KEVIN MOORE SANTA CRUZ, CA ALL RIGHTS RESERVED No part of this publication may be reproduced in whole or in part, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopy, recording or otherwise, without written permission of the author. ISBN‐10: 1482729369 ISBN‐13/EAN‐13: 978‐148279368 H www.beyondsalsa.info H H www.timba.com/users/7H H [email protected] 2 Table of Contents Introduction to the Beyond Salsa Bass Series...................................................................................... 11 Corresponding Bass Tumbaos for Beyond Salsa Piano .................................................................... 12 Introduction to Volume 1..................................................................................................................... 13 What is a bass tumbao? ................................................................................................................... 13 Sidebar: Tumbao Length .................................................................................................................... 1 Difficulty Levels ................................................................................................................................ 14 Fingering.......................................................................................................................................... -
The Form of the Preludes to Bach's Unaccompanied Cello Suites
University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses 1911 - February 2014 2011 The orF m of the Preludes to Bach's Unaccompanied Cello Suites Daniel E. Prindle University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/theses Part of the Composition Commons, Musicology Commons, Music Practice Commons, and the Music Theory Commons Prindle, Daniel E., "The orF m of the Preludes to Bach's Unaccompanied Cello Suites" (2011). Masters Theses 1911 - February 2014. 636. Retrieved from https://scholarworks.umass.edu/theses/636 This thesis is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses 1911 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. THE FORM OF THE PRELUDES TO BACH’S UNACCOMPANIED CELLO SUITES A Thesis Presented by DANIEL E. PRINDLE Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2011 Master of Music in Music Theory © Copyright by Daniel E. Prindle 2011 All Rights Reserved ii THE FORM OF THE PRELUDES TO BACH’S UNACCOMPANIED CELLO SUITES A Thesis Presented by DANIEL E. PRINDLE Approved as to style and content by: _____________________________________ Gary Karpinski, Chair _____________________________________ Miriam Whaples, Member _____________________________________ Brent Auerbach, Member ___________________________________ Jeffrey Cox, Department Head Department of Music and Dance iii DEDICATION To Michelle and Rhys. iv ACKNOWLEDGEMENTS First and foremost, I would like to acknowledge the generous sacrifice made by my family. -
The Role of Bell Patterns in West African and Afro-Caribbean Music
Braiding Rhythms: The Role of Bell Patterns in West African and Afro-Caribbean Music A Smithsonian Folkways Lesson Designed by: Jonathan Saxon* Antelope Valley College Summary: These lessons aim to demonstrate polyrhythmic elements found throughout West African and Afro-Caribbean music. Students will listen to music from Ghana, Nigeria, Cuba, and Puerto Rico to learn how this polyrhythmic tradition followed Africans to the Caribbean as a result of the transatlantic slave trade. Students will learn the rumba clave pattern, cascara pattern, and a 6/8 bell pattern. All rhythms will be accompanied by a two-step dance pattern. Suggested Grade Levels: 9–12, college/university courses Countries: Cuba, Puerto Rico, Ghana, Nigeria Regions: West Africa, the Caribbean Culture Groups: Yoruba of Nigeria, Ga of Ghana, Afro-Caribbean Genre: West African, Afro-Caribbean Instruments: Designed for classes with no access to instruments, but sticks, mambo bells, and shakers can be added Language: English Co-Curricular Areas: U.S. history, African-American history, history of Latin American and the Caribbean (also suited for non-music majors) Prerequisites: None. Objectives: Clap and sing clave rhythm Clap and sing cascara rhythm Clap and sing 6/8 bell pattern Dance two-bar phrase stepping on quarter note of each beat in 4/4 time Listen to music from Cuba, Puerto Rico, Ghana, and Nigeria Learn where Cuba, Puerto Rico, Ghana, and Nigeria are located on a map Understand that rhythmic ideas and phrases followed Africans from West Africa to the Caribbean as a result of the transatlantic slave trade * Special thanks to Dr. Marisol Berríos-Miranda and Dr. -
Redalyc.Mambo on 2: the Birth of a New Form of Dance in New York City
