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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.......................................................................................................................................... -
Guitar Music from Cuba
555887bk Cuba USA 24/12/2003 07:56 pm Page 5 GUITAR MUSIC FROM CUBA Also available in this series DDD Guitar Collection 8.555887 1 Edward Simon (b.1969): El manicero (The Peanut-Seller) 4:33 Ñico Rojas (b.1921): 2 Guyún - El maestro 2:10 3 En el abra del Yumurí (In Yumuri Bay) 4:52 4 Francito y Alfonsito 2:38 5 Lilliam 4:21 CANCION DE CUNA 6 Guajira a mi madre (Guajira for my mother) 4:10 7 Carlos Fariñas (1934-2002): Preludio 3:41 Aldo Rodríguez (b.1955): Guitar Music from Cuba 8 Canción 3:03 9 Danza 1:52 Harold Gramatges (b.1918): Suite breve 8:01 0 Preludio 0:46 Marco Tamayo, Guitar ! Alemanda 2:20 @ Siciliana 0:59 # Sarabanda 3:11 $ Minuetto 0:45 Leo Brouwer (b.1939): % Canción de cuna (Berceuse) 4:04 ^ Zapateo 2:19 & Ojos brujos (Bewitching Eyes) 2:41 * Carlos Fariñas: Canción triste (Sad Song) 2:55 Hector Angulo (b.1932): Cantos Yoruba de Cuba 13:58 ( Asokere I 0:53 ) Suayo 2:01 ¡ Iyá mi ilé 1:44 ™ Borotití 2:16 £ Asokere II 0:28 ¢ Iyá mo dupé 1:49 ∞ Yeye bi obi toauo 2:26 § E iekua 1:12 ¶ Asokere III 1:08 8.555887 5 555887bk Cuba USA 24/12/2003 07:55 pm Page 2 Cuban Guitar Music Conservatorio Provincial de Música de Oriente, where film scores both in Cuba and abroad. From this time Marco Tamayo Cuban culture is essentially an amalgam of three he studied with Harald Gramatges. He joined the he completed his course in 1936. -
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 ....................................................................................................................................... -
Creolizing Contradance in the Caribbean
Peter Manuel 1 / Introduction Contradance and Quadrille Culture in the Caribbean region as linguistically, ethnically, and culturally diverse as the Carib- bean has never lent itself to being epitomized by a single music or dance A genre, be it rumba or reggae. Nevertheless, in the nineteenth century a set of contradance and quadrille variants flourished so extensively throughout the Caribbean Basin that they enjoyed a kind of predominance, as a common cultural medium through which melodies, rhythms, dance figures, and per- formers all circulated, both between islands and between social groups within a given island. Hence, if the latter twentieth century in the region came to be the age of Afro-Caribbean popular music and dance, the nineteenth century can in many respects be characterized as the era of the contradance and qua- drille. Further, the quadrille retains much vigor in the Caribbean, and many aspects of modern Latin popular dance and music can be traced ultimately to the Cuban contradanza and Puerto Rican danza. Caribbean scholars, recognizing the importance of the contradance and quadrille complex, have produced several erudite studies of some of these genres, especially as flourishing in the Spanish Caribbean. However, these have tended to be narrowly focused in scope, and, even taken collectively, they fail to provide the panregional perspective that is so clearly needed even to comprehend a single genre in its broader context. Further, most of these pub- lications are scattered in diverse obscure and ephemeral journals or consist of limited-edition books that are scarcely available in their country of origin, not to mention elsewhere.1 Some of the most outstanding studies of individual genres or regions display what might seem to be a surprising lack of familiar- ity with relevant publications produced elsewhere, due not to any incuriosity on the part of authors but to the poor dissemination of works within (as well as 2 Peter Manuel outside) the Caribbean. -
MÚSICA, DANZA Y EXPRESIÓN CORPORAL EN EDUCACIÓN INFANTIL Y PRIMARIA TOMO 1 M