Centro Journal ISSN: 1538-6279 [email protected] The City University of New York Estados Unidos Hutchinson, Sydney Mambo On 2: The Birth of a New Form of Dance in New York City Centro Journal, vol. XVI, núm. 2, fall, 2004, pp. 108-137 The City University of New York New York, Estados Unidos Available in: http://www.redalyc.org/articulo.oa?id=37716209 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Hutchinson(v10).qxd 3/1/05 7:27 AM Page 108 CENTRO Journal Volume7 xv1 Number 2 fall 2004 Mambo On 2: The Birth of a New Form of Dance in New York City SYDNEY HUTCHINSON ABSTRACT As Nuyorican musicians were laboring to develop the unique sounds of New York mambo and salsa, Nuyorican dancers were working just as hard to create a new form of dance. This dance, now known as “on 2” mambo, or salsa, for its relationship to the clave, is the first uniquely North American form of vernacular Latino dance on the East Coast. This paper traces the New York mambo’s develop- ment from its beginnings at the Palladium Ballroom through the salsa and hustle years and up to the present time. The current period is characterized by increasing growth, commercialization, codification, and a blending with other modern, urban dance genres such as hip-hop. [Key words: salsa, mambo, hustle, New York, Palladium, music, dance] [ 109 ] Hutchinson(v10).qxd 3/1/05 7:27 AM Page 110 While stepping on count one, two, or three may seem at first glance to be an unimportant detail, to New York dancers it makes a world of difference. -
AP Music Theory Course Description Audio Files ”
MusIc Theory Course Description e ffective Fall 2 0 1 2 AP Course Descriptions are updated regularly. Please visit AP Central® (apcentral.collegeboard.org) to determine whether a more recent Course Description PDF is available. The College Board The College Board is a mission-driven not-for-profit organization that connects students to college success and opportunity. Founded in 1900, the College Board was created to expand access to higher education. Today, the membership association is made up of more than 5,900 of the world’s leading educational institutions and is dedicated to promoting excellence and equity in education. Each year, the College Board helps more than seven million students prepare for a successful transition to college through programs and services in college readiness and college success — including the SAT® and the Advanced Placement Program®. The organization also serves the education community through research and advocacy on behalf of students, educators, and schools. For further information, visit www.collegeboard.org. AP Equity and Access Policy The College Board strongly encourages educators to make equitable access a guiding principle for their AP programs by giving all willing and academically prepared students the opportunity to participate in AP. We encourage the elimination of barriers that restrict access to AP for students from ethnic, racial, and socioeconomic groups that have been traditionally underserved. Schools should make every effort to ensure their AP classes reflect the diversity of their student population. The College Board also believes that all students should have access to academically challenging course work before they enroll in AP classes, which can prepare them for AP success. -
Beyond Salsa for Ensemble a Guide to the Modern Cuban Rhythm Section
BEYOND SALSA FOR ENSEMBLE A GUIDE TO THE MODERN CUBAN RHYTHM SECTION PIANO • BASS • CONGAS • BONGÓ • TIMBALES • DRUMS VOLUME 1 • EFECTOS KEVIN MOORE REVISION 1.0 ©2012 BY KEVIN MOORE SANTA CRUZ, CA ALL RIGHTS RESERVED No part of this publication may be reproduced in whole or in part, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopy, recording or otherwise, without written permission of the author. ISBN‐10: 146817486X ISBN‐13/EAN‐13: 978‐1468174861 www.timba.com/ensemble www.timba.com/piano www.timba.com/clave www.timba.com/audio www.timba.com/percussion www.timba.com/users/7 [email protected] cover design: Kris Förster based on photos by: Tom Ehrlich photo subjects (clockwise, starting with drummer): Bombón Reyes, Daymar Guerra, Miguelito Escuriola, Pupy Pedroso, Francisco Oropesa, Duniesky Baretto Table of Contents Introduction to the Beyond Salsa Series .............................................................................................. 12 Beyond Salsa: The Central Premise .................................................................................................. 12 How the Series is Organized and Sold .......................................................................................... 12 Book ......................................................................................................................................... 12 Audio ....................................................................................................................................... -
University of Florida Thesis Or Dissertation Formatting
IN EL NORTE CON CALLE 13 AND TEGO CALDERÓN: TRACING AN ARTICULATION OF LATINO IDENTITY IN REGUETÓN By CYNTHIA MENDOZA A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2008 1 © 2008 Cynthia Mendoza 2 To Emilio Aguirre, de quien herede el amor a los libros To Mami and Sis, for your patience in loving me 3 ACKNOWLEDGMENTS I thank G, for carrying me through my years of school. I thank my mother, Rosalpina Aguirre, for always being my biggest supporter even when not understanding. I thank my sister, Shirley Mendoza-Castilla, for letting me know when I am being a drama queen, providing comedic relief in my life, and for being a one-of-a-kind sister. I thank my aunt Lucrecia Aguirre, for worrying about me and calling to yell at me. I thank my Gainesville family: Priscilla, Andres, Ximena, and Cindy, for providing support and comfort but also the necessary breaks from school. I want to thank Rodney for being just one phone call away. I thank my committee: Dr. Horton-Stallings and Dr. Marsha Bryant, for their support and encouragement since my undergraduate years; without their guidance, I cannot imagine making it this far. I thank Dr. Efraín Barradas, for his support and guidance in understanding and clarifying my thesis subject. I thank my cousins Katia and Ana Gabriela, for reminding why is it that I do what I do. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS ...............................................................................................................4 -
S Y N C O P a T I
SYNCOPATION ENGLISH MUSIC 1530 - 1630 'gentle daintie sweet accentings1 and 'unreasonable odd Cratchets' David McGuinness Ph.D. University of Glasgow Faculty of Arts April 1994 © David McGuinness 1994 ProQuest Number: 11007892 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 11007892 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 10/ 0 1 0 C * p I GLASGOW UNIVERSITY LIBRARY ERRATA page/line 9/8 'prescriptive' for 'proscriptive' 29/29 'in mind' inserted after 'his own part' 38/17 'the first singing primer': Bathe's work was preceded by the short primers attached to some metrical psalters. 46/1 superfluous 'the' deleted 47/3,5 'he' inserted before 'had'; 'a' inserted before 'crotchet' 62/15-6 correction of number in translation of Calvisius 63/32-64/2 correction of sense of 'potestatis' and case of 'tactus' in translation of Calvisius 69/2 'signify' sp. 71/2 'hierarchy' sp. 71/41 'thesis' for 'arsis' as translation of 'depressio' 75/13ff. Calvisius' misprint noted: explanation of his alterations to original text clarified 77/18 superfluous 'themselves' deleted 80/15 'thesis' and 'arsis' reversed 81/11 'necessary' sp. -
When the Leading Tone Doesn't Lead: Musical Qualia in Context
When the Leading Tone Doesn't Lead: Musical Qualia in Context Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Claire Arthur, B.Mus., M.A. Graduate Program in Music The Ohio State University 2016 Dissertation Committee: David Huron, Advisor David Clampitt Anna Gawboy c Copyright by Claire Arthur 2016 Abstract An empirical investigation is made of musical qualia in context. Specifically, scale-degree qualia are evaluated in relation to a local harmonic context, and rhythm qualia are evaluated in relation to a metrical context. After reviewing some of the philosophical background on qualia, and briefly reviewing some theories of musical qualia, three studies are presented. The first builds on Huron's (2006) theory of statistical or implicit learning and melodic probability as significant contributors to musical qualia. Prior statistical models of melodic expectation have focused on the distribution of pitches in melodies, or on their first-order likelihoods as predictors of melodic continuation. Since most Western music is non-monophonic, this first study investigates whether melodic probabilities are altered when the underlying harmonic accompaniment is taken into consideration. This project was carried out by building and analyzing a corpus of classical music containing harmonic analyses. Analysis of the data found that harmony was a significant predictor of scale-degree continuation. In addition, two experiments were carried out to test the perceptual effects of context on musical qualia. In the first experiment participants rated the perceived qualia of individual scale-degrees following various common four-chord progressions that each ended with a different harmony. -
Salsa Percussion Fundamentals Dr