MÚSICA, DANZA Y EXPRESIÓN CORPORAL EN EDUCACIÓN INFANTIL Y PRIMARIA TOMO 1 m 12 e M E M CONSEJERÍA DE EDUCACIÓN Y CIENCIA E MÚSICA, DANZA Y EXPRESIÓN CORPORAL EN EDUCACIÓN INFANTIL Y PRIMARIA TOMO 1 © Junta de Andalucía. Consejería de Educación y Ciencia edita Junta de Andalucía Consejería de Educación y Ciencia Dirección General de Evaluación Educativa y Formación del Profesorado autoría Cañal Santos Félix Cañal Ruiz Mª Cristina diseño Esther Morcillo+Fernando Cabrera maquetación + impresión Estudios Gráficos Europeos, s.a. isbn 84-688-3715-6 depósito legal SE-961-04 (I) Material acogido a la Orden de 10-07-2001 (B.O.J.A. nº 90 de 7 de Agosto de 2001) MÚSICA, DANZA Y EXPRESIÓN CORPORAL EN EDUCACIÓN INFANTIL Y PRIMARIA TOMO 1 Félix Cañal Santos Cristina Cañal Ruiz CONSEJERÍA DE EDUCACIÓN Y CIENCIA Agradecimientos Los autores queremos dar las gracias a los niños y niñas que han puesto sus voces a las canciones de este trabajo por su preciosa colaboración. A su Profesora y Directora del Colegio Santísima Trinidad, de Córdoba, Aurora Sánchez Garrido por su estimable ayuda y colaboración en este y otros proyectos pedagógicos que hemos emprendido. Asimismo quisieran agradecer a Manolo Gutiérrez, “Mélody”, instrumentos musicales, por su ayuda técnica en la grabación de algunas canciones. ÍNDICE 13 INTRODUCCIÓN 15 LA ENSEÑANZA-APRENDIZAJE 15 LA EDUCACIÓN POR EL MOVIMIENTO 16 UNA SITUACIÓN EN CONFLICTO 17 LA INVESTIGACIÓN EDUCATIVA 17 UN OFICIO ESPECIALIZADO 18 DISTRIBUCIÓN TEMÁTICA 21 1. LÍNEAS BÁSICAS DEL DECRETO POR EL QUE SE ESTABLECEN LAS ENSEÑANZAS CORRESPONDIENTES A LA EDUCACIÓN INFANTIL EN ANDALUCÍA 23 1.1. -
A La Cubana: Enrique Granados's Cuban Connection
UC Riverside Diagonal: An Ibero-American Music Review Title A la cubana: Enrique Granados’s Cuban Connection Permalink https://escholarship.org/uc/item/90b4c4cb Journal Diagonal: An Ibero-American Music Review, 2(1) ISSN 2470-4199 Author de la Torre, Ricardo Publication Date 2017 DOI 10.5070/D82135893 License https://creativecommons.org/licenses/by/4.0/ 4.0 Peer reviewed eScholarship.org Powered by the California Digital Library University of California A la cubana: Enrique Granados’s Cuban Connection RICARDO DE LA TORRE Abstract Cuba exerted a particular fascination on several generations of Spanish composers. Enrique Granados, himself of Cuban ancestry, was no exception. Even though he never set foot on the island—unlike his friend Isaac Albéniz—his acquaintance with the music of Cuba became manifest in the piano piece A la cubana, his only work with overt references to that country. This article proposes an examination of A la cubana that accounts for the textural and harmonic characteristics of the second part of the piece as a vehicle for Granados to pay homage to the piano danzas of Cuban composer Ignacio Cervantes. Also discussed are similarities between A la cubana and one of Albéniz’s own piano pieces of Caribbean inspiration as well as the context in which the music of then colonial Cuba interacted with that of Spain during Granados’s youth, paying special attention to the relationship between Havana and Catalonia. Keywords: Granados, Ignacio Cervantes, Havana, Catalonia, Isaac Albéniz, Cuban-Spanish musical relations Resumen Varias generaciones de compositores españoles sintieron una fascinación particular por Cuba. Enrique Granados, de ascendencia cubana, no fue la excepción. -
STORYTIME PASSPORT to the WORLD! L Watch the Storytime Videos and Read This Book a P AYH to Travel Around the World
BOOKS ARE YOUR STORYTIME PASSPORT TO THE WORLD! L Watch the Storytime Videos and read this book A P AYH to travel around the world. Follow along to create RI O your very own adventure! O U E S You can explore cultures and countries around the P E world without having to physically travel. All you need is this passport to guide you on your way! Go to PeoriaPlayHouse.org/ playhouse-at-home/storytime to find the Storytime videos. C What is in this passport? H M • Country Spotlights IL U • Fun Facts D E • Yummy Recipes R S • Country and World Maps E U • Vocabulary from Different languages N’S M • Interesting Activities • Passport Checklist PASSPORT 2 Create Your Own Passport! A passport allows you to go from one country to another. Make your own passport here to explore the world with the PlayHouse! Listen to the story Finders Keepers? NAME: A True Story in India written by Robert Arnett and illustrated by Add Your Smita Turakhia Picture Here https://youtu.be/ -_58v9qB_04 DATE OF BIRTH: Finders Keepers? A True Story in India is a story about doing the right thing. Think about the different ways you can do the right thing or help NATIONALITY: people through good deeds. What are a few you (country you live in) can think of? SIGNATURE: A PLAYH RI O O U E S P E India is very diverse, which means people come ID NUMBER: from a lot of different backgrounds. India is a (make your own big country, and there are many differences in 9 digit number ) C the way people live including what they eat, the H M I U language they speak, and the type of clothing L E D R S they wear. -
Rhyming Dictionary
Merriam-Webster's Rhyming Dictionary Merriam-Webster, Incorporated Springfield, Massachusetts A GENUINE MERRIAM-WEBSTER The name Webster alone is no guarantee of excellence. It is used by a number of publishers and may serve mainly to mislead an unwary buyer. Merriam-Webster™ is the name you should look for when you consider the purchase of dictionaries or other fine reference books. It carries the reputation of a company that has been publishing since 1831 and is your assurance of quality and authority. Copyright © 2002 by Merriam-Webster, Incorporated Library of Congress Cataloging-in-Publication Data Merriam-Webster's rhyming dictionary, p. cm. ISBN 0-87779-632-7 1. English language-Rhyme-Dictionaries. I. Title: Rhyming dictionary. II. Merriam-Webster, Inc. PE1519 .M47 2002 423'.l-dc21 2001052192 All rights reserved. No part of this book covered by the copyrights hereon may be reproduced or copied in any form or by any means—graphic, electronic, or mechanical, including photocopying, taping, or information storage and retrieval systems—without written permission of the publisher. Printed and bound in the United States of America 234RRD/H05040302 Explanatory Notes MERRIAM-WEBSTER's RHYMING DICTIONARY is a listing of words grouped according to the way they rhyme. The words are drawn from Merriam- Webster's Collegiate Dictionary. Though many uncommon words can be found here, many highly technical or obscure words have been omitted, as have words whose only meanings are vulgar or offensive. Rhyming sound Words in this book are gathered into entries on the basis of their rhyming sound. The rhyming sound is the last part of the word, from the vowel sound in the last stressed syllable to the end of the word. -
Building Bridges of Learning and Understanding: a Collection Of
DOCUMENT RESUME ED 328 636 UD 027 886 AUTHOR Perez-Selles, Marla E., Ed.; And Others TITLE Building aridges of Learning and Understanding: A Collection of Classroom Activities on Puerto Rican Culture. INSTITUTION NETWORK, Inc., Andover, MA.; Regional Laboratory for Educational Improvement of the Northeast & Islands, Andover, MA. SPONS AGENCY Office of Educational Research and Improvement (ED) Washington, DC. PUB DATE 90 CONTRACT 400-86-0005 NOTE 140p. AVAILABLE FROMThe Regional Laboratory for Educational Improvement of the Northeast and Islands and New England Center for Equity Assistance, a Project of The NETWORK, Inc., 300 Brickstone Square, Suite 900, Andover. MA 01810 ($12.95 + $2.50 shipping; order no. 9072). PUB TYPE Guidt:3 - Classroom Use - Guides (For Teachers) (052) -- Collected Works - General (020) EDRS PRICE MF01/PC06 Plus Postage. DESCRIPTORS *Class Activities; *Cultural Background; Elementary Education; Folk Culture; Geography; Latin American History; *Learning Activities; *Lesson Plans; Migration; Multicultural Edumtion; *Puerto Rican Culture; *Puerto Ricans; Sym'oolism ABSTRACT This collection of 35 self-contained teaching activities about Puerto Rican culture for elementary school students is designed for teachers who wish to incorporate multicultural concepts into their curriculum or make their teaching more relevant to Puerto Rican students. All lesson plans and student worksheets needed for immediate classroom use are included. Section I, "here and There: Location and Migration," explores the geography, climate, and location of Puerto Rico as well as issues that surround why people move from place to place. Section II, "Puerto Rico: A Blend of Cultures," highlights some of the history of the island, from the indigenous Taino Indians to the arrival of the Spanish to stories of several heroes from diverse backgrounds. -
Table of Contents