Salsa Percussion FUNdamentals Dr. Nate Lee Michael Mixtacki Dr. Jesse Willis VERSE 1 - "Level 1a" - Vocal phrases with horn interjections j Clave C Œ œ œ Œ œ ‰ œ Œ œ Shown for reference, not always played ã + + + + Begin with basic martillo (+ = closed stroke), add Bongó œ 1 œ 1 œ 1 œ 1 œ 1 œ 1 œ 1 œ 1 ã C R L R L R L R L R L R L R L R L golpes and setups between vocal lines and horn hits Congas œ œ x œ œ œ œ œ œ œ x œ œ œ œ œ Basic tumbao with no variations ã C H T S T H T O O H T S T H T O T L L R L L L R R L L R L L L R L > > > > > > x x x x x x x x xj x Right hand cascara, Left hand fingers on hembra Timbales Å e Å e ã C ‰ ( x = mute), use fills to set up horn hits - . - . - . - . Maracas œ œ œ œ œ œ œ œ œ œ œ œ Basic pattern, with no variation, often played by ã C R R L R R L R R L R R L a singer VERSE 2 - "Level 1b" - Variation on verse 1, increased intensity Clave œ œ œ œj œ ã Œ Œ ‰ Œ + + ^ ^ œ 1 œ 1 œ 1 > x œ 1 œ 1 œ x > 1 Bongó œ œ More active golpes and variations ã R L R L R L R L R L R L R L R L Congas œ œ x œ œ œ œ œ œ œ x œ œ œ œ œ Basic tumbao with no variations ã H T S T H T O O H T S T H T O T L L R L L L R R L L R L L L R L > > > > > > x x x x x x x x x x x x x x x x Timbales Variations on 2-hand cascara are common ã R L R L R R L R R L R R L R L R - . -
Grade 8 Theory Requirements
Grade 8 Theory Examination Length: 2 Hours Recommended Prerequisites Questions will be based on all material • Grade 5 Theory from the previous grades plus the • Grade 6 Theory following requirements. • Grade 7 Theory Grade 8 Theory is a co-requisite for: Keys B.C.M.A., Teacher Diploma • all major and minor keys L.B.C.M. Hon., Licentiate Honours Clefs • C clefs - alto and tenor Scales • to write and identify all major and minor (harmonic and melodic) and natural, chromatic scales, modes: Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian • to identify: whole tone, pentatonic, blues and octatonic scales • beginning on any degree of the scale, using a key signature and/or accidentals Intervals • to write and identify all simple and compound intervals and their inversions to a 15th above or below a given note, in harmonic and melodic form • using a key signature and/or accidentals Chords and Harmony • to write and identify triads - major, minor, augmented and diminished in close and open position with their inversions • built on any degree of a major or minor (natural or harmonic) scale • using functional chord symbols and root quality chords symbols • dominant sevenths with their inversions in close or open position using functional chord symbols and root quality chords symbols in major keys • leading note diminished 7th chords with their inversions in close or open position using functional chord symbols and root quality chords symbols in minor keys • to identify cluster chords, polychords and quartal chords Transposition • up or down any interval within the octave, from a major key to a major key or from a minor key to a minor key • to concert pitch of a single line of music for orchestral instruments, in B flat (clarinet, trumpet) in F (French horn, English horn) • transcription of a melody to any other clef, at the same pitch. -
The Clave in the Previous Lesson Students Were Introduced to The
The Clave In the previous lesson students were introduced to the history of Afro-Cuban music and one of Cuba’s most prominent composers and conga players. This lesson will dive into the basics of a rhythmic pattern called “clave”, named after the traditional two-stick percussion instrument. There are two basic types of clave: son or rumba clave. Most Afro-Cuban styles of music are built around one version of the clave pattern, which is fixed and repeated throughout the song, and forms the foundation for percussionists, as well as the other musicians in the ensemble. Overall Objectives: • Students will research and discuss the history of clave and its role in various styles of Afro-Cuban music. • Students will listen to various recordings of Afro-Cuban compositions based on clave and discuss similarities and differences. • Students will examine the difference between the 2-3 and 3-2 clave patterns and demonstrate their understanding through individual or group performance. Materials and Resources: • Computer with a browser such as Chrome, Safari or Firefox, to access the Berklee PULSE website • Projector, PA system • Percussion instruments, non-pitched and pitched (or preferred instrument) • Optional: One or a mix of the following: Manuscript paper, Notation software, a DAW • Suggested online resources: Reading • Clave: African Roots of Salsa http://www.salsadance.co.uk/clave-the-african-roots-of-salsa/ • The History of Salsa Music https://www.thoughtco.com/the-history-of-salsa-music-2141563 • Salsa and other Afro Latin Dances http://www.eijkhout.net/rad/dance_specific/salsa7.html • Clave http://www.wikiwand.com/en/Clave_(rhythm) • The Cuban Son http://www.justsalsa.com/salsa/music/son/ • La Clave http://www.bailasociety.tv/public/441.cfm Video Afro-Cuban Drumming Parts 1-8 This video series was created by Cuban jazz drummer and educator Ignacio Berroa.