1 Table of Contents 2 Letter Words .................................................................................................................................2 3 Letter Words .................................................................................................................................3 4 Letter Words .................................................................................................................................5 5 Letter Words ...............................................................................................................................12 6 Letter Words ...............................................................................................................................25 7 Letter Words ...............................................................................................................................43 8 Letter Words ...............................................................................................................................60 All words are taken from OWL 22 HOW TO USE THIS DOCUMENT Have you ever wanted to maximize your studying time? Just buzzing through word lists do not ensure that you will ever play the word….ever. The word lists in this document were run through 917,607 full game simulations. Only words that were played at least 100 times are in this list and in the order of most frequently played. These lists are in order or probability to play with the first word being the most probable. To maximize the use of this list is easy. Simply -
Siento Una Flauta: Improvisational Idiom, Style, and Performance Practice of Charanga Flutists in New York from 1960 to 2000
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2015 Siento una Flauta: Improvisational Idiom, Style, and Performance Practice of Charanga Flutists in New York from 1960 to 2000 Jessica Lynne Valiente Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1170 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] Siento una Flauta: Improvisational Idiom, Style, and Performance Practice of Charanga Flutists in New York from 1960 to 2000 by Jessica Valiente A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2015 © 2015 JESSICA VALIENTE All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Music to satisfy the dissertation Requirement for the degree of Doctor of Musical Arts Benjamin Lapidus Date Chair of Examining Committee Norman Carey Date Executive Officer Stephen Blum Peter Manuel Danilo Lozano Supervisory Committee THE CITY UNIVERSITY OF NEW YOR iii Abstract SIENTO UNA FLAUTA: IMPROVISATIONAL IDIOM, STYLE, AND PERFORMANCE PRACTICE OF CHARANGA FLUTISTS IN NEW YORK FROM 1960 TO 2000 Advisor: Professor Stephen Blum The charanga, the Cuban dance music ensemble consisting of flute, strings, piano, bass, timbales, congas, and güiro, and vocals, underwent five decades of evolution in Cuba, beginning in the early 20th century. -
Redalyc.Salsa Music As Expressive Liberation
Centro Journal ISSN: 1538-6279 [email protected] The City University of New York Estados Unidos Berrios-Miranda, Marisol Salsa Music as Expressive Liberation Centro Journal, vol. XVI, núm. 2, fall, 2004, pp. 158-173 The City University of New York New York, Estados Unidos Available in: http://www.redalyc.org/articulo.oa?id=37716211 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 Berrios(v7).qxd 3/1/05 7:33 AM Page 158 CENTRO Journal Volume7 xv1 Number 2 fall 2004 Salsa) Salsa Music as Expressive Liberation1 MARISOL BERRIOS-MIRANDA ABSTRACT In the span of a singe decade, the 1970s, young people in urban centers all over Latin America came to embrace salsa music as their preferred musical style and expression. Salsa’s unprecedented international popularity resulted from the confluence of several distinct social conditions and historical events: the Puerto Rican dilemma of colonial status, the civil rights and black pride movements in the U.S., the Cuban revolution’s promise of upliftment for the lower classes, urban migration, and the need for a Latino alter- native to the hegemony of Anglo rock. In this paper I will argue that salsa’s popularity needs to be understood in terms of a musical sound and a social style that responded effectively to these circumstances, captured beautifully in the film Our Latin Thing. I propose, furthermore, that the colonial dilemma of Puerto Ricans in the island and in New York motivated their creative contributions to salsa, which they experienced as a form expressive liberation and decolonization.